MARCH 17-23, 2017 / VOL. 39 / NO. 17 / LAWEEKLY.COM

WHAT DOES THE CRUSHING DEFEAT OF MEASURE S MEAN? • PASADENA GETS A TASTE OF THE MODERN MEXICAN REVOLUTION®

FORCE OF NATURE

FROM HBO’S BIG LITTLE LIES TO UPCOMING ROLES IN STAR WARS: THE LAST JEDI AND THE TWIN PEAKS SEQUEL, THE UBIQUITOUS LAURA DERN HAS DEFIED HOLLYWOOD’S EXPECTATIONS

BY APRIL WOLFE

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NEWS...6 The crushing defeat of Measure S is a defining moment for Los Angeles. BY HILLEL ARON.

EAT & DRINK...17 Howlin’ Ray’s is a bona fide phenomenon, but does it deserve the hype? BY BESHA RODELL.

GO LA...23 A Scottish restaurant celebrates an Irish holiday, the Natural History Museum celebrates nature, the Bunny Museum celebrates the opening of its new location and more to do and see in L.A. this week.

CULTURE...27 The exhibit “Mujeres de Maiz” highlights 20 years of an East L.A.–based feminist Chicana art collective. BY JESSICA LANGLOIS. In ART PICKS, one artist pays homage to Donald Duck’s trouble-making nephews, and another makes bad jokes in Hollywood. In STAGE, Annie Lesser mounts the third installment of her ABC Project and a photographer

confronts death in Rogue Machine’s Still Life.

FILM...32 ALAN SCHERSTUHL is less than enchanted by Beauty and the Beast, and MIKE LAWS reviews T2: Trainspotting, plus the latest from Hirokazu Kore-Eda, After the Storm, and other movies OPENING THIS WEEK, and YOUR WEEKLY MOVIE TO-DO LIST.

MUSIC...37 DJ, producer and label boss Kingdom tells JEFF WEISS how he handles club life with diabetes, and HENRY ROLLINS reports from Iggy

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ICONTENTS ⁄⁄23

FORCE OF NATURE ... 9From HBO’s Big Little Lies to upcoming roles in Star Wars: The Last Jedi and the Twin Peaks sequel, the ubiquitous Laura Dern has defied Hollywood’s expectations.BY APRIL WOLFE.

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| MARCH 17-23, 2017 // VOL. 39 // NO. 17LPUBLISHER Mat Cooperstein

EDITOR Mara Shalhoup

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Hayley Fox, Kenji Fukushima, Ernest Hardy, Deborah Klugman,

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A VOTE FOR A MORE URBANIZED FUTURE

The crushing defeat of Measure S is a defining moment for L.A.

BY HILLEL ARON

The March 7 election re-volved, in so many ways, around development. There was Measure S, the controversial anti-devel-opment ballot measure, but also the mayor and

City Council races, in which the incum-bents were attacked, time and again, for allowing density in L.A. It’s no exaggera-tion to say the election was a referendum on development, on density, on urbaniza-tion. And density won.

OK, the establishment won. But those incumbents were forced to oppose Measure S and defend density, and they were all elected to another term without a runo� (with the possible exception of City Councilman Gil Cedillo, who had slightly less than 50 percent of the vote as of March 14, with more ballots yet to be counted). Many of them won with 30-, 40- and 50-point margins of victory. Mayor Eric Garcetti was re-elected with 81 percent of the vote, 73 points ahead of his nearest challenger, Mitchell Schwartz.

And then there was Measure S

itself. Many expected it to lose, but few imagined it would lose by so much. The initiative, which plastered the skyline with “Yes on S” billboards and flooded mailboxes with mailers (some of them quite scandalous), was utterly eviscer-ated at the polls, losing by roughly 40 points. Measure N, the marijuana regula-tion initiative that had no campaign and was abandoned by its own sponsors, was more popular with voters than Measure S.

It was a stunning repudiation of slow-growth and anti-growth politics, currents of which had enjoyed widespread popu-larity in L.A. for nearly half a century.

“To me, the vote on Measure S repre-sents a significant break with 50 years of resistance to growth in Los Angeles,” says author D.J. Waldie.

Even Richard Close, president of the Sherman Oaks Homeowners Association and a decades-long leader in slow-growth fights, was forced to concede the signifi-cance of the Measure S rout.

“It surprised me, the large margin of victory,” Close says. “I think the takeaway is that the homeowners in Los Angeles no longer have the political clout they once had.”

Along with the results of the November election — when Santa Monica voters rejected the slow-growth Measure LV and when L.A. County passed Measure M, which raised taxes to fund light-rail construction — the rejection of Measure S is a watershed moment in the history of Los Angeles, a confirmation that the

city wants to become more urbanized, more dense, less reliant on the automo-bile, more inclusive and, perhaps, a more unified city.

To be sure, many factors contributed to Measure S’ defeat. Unlike a previous slow-growth ballot measure, Proposition U, which was passed by voters in 1986, Measure S had no support from elected o¥cials. Its main backer, AIDS Health-

care Foundation president Michael Wein-stein, is a divisive figure, to say the least.

“He’s not somebody that could get tens of thousands of people to charge after him,” says Raphael Sonenshein, executive director of the Pat Brown Institute for Public A�airs at Cal State University L.A.

He also wonders if Donald Trump and the growing resistance to his presidency e�ectively stole Measure S’ limelight. “I don’t know if Donald Trump sucked the air out of everything else,” Sonenshein says. “It’s kind of hard to have a rebellion in those conditions. There’s already a rebellion going on.”

Twenty years ago, urban planner Wil-liam Fulton published a book of essays about Los Angeles called The Reluctant Metropolis. It was a wonderfully apt phrase to describe L.A.’s odd hybrid of urbanism and suburbanism, its evenly dense sprawl.

“Up until the 1980s and into the 1990s, Los Angeles was a very large city whose residents didn’t identify with living in a metropolis. They believed in their small communities,” Fulton says. “I think that’s changed. Los Angeles is no longer a reluctant metropolis.”

The price of buying or renting a home is becoming the defining challenge of the city, and there is a growing belief that the only way to stop the rise in home prices is to build taller and denser apartment build-ings. That may not sound like a great deal for people who already own a home, but renters may see things di�erently.

“Los Angeles really has undergone an unbelievable shift,” Fulton says. “It’s clear there’s a generational di�erence between older homeowners, who don’t see why growth is good for them, and younger folks, who can’t a�ord $800,000 for a starter home and therefore see more of an advantage.”

These changes, of course, have been a long time coming and have been noted, over and over, by publications including The New York Times. But the margin of Measure S’ defeat — in a low-turnout, o�-year election dominated (at least his-torically) by older homeowners, no less — shows there’s broad consensus around such ideas.

Which is not to say that L.A. has it all figured out. It still must come to terms with how best to plan “smart growth,” in a way that encourages people to use public transportation and live sustainably — or else, what’s the point? Perhaps more important, it must grapple with the unaf-fordability of its housing stock, and with the fact that so many of its low-income residents are being displaced.

“Defeating Measure S doesn’t solve anything,” says Damien Newton, the former editor of Streetsblog L.A. and a safe-streets activist. “We still have some real problems with how we do develop-ment, especially with issues relating to gentrification and displacement.

“But now that the campaign is behind us, it’s incumbent upon the city lead-ership, including the neighborhood councils and the people who [supported] Yes on S, to come together and address those issues, and not say, ‘Measure S was defeated, I guess the status quo is fine.’¬”

| News // PHOTO BY DANIEL KNOTT / FLICKR

“LOS ANGELES IS NO LONGER A RELUCTANT METROPOLIS.” —URBAN PLANNER WILLIAM FULTON

There’s mounting evidence that the city wants to become more

urbanized, more dense and less reliant on the automobile.

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Laura Dern doesn’t want to draw attention to herself. She lowers her voice as she settles into a red-and-white vinyl booth at Jones Hollywood , where only a few early-evening diners

share pizzas in the front cafe. But Dern blows her cover when she exclaims, “Is Rian Johnson not the greatest person you’ve ever talked with?”

He is, of course, but so is the e� usive and charming Dern, who’s enjoying a welcome career boom. Just in this year, the actress has signifi cant roles in Johnson’s Star Wars: The Last Jedi , HBO’s Big Little Lies , John Lee Han-cock’s The Founder , Craig Johnson ’s indie comedy Wilson , Jennifer Fox ’s chilling personal drama The Tale and Showtime’s Twin Peaks reboot, the lat-ter being so hush-hush that she’s been absolutely forbidden to say a word about her fourth collaboration with David Lynch .

This might be the busiest she’s been since her streaks in the late ’80s and early ’90s, when she did strings of high-profi le projects: In Mask (1985), she was a blind girl in love with a man

with physical deformities, and in Smooth Talk (1985) and Rambling

Rose (1991) a sexually curious

teenager, while Blue Velvet (1986) had her playing a cartoonish goody-goody. Her spastic lover-on-the-lam in Wild at Heart (1990) then gave way to the ever-curious scien-tist in one of the most profi table fi lms ever made, Jurassic Park (1993).

Now as then, Dern can imbue the most tarnished characters with a gleaming heart, even as she defi es typecasting. In many ways, she is a conduit to the renaissance days of the 1970s, when risk-takers and

FORCE OF NATURE

FROM HBO’S BIG LITTLE LIES TO UPCOMING ROLES

IN STAR WARS: THE LAST JEDI AND THE TWIN PEAKS SEQUEL, THE UBIQUITOUS

LAURA DERN HAS DEFIED HOLLYWOOD’S

EXPECTATIONS

BY APRIL WOLFE

PHOTOGRAPHY BY SHANE LOPESMAKEUP: SIMONE SIEGLHAIR: CREIGHTON BOWMANSTYLING: CRISTINA EHRLICHSHOT AT DUST STUDIOS LA ( 10 »

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renegades brought to Hollywood the kind of spirit we’d today call “indie.” Those artists were still supported by the remnants of the studio system, and since Dern began as a child actor back when the studios were still taking chances on auteurs, that indie spirit is what she sees as normal. Now, when she finds that a set’s missing that passionate, egalitar-ian openness — even on mega-budget productions — she’ll bend over backward to bring it herself.Calling from a visual e�ects session in the U.K., Rian Johnson says, “[Working with Dern on the upcoming Star Wars: The Last Jedi] was like two indie kids getting away with something. We kept catching eyes, like, ‘Are they really letting us do this?’�”

“When you’re around her,” Johnson con-tinues, “it’s like sunlight. I’m sure you’re getting a lot of people who’ve worked with her struggling to put it into words. I’m try-ing to describe it without being too cheesy. She’s a force.” He laughs, as if he can’t be-lieve he’s actually saying it. “She definitely has the Force.”

Like the Force, talent is in her blood. Dern’s character-actor parents, Diane Ladd and Bruce Dern, raised her on their ideals. She, too, has sought out the daring roles snubbed by actors worried over the trajectories of stardom.

“If you don’t feel longing,” Dern says, “or if you’re already casting a lot of other people in the part while you’re reading the script, maybe you know it’s not yours.”

Her father recalls one of the roles she initially felt unsure about, one anyone else would have leapfrogged through tra�c to land. “She called me up and said, ‘Dad, do I really have to do a dinosaur movie?’�” Bruce Dern says over the phone, as he’s driving through Malibu. “I said, ‘Well, your mother’s doing one for Roger Corman [Carnosaur], but you don’t have to.’�”

He says she took the role because she trusted that their family friend — “Steven” — could bring his pioneering spirit to the behemoth blockbuster. Growing up in Hol-lywood, Dern had some pretty A-list family friends, like Spielberg.

When she was a child, legendary teacher and Actors Studio director Lee Strasberg would come to the house to chat about craft, and on any given day she might be telling hammed-up stories for Hal Ashby, Rip Torn, Lee Grant, Jon Voight or Martin Scorsese, who famously made her eat 19 banana-flavored ice cream cones in a row in her first turn as a movie extra. In that world, there were no “types” or big roles or small roles. Just actors and characters.

“[Being a type] is a commodity,” Dern says, talking with hands that are forever trying to catch up with the speed of her brain. “In the language now, it’s about a ‘brand’ you’ve invented that gives you more followers.” She’s never met an actor who wanted to be a brand but acknowledg-es that it can be di�cult for young actors — particularly women — to avoid the trap of simply doing what people expect of you. Dern, like her mother and father, is simply a master craftsperson plying her trade in her hometown.

“It’s a shame when actors like Laura are working in modern cinema,” director

Alexander Payne says. He directed Dern in his feature debut, the daringly hilarious abortion satire Citizen Ruth (1996), and also worked with Bruce Dern on 2013’s Nebraska. “There aren’t enough roles worthy of her talent and of her pickiness. In yesteryear’s Hollywood, female actors were much more valued and written for. I tremble when I think about these great actors’ lack of opportunities to do quality roles.”

Yes, women are getting less than a third

of the speaking roles in movies today, but Dern still manages to find and embody complex characters, and directors are still dying to work with her — Johnson even calls casting Dern in Star Wars a “selfish move” on his part. “I just thought she was the coolest person on the planet since I saw Blue Velvet. It hit me right between the eyes, that shot of her coming out of the shadows — oh my God, that film.”

In last year’s quietly powerful indie Certain Women, Dern played a frazzled, small-town lawyer who gets caught up in a hostage situation but wants nothing more than a relaxing night at home with her dog and a pizza. Director Kelly Reichardt laughs as she struggles to describe the somewhat ethereal quality Dern brings to a set, but then o�ers a more concrete example of the actress’s wisdom and ex-perience. “There’s something in the take,” Reichardt says. “We might say, ‘There’s a dead spot in this scene,’ and she would go, ‘Oh yeah, it’s on this word.’ And she could intuitively sense exactly what was missing

in a scene.”Payne credits Dern as the actor who

convinced him he should be a collaborative director. He even invited her to see early cuts of Citizen Ruth, rare for a director — the kind of practice you’d see back in the 1970s, when people who acted were more often writers and directors on other projects. But Payne says Dern would often remember or recommend a take other than the one he had used. And he would find she was right: It was better.

Dern — who dropped out of college multiple times to take on some of the most rewarding roles of her career — learned everything she knows about film and life through the act of doing. Other former child stars haven’t always been so lucky in their careers. She laughs as she wonders aloud if anyone ever considered her a “Hollywood casualty,” but Dern insists her grounded nature wasn’t by mistake: Her parents strove to give her the normal, ful-filled life any kid should have in sunny L.A., regardless of any challenges they faced.

Bruce Dern hesitates to tell this story, because it’s particularly painful.

“It’s heavy, but it’s true — Diane and I lost a child,” he says, from his car.

“She drowned in a swimming pool. Laura was born years later. When she was 7, we were driving out to my home in Malibu, and she turned to me on a rainy day just like today and straight out said, ‘Daddy, I miss my sister.’�” He pauses, and through the phone there’s the sound of

cars honking and tires slashing through the water on the roads. “We never talked to her about her sister. But she knew. And I knew right then that she was tremendously special.”

Laura Dern thinks of herself as being like a sponge — for better or for worse — sucking up all emotions around her. She doesn’t remember the story her father told me: “God, I did miss her though. It’s so funny that I learn this stu� from the press.” Though Dern’s parents divorced when she was 2, her impressions from childhood are happy:

“We lived in an apartment across from Chasen’s restaurant.” For decades, the Beverly Boulevard hangout was the place to be for the Hollywood elite, like Frank Sinatra and Cary Grant. “My grandmother and I would walk down the street to go to the market and we’d see icons — Jimmy Stewart! — and we’d get so excited. We got to have my birthday at Chasen’s when I was 15. My three best girlfriends and I dressed up like grown-ups. And my mom gave [me] the credit card and left!”

In 1995, Chasen’s was torn down. The location is now a Bristol Farms grocery store. Dern says she’d start weeping if she talked about all of her favorite long-gone Angeleno landmarks

“They should be here, and they’re not. I saw David Bowie twice in my life, once when he was buying records with Iman in Tower,” she reminisces, “Tower Records, Tower Video, Rocket Video… Thank God for Vidiots.”

Then she hears the bad news: Vidiots just moved out of its physical location and won’t reopen for at least another year.

“No! But they’re going to be OK?” I tell her they will.She sinks back into her seat, relieved.

“The loss of the video store and bookstore, to me, is a tragedy. It’s where you discover the artists you would not otherwise have known. I don’t need for the airport to define to me the three best-selling books, or the one movie everyone’s seen. I want to find what I don’t know.” That impulse reflects the way she selects her film roles — she looks for the one that tells her what she doesn’t know.

With infectious wonder she describes walking to the long-gone Beverly Park and Ponyland — now the Beverly Center. Remember, though, that the kid who was so psyched on a pony ride, the track star and student council president, was also already a movie actress, appearing with Jodie Fos-ter in Foxes and Diane Lane in Ladies and Gentleman, The Fabulous Stains, the story of three angsty teen girls in a Slits-like post-punk band.

Lane fondly remembers their time on set: “Watching Laura at 12 years old explore her own insolence and petulance toward her on-screen mother [Christine Lahti] was so liberating,” she says. “She didn’t have to be liked! Or that dreaded word: sympa-thetic.” Dern herself, of course, was those things her character didn’t have to be. “Laura could cut the cord so easily when Lou Adler said ‘cut!’ and laugh at herself. I had never worked with a peer until then, and it was exhilarating.”

At the time, Lane says, they didn’t know they were feminists, even though

“WHEN YOU’RE AROUND HER, IT’S LIKE SUNLIGHT. SHE’S A FORCE. SHE DEFINITELY HAS THE FORCE.” —STAR WARS: THE LAST JEDI DIRECTOR RIAN JOHNSON

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» Are diagnosed with Type 2 Diabetes» Are 18 years of age or older» Have A1c levels between 7-10%

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they probably were. “Labels are for the rear-view mirror. … We just under-stood how to fully show up and had a sense of justice. Period.”

Dern credits Ladd, her mother, with that sense of justice — but also that Hollywood community.

“My mom took me to marches when I was 12, 13. Predominantly in the women’s movement, focused on choice and the ERA [Equal Rights Amendment].” Her mother couldn’t make it to one rally they had been anticipating, but Ed Asner insisted Dern come anyway.

“I will never forget seeing faces of these seniors who were losing health care and support and seeing them see advocates — that other people cared enough to stand up for them. I realized in that moment that if you have a voice, you have to speak up.”

Dern brought that spark, that impetus to do the most good and to speak your mind, to one of her signature roles: Amy Jellicoe, the character she co-created (with Mike

White) and played for two seasons, in 2011 and 2013, on HBO’s Enlightened.

After Al Gore lost the 2000 election, Dern was re-energized by her role in HBO’s Recount (for which she won a Golden Globe), but everyone she dealt with at the cable network was depressed at the coun-try’s apathy. “There was clearly voter fraud, but nobody took to the streets. Definitely not like they are now,” she says. So, she tells me, she pitched Amy as “What if Lucille Ball became Norma Rae?” In the show, Amy’s an emotional wreck, but by God she will stand up to the corporations and make a di�erence.

“I love Amy. I wish she were here right now.” She means now, these days of anx-ious protest. Dern tells me that she cried the last time she stood at the foot of the Lincoln Memorial, that it’s awe-inspiring to be reminded of what this country is built on, that actually she’s cried every time she’s been there — this was the eighth. Like Rian Johnson, she’s worried that all her genuine sentiments might sound “cheesy.” And, like Johnson, she continues anyway, because she’s that moved by ideals, and by people who have had the courage to act on theirs. Who better for a sponge to soak up?

“Am I an empath?” she asks. “Oh, God,

probably. My mother and grandmother certainly were.”

She laughs, remembering a dinner party many years ago, where everyone went around expressing their greatest fears and “by the time they got to me, I’d adopted all their fears, every single one, like I was plagued by so much terror that I couldn’t even articulate a fear [of my own]. It’s worse than hypochondria.”

This happens all the time. If you say you love Indian food, Dern suddenly feels that she does, too. But this also means she’s up for anything, the tag-along buddy who will say “yes” to outlandish ideas, a trait that’s come in handy when she’s playing “dance partner” to some notably eccentric actors, such as Nicolas Cage in Wild at Heart.

“You’re locked in,” she says. “The char-acters have to be in sync every second. If they’re gonna go insane … well, you’ve gotta go insane.”

“Those Derns, they give it all,” Payne says, the respect heavy in his voice. “They

don’t have that stupid actor vanity you see a lot today.”

Laura Dern is not afraid of looking stu-pid, and she doesn’t have a brand to ruin. At 50, she’s ready now to take even bigger risks.

A�er wrapping 2014’s mother-daughter drama Wild, Dern took a trip to Big Sur with Cheryl Strayed, the author of the book on which the film was based. Dern had played the role of Strayed’s mother, a rol-licking, fearless woman and the backbone of the story. On the trip, the two were with their children out in the woods on a rocky trail in the dark when they heard howling. Dern felt from everyone else a growing sense of trepidation — everyone except Strayed, who wrapped an arm around Dern’s son, one of two children she shares with her ex-husband, musician Ben Harper.

“[Strayed] said to him, ‘Are you going to let courage be your guide or fear be your guide?’ and that stuck with me.”

Dern has made a kind of personal vow to either be that courageous guide or surround herself with emotionally brawny people. Now, in David E. Kelley’s HBO drama Big Little Lies, she’s joined up with a power team of actresses — Reese

PHOTO BY HILARY BRONWYN GAYLE/COURTESY HBO Laura Dern, right, co-stars with Reese Witherspoon, left, and Shailene Woodley in HBO’s Big Little Lies.

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Witherspoon, Nicole Kidman, Shailene Woodley, Zoë Kravitz — from whom she can gather strength.

Her father pointed out with touching pride that although Dern’s not top-three billing on Big Little Lies (“She’s absolutely ego-less.”), she’s getting rave reviews.

In the pilot episode, Dern’s Renata, a not-quite-likable businesswoman, stares into the sunset with a glass of wine in her hand. She’s telling her husband (Je�rey Nordling) about a tense moment at their child’s school. The husband o�ers sup-portive platitudes at first but then slips and says something pretty sexist. Dern doesn’t speak, but her face shifts to reveal a full narrative of emotion: What did he just say? He definitely said that. Oh my God, who did I marry? Fuck this guy, I’m out of here.

Dern needs only minimal dialogue to convey maximal emotion. Even in that “dinosaur movie” her face prompts us to believe that these majestic beasts are truly roaming around Earth — remember, this is the first time CGI e�ects on that scale had figured into a Hollywood production, and she cued the world on how to regard them.

Dern’s look as she stands up in that Jeep and stumbles out into the grass is one of absolute wonderment. She can’t remember what she was thinking at that moment, but she knows Spielberg had described the scene with such clarity that she felt she could see it. And then we could, too — her belief grounded the fantastical.

In Citizen Ruth, Dern did the reverse, making a very human woman into a larger-than-life character. Her pregnant drug addict, Ruth, pogo-bounces through one scene, then slumps like a wet blanket into a pile of trash the next. The film follows a woman considering getting an abortion in order to get a leaner jail sentence, when she’s caught between warring factions representing the pro-life and pro-choice movements. It may sound odd, but this is a comedy. And a great one, sold completely by Dern’s loving portrayal.

Payne told her Ruth was like a lovable alley dog that scrounges in the garbage “because she doesn’t give a shit about anything else or anybody else, just a wild, feral creature that’s just surviving, without consideration of other life around them.”

Comedy, to Dern, involves a certain amount of love and pain, something she learned from her heroes, like Lucille Ball.

“She really was my greatest inspiration … and broke my heart, too. I just remember as a kid always feeling such hopefulness in I Love Lucy, and The Lucy Show [Ball’s post-divorce follow-up] had a very di�erent kind of energy. I loved it, but it made me feel sad,” she says. The Lucy Show was the first on TV to feature a divorced female lead character, and it o�ered a more biting kind of comedy. “She taught me that you have to play the truth of the character. And the more emotional or true or even heartbreak-ing it is, hopefully, the funnier it is.”

She may even bring that heartbreaking humor to her now-secret role in Twin Peaks — she does credit Lynch with teaching her comic timing, “even if it’s a bizarre brand of humor.”

As we wait for the check at the cafe, Dern lists o� a few more of her acting idols of classic Hollywood: Thelma Ritter, Eileen Heckart, Beatrice Straight.

On the walls at Jones Hollywood, framed photos of celebrities partying it up in the

1970s club scene abut black-and-white snapshots of regular Angelenos living their lives. Jones is the kind of throwback neighborhood spot where a union worker can hop in for spaghetti and meatballs and sit next to Robert Plant with little fanfare — everyone’s an equal. It’s the kind of place that feels like home for a kid who grew up with parents who are “deeply unaccept-ing of stature games” and who worked on the film sets of the ’70s, where everything was “messy and familial, and nobody was making more money than anyone else.” That’s a less glamorous kind of Hollywood, far from the Walk of Fame, where Dern’s and her parents’ names are emblazoned on adjacent stars.

Dern’s continued success is a reminder that a career founded on risks — not top billing or leading-lady roles — will never go out of style. Hollywood may tire of stars but it adores characters. So as young hopefuls find themselves unwitting participants in an industry indi�erent to their dreams, Dern is the messenger straddling the past and present while holding an important secret: It doesn’t have to be like this.

Touting the Twin Peaks update at January’s Television Critics Association press tour are Robert Forster, left, Laura Dern, Kyle MacLachlan, Kimmy Robertson and Madchen Amick.

PHOTO BY ERIC CHARBONNEAU/AP INVISION FOR SHOWTIME

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WAITING FOR THE GREAT LEAP FORWARD

Maestro in Pasadena gives a taste of the modern Mexican food revolution

BY BESHA RODELL

If there’s one potential great leap forward for American dining that we all should be pulling for this year, it’s the promise of a new generation of Mexican chefs. Mexico’s modern culinary scene has emerged as one of the most

exciting in the world, and that excitement is steadily creeping across the border. Because of L.A.’s proximity and cultural ties to Mexico, the city has the potential to be at the forefront of that leap.

In many ways we’re already there: Chefs such as Jaime Martín del Campo and Ramiro Arvizu, Coni’Seafood’s Vicente Cossio and mole queen Rocio Camacho have been showing us the joys of creative regional Mexican cooking for years now. Ray Garcia’s downtown restaurant, Broken Spanish, and Carlos Salgado’s Taco Maria in Costa Mesa are proving how well Mexican flavors trans-late at the high end. And this year L.A. is

anticipating the first U.S. projects from two of Mex-ico’s most prominent chefs: Diego Hernandez and Maycoll Calderon both have

forthcoming restaurants in the city. In Pasadena, another chef looking to

push the food of Mexico in new and excit-ing directions has made his L.A. County debut. Danny Godinez has three restau-rants in Orange County, all exploring the potential and diversity of the food of his home country. His latest O.C. restaurant, El Mercado, which debuted in Septem-ber in Santa Ana, serves 31 dishes, each representing one of Mexico’s 31 states. Godinez, who is originally from Acapulco, backpacked through all of those states, for research and inspiration purposes, in anticipation of El Mercado’s opening.

And now he’s brought Maestro to Union Street in Pasadena. Maestro is less thematic than Godinez’s O.C. restaurants, which have focused on French/Mexican cooking, or molecular techniques, or the aforementioned state-specific dishes. At Maestro, Godinez is looking to present “things that people have never tried be-fore while still using Mexican flavors.”

The room is long and comfy and dark, backed by a small bar decorated with traditional Mexican tiles. There’s a focus on tequila and mezcal cocktails. The mar-garitas are stellar. There are small plates meant for sharing. There’s huitlacoche ice cream. More on that later.

Godinez loves acidic flavors, and his best dishes act as a showcase for the wonders that lime can work on other ingredients. The shrimp and octopus ceviche is fairly straightforward, but the

seafood is fresh and lovely, the balance of ingredients just right. Tacos ahogados is a soup/chicken taquito hybrid, the latter presented in a gorgeous citrus-tinged broth, showered with crisp radish and shredded cabbage.

There are a couple of plates of juicy stewed meats that are deeply satisfying, including a lamb barbacoa that comes with thick, house-made tortillas.

There’s a focus on presentation that’s more whimsical than artful — octopus with chorizo salsa and avocado puree is plated on the side of an empty mezcal bottle, and chicken with mole comes in a blobby swirl on the plate that we’re told is “the shape of Mexico.” Esquite “street corn,” which is mainly a bowl of shucked

corn swimming in tangy, creamy liquid, also has two ears of baby corn that have been impaled on skewers and stick up from the wooden serving platform like tiny corn-shaped, cojita cheese–dusted heads on stakes. The dusting also con-tains ground-up chapulines, or grasshop-pers, though they don’t contribute much to the taste or appearance of the dish.

If anything, I wish Godinez would get bolder with his flavors — there are dishes at Maestro that lack depth and impact, that taste too one-note. The L.A. snob in me immediately wonders if the chef has had to tone down his cooking in the past to please a less adventurous suburban customer base, and that maybe he as-sumes Pasadena residents also will be conservative in their tastes. But that as-sumption is more about my own shame-ful anti-suburbia bias, and you don’t go serving huitlacoche ice cream to folks whose palates you underestimate.

About that huitlacoche ice cream — it was served atop a puddinglike corn cake that’s the only dessert option, and while the musky flavor was intriguing, the ice cream itself had an icy consistency and tasted a little of freezer. It wasn’t the only problem that spoke to basic flaws in sourcing or technique. The heirloom cherry tomatoes mixed in with the ceviche were sti� and unripe, and the huge tortilla crisp that came atop it had the unyielding sti�ness and dull flavor of extreme staleness.

One night I ordered a shaken, frothy cocktail that arrived 10 degrees warmer than room temperature. I’m assuming the bartender forgot to perform the second-ary shake with ice that’s standard with sours — that would also explain why the drink seemed a little short, having gotten no dilution from the ice — and it’s indica-tive of the haphazard quality to some of the food and service here. A flu�y, sweet, brioche-like buttered toast comes with the duck carnitas, and when we asked what kind of bread it was, our server told us firmly, “It’s a cross between sourdough and pumpernickel.” The bread was nei-ther sour nor dark — if anything it tasted a little like yellow cake — and it made me wonder what else we were being told that were just words plucked from the air.

Am I quibbling? A little bit. Godinez is obviously a thoughtful, talented chef, and his brand of cooking is an important contribution to the wave of modern Mexi-can that’s sweeping Southern California. I hope the boldness of his flavors begins to match the boldness of his platings, and I hope he and his sta� get a little more precise as the restaurant matures. I’d love to see a wine list that runs more than a few bottles, and perhaps focuses on the great strides currently being taken being taken by Mexican winemakers.

It’s possible that I ask for too much when I’m truly excited about a revolution like the one Maestro represents. But some-thing tells me that Godinez’s ambitions are as broad as my hopes for the genre.

MAESTRO | 110 E. Union St., Pasadena (626) 787-1512 | maestropasadena.com

Tue.-Sun., 5-10 p.m. | Plates $9-$29 | Full bar Street and nearby lot parking.

| Eats // Fork Lift //

THERE’S A FOCUS ON PRESENTATION THAT’S MORE WHIMSICAL THAN ARTFUL — OCTOPUS WITH CHORIZO SALSA AND AVOCADO PUREE IS PLATED ON THE SIDE OF AN EMPTY MEZCAL BOTTLE. CRITIC’S RATING

★★Zero = Poor ★ = Fair★ ★ = Good★ ★ ★ = Very Good★ ★ ★ ★ = Excellent★ ★ ★ ★ ★ = World-Class

Free-range chicken mole with avocado puree, queso fresco and jocoque

PHOTO BY ANNE FISHBEIN

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Bathroom BusinessCALIFORNIA’S LAWS ABOUT RESTAURANT BATHROOMS ARE MORE PROGRESSIVE THAN L.A.’S

Last September, Gov. Jerry Brown signed AB 1732, a bill requiring all single-stall restrooms in the state of California to be designated “gender-neutral.” It is the nation’s most inclusive

restroom-access law, and it went into ef-fect on March 1.

“When we heard of people going to restrooms being harassed, of not feel-ing they could use restrooms in public without the fear of violence, we looked at a common-sense approach,” says As-semblyman Phil Ting of San Francisco, who wrote the bill. “It just makes sense for every single-room restroom to be open to everybody. Our legislation is very simple.”

AB 1732 doesn’t worry at all about any restroom that’s intended for two or more people, focusing entirely on single-occupancy restrooms, that is, “rooms with a toilet and/or urinal and sink.” All it’s saying is that the sign outside must be changed from “male” or “female” to some other designation indicating that it can be used by all genders.

But contradictory laws make it confus-ing after all.

Eddie Navarette has worked as a res-taurant license consultant in Los Angeles for 19 years. He makes sure prospective restaurateurs dot the regulatory i’s and cross the licensing t’s before opening.

“I try to tell them all the bad news up front,” Navarette says. “Sometimes they walk away and say, ‘I’m not going to do it anymore.’”

One thing that’s been on Navarette’s mind lately is restrooms. “There are so

many contradictions, especially when it comes to food establishments, of what’s applicable and what’s not,” he says. “And with [AB 1732], there’s no direction or guidance.” A problem with the imple-mentation of AB 1732 is that, in certain jurisdictions, it goes against laws cur-rently in place.

For instance, in the city of Los Angeles, when an establishment decides to try to obtain a liquor license, a few other regula-tions kick in. For example, if alcohol will be served, the venue needs to have both a male-only and a female-only restroom. (This requirement seems to come from three di�erent agencies: a County Health Department code, an L.A. municipal code and a California Plumbing Code.)

A large percentage of restaurants and bars in Los Angeles don’t have restrooms that conflict with AB 1732, since they’re designed for more than one person to use at a time. But many small restaurants currently only have the two necessary restrooms (one for men, one for women), and there’s no current instruction for how to comply further. If the new regulation means they have to add a third “gender-neutral” restroom, for many, that’s simply out of the equation.

“They don’t have the square footage,” Navarette says.

Say you have 700 square feet total in which to create your restaurant. The current L.A. regulations state you need to spend nearly 200 of that on two separate restrooms. Does AB 1732 mean they have to spend another 100 feet on a third “all-gender” restroom? Would that even satisfy the seemingly simple requirement that says all single-occupancy restrooms have to be gender-neutral?

Frankly, it’s too early to answer a lot of these questions. As with any new, broad legislation, it will be an ongoing process as local and county regulations jockey for position around the law handed down by Sacramento. Technically, the require-ments of AB 1732 supersede any other regulations. “Those [local] regulations will need to be adjusted,” says Jo Michael, legislative manager for Equality Cali-fornia, a civil rights organization that sponsored the bill. “Legally speaking, [AB 1732] is what businesses should be complying with.”

| Eats // | Squid Ink //

PHOTO BY AMY SCATTERGOOD

California’s restaurant bathroom laws are surprisingly complicated.

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But also, maybe there’s a hidden bonus lurking for the mom-and-pops. If AB 1732 supersedes current regulations for male-only and female-only re-strooms, does that mean restaurants can get rid of one of their single-occupancy restrooms and reclaim that 100 square feet with a table or two? If so, perhaps this can be accidental assistance for the city’s smaller restaurants.

“The whole separate-sex restrooms rule has been a killer for small mom-and-pop restaurants,” Navarette says. “That re-quirement just needs to go away.”

AB 1732 is just a first step into the murk of the future. As early moves by the Trump White House suggest, the nation’s public restrooms are set to become a weird and smelly civil liberties battlefield over the next four years. With Califor-nia seemingly leading the way toward restroom inclusion, perhaps there’s an opportunity to change the standard design entirely.

“I like the Japanese solution,” says Ricki Kline, an L.A.-based interior designer. “You just go into a restroom, use the cubicle of choice, do your job, and that’s it.” Restrooms, then, would simply be an extra part of the restaurant melting-pot experience. “We’re alone in our cars, in our apartments, in cubicles, in front of our computers. We go out to mix it up. Bathrooms could eventually be another way to mix it up.” —Rick Paulas

R E S T A U R A N T O P E N I N G S

Josef Centeno’s Culinary Realm Extends to the Westside With BäcoShop

Chef and restaurateur Jo-sef Centeno has created an empire in downtown L.A.’s Historic Core dis-trict. With five restau-rants practically in a row near the intersection

of Fourth and Main, you could happily bar-hop all night in his establishments alone. But now Centeno is branching out, conceptually and geographically.

BäcoShop, a counter-service restaurant in Culver City, opens today, bringing Centeno’s half-pita, half-burrito creations to an area that could really use a high-quality lunch option. (It’s open for dinner, too.)

“Bäco” really refers to the vessel; it can be wrapped around any kind of filling. These have shown up before at Bäco Mer-cat, though the options at BäcoShop are perhaps a little more accessible. They’re all — shrimp, steak, eggplant, etc. — saucy and soulful. My current favorite is the “green herb chicken” with thyme, spiced yogurt, green cabbage, parsley and a Meyer lemon vinaigrette.

The menu is rounded out with a num-

ber of salads and vegetable dishes, dips served with crackers, a daily soft-serve ice cream option, bottle of Bäco Pop and tubs of Centeno’s famous rice pudding.

One suspects that this could be the first location of an eventual chain. The bright and distinct red and blue color scheme, the reasonable prices, the healthful menu that certainly isn’t mundane but never flies completely into the land of esoteric ingredients ... I’d bet on BäcoShop’s suc-cess. —Katherine Spiers

9552 Washington Blvd., Culver City; (424) 258-6301, baco-shop.com.

C H I N E S E F O O D

Get Into Real Congee at Huo Zhou Wang in San GabrielChinese rice porridge goes by a few names, depending on whether you’re say-ing it in Cantonese or Mandarin dialects, with monikers such as jook, zhou, con-gee or xi fan. In its purest form, congee is simply soft, watery rice served hot. But most people eat it fortified with meat (say, pork strips) and garnished with chopped spring onion as well as fried onions. Typi-cally accompanying zhou are a myriad of small dishes, usually salty sides to liven up the blandness of the porridge. Fer-mented tofu and pickled mustard greens are favorite zhou enhancers.

Huo Zhou Wang is a specialty rice porridge restaurant located in the Hilton Plaza along a fashionable stretch of Val-ley Boulevard in the San Gabriel Valley. You won’t spy a single ladle of plain zhou here. Huo Zhou Wang specializes in, let’s say, fancy rice porridge and makes each pot to order. The least expensive and most pedestrian congee involves pork or vegetables and mushroom. But even these bowls are cooked to order, unlike some other restaurants that may have a stock pot of congee sitting on the stovetop all day waiting for customers. According to a Huo Zhou Wang server, one cook is assigned one pot of por-ridge at a time so it doesn’t overcook: It shouldn’t be too mealy or soft. This isn’t fast-casual congee; an order takes about 15 to 20 minutes to prepare, and the qual-ity shows.

Seafood is the main attraction at Huo Zhou Wang, as the restaurant’s roots are in the Chaoshan region of Guangdong, a coastal area that faces the South China Sea. There are more than 100 locations of

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this congee purveyor around China, and the one on Valley is the first U.S. outpost.

Just about every type of seafood is o�ered as an ingredient to customize congee here. There are two kinds of crab, lobster, abalone and shrimp, all live from the tanks and brought to the table for your approval. Fish fillet, sea cucumber, dried scallops, clams, mussels and frog cover the rest of the watery world. The exotic and invigorating silkie chicken is your fowl option. Lamb is a good choice, too, for warming the body.

Complimentary snacks of fried peanuts and two types of fermented cabbage show up before the congee does. Other appetiz-ers, such as wok-fried pea sprouts and a leafy green known as a choy, marinated pig ears, grilled eel, scallion pancakes and, a congee must, the Chinese dough-nut, are all available to pass the time and occupy your belly until the large clay pot of congee arrives to the table.

The sizable pot contains enough por-ridge to spoon out six or so servings, but each guest is to order his own. Congee isn’t a heavy food, therefore ingesting an entire pot isn’t entirely unheard of. Though you might have leftovers.

Lastly, there’s a little red crock on the table holding salty, pungent, fermented yellow beans. Use it as a condiment, as you would soy sauce. It’s magic and does something deliciously alchemical to the congee, transforming a humble bowl of watery rice into something truly special. —Eddie Lin

227 W. Valley Blvd., San Gabriel; (626) 872-1102.

R E S T A U R A N T O P E N I N G S

Green Tea Lattes and Breakfast Jars Arrive in Silver LakeMatchaBar, the New York City purveyor of green tea–based concoctions, has opened its first West Coast location. The company — which in addition to the cafes also sells bottled drinks at other stores — was already very Instagram-friendly, with its colorful drinks and pretty interiors. Appropriately, it’s only gotten more col-orful in L.A., as the menu has expanded to include yogurt parfait jars and grain-and-vegetable bowls.

MatchaBar has partnered with some well-known restaurants for this initial West Coast expansion. The pastries are provided by Gjusta, and the aforemen-tioned savory dishes by Amara Kitchen, which was an early adopter of avocado toast.

Though it is technically just a tea shop — signature drinks include coconut wa-ter–almond milk–matcha and turmeric-ginger-almond milk lattes — MatchaBar can expect some Millie’s spillover. And definitely some of that sweet farmers market and brunch action that takes over Sunset Junction every Saturday. —Katherine Spiers

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fri 3/17F O O D & D R I N K

Luck of the Scottish First things first: Tam O’Shanter is a Scot-land-themed restaurant. But we can’t fault a business for trying to make money, and every year it capitalizes on St. Patrick’s Day madness. Ah well — West Coast St. Paddy’s celebrations aren’t all that authen-tically Irish anyway. There will be green beer, of course, and all the usual menu items in the restaurant and bar. In addi-tion, the large parking lot will be tented, the better to party no matter the weather. You’ll be able to eat, drink and join ra�es out there. Look for the kegs of Guinness, too, and enjoy the live music. 2980 Los Feliz Blvd., Atwater Village; Fri., March 17, noon-mid.; free. lawrysonline.com/tam-oshanter/events. —Katherine Spiers

F I L M

The Doc Is inDid you know that Eric Stoltz was origi-nally cast as Marty McFly in Back to the Future? Or that the movie was almost titled Spaceman From Pluto? Or that Doc Brown’s pet dog, Einstein, was supposed be a pet chimpanzee? Whether you’re a die-hard or moderate fan, you can ask the mad scientist himself any burning questions you have about the making of the movie trilogy at Christopher Lloyd Goes Back to the Future. This screening of the 1985 sci-fi comedy about time travel is followed by a Q&A with the actor, who discusses how he landed the part, whom he based the character on and which of the films in the franchise is his favorite. Fred Kavli Theatre, Thousand Oaks Civic Arts Plaza, 2100 E. Thousand Oaks Blvd., Thousand Oaks; Fri., March 17, 7:30 p.m.; $36-$131. (805) 449-2787, civicartsplaza.com. —Siran Babayan

sat 3/18F A N D O M

Gone to PottWanna feel old? (Does anyone say yes to that question?) The first Harry Potter book, The Philosopher’s Stone, came out in 1997, which means that the 10-year-

olds who read it are now 30. Su�ce it to say, J.K. Rowling’s series of young-adult fantasy books and their subsequent film adaptations have a lot of grown-ass fans. On Saturday, L.A.’s most fervent “Pott-heads” gather for PotterCon Los Angeles, a fan event that features a Hogwarts-style “Sorting Ceremony,” a costume contest, trivia and specialty cocktails. And — wait, let me guess — butterbeer. Pour some out for Alan Rickman. 18 and up welcome. Echoplex, 1154 Glendale Blvd., Echo Park;

Sat., March 18, 2-8 p.m.; $15. potterconusa.com/tickets.html. —Gwynedd Stuart

M U S E U M S

The Great OutdoorsInteract with nature and wildlife in the big city at the Natural History Museum’s third annual L.A. Nature Fest. The museum’s Nature Gardens will be jammed with sta¥, authors and more than 30 exhibitors and representatives from organizations on

hand to answer questions, including folks from the L.A. Zoo, UCLA, National Park Service and Modern Hiker. Each day be-gins with a nature hike led by an NHMLA bird expert, followed by feedings and pre-sentations on animals — including L.A.’s famous mountain lion P22 — and demon-strations on taxidermy, canning and co¥ee roasting, plus storytelling, painting and a scavenger hunt. Natural History Museum of Los Angeles County, 900 Exposition Blvd., Exposition Park; Sat.-Sun., March 18-19, 9:30 a.m.-5 p.m.; $12, $9 seniors and students, $5 children, free under 2. (213) 763-3466, nhm.org. —Siran Babayan

D A N C E

Dance ManThree faces of George Balanchine’s ge-nius take the stage as Los Angeles Ballet’s 11th season continues. Mr. B.’s classical inclinations are illustrated in Divertimen-to No. 15, an LAB premiere set to Mozart. The dramatic Prodigal Son dates from Balanchine’s time with the Ballet Russe de Monte Carlo, the only time he worked with composer Sergei Prokofiev. The joyfully jazzy Who Cares?, set to some of George Gershwin’s most beguiling tunes, harkens back to Balanchine’s time cho-reographing for Hollywood in the 1930s. Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd., Redondo Beach; Sat., March 18, 7:30 p.m.; $31-$99. (Also at UCLA’s Royce Hall, Sun., March 26, 2 p.m.) (310) 998-7782, los angeles ballet.org. —Ann Haskins

sun 3/19F I L M

Dickin’ AroundBizarre and lurid stories about Andy Dick are as familiar in Hollywood as urban myths involving Richard Gere and a gerbil and Walt Disney’s cryogenically frozen body, which is why Cathy Carlson directed the documentary Everybody Has an Andy Dick Story. A friend of the actor-comedian for almost 35 years, Carlson looks at the man behind the rap sheet as she inter-views 40 fellow comics and celebrities, including Ben Stiller, Margaret Cho, Kathy Gri�n, Steve-O, Pauly Shore and Dr. Drew Pinsky, who recount their own run-ins

P. 23 FRIIT’S TIME TO EAT SALTY MEAT AND DRINK GREEN BEER

P. 23 SATCELEBRATE NATURE BEFORE IT’S SOLD TO OIL COMPANIES

P. 23 SUNDO YOU HAVE AN ANDY DICK STORY?

P. 24 MONBUNNIES MOVE INTO THEIR BIG, NEW HUTCH

IGO»LA ⁄⁄ Week of

MARCH 17-23

Wild Horses: See Thursday.

PHOTO BY ROBYN VON SWANK

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with Dick. Tonight’s fundraiser for the soon-to-be-released film has stand-up, sto-rytelling and music performed by Moby, Dana Gould, Greg Fitzsimmons, Laura Kightlinger, Mike Catherwood, PETA senior vice president Dan Mathews, Lady Bunny and host Kira Soltanovich, as well as Dick. Hollywood Improv, 8162 Melrose Ave., Hollywood; Sun., March 19, 9:30 p.m.; $25. (323) 651-2583, hollywood.improv.com. —Siran Babayan

B O O K S

Pulp FictionLong before the internet, bored Americans got their rocks o� from tawdry tales in cheaply bound books printed on crappy paper. Dime-store novels, trade paper-backs and pulp magazines often featured vibrant covers, racy titles and lurid litera-ture — a perfect storm of page-turning, easily digestible text with a friendly cover price. Operating for more than 35 years, the Los Angeles Vintage Paperback Show features nearly 100 vendors, dozens of authors and illustrators, and thousands of books celebrating an erstwhile stalwart of entertainment. It’s the largest pop-up vintage paperback marketplace in the world. Glendale Civic Auditorium, 1401 N. Verdugo Road, Glendale; Sun., March 19, 9 a.m.-4 p.m.; $5. (818) 548-2787, la-vintage-paperback-show.com. —Tanja M. Laden

mon 3/20M U S E U M S

No Bunny Does It BetterNearly 20 years ago, Candace Frazee and husband Steve Lubanski opened up the Bunny Museum in their home, in order to share their extensive collection of rabbit-related items — dolls, furniture, books, games, even bunny bushes from former Rose Bowl floats. They’ve also got a few real rabbits that scamper freely around the house, apparently trained to use a litter box. Their collection, which was appraised by Guinness at 8,437 objects in 1999, has now swelled to more than 31,000 items, outgrowing its original site. Celebrating the museum’s new Altadena home is the Grand Hoppenin’ Party, for which bunny-themed attire is recommended. While the proprietors will gladly accept bunny gifts to add to their collection, they ask that you leave any live bunnies at home. The Bunny Museum, 2605 Lake Ave., Altadena; Mon., March 20, 6:30-9 p.m.; $15 (includes $8 museum admission, 11 a.m.-6 p.m.); free, members and kids under 4. (626) 798-8848, thebunnymuseum.com. —Matt Stromberg

M U S E U M S

Read All OverWhat’s worse than books written by celeb-rities? Books written by pop stars. Emmy-nominated writer-performer Eugene Pack and award-winning playwright Dayle Reyfel developed Celebrity Autobiography about 10 years ago in L.A. after they were inspired by Vanna White’s 1987 memoir, Vanna Speaks. Now based in New York,

the touring show features actors and artists interpreting star-penned autobiog-raphies that are simultaneously earnest, boastful, trivial and unintentionally funny. For Celebrity Autobiography: �e 2017 Music Edition, Pack and Reyfel will be joined by Margaret Cho, Tony Hale, Jennifer Tilly, Fred Willard, “Weird Al” Yankovic, Lara-ine Newman and Peter Asher as they read the priceless ruminations published by Zayn Malik, Celine Dion, Barry Manilow, Jennifer Lopez, Britney Spears, Beyoncé, Michael Bublé, Dolly Parton, Kenny Loggins, Elvis Presley’s girlfriend Linda Thompson, and Justin Bieber, who, at the ripe old age of 23, has already released two books. Grammy Museum, 800 W. Olympic Blvd., downtown; Mon., March 20, 8 p.m.; $45. (213) 765-6800, grammymuseum.org. —Siran Babayan

tue 3/21C O M E D Y

That’s a WrapWriter, director and Second City graduate Eva Ceja tries to both shatter and spoof Muslim and Middle Eastern stereotypes in the theater’s new sketch comedy show, Turban Outfitters. It’s a sendup of religious and cultural misrepresentations, complete with burkas, hijabs and skits that involve everything from a Jewish girl falling in love with a Muslim boy and an actor auditioning for a role as a terrorist to what ISIS would look like if it was rebranded as a cosmetics company. Ceja and fellow cast members Zoe Farmingdale, Venk Potula, BJ Lange, Jack Zullo, Paula Dulla, Brent Wirfel, Armen Pogosyan, Kim Marie Mul-ligan and Shireen Hakim even throw in a few pop-song parodies, such as “Material Girl,” “I Got You Babe” and “California Love.” Second City Studio Theater, 6560 Hollywood Blvd., 2nd floor, Hollywood; Tue., March 21 (also Tue., March 28), 8 p.m.; $10. (323) 464-8542, secondcity.com/shows/hollywood. —Siran Babayan

C O M E D Y

Go to Hell, BelleYou’ll dial “femme” for murder when you see tonight’s cabal of women comics an-nihilate Fantasyland at the Fictional Roast of Disney Princesses. With equal parts disappointment, scorn and perspective, stand-ups Kim Congdon, Scout Durwood, Andy Erikson, Heidi Heaslet, Leah Kaya-janian, Atsuko Okatsuka, Kate Quigley, Riley Silverman and Candice Thompson set their sights on Cinderella, Snow White, Ariel, Aurora and maybe even Merida — dressing as those self-same princesses and roasting one another. What ordinarily would be a paradise of Disney fairy tales instead becomes a night of real people taking these magical dreams, folding them into a tiny square with sharp points and jamming it. Nerdist Showroom at Meltdown Comics, 7522 Sunset Blvd., Hollywood; Tue., March 21, 9-10:30 p.m.; $10, $8 in advance. (323) 851-7223, holdmyticket.com/event/276704. —David Cotner

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wed 3/22L I V E S H O W S

Green With EnvyFrom 2011 to late 2016, the debauched, vaudeville-burlesque-circus extravaganza Absinthe called a tent at Caesar’s Palace home. It eventually will move to the Cos-mopolitan, but in the meantime, master of ceremonies the Gazillionaire, his assistant, Penny Pibbets, and their cast of acrobats, dancers and other performers are posting up at L.A. Live for a five-week run of the show that’s kept Vegas crowds entertained for five years. The New York Times de-scribed it thus: “Imagine Cirque du Soleil as channeled through Rocky Horror Picture Show. ... A blend of skill, erotic innuendo and zaniness. The memorable moments make a jaded audience literally gasp.” The show warns audiences in advance about coarse language and some nudity — so sign us up. L.A. Live Event Deck, 1005 Chick Hearn Ct., downtown; Wed., March 22, 7 p.m. (runs through April 23); $49-$119. absinthela.com. —Gwynedd Stuart

T H E A T E R

There Will Be BloodThe New York City–based Wooster Group is an experimental theater company that has gained a reputation for staging groundbreaking multimedia works that challenge the boundaries of creative ex-

pression. The company’s latest project is a stage adaptation of Town Bloody Hall, a documentary by Chris Hegedus and D.A. Pennebaker about a 1971 feminist panel moderated by Pulitzer Prize–winning thinker Norman Mailer. �e Town Hall A�air is directed by Wooster Group founding member Elizabeth LeCompte and features impassioned performances that o�er a fresh perspective on the advocacy of wom-en’s rights today. REDCAT, 631 W. Second St., downtown; Wed., March 22-Sat., April 1, 8:30 p.m. (no performance Mon.); $50-$55. (213) 237-2800, redcat.org. —Tanja M. Laden

thu 3/23C O M E D Y

Pony UpIf the people making the all-female Ocean’s 8 caper film have any sense, they’ll rip o� the Wild Horses “Heist” sketch on Funny or Die until there’s nothing left but husks of raw videotape. Incisively, hilariously nuanced, Wild Horses is the comedy troupe that, like a quality cocktail, is greater than the sum of its parts. Four best friends — Stephanie Allynne, Mary Holland, Lauren Lapkus and Erin Whitehead — chat about issues of the day in their onstage show The Perspective, blab with surprise celebrity guests, then do improv and drink. Largo, 366 N. La Cienega Blvd., Beverly Grove; Thu., March 23, 7 p.m.; $30. (310) 855-0350, largo-la.com. —David Cotner

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Are you interested in participating in a study focused on improving heart health?

For more information contact the UCLA CARE Center at careoutreach@mednet.ucla.edu or via phone 310-557-9062 There are limitations to the confidentiality of email communications. Do not include any sensitive health information if you choose to contact the study team via email.

To join you must be: Between the ages of 40 and 75 HIV-positive On antiretroviral therapy for at

least 6 months T-cell count at or above 100

This study is for HIV-positive people who are taking antiretroviral therapy and are interested in strategies to

reduce heart disease

Statins are a group of medicines used to lower cholesterol and triglycerides (fat in the blood) and to prevent problems related

to heart disease, such as heart attacks in persons with high risk for heart attacks.

If yes, you may be able to join a study where you add an

FDA-approved medication to your HIV-regimen to help

prevent cardiovascular disease (CVD).

UCLA Research Study

Are you interested in participating in a study focused on improving heart health?

For more information contact the UCLA CARE Center at careoutreach@mednet.ucla.edu or via phone 310-557-9062 There are limitations to the confidentiality of email communications. Do not include any sensitive health information if you choose to contact the study team via email.

To join you must be: Between the ages of 40 and 75 HIV-positive On antiretroviral therapy for at

least 6 months T-cell count at or above 100

This study is for HIV-positive people who are taking antiretroviral therapy and are interested in strategies to

reduce heart disease

Statins are a group of medicines used to lower cholesterol and triglycerides (fat in the blood) and to prevent problems related

to heart disease, such as heart attacks in persons with high risk for heart attacks.

If yes, you may be able to join a study where you add an

FDA-approved medication to your HIV-regimen to help

prevent cardiovascular disease (CVD).

UCLA Research Study

Are you interested in trying to improve the way your brain works?

For more information contact the UCLA CARE Center at careoutreach@mednet.ucla.edu or via phone 310-557-9062 There are limitations to the confidentiality of email communications. Do not include any sensitive health information if you choose to contact the study team via email.

To join you must be: • 18 years of age or older • HIV-positive with an undetectable

viral load • Have had a HIV-associated

neurocognitive disorder within 45 days prior to study entry

This study is for HIV-positive people who also have HIV-associated neurocognitive disorder (HAND) as defined by the Frascati criteria.

It will help us to identify if adding Maraviroc (MVC) and/or Dolutegravir (DTG) to their current antiretroviral therapy will improve

neurocognitive performance. Participants will be enrolled in this study for about 96 weeks. Compensation will be provided.

If yes, you may be able to join a study where you add FDA-approved medication(s) to

your HIV-regimen to improve neurocognitive performance.

Are you interested in trying to improve the way your brain works?

For more information contact the UCLA CARE Center at careoutreach@mednet.ucla.edu or via phone 310-557-9062 There are limitations to the confidentiality of email communications. Do not include any sensitive health information if you choose to contact the study team via email.

To join you must be: • 18 years of age or older • HIV-positive with an undetectable

viral load • Have had a HIV-associated

neurocognitive disorder within 45 days prior to study entry

This study is for HIV-positive people who also have HIV-associated neurocognitive disorder (HAND) as defined by the Frascati criteria.

It will help us to identify if adding Maraviroc (MVC) and/or Dolutegravir (DTG) to their current antiretroviral therapy will improve

neurocognitive performance. Participants will be enrolled in this study for about 96 weeks. Compensation will be provided.

If yes, you may be able to join a study where you add FDA-approved medication(s) to

your HIV-regimen to improve neurocognitive performance.

Are you interested in trying to improve the way your brain works?

For more information contact the UCLA CARE Center at careoutreach@mednet.ucla.edu or via phone 310-557-9062 There are limitations to the confidentiality of email communications. Do not include any sensitive health information if you choose to contact the study team via email.

To join you must be: • 18 years of age or older • HIV-positive with an undetectable

viral load • Have had a HIV-associated

neurocognitive disorder within 45 days prior to study entry

This study is for HIV-positive people who also have HIV-associated neurocognitive disorder (HAND) as defined by the Frascati criteria.

It will help us to identify if adding Maraviroc (MVC) and/or Dolutegravir (DTG) to their current antiretroviral therapy will improve

neurocognitive performance. Participants will be enrolled in this study for about 96 weeks. Compensation will be provided.

If yes, you may be able to join a study where you add FDA-approved medication(s) to

your HIV-regimen to improve neurocognitive performance.

DO YOU HAVE PROBLEMS WITH YOUR MEMORY?

The PAREXEL® Early Phase Unit located in Glendale, CA is currently looking for people who have been diagnosed with Mild Cognitive Impairment (MCI) or Alzheimer’s disease to participate in a clinical research study that will evaluate an investigational medication for Alzheimer’s disease.

QUALIFIED PARTICIPANTS MUST:

• Be 60-80 years old

• Have an existing diagnosis of Mild Cognitive Impairment or Alzheimer’s disease

• Currently be taking medications for memory loss

STUDY PARTICIPANTS MAY RECEIVE:

• Study-related medical exams and lab analysis at no cost

• Neuropsychological exams and assessments to test memory and other thinking abilities at no cost

• Transportation assistance to the clinic

• Compensation for time and participation of up to $5,335

If you qualify, the study may involve a screening visit, 4 separate in-clinic stays for multiple nights, 2 outpatient visits, and 1 telephone follow up. You do not need medical insurance to participate in this research study.

Please reference study #227396.

Local office

1560 E. Chevy Chase Drive Suite 140 Glendale, CA 91206

www.PAREXEL.com/LosAngeles study.losangeles@PAREXEL.com

© 2017 PAREXEL International Corporation. All rights reserved.

For more information, please contact us toll free at +1 855 814 8631 (Monday to Friday between 7:30 a.m. and 4:00 p.m.).

DO YOU HAVE PROBLEMS WITH YOUR MEMORY?

The PAREXEL® Early Phase Unit located in Glendale, CA is currently looking for people who have been diagnosed with Mild Cognitive Impairment (MCI) or Alzheimer’s disease to participate in a clinical research study that will evaluate an investigational medication for Alzheimer’s disease.

QUALIFIED PARTICIPANTS MUST:

• Be 60-80 years old

• Have an existing diagnosis of Mild Cognitive Impairment or Alzheimer’s disease

• Currently be taking medications for memory loss

STUDY PARTICIPANTS MAY RECEIVE:

• Study-related medical exams and lab analysis at no cost

• Neuropsychological exams and assessments to test memory and other thinking abilities at no cost

• Transportation assistance to the clinic

• Compensation for time and participation of up to $5,335

If you qualify, the study may involve a screening visit, 4 separate in-clinic stays for multiple nights, 2 outpatient visits, and 1 telephone follow up. You do not need medical insurance to participate in this research study.

Please reference study #227396.

Local office

1560 E. Chevy Chase Drive Suite 140 Glendale, CA 91206

www.PAREXEL.com/LosAngeles study.losangeles@PAREXEL.com

© 2017 PAREXEL International Corporation. All rights reserved.

For more information, please contact us toll free at +1 855 814 8631 (Monday to Friday between 7:30 a.m. and 4:00 p.m.).

DO YOU HAVE PROBLEMS WITH YOUR MEMORY?

The PAREXEL® Early Phase Unit located in Glendale, CA is currently looking for people who have been diagnosed with Mild Cognitive Impairment (MCI) or Alzheimer’s disease to participate in a clinical research study that will evaluate an investigational medication for Alzheimer’s disease.

QUALIFIED PARTICIPANTS MUST:

• Be 60-80 years old

• Have an existing diagnosis of Mild Cognitive Impairment or Alzheimer’s disease

• Currently be taking medications for memory loss

STUDY PARTICIPANTS MAY RECEIVE:

• Study-related medical exams and lab analysis at no cost

• Neuropsychological exams and assessments to test memory and other thinking abilities at no cost

• Transportation assistance to the clinic

• Compensation for time and participation of up to $5,335

If you qualify, the study may involve a screening visit, 4 separate in-clinic stays for multiple nights, 2 outpatient visits, and 1 telephone follow up. You do not need medical insurance to participate in this research study.

Please reference study #227396.

Local office

1560 E. Chevy Chase Drive Suite 140 Glendale, CA 91206

www.PAREXEL.com/LosAngeles study.losangeles@PAREXEL.com

© 2017 PAREXEL International Corporation. All rights reserved.

For more information, please contact us toll free at +1 855 814 8631 (Monday to Friday between 7:30 a.m. and 4:00 p.m.).

DO YOU HAVE PROBLEMS WITH YOUR MEMORY?

The PAREXEL® Early Phase Unit located in Glendale, CA is currently looking for people who have been diagnosed with Mild Cognitive Impairment (MCI) or Alzheimer’s disease to participate in a clinical research study that will evaluate an investigational medication for Alzheimer’s disease.

QUALIFIED PARTICIPANTS MUST:

• Be 60-80 years old

• Have an existing diagnosis of Mild Cognitive Impairment or Alzheimer’s disease

• Currently be taking medications for memory loss

STUDY PARTICIPANTS MAY RECEIVE:

• Study-related medical exams and lab analysis at no cost

• Neuropsychological exams and assessments to test memory and other thinking abilities at no cost

• Transportation assistance to the clinic

• Compensation for time and participation of up to $5,335

If you qualify, the study may involve a screening visit, 4 separate in-clinic stays for multiple nights, 2 outpatient visits, and 1 telephone follow up. You do not need medical insurance to participate in this research study.

Please reference study #227396.

Local office

1560 E. Chevy Chase Drive Suite 140 Glendale, CA 91206

www.PAREXEL.com/LosAngeles study.losangeles@PAREXEL.com

© 2017 PAREXEL International Corporation. All rights reserved.

For more information, please contact us toll free at +1 855 814 8631 (Monday to Friday between 7:30 a.m. and 4:00 p.m.).Local office1560 E. Chevy Chase Drive Suite 140Glendale, CA 91206www.PAREXEL.com/LosAngelesstudy.losangeles@PAREXEL.com© 2017 PAREXEL International Corporation. All rights reserved.

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| |HERSTORY IN

THE MAKING“Mujeres de Maiz” celebrates 20 years of a feminist Chicana art collective

BY JESSICA LANGLOIS

In the summer of 1997, 30 Chicana and Chicano artists from East L.A. traveled to Oventic, a village in Chiapas, Mexico, to commune with the Zapatistas, indigenous rebels who rose up three years earlier to reject corporate globalization poli-

cies that threatened their way of life.The Zapatistas declared their native

lands autonomous the same day in 1994 that the North American Free Trade Agree-ment was implemented, which led to the economic devastation of hundreds of thousands of small-scale Mexican farms. The Zapatistas started their own schools, sewed their own clothing, grew their own food — and they continue to do so today. “It’s inspiring, the philosophy that you have a right as a human being on this earth to live how you and your community see fit,” says Martha Gonzalez, lead singer of East L.A. rock band Quetzal, who went to Chiapas that summer.

In the morning they talked politics and strategy; in the afternoon they made art. “We dialogued about our low-intensity war in L.A., political prisoners and police brutal-ity. They would talk about the helicopters coming down on indigenous communities, and we had helicopters and ghetto birds too in East L.A.,” says Felicia Montes, who helped organize the encuentro. The idea of art as process rather than product — a tool in community building, political organiz-ing and liberation — was eye-opening for artists like Gonzalez and Montes, and it launched a movement in East L.A.

That trip to Chiapas is one installation featured in “Mujeres de Maiz: Twenty Years of ARTivism & Herstory en L.A.,” a three-month exhibition at La Plaza de Cultura y Artes that celebrates Mujeres de Maiz, a Chicana feminist collective whose programming focuses on the intersection of political activism, spirituality and the arts. In addition to artworks and artifacts from the collective’s 20 years of social ac-tivism in L.A., the show will include a series of artistic “interventions” — live mural painting by four generations of women, cleansing rituals under a Mexican pirul tree and a poetry procession from Ma-riachi Plaza to Olvera Street. The exhibit launched with a festival on March 4.

Montes, one of the “artivists” who found-ed Mujeres de Maiz in 1997, says the exhibi-tion is especially urgent right now. Recent ICE raids on immigrant communities have struck fear in the lives of many Angelenos;

it’s just the latest iteration of ongoing rhetorical and legal attacks against immi-grants and communities of color in the U.S. The purpose of Mujeres de Maiz, and the exhibition, is to create a safe, sacred space for activists to find the strength necessary to carry on in the struggle.

“It’s heavy, dealing with racism, deporta-tion, Islamophobia, violence. It bears down on you physically and spiritually, so it can’t just be about fighting back or theorizing oppression, it needs to be about doing this healing work,” says Amber Rose Gonzalez, assistant professor of ethnic studies at Ful-lerton College, who wrote her dissertation on Mujeres de Maiz.

In March 2009, Gonzalez, feeling burned out in her Ph.D. program and missing the powwows and Day of the Dead ceremonies she frequented in East L.A., took the train from Santa Barbara to downtown L.A. for the Mujeres de Maiz annual live art show. The theme that year was La Sagrada, or

“She the sacred.” Arriving late, Gonzalez worried she’d missed the opening cer-emony but quickly realized the entire event was a ceremony.

Eight hundred people were gathered under the First Street Bridge that night, eating, dancing, chatting and exploring art installations. One artist, Lilia Ramirez, wore a dress made entirely of corn husks, which she often wore to City Hall to call for more arts education in the community. When Gonzalez heard a queer Korean-American MC rapping to the beat of traditional drummers, she thought of child-hood visits to Little Tokyo to hear the taiko drummers. Gonzalez looked up and saw a huge neon art piece that said, “Another city is possible,” and she knew this was it: This is what is possible. “I remember danc-ing, and it felt really good, like a release,” Gonzalez says. “It was under the stars, the air was fresh, even though it was under the

freeway. That was L.A. It felt like home.”For 20 years, Mujeres de Maiz has been

throwing these live art shows, hosting free clinicas in parks, teaching social justice workshops in schools, publishing poetry zines, organizing mercaditos for women of color — all funded through donations. The La Plaza show is the group’s first foray into the formal art world, and it’s a step in the process of becoming a nonprofit. While they’re eager to bring their artivism to new communities through a museum exhibi-tion, for the mujeres, staying true to their collectivist, indigenous identity is key.

“How do you talk about communities of color in white walls?” Montes asked herself over the two years she spent curating the show with collective members Michelle Lopez and Ana Guajardo.

The exhibition, curated by Erin M. Curtis, begins with the “herstory” room, designed like a codex to tell the story of Mujeres de Maiz and other intersectional movements, with murals on the walls along with archival photos and paintings that pay homage to the Brown Berets, the Zapatis-tas, South Central Farm, Black Lives Matter and the Standing Rock water protectors.

In the exhibition’s “ephemera” room, the mujeres decolonized the space by dousing the walls in essential oils infused with frankincense, creating a medicine wheel

out of ancient grains on the floor and plac-ing a mobile botanica cart in the center of the room. Four large, humanlike sculptures with animal heads stand at the room’s cardinal points. These naguales, or shape shifters, made by artist Gina Aparicio, each hold an instrument and invite visitors into the ceremonial space.

La Plaza de Cultura y Artes is the ideal place for the show. Open since 2011 and funded by the county, La Plaza tells the story of L.A. through a Mexican-American lens, which is rarely the way it’s presented in state-sanctioned histories. Visitors can stroll among medicinal herbs and edible plants in the garden, learn about Mexican-American cannery workers who formed a women’s union in the 1930s or explore a re-creation of Main Street in the ’20s. It’s an antidote to the manufactured Mexican-American history of Olvera Street.

“We’re a brown space, but as people come from other communities, we build a sca¦olding so they feel comfortable ex-ploring new things but also feel OK being vulnerable,” says Erendina Delgadillo, one of the museum’s curators.

“Being at La Plaza gives access to di¦er-ent audiences, bringing together ancestral knowledge, academic knowledge and street knowledge — without hierarchies,” Montes says.

| Culture //

COURTESY MUJERES DE MAIZ

THE PURPOSE OF MUJERES DE MAIZ IS TO CREATE A SAFE, SACRED SPACE FOR ACTIVISTS TO FIND THE STRENGTH NECESSARY TO CARRY ON IN THE STRUGGLE.

Coatlicue State: Josie Channels the Goddessby Crystal Galindo

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| | Hell on Wheels

A MANNEQUIN AND A KLANSMAN GO FOR A RIDE IN A BEVERLY GROVE GALLERY

BY CATHERINE WAGLEY

This week, one artist pays homage to Donald Duck’s trouble-making nephews, and another makes bad jokes in Hollywood.Sardine can militance

A life-sized doll of a KKK member sits next to a tiny man with a receding hairline and orange-ish skin and curls. They’re both inside the antique, three-wheeled motorized cart at the center of Steven Hull’s show at Meliksetian Briggs. The cart has a jerry-rigged speaker attached to its roof and blasts a mu�ed sermon given by an old-school preacher. The cart pulls a gray battle ship made of sardine cans, and abstract paintings by Hull hang on the walls. Crippled by Guilt is a web of thick gray lines above a deep blue. A confederate flag and a U.S. flag flank it, while a model of a white church sits on a barrel in front of it. It’s not clear how the painting relates to these loaded

accoutrements, but confusion seems to be part of the show’s point. 313 N. Fairfax Ave., Beverly Grove; through April 15. (310) 625-7049, meliksetianbriggs.com.Globalized mischief

A firecracker exploded under their father’s chair, which is why Huey, Dewey and Louie had to move in with their Uncle Donald Duck. Only later did Donald realize they’d placed that firecracker under the chair themselves. So the story went in 1937, when comic artist Al Taliaferro added the nephews to Donald’s bio. Since then, the nephews have become nearly as popular as their uncle. Their international presence is, in a way, the impetus for Sarah Ortmeyer’s show at newly opened alt-space Potts, run out of a former plumbing supply shop in Alhambra. Berlin-based Ortmeyer has hung white baseball caps on walls and laid them out on the floor. Loosely arranged in sets of three, the hats have the nephews’ names on them, translated into a variety of languages. Dulik, Bulik, Kulik; Rip, Rap, Rup; Tick, Trick, Track. The hats’ whiteness homogenizes the diversity of the transla-tions, emphasizing the ducks’ identity as global export over their quirkiness as cartoon characters. 2130 Valley Blvd., Alhambra; through April 10. potts.la.Grass through concrete

Kishio Suga first made Di�erentiated Order, a sculpture of paper and stone, in 1979. For his Blum & Poe show, he has remade it, placing a large, circular sheet of black paper over a constellation of gray stone blocks. Perfect rectangles cut into the paper reveal the stones holding

it up, but the surface looks so smooth that it almost seems the stones’ gray has been painted on. Such subtle tricks are Suga’s forte. In the gallery’s foyer, a thin branch weighted down by concrete stands on the floor and arcs back to connect with one of three wooden shelves that Suga has attached to an all-yellow, wall-hanging canvas. 2727 La Cienega Blvd., Mid-City; through April 22. (310) 836-2062, blumandpoe.com.Action, please

The group show at Regen Projects is a smorgasbord of artwork from the 1990s, but it includes gems: artist Gillian Wearing’s video of women blowing into Coke bottles to make music; Lawrence Weiner’s wall texts (“Things Made to be Seen, Forcefully Obscured”). Richard Prince’s joke painting is in characteristi-cally bad taste, the words printed beneath images of domestic lamps and palm trees: “I met my first girl, her name was Sally. Was that a girl, was that a girl. That’s what people kept asking.” Gary Simmons’ 1993 painting Time 4 Sum Aksion, large and in-tentionally messy, lifts its title and general look from rapper Redman’s single of the same name, also out in 1993. The song gets violent: “Listen, look, oops, brother where your eyes at?/There on the floor, pick ’em up.” So does the painting, the text scrawled across it as if in frustration. 6750 Santa Monica Blvd., Hollywood; through April 14.

(310) 276-5424, regenprojects.com.Helpless talking heads

In Tony Oursler’s Guilty (1995), a mat-tress smashes a ball in the shape of a head. A dress protrudes from that head, laid out flat on the floor, and a video projection of a woman’s confused face plays out on the ball/head. It’s awkward, comical and a bit violent. Her face is moving and looks alive, but she has no control over her situation. New York–based Oursler has been work-ing with video and sculpture in weird, un-comfortable ways since the ’80s — his show at Redling in Hollywood includes an array of talking aliens with painted faces but human, video-captured eyes and mouths. He will speak at the Broad this weekend, as part of the “Unprivate Collection” series. The Broad, Oculus Hall, 221 S. Grand Ave., downtown; Fri., March 17, 7 p.m.; $10. the broad.org/programs/un-private-collection-tony-oursler-branden-joseph.

COURTESY OF THE ARTIST AND MELIKSETIAN BRIGGS

| Arts // Art Picks // Steve Hull’s Sheets

Deprived of Wind

UCLA IRB#12-000949. This UCLA research study is being conducted by the UCLA Dept of Family Medicine (PI: Keith Heinzerling MD). Funded by the National Institute on Drug Abuse.

If you are 18 years or older, using crystal meth, and looking to stop, call our research clinic in Hollywood (866) 449-UCLA or visit www.uclacbam.org/meth

Is Meth driving you insane? A UCLA meth clinical trial may be able to help. UCLA is conducting a clinical trial to find out if an anti-inflammatory medication can help pa-tients to stop or reduce their meth use, and improve mental functioning, by reducing toxic brain inflammation caused by meth. Counseling, study medication, and compensation are includ-ed in this 18-week outpatient clinical trial. Interested in learning more?

Leaving you foggy in the brain?

UCLA Meth Clinical Trial

UCLA IRB#12-00949. This UCLA research study is being conducted by the UCLA Dept of Family Medicine (PI: Keith Heinzerling MD). Funded by the National Institute on Drug Abuse.

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TACOLANDIATacolandia is back andbigger Than ever!

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| | O SAY CAN YOU C

The third installment of Annie Lesser’s ABC Project takes over an East Hollywood wine bar

BY BILL RADEN

Since last year’s launch of the ABC Project, Annie Lesser’s poetic explora-tions of romantic volatility have established her as an accomplished miniaturist in Los Angeles’ experi-

mental immersive theater scene. In the ongoing series of 26 one-on-one and two-on-one actor-audience interactive duets, her ABC plays have delivered big emotional wallops that are all the more profound for their relative brevity and almost claustrophobic scale of intimacy.

With C(ovell), the C play of the cycle, which takes its name from its site-specific performance venue — East Hollywood’s Bar Covell — Lesser abruptly reverses direction in both the scale as well as the almost symphonic complexity of what clocks in as her most ambitious and wryly funny work to date. The show has been designed to accom-modate 15 audience members and is the first ABC production to incorporate both food (flatbreads, antipasto, cheese) and wine, the latter in tongue-in-cheek drinking games and what often seems like an unending series of head-spin-ning toasts o�ered by the play’s genial characters (though mineral water is available for the alcohol-averse). A VIP ticket doubles down on the narrative with up-close private encounters and other performance premium takeaways. At three hours and with nine perform-ers, C(ovell) may be compact by Shake-spearean standards, but it represents a monumental tribute to the ambitions of Lesser’s expanding immersive alphabet.

The heart of C(ovell) is “The Game,” a mysterious, 90-minute team competi-tion whose rules and purpose seem to get murkier as the evening progresses. Its carefully orchestrated illogic is one of the show’s genuine pleasures. Lesser’s playful, semi-nonsensical lyri-cism and emotionally wounded comic caricatures evoke the double-edged paradoxes and existential absurdities most associated with Lewis Carroll, be-ginning with C(ovell)’s equivalent to the Adventures in Wonderland’s plunge into the rabbit hole of the unconscious: “Are you ready to gamble with the unknow-able?” cryptic emcee Lena Valentine asks as she guides audience members from the bar’s public room into an inte-rior playing space. “Losers may lose, but

winners may lose too, and even if you have the chance to fall, it’s fun to see the great fall with you.“

Once inside, the audience is free to roam among C(ovell)’s fancifully cos-tumed cast of strolling minstrels, magi-cians and commedia-painted mystics, who perform o�-kilter vaudevilles in a carnival-like preshow. It sets the stage

for the game’s blackly comic mediations on the fateful influence that family and trauma stamp on all of our lives.

To that end, Terence Leclere is mor-dantly hilarious as Sad, the morose, harmonium-playing twin-sibling com-plement to Dana Benedict’s beaming tap dancer Happy. Their brothers are Scott Sytten’s inept balloon clown and mentalist Dumb, and Orion Schwalm’s harlequin accordionist Klutz, who, contrary to his name, gracefully delivers one of C(ovell)’s two surprisingly a�ect-ing original ballads (Leclere is a soulful standout on the other). The animal act of ABC veteran Keight Leighn’s control-ling Lion Tamer and Katelyn Schiller’s semi-feral Tiger/Lion give perversely funny new meaning to the concept of

identity crisis. Card-trick magician Matt Price and Russian Gypsy fortuneteller Dasha Kittredge round out the cast of engaging Carrol-lian archetypes.

Though not every idea in C(ovell) al-ways connects, and its level of interactiv-ity can be demanding for its more timid audience members, the sheer fertility and invention of Lesser’s script and its unfailing capacity to surprise continue to be the most exhilarating signatures of the ABC Project’s impressive output.

C(OVELL) | Bar Covell, 4628 Hollywood Blvd., East Hollywood | Through April 2 | eventbrite.com/e/

covell-tickets-31784153258

| Stage //

PHOTO BY ANNIE LESSER

THE AUDIENCE IS FREE TO ROAM AMONG (C)OVELL’S FANCIFULLY COSTUMED CAST OF STROLLING MINSTRELS, MAGICIANS AND COMMEDIA-PAINTED MYSTICS.

Dana Benedict as a tap-dancing minstrel in Annie Lesser’s C(ovell)

PHOTO FINISH

Though it aspires to be profound, Alexan-der Dinelaris’ aptly titled Still Life can’t transcend its commonplace dialogue

or the limitations of an inadequately conceived central character.

�at character, Carrie Ann (Laurie Okin), is a celebrated photographer whose latest exhibition features photos of dead chickens, which hints at something not quite right in her mind and spirit. Introduced at an arts seminar with great fanfare, she mounts the podium to deliver a quasi-incoherent speech that concludes with the words “We’re all going to die.” Although it’s startling in the moment, the audience forgives her because, a�er all, she is an “artist.” Later we learn that the reason for her strange behavior may be the recent death of her dad (Frank Collison in flashback), also a photographer, who deeply influenced her life and work.

Her photographs do seem to fascinate folks, and they propel Carrie Ann into a meaningful love a�air with Je�rey (Lea Coco); he’s a trends analyst (with an uncommonly ethical spine for someone in advertising) who serendipitously shows up at the event. �e attraction is mutual, and the romance blossoms until Je�’s diagnosis with pancreatic cancer upends their future plans.

�e play drags in the first half as it portrays the uncertainties of their developing relationship, typical of a dating situation. Carrie Ann’s history

and her struggles to fight depression and remain cre-ative come to us through her conversations with an arts professor (Susan Wilder) who’d once had an a�air with Carrie’s father. Jeff’s a straight-shooter whose appealing qualities favorably compare with the crude lechery of his boss Terry (Jonathan Bray), who appears in scene a�er scene launching crass come-ons to women and blowing his mind with increasing amounts of cocaine.

�ings pick up in the second half when illness challenges the lovers to make some hard choices, and the drama coalesces around a concrete event, shedding some of the annoying ambiva-lences and half-baked digressions (into the nature of feminism, for one) that have gone before. It bears mention that the choices the characters make in this second half also seem contrived.

Directed by Michael Peretzian, the perfor-mances are a mixed bag. Both Okin and Coco are genuine and likable in their roles, although their physical attraction o�en appears somewhat tenuous. Working from a strong center, Coco is on point from start to finish, but Okin is saddled with a backstory, having to do with a “complicated” relationship with her father, that comes off as

more contrived than organic. It doesn’t help that the flashback scenes with her dad during his ill-ness do not play persuasively, primarily because Collison’s performance is over the top.

As the lecherous Terry, Bray probably has the juiciest role, but his portrayal is adequate, not the scene-stealer it might be. Jennifer Sorenson delivers a smart and entertaining cameo as a not-to-be-snookered barmaid who gives Terry his comeuppance. Tania Verafield (as a talented photography student anxious to please Carrie Ann) and Alexandra Hellquist (in a variety of small roles) lend able support. —Deborah Klugman

STILL LIFE | Rogue Machine Theatre, 1089 N. Oxford Ave., East Hollywood | Through April 23 |

(855) 585-5185 | roguemachinetheatre.com

PHOTO BY JOHN PERRIN FLYNN

Laurie Okin and Frank Collison in Still Life

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REDCAT.org 213.237.2800

CalArts’ Downtown Center for Contemporary Arts

March 22 – April 1

The Wooster Group THE TOWN HALL AFFAIRBased on the Chris Hegedus and D.A. Pennebaker film Town Bloody Hall.

“Juicy, visceral theater… deeply stimulating.” — The New York Times

The cast of the world premiere of Good Grief. Photo by Craig Schwartz.

Final weeks! Now – Mar 26

–LA Weekly

MAR 24, 2017 | 7:30PMTICKETS STARTING AT $40

DERVISHMAGICAL MUSIC FROM IRELAND

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Junk Nostalgia

THE SEQUEL TO TRAINSPOTTING IS AN UNEVEN MESS, BUT THAT’S NOT THE WORST THING ABOUT IT

BY MIKE LAWS

Consider, before you consider anything else about the sequel to Trainspot-ting, that the

director of both films is an artist whose signal trait had been a seeming repulsion at the thought of ever going back to the well. Between the original and the new T2 (cheeky title, innit), Danny Boyle gave us the following: a black-comic romance, an island adventure, a zombie horror, a kids flick, a sci-fi, an Indian melodrama, a nature-survival picture, a heist film and a biopic.

That Boyle would break from his pattern of not having a pattern was cause, I think, for at least mild alarm among the faithful. Why do this? Why now? And why take the risk? Beyond the futile task of ever measur-ing up to a movie considered in some quarters (read: casa mia) to be a masterpiece, a limp fol-low-up might retroactively stain the first installment. Exhibit A: the Matrix trilogy...

Now, if you think that’s unfair — if you think this expansion on the Irvine Welsh Cinematic Universe ought to be appraised and adjudged entirely on its own merits — know that T2 makes that impossible, even more so than most sequels. This is a film that takes every chance it gets to ape, echo or literally splice in 20-year-old footage from its

formidable forerunner. The plot, which finds Mark Renton (Ewan McGregor) returning to his na-tive Edinburgh, rescuing Danny “Spud” Murphy (Ewen Bremner) from an attempted suicide and running afoul of Simon “Sick Boy” Williamson (Jonny Lee Miller) and Francis Begbie (Robert Carlyle), both of whom remain murderously vexed with Rents for having made o� with their share of the big smack deal that concluded Trainspotting the first, eventually wends its way around to a (slight) varia-tion on that same outcome.

Before it gets there, the movie finds ways to alight on several locations and duplicate several precise shots from the original; cue the honeyed splices. Cue, too, at least four songs used on the earlier soundtrack (Eno, Iggy, Lou, “Born Slippy”). There are, again, multiple fir fuck’s sake!s; someone calls someone else a doss cunt again. Renton, at the slightest provocation, and in a scene serving zero other purpose than to let him, reels o� an updated, noticeably purpler “Choose Life” monologue. Diane

(Kelly Macdonald) makes a sil-lily brief appearance, presum-ably for the sake of squeezing in an obvious line about how Mark’s current bird is too young for him. McGregor sneers that sneer. Bremner gawps his gawp.

Meantime, when they’re not busy self-referencing, T2’s creators have no idea what kind of movie they want this to be. Renton and Sick Boy eventually come to terms, more or less, the former aiding and abetting in Simon’s various scams to drum up money for his fledgling business (which is either a pub or a sauna or a brothel, maybe all three). So is T2 a buddy picture, a comic crime caper? Maybe, except then there’s Begbie, freshly escaped from prison and now not so much a drunken brawler as some kind of Midlothian terminator, stalk-ing and stabbing and garroting his prey; in these passages Boyle dips liberally into horror and suspense.

And this is to say nothing of all the rather underdeveloped fa-ther-son stu� going on: There’s an out-of-left-field glossing of the chapter from the original novel in which the crew runs into Begbie’s father, the dip-somaniacal trainspotter of the title, in a rail station; and now Begbie’s got a grown son of his own, with whom he gets a scene that might have been touching if it didn’t come right in the middle of his savagely hunting down Mark Renton.

Not all these bits are bad. The lead-up to Spud’s attempt at self-nullification, as well as an early sequence of the recovering addict in a 12-step meeting, are nearly as poignant as anything in the first film (and might have, with due expansion, made for a better spino�). Conversely, T2 comes singing to life after Rent-on and Sick Boy’s first score, as they’re hoovering up rails of coke and talking over each other so furiously that Boyle decides to subtitle the exchange in quick-crashing waves of evaporating text. (Likewise, the single episode of heroin relapse is a cracker, which might make you wonder whether the sequel to a film about dopers should’ve maybe included more, you know, dope.)

But for each inspired mo-ment, there’s something doubly deflating: the snatch of dialogue in which Sick Boy explicitly lays out the beats of the plot to come; the overall tendency toward the cheap, crowd-pleasing punch line; yet more of those oblique-angle shots Boyle’s come to favor and is now piling on to the point of distraction.

All of which gestures toward the bigger problem with the picture: It’s as if the filmmak-ers recognized the wanness of the material and settled on a strategy of padding it out with empty high style on the one hand and clever meta aware-ness on the other. Toward the end of T2 comes the curious development of Spud becoming a writer — and what he’s writing, on rumpled yellow pages in an unsteady hand, is Trainspotting, as in Welsh’s novel; snatching a sheet, Begbie reads out what is the real-life book’s opening line, The sweat wis lashing oafay Sick Boy.

What we’re meant to take from this is unclear, but there’s a sug-gestion to it, and the suggestion is more than a little cynical: that T2 is, in the final accounting, nothing more than a two-hour

advertisement for itself, for the book that begat the movie that begat the movie that begat the book, and its creators are telling you they needn’t do more than keep you trapped within this circularity, where Spud is for-ever hapless and Begbie forever volatile and Sick Boy forever scheming and Renton forever fucking up at going straight, and you’ll eat it right up because that’s how it was when you fell in love with them. As Sick Boy says to Renton, in perhaps T2’s most thoroughly transparent moment, “Nostalgia — that’s why you’re here.”

The audience at the screen-ing I attended gave the closing credits a thumping ovation.

T2 TRAINSPOTTING | Directed by Danny Boyle | Written by John Hodge | TriStar

Pictures | ArcLight Hollywood, Landmark

| Film //

T2’S CREATORS HAVE NO IDEA WHAT KIND OF MOVIE THEY WANT THIS TO BE.

T2 Trainspotting

COURTESY OF TRISTAR PICTURES

32

NOTHING THAT WASN’T THERE BEFORE

More is less in the cluttered, clamorous new Beauty and the Beast

BY ALAN SCHERSTUHL

It’s the take as old as time. Yes, Beauty and the Beast’s love story can be read as a tale of abuse and brainwashing, of a woman impris-oned by a tyrant until she starts chatting with the table settings — and then, as seasons pass, chastis-

ing herself in song for not having earlier noticed her fearsome jailer’s sweetness.

Remember, though, that the creators of Disney’s shimmering animated pleasure, the most perfectly shaped film of the studio’s late ’80s/early ’90s renaissance, weren’t dummies. Perhaps recognizing the Bluebeard nastiness of the scenario, they dared something Uncle Walt had allowed only once in his animated features, back in 1955’s Lady and the Tramp: actu-ally showing the lovers in a Disney love story discover that they love each other. 1989’s The Little Mermaid resorted to a crab singing cabaret to convince that simp Prince Eric to smooch the ginger mute in his dinghy — not that she’d shown him any trait besides a wide-eyed pliability.

In Disney’s original Beauty, Belle and her Beast come to know each other over time and a showtune, strolling through the gardens of his crumbled palace, feeding birds and tossing snowballs. Not only do they have traits — not always a guarantee among the studio’s fate-betrothed princes and princesses — but those traits match up. No matter how poisoned the setup, the romance that blooms between these two, captured in elegant rhyme and line work, proves more persuasive than in most Hol-lywood love stories.

The best that can be said for Bill Con-don’s clamorous, live-action remake of the 1991 Beauty and the Beast: It sets aside a couple of its 129 minutes to allow Belle (now Emma Watson) and her waistcoated bison-man to find a new point of connec-tion. Now they both love reading — last time, the Beast was illiterate — and a few weeks into her captivity he gives her ac-cess to his library.

Later, though, when they take up those garden walks, she again lofts a snowball at him, and in response he clobbers her with a snow boulder, knocking her to the ground. It’s played for laughs, more cartoonish than anything in the cartoon, and proof that

Condon and co. aren’t as shrewd at judging their material as Gary Trousdale and Kirk Wise, who directed the original. Shouldn’t a Disney Beauty and the Beast downplay the suggestion of physical abuse?

Other confounding choices in the new film: Why include flashbacks to Belle’s mother dying of the plague? Why allow the words in the comic showstopper “Gaston” to mush together into incomprehensibility — NO ONE blah LIKE GASTON blahblah-blah LIKE GASTON!? Why aspire for pho-torealism in depicting the castle’s talking tchotchkes, denying the simple expressive-ness of the original’s clock (voiced by Ian McKellen), candlestick (Ewan McGregor) and teapot (Emma Thompson)?

That last decision adds some minor tension to the early scenes of hostage Belle exploring the Beast’s palace: What physics tells us about china and stone means that now Chip, the tiny teacup, seems to risk a shattering death each time he hops from table to floor. And the clock, Cogsworth, serves as a perfect metaphor for the production itself: The movie’s just as poky and lumbering as he is while hu¢ng up the staircase to escort Belle to her bedroom. What kind of fantasy is that? Has any child ever dreamed of walking really slowly for hours so a timepiece can keep up?

The strain proves most wearying in

the production numbers, which cut from one cluttered shot to the next with little continuity of motion. We see that Condon (Chicago, Dreamgirls, the better Twilights) has marshaled dancers and extras, but we don’t see with any clarity what they’re doing. A battle between villagers and the palace’s knickknacks plays like a trailer for

itself, a series of inventively violent images excised from a presumably coherent cut.

The performers do what they can. Watson has mastered fierce independence and pleased surprise, the character’s key elements. The movie never quite makes clear why Belle, reputedly her town’s most beautiful woman, has won its ire and sus-picion. Apparently all it takes is an interest in books and a desire to see the world, which suggests the screenwriters (Stephen Chbosky and Evan Spiliotopoulos) might have intended some red-state satire. But the treatment here is too confused to make sense, much less signify — Belle gets up-

braided just for teaching a kid to read.Kevin Kline twinkles behind whiskers

as Belle’s dad. Luke Evans as Gaston is the standout, a parody of toxic masculin-ity who’s cartoonish in the right way — he embodies the hand-drawn original as persuasively and hilariously as Granville Owen once did Li’l Abner. Evans and Dan Stevens, who rumbles alluringly as the Beast, have the trickiest roles: Both char-acters slip, as the plot demands, between villain and romantic hero, one in a comic register, the other tragic. Their fates still work out the same way they always have, in a rooftop showdown that absolves hero and heroine of any responsibility for the heel’s dispatch.

This time, though, it’s longer, louder and much more work to track with the human eye. As for the “gay moment” that has outraged the globe’s greatest idiots: It’s pretty much that beat from the prom scene at the end of ’80s teen movies, where the nerd meets and then dances with a girl who looks just like him, except now both nerds are men. It’s cute, and Josh Gad scores some laughs in his role as Gaston’s lackey/hype man, but it’s not enough to lighten this beast. Condon and his team have alchemized gold into lead.

BEAUTY AND THE BEAST | Directed by Bill Condon | Written by Stephen Chbosky and

Evan Spiliotopoulos | Walt Disney Pictures | Citywide

| Film //

COURTESY DISNEY

THIS TIME IT’S LONGER, LOUDER AND MUCH MORE WORK TO TRACK WITH THE HUMAN EYE.

Beauty and the Beast

KORE-EDA’S LATEST MASTERWORK, AFTER THE STORM, IS INDISPENSABLE

D irector Hirokazu Kore-eda’s stories, such as they are, unfold in unlikely ways. He doesn’t play so much with

structure but with focus: He’ll allow a scene to go on and on before slipping in a crucial bit of narrative information that sends the story o� in a new direction. �at could result in chaos, but Kore-eda’s absorption in these lives, his ability to imbue the slightest exchange or glance with warmth and humor, transfixes us.

A�er the Storm might be his most devastating work yet. �e film follows divorced dad Ryota (played by a movingly mopey Hiroshi Abe), a failed novelist and gambling addict looking to put his life back together. When we first meet

him, he’s raiding his mom’s apartment and searching the possessions of his recently deceased father for anything he might be able to sell. Unfortunately, dad too was a gambling addict and had already pawned it all.

Ryota wants to clean up his life but is somehow both too proud and too defeatist to do so. That might seem like a contradiction, but Kore-eda, who draws from life and not from sim-plistic loglines, understands that those impulses o�en go hand-in-hand. Ryota spends time on buses and trains with a notepad, presumably gathering ideas for a new book, and working for a private investigation firm to make ends meet.

Respect for human fallibility shines through-out A�er the Storm, as Kore-eda patiently charts

the process by which his protagonist comes to understand that he might never become the man he wants to be — and starts to reconcile aspiration and acceptance. —Bilge Ebiri

AFTER THE STORM | Written and directed by Hirokazu Kore-eda | Film Movement

Royal, Playhouse, Town Center

After the StormCOURTESY FILM MOVEMENT

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Junk Nostalgia

THE SEQUEL TO TRAINSPOTTING IS AN UNEVEN MESS, BUT THAT’S NOT THE WORST THING ABOUT IT

BY MIKE LAWS

Consider, before you consider anything else about the sequel to Trainspot-ting, that the

director of both films is an artist whose signal trait had been a seeming repulsion at the thought of ever going back to the well. Between the original and the new T2 (cheeky title, innit), Danny Boyle gave us the following: a black-comic romance, an island adventure, a zombie horror, a kids flick, a sci-fi, an Indian melodrama, a nature-survival picture, a heist film and a biopic.

That Boyle would break from his pattern of not having a pattern was cause, I think, for at least mild alarm among the faithful. Why do this? Why now? And why take the risk? Beyond the futile task of ever measur-ing up to a movie considered in some quarters (read: casa mia) to be a masterpiece, a limp fol-low-up might retroactively stain the first installment. Exhibit A: the Matrix trilogy...

Now, if you think that’s unfair — if you think this expansion on the Irvine Welsh Cinematic Universe ought to be appraised and adjudged entirely on its own merits — know that T2 makes that impossible, even more so than most sequels. This is a film that takes every chance it gets to ape, echo or literally splice in 20-year-old footage from its

formidable forerunner. The plot, which finds Mark Renton (Ewan McGregor) returning to his na-tive Edinburgh, rescuing Danny “Spud” Murphy (Ewen Bremner) from an attempted suicide and running afoul of Simon “Sick Boy” Williamson (Jonny Lee Miller) and Francis Begbie (Robert Carlyle), both of whom remain murderously vexed with Rents for having made o� with their share of the big smack deal that concluded Trainspotting the first, eventually wends its way around to a (slight) varia-tion on that same outcome.

Before it gets there, the movie finds ways to alight on several locations and duplicate several precise shots from the original; cue the honeyed splices. Cue, too, at least four songs used on the earlier soundtrack (Eno, Iggy, Lou, “Born Slippy”). There are, again, multiple fir fuck’s sake!s; someone calls someone else a doss cunt again. Renton, at the slightest provocation, and in a scene serving zero other purpose than to let him, reels o� an updated, noticeably purpler “Choose Life” monologue. Diane

(Kelly Macdonald) makes a sil-lily brief appearance, presum-ably for the sake of squeezing in an obvious line about how Mark’s current bird is too young for him. McGregor sneers that sneer. Bremner gawps his gawp.

Meantime, when they’re not busy self-referencing, T2’s creators have no idea what kind of movie they want this to be. Renton and Sick Boy eventually come to terms, more or less, the former aiding and abetting in Simon’s various scams to drum up money for his fledgling business (which is either a pub or a sauna or a brothel, maybe all three). So is T2 a buddy picture, a comic crime caper? Maybe, except then there’s Begbie, freshly escaped from prison and now not so much a drunken brawler as some kind of Midlothian terminator, stalk-ing and stabbing and garroting his prey; in these passages Boyle dips liberally into horror and suspense.

And this is to say nothing of all the rather underdeveloped fa-ther-son stu� going on: There’s an out-of-left-field glossing of the chapter from the original novel in which the crew runs into Begbie’s father, the dip-somaniacal trainspotter of the title, in a rail station; and now Begbie’s got a grown son of his own, with whom he gets a scene that might have been touching if it didn’t come right in the middle of his savagely hunting down Mark Renton.

Not all these bits are bad. The lead-up to Spud’s attempt at self-nullification, as well as an early sequence of the recovering addict in a 12-step meeting, are nearly as poignant as anything in the first film (and might have, with due expansion, made for a better spino�). Conversely, T2 comes singing to life after Rent-on and Sick Boy’s first score, as they’re hoovering up rails of coke and talking over each other so furiously that Boyle decides to subtitle the exchange in quick-crashing waves of evaporating text. (Likewise, the single episode of heroin relapse is a cracker, which might make you wonder whether the sequel to a film about dopers should’ve maybe included more, you know, dope.)

But for each inspired mo-ment, there’s something doubly deflating: the snatch of dialogue in which Sick Boy explicitly lays out the beats of the plot to come; the overall tendency toward the cheap, crowd-pleasing punch line; yet more of those oblique-angle shots Boyle’s come to favor and is now piling on to the point of distraction.

All of which gestures toward the bigger problem with the picture: It’s as if the filmmak-ers recognized the wanness of the material and settled on a strategy of padding it out with empty high style on the one hand and clever meta aware-ness on the other. Toward the end of T2 comes the curious development of Spud becoming a writer — and what he’s writing, on rumpled yellow pages in an unsteady hand, is Trainspotting, as in Welsh’s novel; snatching a sheet, Begbie reads out what is the real-life book’s opening line, The sweat wis lashing oafay Sick Boy.

What we’re meant to take from this is unclear, but there’s a sug-gestion to it, and the suggestion is more than a little cynical: that T2 is, in the final accounting, nothing more than a two-hour

advertisement for itself, for the book that begat the movie that begat the movie that begat the book, and its creators are telling you they needn’t do more than keep you trapped within this circularity, where Spud is for-ever hapless and Begbie forever volatile and Sick Boy forever scheming and Renton forever fucking up at going straight, and you’ll eat it right up because that’s how it was when you fell in love with them. As Sick Boy says to Renton, in perhaps T2’s most thoroughly transparent moment, “Nostalgia — that’s why you’re here.”

The audience at the screen-ing I attended gave the closing credits a thumping ovation.

T2 TRAINSPOTTING | Directed by Danny Boyle | Written by John Hodge | TriStar

Pictures | ArcLight Hollywood, Landmark

| Film //

T2’S CREATORS HAVE NO IDEA WHAT KIND OF MOVIE THEY WANT THIS TO BE.

T2 Trainspotting

COURTESY OF TRISTAR PICTURES

33

“ASTONISHINGLYBOLD DEBUT’’

THE NEW YORK TIMES

LANDMARK THEATRES NUART THEATRE11272 SANTA MONICA BLVD. (310) 473-8530 LOS ANGELESNOW PLAYING

RAWTHEFILM.COM© 2016 PETIT FILM, ROGUE INTERNATIONAL, FRAKAS PRODUCTIONS. ALL RIGHTS RESERVED. ARTWORK © 2016 FOCUS FEATURES LLC. ALL RIGHTS RESERVED.

A FILM BY JULIA DUCOURNAU

WHAT ARE YOU HUNGRY FOR?

LA WeeklyThursday, 3/16

2col(3.55)x7 SUB

“You will not seea more uniquely thought-provoking film this year”-NEWSWEEK

“EXQUISITE’’ -LOS ANGELES TIMES

“BEAUTIFUL’’

-BIRTH. MOVIES. DEATH

“STUNNING”-IGN

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O P E N I N G T H I S W E E K

ALL NIGHTER One of J.K. Simmons’ most appealing qualities is the incongruity be-tween his assertive jock presence and his average, balding appearance — a little bit turtle-y, right? But the kind of turtle you’d willingly follow into combat. The man also has one of the best voices in film, and these qualities often serve to make his supporting characters the standouts, like his J. Jonah Jameson in Sam Raimi’s Spider-Man movies. But on those occa-sions when he’s the central focus, the gravity of his alpha-male charisma can reshape a whole film. All Nighter runs on that charm, revving this comedy up from average to somewhat above average. Months after Martin (Emile Hirsch) breaks up with girlfriend Ginnie (Analeigh Tipton), her father, Frank (Simmons), shows up at his door asking if he knows where she is. Martin, a banjo-playing Canadian vegetarian, is the polar opposite of the hard-charging, meat-eating businessman; nonetheless, he spends the rest of the night grudgingly guiding Frank around to Ginnie’s workplaces and hangouts, having conversations with women and meeting L.A. weirdos, including Taran Killam and Kristen Schaal as a couple in a hate-based romance. The introverted and peaceable Martin takes abuse from everyone he meets, disrespected for his passivity and banjo playing. And while multiple women describe Frank as “do-

able” throughout the course of the film, he leads a terribly lonely life, isolated from his family. He shows Martin how to win a fist fight; Martin convinces him to reconnect with his life. In other words, it’s a super-ordinary buddy plot elevated by one man’s godlike charisma. (Chris Packham)

ATOMICA (DEEP BURIAL) Syfy got its money’s worth — and more — in the first three seasons of Battlestar Galactica. But that show was a huge, Peabody Award–winning anomaly; the network’s standard M.O. is spending as close to zero as possible on its productions, and there’s nothing more dollar-store than Syfy’s original movies. Atomica’s slapdash script is a hasty aggregation of screenwriting and science-fiction clichés, barely feature-length and possibly writ-ten over a single weekend. The scenes are as heavily padded as a Nebraska Furniture Mart sectional, mostly by Dominic Monaghan talking. The tracts of conversational real estate he occupies are vast, his janitor character spinning out long, uninteresting yarns delivered without edits, rehearsal or basic respect for other people’s schedules. Nuclear engineer Abby (Sarah Habel) — whose “radiation suit” is, hilariously, a motor-cycle racing helmet — is dispatched to a nuclear power facility in the desert that has become mysteriously inoperative. Its skeleton-crew staff consists of the janitor and a reclusive nuclear scientist played by Tom Sizemore. Of the two name-brand

leads, only Monaghan, as the future HVAC technician or whatever, has signifi-cant screentime; Sizemore doesn’t show up until midfilm, and then — seriously — delivers the majority of his performance from the comfort of a cozy bed. Plot point, or Sizemore contract demand? That question is more interesting than the film’s limp mysteries: Where did the rest of the crew go? Why is the plant of-fline? Why is Monaghan such a creep-o? The bizarre story deltas include moments such as Abby catching him watching her shower but immediately engaging him in shop talk and coffee in the next scene. In the futuristic year 2025, the human resources department has no power over harassment. (Chris Packham)

THE BELKO EXPERIMENT Time was a movie like this could stir some outrage. Impressive murder-and-gore-makeup test footage passed off as a narrative provocation, Greg McLean’s grimdumb day-ruiner The Belko Experiment offers the following: a relentless parade of execu-tions, mostly via gunshots to the head, of the white-collar employees of the Belko Corporation; a weak spine of Die Hard meets Lord of the Flies or Office Space meets The Hunger Games meets the ferry scene in The Dark Knight plotting, which finds a Belko office building get-ting locked down and all 80 employees trapped inside told they must murder one another to survive; occasional feints to-ward the idea of a Milgram-like social ex-

periment exposing how quickly everyday people can become monsters; the wit-lessness to headshot that idea as soon as it’s introduced, as it’s revealed that the tracker at the base of each employ-ee’s skull will go kaboom if employees don’t play along; the chutzpah to present the ensuing carnage as something the filmmakers themselves are shaken and disgusted by, even as they cut to pulped flesh as often as The Big Bang Theory pauses for the laugh track, and even as such displays are the only reason the film exists. In the late reels, the killers diversify, cleaver-hacking, twisting necks, crushing a dude with an elevator. Only once does a character take true advan-tage of the office setting, cracking a tape

Y O U R W E E K LY M O V I E T O - D O L I S T

Celebrate Swayze or Support Film PreservationFriday, March 17Celebrate St. Patrick Swayze Day with two of the dearly departed star’s best movies, Point Break and Roadhouse, both on 35mm. A brief, incomplete list of the rad activities Swayze engages in in these films: robbing banks in a Ronald Reagan mask, skydiving, ripping out a dude’s throat with his bare hands, riding way-gnarly waves. Most of the crimes his Bodhi commits in Kathryn Bigelow’s surfing/crime drama Point Break are regret-table, but at least he’s got a Zen philosophy to inspire co-star Keanu Reeves with: “If you want the ultimate, you’ve got to be willing to pay the ultimate price. It’s not tragic to die doing what you love.” Egyptian �eatre, 6712 Hollywood Blvd., Hollywood; Fri., March 17, 7:30 p.m.; $11. (323) 466-3456, americancinemathequecalendar.com.

The Hateful Eight didn’t have quite the impact of either Inglourious Basterds or Django Unchained, which is a shame — Quentin Tarantino’s chamber drama is his best work since at least the Kill Bill cycle. It’s also a curiously intimate showcase for the now-rarefied 70mm format, which is how the Aero is screening it during a series dedicated to new movies shot on ultra-wide film stock (also included: Interstellar, Inherent Vice, �e Master). Watching the ensemble cast whittle itself down — there are nine main characters to start with, despite the title — and figure out which of them aren’t who they say they are gives new meaning to the term “process of elimination.” Aero �eatre, 1328 Montana Ave., Santa Monica; Fri., March 17, 7:30 p.m.; $11. (323) 466-3456, americancinemathequecalendar.com.

Among the highest-grossing Japanese productions in history, Howl’s Moving Castle is also Hayao Miyazaki’s favorite of his own films — high praise from the revered anime auteur responsible for the likes of Spirited Away and Princess Mononoke. Miyazaki adapted (and made significant changes to) Diana Wynne Jones’ novel in his allegorical response to the Iraq War, centering the story around a young girl who joins up with a wizard a�er being transformed into an old woman by a witch. (Fret not, purists: �is is the subtitled version, not the dubbed one.) Nuart �eatre, 11272 Santa Monica Blvd., West L.A.; Fri., March 17, 11:59 p.m.; $11. (310) 473-8530, landmarktheatres.com.

Saturday, March 18Kaneto Shindo made nearly 50 movies in his 100 years on Earth, none of which have endured like Kuroneko and Onibaba. Two of the best, most unsettling horror films ever to emerge from Japan, both take place during centuries-old civil wars and feature vengeful spirits exact-ing revenge a�er being brutally murdered (Kuroneko) and women murdering the soldiers who happen upon their meager home (Onibaba). Shindo evokes the anger of the dead and destitute but also the mournful sadness — his

characters are impossible to demonize, even the actual demons. New Beverly Cinema, 7165 Beverly Blvd., Fairfax; Sat., March 18, 7 p.m.; $8. (323) 938-4038, thenewbev.com.

Sunday, March 19�e term “Hitchcockian” is used to describe thrillers so o�en that it’s practically lost its meaning at this point, but few have earned it quite like Brian De Palma. �at he’s also transcended the label is evident in films such as Sisters, Carrie and Dressed to Kill; few have melded high-brow and lowbrow sensibilities like the filmmaker, whose works operate (and satisfy) on multiple levels at once. Adam Curtis would appear to agree, as the documentar-ian will appear in person at Cinefamily to discuss Blow Out, which stars John Travolta as a sound-e�ects techni-cian who overhears something he shouldn’t. Cinefamily/Silent Movie Theatre, 611 N. Fairfax Ave., Fairfax; Sun., March 19, 7:30 p.m.; $12. (323) 655-2510, cinefamily.org.

Tuesday, March 21Sydney Pollack won an Oscar for directing Meryl Streep and Robert Redford in the Best Picture–winning Out of Africa, an adaptation of Danish author Karen Blixen’s memoirs. It benefits from the fact that most people don’t know what a Danish accent sounds like, but if you’re enamored of sweeping literary adaptations there are certainly worse ways to kill an a�ernoon. LACMA, 5905 Wilshire Blvd., Mid-Wilshire; Tue., March 21, 1 p.m.; $4. (323) 857-6000, lacma.org.

Wednesday, March 22UCLA’s annual Festival of Preservation brings two un-derseen standouts from the ’90s back to the big screen: Kelly Reichardt’s River of Grass and Cheryl Dunye’s �e Watermelon Woman. Both debuts marked the arrival of significant talents, and though Dunye hasn’t been as prolific as Reichardt — whose most recent film, Certain Women, was among the best of 2016 — �e Watermelon Woman could hardly be more appropriate for the festival. A faux-documentary about a video-store clerk (Dunye, who also wrote the script) obsessed with learning more about a fictional black actress, it’s a celebration of cinema worthy of being celebrated itself. UCLA’s Billy Wilder �eater, 10899 Wilshire Blvd., Westwood; Wed., March 22, 7:30 p.m.; $10. (310) 206-8013, cinema.ucla.edu. —Michael Nordine

COURTESY 20TH CENTURY FOX

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dispenser again and again into a villain’s face. And then again. (And again.) Don’t expect style or invention, much less sat-ire. Its only interest as an experiment is that, out of duty, the room full of critics I saw it with all stuck around until the end. (Alan Scherstuhl)

GO MEAN DREAMS Even if it were not for the fact that Mean Dreams has become Bill Paxton’s penultimate picture, Nathan Morlando’s thriller would be worth recommending entirely on its own merits. Start with cinema-tographer Steve Cosens (The Tracey Fragments), who uses sharp focus and the occasional faded Polaroid-style filter to lovingly caress every bump and contour of the jagged tree stumps and run-down farmhouses that litter the beautifully middle-of-nowhere set-ting. The effect makes this world alien yet universal: The two teens who will become our leads fall in love because they are literally the only boy and girl in the world as far as their eyes can see. Jonas (Josh Wiggins) is an only child who works on his parents’ farm; Casey (Sophie Nélisse) has just moved to town with single dad Wayne (Paxton), a cop who’s recently been reassigned. Here, our trust in Paxton when he’s playing laid-back is expertly twisted once he snaps and reaches the end of his rope. When Wayne beats Casey and tries to drown Jonas, the teenagers decide to run away together; Wayne pursues them. Paxton seemed the epitome of well-adjusted but was adept at playing the opposite. At his side as the local police chief is Colm Feore, as coldly dis-tant and sinister a sidekick as he could ask for, all restrained villainous ego to Paxton’s evil id. The teen romance that’s front and center is as charming as it is chaste. Their surroundings are as much heightened beauty as Paxton’s bad dad is heightened evil, showing us the world as an infatuated young adult might see it. (Luke Y. Thompson)

THE SON OF JOSEPH (LE FILS DE JOSEPH) Virtue — and virtù — triumphs over vice in Eugène Green’s wry if sometimes too whimsical reimagining of the Nativity story, set in a current-day Paris overrun with lit-world bobos, teenage internet entrepreneurs and other 21st-century vulgarians. High schooler Vincent (Victor Ezenfis), already roiling with ado-lescent rage, grows even more agitated after his saintly single mother, Marie (Natacha Régnier), tells him the sordid story of his biological father, whom the kid has never met. In the process of tracking down and plotting revenge on his deadbeat dad — an overweening book publisher named Oscar (Mathieu Amalric) — Vincent meets humble Joseph (Fabrizio Rongione), Oscar’s brother. The new intergenerational pals stare raptly at Philippe de Champaigne’s Le Christ Mort at the Louvre, just one of several Baroque masterpieces that are scrutinized in depth here. The art-history lessons typify Green’s reverence of the past, obeisance that is further evident in the filmmaker’s signature use of mannered, declaimed dialogue and other nods to classical French theater. As for the present, Oscar and his inane milieu are too easy a target, though Amalric enlivens episodes of limp satire by wholly embracing his unrepentantly self-serving, libertine character. Yet nothing buoys the occasionally claus-trophobic Son of Joseph more than the radiant, freckled face of newcomer Ezenfis: Vincent may insist that “an an-gel” instructed him to set up his mother and Joseph, but the real love story is between the boy and his older friend. (Melissa Anderson)

O N G O I N G

GO BEFORE I FALL There’s a reason Zoey Deutch is often “the girl” in com-edies. Her face expresses multitudes, and the funny guys need a woman with priceless reactions to sell their punch

lines. But in Ry Russo-Young’s light sci-fi teen drama Before I Fall, Deutch plays Samantha Kingston, a girl full of thoughts and wonder who learns the meaning of life by reliving the same fateful 24 hours over and over again. Deutch owes no one a reaction here; everything Samantha does is to fulfill her own promise. And if that premise sounds morally didactic, too neat, it is a little. But Russo-Young gives this teen parable the thriller treatment to ward off any cheese, and watching Deutch learn her lesson with that expressive face of hers is a singular, moving experience. To her friends, high-schooler Sam’s the sweet one — Lindsay (Halston Sage) is the queen bee, Ally (Cynthy Wu) the cre-ative thinker, Elody (Medalion Rahimi) the party girl. In the early moments of naiveté, Deutch’s eyes glance down-ward, as if Sam can’t bear to meet any-one’s gaze. Over one day, Sam makes many little mistakes: She ignores nice guy Kent (Logan Miller); she encourages her friends as they taunt the school freak, Juliet (Elena Kampouris). The night culminates with a raucous party at Kent’s house, capped by a terrible car crash. If you’ve seen Groundhog Day, you know how the story goes from here. The familiar premise is freshened by writer Maria Maggenti’s thoughtful framing of Sam. She’s floating along without any comprehension that her actions con-tribute to the detriment or well-being of others — and she learns to fight and to exude love. (April Wolfe)

GO PERSONAL SHOPPER In Personal Shopper, Olivier Assayas’ outré yet unex-pectedly touching tale of luxury brands and ectoplasm, Kristen Stewart’s character is demoted to an even lowlier celebrity adjutant than the star played in Assayas’ Clouds of Sils Maria. A studiously disheveled American tem-porarily in Paris (greasy hair, oversize pullovers, a look not unlike the one Stewart herself has been seen sporting

in paparazzi shots), Stewart’s Maureen hopes to make contact with her recently deceased twin brother, with whom she shared a paranormal gift. When she’s not waiting to receive signals from the dead, Maureen dashes from one high-end boutique to the next for the fashion-fascist celebutante/gorilla-rights-activist boss she says she despises, Kyra (Nora von Waldstätten). Just before boarding the Eurostar to London for yet another haute-couture errand, Maureen seems to receive a message from the beyond: the first in a string of menacing texts from an unknown source. The iPhone clutched in Maureen’s hand becomes Stewart’s most significant screen partner in Personal Shopper, a film in

which she is often framed in isola-tion. The premise is ludicrous, but not unexpected from Assayas, a restlessly inventive filmmaker whose sinister global thrillers Demonlover and Boarding Gate likewise pivot on absurd plot points to plumb 21st-century malaise and dis-order. Here, he allows one of the most famous people on the planet to become smaller. And also, paradoxically, bigger: I can’t think of another Stewart vehicle, not even any of films from the Twilight pentad, in which the actress appears in every scene, often alone or as an anonymous figure in a crowd. In this supernatural tale, the phantom looming largest is that of Stewart’s actual celeb-rity. (Melissa Anderson)

MALICK’S SONG TO SONG REACHES FOR THE WONDER — BUT SUGGESTS WE STAY GROUNDED

P in Terrence Malick’s work down these days — tease a story or philosophy out of it — and you’re usually faced with something simple, almost corny, that

seems to undercut the spellbinding invention of his film-making. For all the worldly experimentalism of his style, when Malick’s characters actually do “experiment” — when they break boundaries, try new things, toss out old rules — it leads to disaster. We’re le� with works of formal abandon and moral resolve. But that’s also part of what makes them so fascinating and, yes, beautiful. �e overall e�ect is that of an artist trying to understand his times, to indulge in the newness of a world he doesn’t always grasp.

Song to Song follows four people in and around the Aus-tin, Texas, music scene. Aspiring musicians Faye (Rooney Mara) and BV (Ryan Gosling) meet at a party thrown by their mutual pal, record producer Cook (Michael Fassbender), and quickly fall for each other. BV does his playful Ryan Gosling thing; Faye does her wide-eyed Rooney Mara thing. �e two fall in and out of love, then

find other people without ever quite letting go of one another. Meanwhile, Cook charms and slimes his way through everybody — cheating BV, compromising Faye and pretty much ruining a schoolteacher/waitress (Nata-lie Portman) whom he woos, marries, then degrades.

Song to Song continues the mosaiclike stylization of To the Wonder and Knight of Cups — an indulgence that has turned much of the critical establishment o� to Malick. But connect with its kineticism, and it might just leave you breathless. —Bilge Ebiri

SONG TO SONG | Written and directed by Terrence Malick Broad Green Pictures | ArcLight Hollywood, Landmark

Song to Song

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LA WEEKLY2X3.5 THUR 3/16

“Funny and sobering at the same time” – The Hollywood Reporter

“Entertaining, thought-provoking” – Variety

STARTS FRIDAY, MARCH 17BEVERLY HILLSLaemmle’s Ahrya Fine Arts (310) 478-3836 laemmle.com Thur 3/16 only: 7:30pm

BEVERLY HILLSLaemmle’s Music Hall (310) 478-3836 laemmle.com Daily: 2:40, 7:30

ENCINOLaemmle’s Town Center 5 (818) 981-9811 laemmle.com Daily: 1:00, 3:10, 5:20, 7:40Sat & Sun: 10:50, 1:00, 3:10, 5:20, 7:40

SPECIAL SHOWTHURSDAY, MARCH 16

w w w. l a s t l a u g h f i l m . u s

Q&As with director Ferne Pearlstein and guests this weekend!Friday 3/17 & Saturday 3/18 at Laemmle’s Music Hall after the 7:30 show.

Sunday 3/19 at Laemmle’s Town Center after the 3:10 show.

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Schedules are subject to change; please call ahead to confirm showtimes. See Film & Video Events for other programs.

HOLLYWOOD & VICINITY

ARENA CINELOUNGE AT THE MONTALBAN 1625 North Las Palmas Avenue (323)924-1644Atomica (Deep Burial) Fri.-Sat., 7 p.m.; Sun.-Mon., 7,

8:30 p.m.; Tues., 7:30, 9 p.m.; Wed., 7, 8:30 p.m.; Thurs., 7:30, 9 p.m.

The Devil’s Candy Fri.-Sun., 9:55 p.m.The Dark Below Fri.-Sat., 8:30 p.m.; Sun.,ARCLIGHT HOLLYWOOD Sunset Blvd. at Vine (323) 464-4226T2: Trainspotting Fri.-Sat., 10, 11:15 a.m., 12:30, 1:50,

3, 4:20, 5:30, 7, 8, 9:45, 10:30, 11:45 p.m., 12:45 a.m.; Sun., 10, 11:15 a.m., 12:30, 1:50, 3, 4:20, 5:30, 7, 8, 9:45, 10:30, 11:45 p.m.; Mon.-Tues., 11 a.m., 12 noon, 1, 2:15, 3:15, 4:30, 5:45, 7:15, 8:10, 9:30, 10:15, 11:45 p.m.; Wed., 11:15 a.m., 12:45, 1:50, 3:30, 5:30, 7:15, 8:30, 9:45, 10:45, 11:55 p.m.

Power Rangers Thurs., 7, 9:45 p.m.Beauty and the Beast Fri.-Sun., 9:45, 10:30, 11, 11:30

a.m., 12 noon, 12:30, 1, 1:30, 2, 2:30, 3:05, 3:30, 4:15, 5, 5:30, 6, 6:30, 7, 7:30, 8, 8:30, 9, 9:30, 10:45 p.m.; Mon.-Tues., 11:30 a.m., 12:30, 1:45, 2:15, 3:30, 4:15, 5, 6, 7, 8:15, 9, 10, 10:45, 11:30 p.m.; Wed., 11:30 a.m., 12 noon, 1, 1:45, 3, 4, 5, 6, 7, 8:15, 9, 10, 11:30, 11:50 p.m.

Beauty and the Beast in Disney Digital 3D Fri.-Sun., 10, 11:45 a.m., 1:45, 4:45, 10 p.m.; Mon.-Tues., 10:45 a.m., 12 noon, 3 p.m.; Wed., 10:45 a.m., 2:30, 4:30, 9:30 p.m.

The Belko Experiment Fri.-Sat., 9:50, 11:40 a.m., 2:45, 5:05, 8:35, 11 p.m., 12:50 a.m.; Sun., 9:50, 11:40 a.m., 2:45, 5:05, 8:35, 11 p.m.; Mon.-Tues., 11:10 a.m., 1:50, 3:50, 5:50, 8, 10:05 p.m., 12 mid.; Wed., 11 a.m., 12:35, 2:35, 5:05, 7:30, 11:15 p.m.

Song to Song Fri.-Sat., 10:15 a.m., 12:05, 2:45, 4:50, 7:25, 9:35 p.m., 12:05 a.m.; Sun., 10:15 a.m., 12:05, 2:45, 4:50, 7:25, 9:35 p.m.; Mon.-Tues., 11:05 a.m., 1:45, 3:20, 4:45, 7:35, 10:30 p.m.; Wed., 11:50 a.m., 1:50, 4:30, 7, 9:40 p.m.

Kong: Skull Island Fri.-Tues., 8:15, 11:15 p.m.; Fri.-Sat., 9:45 a.m., 12:20, 2:20, 4:40, 6:10, 7:05, 9:35 p.m., 12:15 a.m.; Sun., 9:45 a.m., 12:20, 2:20, 4:40, 6:10, 7:05, 9:35 p.m.; Mon., 11:20 a.m., 12:15, 1:30, 3:25, 4:30, 5:40, 7, 9:45, 10:45 p.m.; Tues., 11:20 a.m., 12:15, 1:30, 3:25, 4:30, 5:40, 7, 9:45, 10:25 p.m.; Wed., 11:25 a.m., 1:25, 2:30, 3:45, 4:40, 6:15, 7:05, 8:45, 9:35, 11:30 p.m.

Personal Shopper Fri.-Sun., 10:05 a.m., 1, 4, 7:15, 10:35 p.m.; Mon.-Tues., 11 a.m., 1:05, 2:50, 5:45, 8:10, 11:10 p.m.; Wed., 11:10 a.m., 1:30, 4:05, 7:15, 11:10 p.m.

Logan Fri.-Sat., 10:10 a.m., 1:05, 3:15, 5:25, 8:10, 10:45 p.m., 12:20 a.m.; Sun., 10:10 a.m., 1:05, 3:15, 5:25, 8:10, 10:45 p.m.; Mon.-Tues., 11:30 a.m., 1:30, 2:45, 5:15, 8:25, 10:20, 11:35 p.m.; Wed., 11:05 a.m., 12:20, 2, 3:15, 5:05, 8, 10:55 p.m.

Get Out Fri.-Sat., 9:55 a.m., 12:10, 2:45, 4:30, 6, 8:15, 9:30, 10:25, 11:40 p.m., 12:40 a.m.; Sun., 9:55 a.m., 12:10, 2:45, 4:30, 6, 8:15, 9:30, 10:25, 11:15 p.m., 12 mid.; Mon.-Tues., 11:15 a.m., 12:05, 1:10, 2:20, 4:35, 5:15, 6, 7:10, 8:20, 9:25, 10:30 p.m., 12 mid.; Wed., 11:20 a.m., 12:30, 2:45, 4:45, 6:15, 8:15, 9:35, 10:30, 11:15 p.m., 12 mid.

Black Swan Mon.-Tues., 8 p.m.Beauty and the Beast Fri.-Sat., 11:30 p.m., 12:30 a.m.;

Sun., 11:45 p.m.LOS FELIZ 3 1822 N. Vermont Ave. (323) 664-2169Kong: Skull Island 1:30, 4:15, 7, 9:45 p.m.Logan 2:15, 5:30, 8:45 p.m.Get Out 1:30, 4:15, 7, 9:45 p.m.TCL CHINESE 6 THEATRES 6801 Hollywood Blvd. (323) 461-3331Beauty and the Beast Mon., 7 p.m.; Fri.-Wed., 9:45 p.m.Beauty and the Beast in Disney Digital 3D Thurs.,

6:30, 9:45 p.m.; Fri.-Sun., 12 noon, 3:15, 6:30 p.m.; Mon., 12 noon, 3:15, 6:30, 9:45 p.m.; Tues.-Wed., 12 noon, 3:15, 6:30 p.m.; Thurs., 12 noon, 3:15 p.m.; Fri.-Wed., 12 noon, 3:15, 6:30 p.m.; Thurs., 12 noon, 3:15 p.m.

The Belko Experiment Fri., 12:45, 3, 5:15, 7:45, 10:15 p.m.; Sat., 12:15, 2:30, 4:45, 7:15, 9:50 p.m.; Sun., 11:45 a.m., 2, 4:15, 6:45, 9:15 p.m.; Mon.-Thurs., 12:45, 3, 5:15, 7:45, 10:15 p.m.

Kong: Skull Island Fri., 1:30, 4:30, 7:30, 10:30 p.m.; Sat., 12:45, 3:45, 6:45, 9:45 p.m.; Sun., 11:30 a.m., 4:20, 7:15, 10:15 p.m.; Mon., 1, 4, 10 p.m.; Tues.-Thurs., 1:30, 4:30, 7:30, 10:30 p.m.

Kong: Skull Island 3D Fri.-Sat., 1, 4, 7, 10 p.m.; Sun., 12:15, 3:30, 6:45, 10 p.m.; Mon., 1:30, 4:30, 7:30, 10:30 p.m.; Tues.-Wed., 1, 4, 7, 10 p.m.; Thurs., 1, 3:45 p.m.

Logan Fri., 12:50, 4:10, 7:15, 10:20 p.m.; Sat., 12:30, 3:40, 6:50, 9:55 p.m.; Sun., 12:10, 3:20, 6:40, 9:50 p.m.; Mon.-Thurs., 12:50, 4:10, 7:15, 10:20 p.m.

Get Out Fri., 12:15, 2:45, 5:15, 7:50, 10:25 p.m.; Sat., 12:10, 7:10, 9:45 p.m.; Sun., 11:30 a.m., 2, 4:30, 7, 9:30 p.m.; Mon., 12:15, 2:45, 5:15, 7:50, 10:25 p.m.; Tues., 12:15, 2:45, 5:15 p.m.; Wed., 2:45, 5:15, 7:50, 10:25 p.m.; Thurs., 12 noon, 2:30, 5 p.m.

Moviedude18 presents: Mighty Morphin Power Rangers: The Movie With Q&A Tues., 8 p.m.

TCL CHINESE THEATRE IMAX 6925 Hollywood Blvd. (323) 461-3331Beauty and the Beast: An IMAX 3D Experience

Fri.-Sat., 10:15 p.m.; Sun., 10 p.m.; Tues.-Thurs., 10:15 p.m.

Beauty and the Beast: The IMAX Experience Fri.-Sat., 9:15 a.m., 12:30, 3:45, 7 p.m.; Sun., 9 a.m., 12:15, 3:30, 6:45 p.m.; Mon., 10 a.m., 1, 10:30 p.m.; Tues.-Thurs., 12:30, 3:45, 7 p.m.

Lobbyists & Handprints Tour Fri.-Sat., 10, 10:45, 11, 11:30 a.m., 1, 1:30, 2:15, 2:45, 4:15, 5:15, 8, 9 p.m.; Sun., 10, 10:45, 11, 11:30 a.m., 12:15, 1, 1:30, 2:15, 3:30, 4:15, 5:15, 6:45, 8, 9 p.m.; Tues.-Thurs., 1, 1:30, 2:15, 4:15, 5:15, 8, 9 p.m.

| Neighborhood Movie Guide // TCL Chinese Theatre Tour Fri.-Sat., 12 noon, 12:15, 3,

3:30, 6, 6:45 p.m.; Sun., 12 noon, 2:45, 3, 6 p.m.; Tues.-Thurs., 10, 10:45, 11, 11:30 a.m., 12 noon, 12:15, 2:45, 3, 3:30, 6, 6:45 p.m.

PACIFIC’S EL CAPITAN Hollywood Blvd., west of Highland (323) 467-7674Beauty and the Beast Fri., 10:45 a.m., 3, 7, 10:30 p.m.;

Sat., 7:25, 10:45 a.m., 3, 7, 10:30 p.m.; Sun.-Thurs., 10:45 a.m., 3, 7, 10:30 p.m.

PACIFIC’S THE GROVE STADIUM 14 189 The Grove Dr., Third & Fairfax (323) 692-0829Power Rangers Thurs., 7, 10 p.m.Beauty and the Beast Fri.-Sat., 9, 9:45, 10:45, 11:15

a.m., 12 noon, 12:45, 1:15, 1:45, 2:15, 3, 3:45, 4:45, 5:15, 6, 6:45, 7:15, 8:15, 9, 9:45, 10:15, 11:15 p.m., 12:05 a.m.; Sun., 9, 9:45, 10:45, 11:15 a.m., 12 noon, 12:45, 1:15, 1:45, 2:15, 3, 3:45, 4:45, 5:15, 6, 6:45, 7:15, 8:15, 9, 9:45, 10:15, 11:15 p.m.; Mon., 10:25, 11, 11:15 a.m., 12:45, 1:15, 1:50, 2:20, 3:45, 4:45, 5:15, 6:45, 7:45, 8:15, 9:45, 10:15, 11:15 p.m.; Tues., 10:25, 11, 11:15 a.m., 12 noon, 1:15, 1:50, 2:20, 3, 4:45, 5:15, 6, 7, 7:45, 8:15, 9, 9:55, 10:15, 11:15 p.m.; Wed., 10:25, 11, 11:15 a.m., 12 noon, 12:45, 1:15, 1:50, 2:20, 3, 3:45, 5:15, 6, 6:45, 8:15, 9, 9:45, 11:15 p.m.

Beauty and the Beast in Disney Digital 3D Fri.-Sun., 9:30, 10:15 a.m., 12:30, 3:30, 4:15, 6:30, 7:45, 9:30, 10:45 p.m.; Mon.-Tues., 12:30, 3:30, 4:15, 6:30, 7:15, 9:30, 10:45 p.m.; Wed., 12:30, 3:30, 6:30, 9:30 p.m.

The Belko Experiment Fri.-Sat., 10:25 a.m., 12:40, 2:50, 5, 7:10, 9:20, 10:30, 11:35 p.m.; Sun., 10:25 a.m., 12:40, 2:50, 5, 7:10, 9:20, 10:30 p.m.; Mon.-Tues., 10:30 a.m., 12:40, 2:50, 5, 7:10, 9:20, 10:30 p.m.; Wed., 10:30 a.m., 12:40, 2:50, 4:05, 5, 7:10, 9:20, 10:30 p.m.

Kong: Skull Island Fri.-Sat., 9, 9:40, 11:40 a.m., 12:25, 2:20, 3:10, 4:40, 5:05, 6, 7:50, 8:45, 10:35, 11:30 p.m.; Sun., 9, 9:40, 11:40 a.m., 12:25, 2:20, 3:10, 4:40, 5:05, 6, 7:50, 8:45, 10:35 p.m.; Mon.-Wed., 11:40 a.m., 12:25, 2:20, 3:10, 4:40, 5:05, 6, 7:50, 8:45, 10:35 p.m.

Logan Fri.-Sat., 10:35, 11:30 a.m., 1:35, 2:30, 4:35, 5:35, 7:40, 8:40, 10:40, 11:45 p.m.; Sun.-Wed., 10:35, 11:30 a.m., 1:35, 2:30, 4:35, 5:35, 7:40, 8:40, 10:40 p.m.

Get Out Fri.-Sun., 9:05, 10:20, 11:55 a.m., 12:50, 2:25, 3:20, 4:50, 5:50, 7:20, 8:20, 9:50, 11 p.m.; Mon.-Wed., 10:25, 11:55 a.m., 12:50, 2:25, 3:20, 4:50, 5:50, 7:20, 8:20, 9:50, 11 p.m.

The Lego Batman Movie Fri.-Sun., 9:30 a.m., 2:10 p.m.; Mon., 10:20 a.m., 2:10 p.m.; Tues., 2:10 p.m.; Wed., 10:20 a.m., 2:10 p.m.

La La Land Fri.-Wed., 11:20 a.m., 7:30 p.m.VISTA 4473 Sunset Dr. (323) 660-6639Beauty and the Beast 1:45, 5:20, 8:45 p.m.

DOWNTOWN, S. LOS ANGELES

DOWNTOWN INDEPENDENT 251 South Main Street (213)617-1033Rammstein: Paris Thurs., 7:30, 10 p.m.Betting on Zero Fri., 6, 8 p.m.; Sun., 6 p.m.; Mon., 6, 8

p.m.; Tues., 4 p.m.; Wed., 6, 8 p.m.CGV CINEMAS LA 621 South Western Avenue (213)388-9000Beauty and the Beast in Disney Digital 3D Fri.-

Sun., 10:15 a.m., 1:15, 4:15, 7:15, 10:15 p.m.; Mon., 10:15 a.m., 1, 4:45, 7:45, 10:30 p.m.; Tues.-Wed., 10:45 a.m., 1:30, 4:30, 7:30, 10:15 p.m.

Kong: Skull Island 3D Fri.-Sun., 9:45 a.m., 12:45, 3:30, 6:30, 9:15 p.m.; Mon.-Wed., 10:15 a.m., 12:45, 3:30, 6:30, 9:15 p.m.

Logan Fri.-Wed., 10 a.m., 1, 4, 7, 10 p.m.REGAL CINEMAS L.A. LIVE STADIUM 14 1000 West Olympic Blvd. (844)462-7342 4046Beauty and the Beast Fri., 12 noon, 3:15, 6:30, 9:45

p.m.; Sat., 12 noon, 1:30, 3:15, 6:30, 9:45 p.m.; Sun.-Wed., 12 noon, 3:15, 6:30, 9:45 p.m.; Fri., 1:30, 8 p.m.; Sat., 8 p.m.; Sun.-Wed., 1:30, 8 p.m.

Beauty and the Beast in Disney Digital 3D Fri.-Wed., 12:45, 4, 7:15, 10:30 p.m.; Fri.-Sat., 11 a.m., 2:15, 5:30, 8:45 p.m., 12 mid.; Sun.-Wed., 11 a.m., 2:15, 5:30, 8:45 p.m.; Fri.-Wed., 4:45, 11:15 p.m.

The Belko Experiment Fri.-Wed., 12 noon, 2:30, 5, 7:30, 10 p.m.

Kong: Skull Island Fri.-Wed., 12:15, 1:15, 3:15, 4:15, 6:15, 7:15, 9:15, 10:15 p.m.

Kong: Skull Island 3D Fri.-Wed., 11:15 a.m., 2:15, 5:15, 8:15, 11:15 p.m.

Sword Art Online The Movie: Ordinal Scale Fri.-Wed., 1, 4, 7, 10 p.m.

Logan Fri., 11 a.m., 12:45, 2:30, 4:15, 6, 7:45, 9:30, 11 p.m.; Sat., 11 a.m., 2:30, 4:30, 6, 7:45, 9:30, 11 p.m.; Sun.-Wed., 11 a.m., 12:45, 2:30, 4:15, 6, 7:45, 9:30, 11 p.m.

Get Out Fri.-Tues., 1, 3:45, 6:45, 9:30 p.m.; Wed., 12:30, 3:15, 6:45, 9:30 p.m.

John Wick: Chapter 2 Fri.-Sat., 12:45, 3:45, 6:45, 9:45 p.m.; Sun., 4:30, 7:30, 10:30 p.m.; Mon.-Tues., 12:45, 3:45, 6:45, 9:45 p.m.; Wed., 12:45, 3:45 p.m.

The Lego Batman Movie 3D Fri.-Sat., 4:45, 10:15 p.m.; Sun., 4:55, 10:15 p.m.; Mon.-Wed., 4:45, 10:15 p.m.

The Lego Batman Movie Fri.-Sat., 11:15 a.m., 2, 7:30 p.m.; Sun., 11:15 a.m., 1:50, 7:30 p.m.; Mon.-Wed., 11:15 a.m., 2, 7:30 p.m.

UNIVERSITY VILLAGE 3 3323 S. Hoover St. (213) 748-6321 Call theater for schedule.

WEST HOLLYWOOD, BEVERLY HILLS

LAEMMLE’S AHRYA FINE ARTS THEATRE 8556 Wilshire Boulevard (310)478-3836The Women’s Balcony (Ismach Hatani) Fri., 5,

7:30, 10 p.m.; Sat., 2:30, 5, 7:30, 10 p.m.; Sun., 2:30, 5, 7:30 p.m.; Mon.-Tues., 5 p.m.; Wed., 2:30, 5, 7:30 p.m.; Thurs., 5, 7:30 p.m.

National Theatre Live: Saint Joan Mon., 7:30 p.m.; Tues., 1 p.m.

SUNDANCE SUNSET CINEMA 8000 West Sunset Boulevard (323)654-2217All Nighter Fri., 7:30, 10 p.m.; Sat.-Thurs., 7:30, 9:45 p.m.The Last Word 7, 9:30 p.m.; Fri., 2, 4:30 p.m.; Sat.-Sun.,

11:30 a.m., 2, 4:30 p.m.; Mon.-Thurs., 2, 4:30 p.m.A United Kingdom Fri., 2:15, 4:45 p.m.; Sat.-Sun., 12

noon, 2:30, 5 p.m.; Mon.-Thurs., 2:15, 4:45 p.m.I Am Not Your Negro Fri., 9:45 p.m.; Sat.-Sun., 10:30

p.m.; Tues.-Thurs., 9:45 p.m.; Fri., 5 p.m.; Sat.-Sun., 2:45, 5:15 p.m.; Mon.-Thurs., 5 p.m.

The Salesman (Forushande) Fri., 7:10, 10 p.m.; Sat.-Sun., 7:15, 10 p.m.; Mon.-Thurs., 7:10, 10 p.m.; Fri., 1:30, 4:15 p.m.; Sat.-Sun., 11 a.m., 1:45, 4:30 p.m.; Mon.-Thurs., 1:30, 4:15 p.m.

Lion Fri., 6:45, 9:15 p.m.; Sat.-Sun., 7:45, 10:30 p.m.; Mon.-Thurs., 6:45, 9:15 p.m.; Fri., 1:15, 4 p.m.; Sat.-Sun., 11:15 a.m., 2:15, 5 p.m.; Mon.-Thurs., 1:15, 4 p.m.

LAEMMLE’S MUSIC HALL 3 9036 Wilshire Blvd. (310) 274-6869This Beautiful Fantastic 2:40, 7:40 p.m.The Last Laugh 2:40, 7:30 p.m.A United Kingdom Fri.-Wed., 1:10, 7 p.m.; Thurs.,

1:10 p.m.I Am Not Your Negro 12:10, 5, 9:50 p.m.The Founder 12 noon, 5, 10 p.m.La La Land 4, 9:45 p.m.

WESTWOOD, WEST L.A.

AMC CENTURY CITY 15 10250 Santa Monica Blvd. (888)AMC-4FUNCHiPs Thurs., 7, 9:30 p.m.Life Thurs., 7, 9:45 p.m.Power Rangers Thurs., 7, 10 p.m.Bolshoi Ballet: A Contemporary Evening Sun.,

12:55 p.m.Beauty and the Beast Fri., 9:30, 11:30 a.m., 2:30, 3,

3:30, 5:30, 8:30, 9, 11:30 p.m.; Sat., 9, 10, 11:30 a.m., 2:30, 3, 3:30, 5:30, 8:30, 9, 11:30 p.m., 12 mid.; Sun., 9, 9:30, 11:30 a.m., 2:30, 3:30, 5:30, 8:30, 9, 11:30 p.m., 12 mid.; Mon., 11:30 a.m., 2:30, 5:30, 8:30 p.m., 12 mid.; Tues.-Thurs., 11:30 a.m., 2:30, 5:30, 8:30 p.m.; Fri.-Sun., 11 a.m., 2, 5, 8, 11 p.m.; Mon., 11 a.m., 2, 5, 8, 10:55 p.m.; Tues.-Thurs., 11 a.m., 2, 5, 8, 11 p.m.

Beauty and the Beast in Disney Digital 3D Fri.-Mon., 10 a.m., 1, 4, 7, 10 p.m.; Tues., 10 a.m., 1, 4:25, 10 p.m.; Wed.-Thurs., 10 a.m., 1, 4, 7, 10 p.m.

Beauty and the Beast: An IMAX 3D Experience Fri., 10:30 a.m., 10:30 p.m.; Sat.-Thurs., 10:30 p.m.

Beauty and the Beast: The IMAX Experience Fri., 1:30, 4:30, 7:30 p.m.; Sat.-Thurs., 10:30 a.m., 1:30, 4:30, 7:30 p.m.

The Belko Experiment Fri.-Wed., 10:05 a.m., 12:30, 2:45, 5:10, 7:35, 10:15 p.m.

Kong: Skull Island Fri., 9:45, 10:45 a.m., 12:45, 1:45, 3:45, 4:45, 6:45, 7:45, 9:45, 10:45 p.m.; Sat., 9:45, 10:45 a.m., 12:45, 1:45, 3:45, 5:05, 6:45, 8, 9:45, 10:45 p.m.; Sun., 9:45, 10:45 a.m., 12:45, 1:45, 3:45, 6:45, 8, 9:45, 10:45 p.m.; Mon.-Wed., 10:30, 10:45 a.m., 1:30, 1:45, 4:30, 4:45, 7:30, 7:45, 10:30, 10:45 p.m.

Kong: Skull Island 3D Fri.-Sun., 11:30 a.m., 2:35, 5:30, 8:25, 11:25 p.m.; Mon.-Wed., 10:05 a.m., 1:05, 4:05, 7:05, 10:05 p.m.

Before I Fall Fri., 12:40 p.m.; Sat., 1:05 p.m.; Sun., 12:40 p.m.; Mon.-Tues., 1:20, 6:45 p.m.; Wed., 7:05 p.m.

Logan Fri.-Sun., 9:25, 10:15 a.m., 12:40, 1:35, 4:05, 4:45, 7:15, 7:55, 10:25, 11:15 p.m.; Mon.-Wed., 10 a.m., 12:15, 1:15, 3:30, 4:30, 6:45, 7:45, 10 p.m.

Get Out Fri.-Sun., 9:35 p.m.; 11:15 a.m., 2, 4:40, 7:20, 10:05 p.m.; Sat., 10:30 a.m., 2, 4:40, 7:20, 10:05 p.m.; Sun., 11:15 a.m., 2, 4:40, 7:20, 10:05 p.m.

John Wick: Chapter 2 Fri., 11:05 a.m., 2:05, 5:05, 8:05, 10:55 p.m.; Sat., 11:05 a.m., 2:05, 8:05, 10:55 p.m.; Sun.-Tues., 11:05 a.m., 2:05, 5:15, 8:05, 10:55 p.m.

The Lego Batman Movie 3D Fri.-Wed., 1:35, 4:20 p.m.The Lego Batman Movie Fri.-Sun., 10:50 a.m., 7 p.m.;

Mon.-Wed., 10:50 a.m., 7, 9:35 p.m.Hidden Figures Fri.-Sun., 6:30, 9:30 p.m.; Mon.-Tues.,

10:20 a.m., 3:45, 9:30 p.m.; Wed., 11:30 a.m., 9:40 p.m.La La Land Fri.-Sat., 12 noon, 6 p.m.; Sun., 6 p.m.; Mon.,

10:25 a.m., 1:25, 4:25, 7:35, 10:35 p.m.; Tues., 10:25 a.m., 1:25, 7:35, 10:35 p.m.

LAEMMLE’S ROYAL THEATER 11523 Santa Monica Blvd. (310) 477-5581After the Storm (Umi yori mo Mada Fukaku) Fri.,

1:30, 4:20, 7:10, 10 p.m.; Sat.-Sun., 10:40 a.m., 1:30, 4:20, 7:10, 10 p.m.; Mon.-Thurs., 1:30, 4:20, 7:10, 10 p.m.

The Women’s Balcony (Ismach Hatani) Fri., 1:50, 4:30, 7:20, 9:55 p.m.; Sat.-Sun., 11:10 a.m., 1:50, 4:30, 7:20, 9:55 p.m.; Mon., 1:50, 4:30, 7:20, 9:55 p.m.; Tues., 1:50, 4:30, 7:10, 9:55 p.m.; Wed., 1:50, 4:30 p.m.; Thurs., 1:50, 4:30, 7:20, 9:55 p.m.

The Son of Joseph (Le fils de Joseph) Fri., 1:20, 4:10, 7, 9:45 p.m.; Sat.-Sun., 10:40 a.m., 1:20, 4:10, 7, 9:45 p.m.; Mon.-Tues., 1:20, 4:10, 7, 9:45 p.m.; Wed., 4:10, 7, 9:45 p.m.; Thurs., 1:20, 4:10, 7, 9:45 p.m.

In Cold Blood (1967) Wed., 7 p.m.LANDMARK’S NUART THEATER 11272 Santa Monica Blvd. (310) 473-8530; No Texting AllowedRaw 12 noon, 2:30, 5, 7:30, 9:55 p.m.Howl’s Moving Castle (Hauru no ugoku shiro)

Fri., 11:59 p.m.The Rocky Horror Picture Show Sat., 11:59 p.m.LANDMARK’S REGENT 1045 Broxton Ave. (310) 208-3250; No Texting AllowedI Am Not Your Negro Fri., 5:50, 8 p.m.; Sat.-Mon., 4:45,

7 p.m.; Tues.-Wed., 5:30, 7:45 p.m.; Thurs., 4:45, 7 p.m.Moonlight Fri., 10:15 p.m.; Sat.-Sun., 2:15, 9:15 p.m.; Mon.,

9:15 p.m.; Tues.-Wed., 10 p.m.; Thurs., 9:15 p.m.LANDMARK WEST L.A. 10850 W. Pico Blvd. (310) 470-0492; No Texting AllowedT2: Trainspotting Fri.-Sun., 11:15 a.m., 12:10, 2, 2:50,

4:45, 5:30, 7:30, 8:10, 10:05, 10:50 p.m.; Mon., 11:15 a.m., 2, 3:10, 4:45, 5:45, 7:30, 8:30, 10:05 p.m.; Tues., 11:15 a.m., 2, 3:10, 4:45, 7:30, 10:05 p.m.; Wed., 11:15

a.m., 2, 3:10, 4:45, 5:45, 7:30, 8:30, 10:05 p.m.; Thurs., 11:15 a.m., 2, 3:10, 4:45, 7:30, 10:05 p.m.

Song to Song Fri.-Sun., 10:35 a.m., 1:30, 4:25, 7:20, 10:10 p.m.; Mon.-Thurs., 11:30 a.m., 1:30, 4:25, 7:20, 10:10 p.m.

Kong: Skull Island 11:20 a.m., 2:05, 4:50, 7:35, 10:15 p.m.

Personal Shopper Fri., 11:50 a.m., 2:20, 4:50, 7:25, 9:50 p.m.; Sat., 10:35 a.m., 2:20, 4:50, 7:25, 9:50 p.m.; Sun.-Thurs., 11:50 a.m., 2:20, 4:50, 7:25, 9:50 p.m.

The Sense of an Ending 11:35 a.m., 2:10, 4:45, 7:20, 9:50 p.m.

The Last Word Fri.-Mon., 11:25 a.m., 2, 4:35, 7:10, 9:40 p.m.; Tues., 11 a.m., 1:30, 4, 10:05 p.m.; Wed.-Thurs., 11:25 a.m., 2, 4:35, 7:10, 9:40 p.m.

Logan Fri.-Sun., 10 a.m., 1:05, 4:10, 7:15, 10:15 p.m.; Mon.-Thurs., 1:05, 4:10, 7:15, 10:15 p.m.

A United Kingdom Fri.-Mon., 11:45 a.m., 2:20, 4:55, 7:30, 10 p.m.; Tues., 11:20 a.m., 1:50, 4:25, 10 p.m.; Wed.-Thurs., 11:45 a.m., 2:20, 4:55, 7:30, 10 p.m.

Wilson Thurs., 7:30, 9:45 p.m.Lion Fri., 10:50 a.m., 1:35, 4:20, 7:05, 9:45 p.m.; Sat., 1:35,

4:20, 7:05, 9:45 p.m.; Sun., 10:50 a.m., 1:35, 4:20, 7:05, 9:45 p.m.; Mon.-Wed., 11 a.m., 1:35, 4:20, 7:05, 9:45 p.m.; Thurs., 11 a.m., 1:35, 4:20, 9:50 p.m.

Beauty and the Beast (1946) Fri.-Sun., 10:25, 11:15 a.m., 1:20, 2:10, 4:15, 5:05, 7:10, 8, 9:55, 10:50 p.m.; Mon.-Thurs., 11:15 a.m., 1:20, 2:10, 4:15, 5:05, 7:10, 8, 9:55 p.m.

CULVER CITY, LAX, MARINA DEL REY

CINEMARK 18 & XD 6081 Center Drive (310)568-3394Power Rangers Thurs., 7, 8:30, 10, 11:30 p.m., 12:01

a.m.Bolshoi Ballet: A Contemporary Evening Sun.,

12:55 p.m.Beauty and the Beast Fri.-Wed., 12:40, 3:50, 7 p.m.;

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

Beauty and the Beast in Disney Digital 3D Fri.-Sun., 9:30 a.m., 10:10 p.m.; Mon.-Wed., 10:10 p.m.; Fri., 9:50 a.m., 1:20, 4:10, 4:30 p.m.; Sat.-Sun., 9:50 a.m., 1:20, 4:30 p.m.; Mon.-Wed., 1:20, 4:10, 4:30 p.m.; Fri., 9:50, 11 a.m., 1:20, 3:25, 4:10, 4:30, 6:35, 8:30 p.m.; Sat.-Sun., 11 a.m., 12:15, 1:20, 3:25, 4:30, 6:35, 8:30 p.m.; Mon.-Tues., 11 a.m., 1:20, 4:10, 4:30, 8:30 p.m.; Wed., 1:20, 4:10, 4:30, 8:30 p.m.

The Belko Experiment Fri.-Sun., 9:40 a.m., 12:10, 2:40, 5:10, 7:40, 10:05 p.m.; Mon.-Wed., 12:10, 2:40, 5:10, 7:40, 10:05 p.m.

Badrinath Ki Dulhania Fri.-Sat., 9 a.m., 12:15, 3:35, 6:45, 10 p.m.; Sun., 9 a.m., 4:05, 7:15, 10:15 p.m.; Mon.-Wed., 12:15, 3:35, 6:45, 10 p.m.

Kong: Skull Island Fri.-Sat., 10:50, 11:40 a.m., 1:40, 2:35, 4:35, 5:30, 7:30, 8:20, 10:25, 11:15 p.m.; Sun., 10:30, 11:40 a.m., 1:40, 2:35, 4:30, 5:30, 7:30, 8:20, 10:25, 11:15 p.m.; Mon.-Wed., 10:50, 11:40 a.m., 1:40, 2:35, 4:35, 5:30, 7:30, 8:20, 10:25, 11:15 p.m.

Kong: Skull Island 3D Fri.-Wed., 12:40, 3:35, 6:30, 9:25 p.m.

Before I Fall Fri.-Sun., 9:55 p.m.; Mon.-Wed., 11:35 a.m., 2:15, 4:55, 7:25, 9:55 p.m.

Logan Fri.-Sun., 10:05, 10:50 a.m., 1:20, 2:05, 4:40, 5:20, 7:50, 8:40, 11:05 p.m.; Mon.-Wed., 10:50 a.m., 1:20, 2:05, 4:40, 5:20, 7:50, 8:40, 11:05 p.m.

The Shack Fri.-Wed., 11:40 a.m., 2:45, 5:50, 8:55 p.m.Get Out Fri.-Sun., 9:25, 10:50 a.m., 12:10, 1:30, 2:45,

4:10, 5:25, 6:50, 8:10, 9:35, 10:50 p.m.; Mon.-Wed., 10:50 a.m., 12:10, 1:30, 2:45, 4:10, 5:25, 6:50, 8:10, 9:35, 10:50 p.m.

Fifty Shades Darker Fri.-Sun., 9:10 p.m.; Mon.-Wed., 10:55 a.m., 1:55, 5, 8, 11 p.m.

The Lego Batman Movie Fri.-Wed., 11:15 a.m., 1:55, 4:30, 7:05, 9:40 p.m.

RAVE CINEMAS BALDWIN HILLS CRENSHAW PLAZA 15 + XTREME 4020 Marlton Avenue (323)296-1005Power Rangers Thurs., 7, 10:15 p.m.Beauty and the Beast Fri.-Wed., 9:30 a.m., 12:30,

3:45, 7, 10:15 p.m.; Fri.-Sun., 9 a.m., 12 noon, 4:15, 6:30, 10:45 p.m.; Mon.-Wed., 12 noon, 4:15, 6:30, 10:45 p.m.; Fri.-Sat., 9 a.m., 12 noon, 2:45, 4:15, 6:30, 9:15, 10:45 p.m., 12:15 a.m.; Sun., 9 a.m., 12 noon, 2:45, 4:15, 6:30, 9:15, 10:45 p.m.; Mon.-Wed., 12 noon, 2:45, 4:15, 6:30, 9:15, 10:45 p.m.

Beauty and the Beast in Disney Digital 3D Fri.-Wed., 10:30 a.m., 1:30, 4:45, 8, 11:15 p.m.; Fri.-Wed., 10 a.m., 1, 3:15, 7:30, 9:45 p.m.; Fri.-Wed., 10, 11:10 a.m., 1, 3:15, 6, 7:30, 9:45 p.m.

The Belko Experiment Fri.-Wed., 11:30 a.m., 2, 5, 7:20, 9:50 p.m.

Kong: Skull Island Fri.-Sat., 9:40, 11:20 a.m., 12:40, 2:20, 3:50, 5:30, 6:50, 8:30, 10, 11:30 p.m., 12:20 a.m.; Sun.-Wed., 9:40, 11:20 a.m., 12:40, 2:20, 3:50, 5:30, 6:50, 8:30, 10 p.m.

Kong: Skull Island 3D Fri.-Wed., 10:20 a.m., 1:20, 4:30, 7:50, 10:50 p.m.

Logan Fri.-Sat., 10:45, 11:45 a.m., 2:30, 3:30, 6:40, 7:40, 10:30, 11:20 p.m.; Sun.-Wed., 10:45, 11:45 a.m., 2:30, 3:30, 6:40, 7:40, 10:30, 11 p.m.

The Shack Fri.-Wed., 1:40, 4:50, 7:55, 11 p.m.Get Out Fri.-Wed., 9:20, 10:10 a.m., 12:10, 1:10, 3, 4, 6:20,

7:10, 9:30, 10:20 p.m.Rock Dog Fri.-Wed., 11 a.m.Fist Fight Fri.-Wed., 10:50 p.m.The Lego Batman Movie Fri.-Wed., 9:50 a.m., 12:15,

2:40, 5:15, 8:15 p.m.AMC LOEWS CINEPLEX MARINA MARKETPLACE 13455 Maxella Ave. (800) 326-3264 704The Belko Experiment Fri.-Sun., 12 noon, 3, 6, 9, 11:30

p.m.; Mon.-Wed., 12 noon, 3, 6, 9, 11:15 p.m.

Kong: Skull Island Fri.-Wed., 12:15, 3:15, 6:30, 10:30 p.m.

Kong: Skull Island 3D Fri.-Wed., 1:15, 4:15, 7:15 p.m.Logan Fri.-Wed., 11:45 a.m., 1, 3:45, 4:45, 7:45, 8:30,

11:15 p.m.Get Out Fri.-Wed., 11:30 a.m., 2:15, 5:30, 8:15, 10, 11 p.m.PACIFIC CULVER STADIUM 12 9500 Culver Blvd. (310) 360-9565Power Rangers Thurs., 7, 9:45 p.m.Beauty and the Beast Fri., 10, 11, 11:30 a.m., 12 noon,

12:45, 1:15, 1:45, 2:10, 3:05, 3:30, 4:30, 5:15, 5:45, 6:15, 7:15, 8, 8:30, 9, 9:30, 10, 10:45, 11:15, 11:45 p.m.; Sat., 9, 9:30, 10, 11, 11:30 a.m., 12 noon, 12:45, 1:15, 1:45, 2:10, 3:05, 3:30, 4:30, 5:30, 5:55, 6:15, 7:15, 8:15, 8:40, 9, 9:30, 10, 11, 11:45 p.m.; Sun., 9, 9:30, 10, 11, 11:30 a.m., 12 noon, 12:45, 1:15, 1:45, 2:10, 3:05, 3:30, 4:30, 5:30, 5:55, 6:15, 7:15, 8:15, 8:40, 9, 9:30, 10, 11 p.m.; Mon.-Wed., 10, 11, 11:30 a.m., 12 noon, 12:45, 1:15, 1:45, 2:10, 3:05, 3:30, 4:30, 5:15, 5:45, 6:15, 7:15, 8, 8:30, 9, 9:30, 10, 10:45 p.m.

Beauty and the Beast in Disney Digital 3D Fri., 10:30 a.m., 2:40, 4, 6:45 p.m.; Sat., 2:45, 4, 6:45 p.m.; Sun., 10:30 a.m., 2:45, 4, 6:45 p.m.; Mon.-Wed., 10:30 a.m., 2:40, 4, 6:45 p.m.

The Belko Experiment Fri.-Sat., 10:40 a.m., 12:35, 2:15, 5:10, 7:05, 9:40 p.m.; Sun.-Wed., 10:40 a.m., 12:35, 2:15, 5:10, 7:05, 9:55 p.m.

Kong: Skull Island Fri., 10:25, 11:45 a.m., 12:55, 3:25, 4:45, 5:50, 7:10, 8:15, 10:05, 11:30 p.m.; Sat., 9:10, 10:25, 11:45 a.m., 12:55, 3:25, 4:45, 5:50, 7:10, 8:15, 10:05, 11:10 p.m., 12 mid.; Sun., 9:10, 10:25, 11:45 a.m., 12:55, 3:25, 4:45, 5:50, 7:10, 8:15, 10:05, 11:15 p.m.; Mon., 10:25, 11:45 a.m., 12:55, 3:25, 4:45, 5:50, 8:15, 10:05, 11:10 p.m.; Tues., 10:25, 11:45 a.m., 12:55, 3:25, 4:45, 5:50, 7:15, 8:15, 10:05, 11:10 p.m.; Wed., 10:25, 11:45 a.m., 12:55, 3:25, 4:45, 5:50, 7:10, 8:15, 10:05, 11:10 p.m.

Logan Fri., 10 a.m., 12:15, 2:50, 4:15, 5:35, 7, 8:20, 9:15, 10:50 p.m.; Sat., 9:55 a.m., 12:15, 2:50, 4:15, 5:35, 7, 8:20, 9:15, 10:50, 11:30 p.m.; Sun., 9:55 a.m., 12:15, 2:50, 4:15, 5:35, 7, 8:20, 9:15, 10:50, 11:10 p.m.; Mon., 10 a.m., 12:15, 2:50, 4:15, 5:35, 7, 8:20, 9:15, 10:50 p.m.; Tues., 10 a.m., 12:15, 2:50, 4:15, 5:35, 7, 8:20, 9:50, 10:50 p.m.; Wed., 10 a.m., 12:15, 2:50, 4:15, 5:35, 7, 8:20, 9:15, 10:50 p.m.

Get Out Fri., 10:35 a.m., 12:50, 2:05, 3, 4:15, 5:30, 6:30, 7:45, 8:45, 9:45, 11, 11:40 p.m.; Sat., 9:15, 10:35 a.m., 12:50, 2:05, 3, 4:15, 5:30, 6:30, 7:45, 8:45, 9:45, 11:15, 11:40 p.m.; Sun., 9:15, 10:35 a.m., 12:50, 2:05, 3, 4:15, 5:30, 6:30, 7:45, 8:45, 9:45, 11:20 p.m.; Mon., 10:35 a.m., 12:50, 2:05, 3, 4:15, 5:30, 6:30, 7:45, 8:45, 9:45, 11:05 p.m.; Tues., 10:35 a.m., 12:50, 2:05, 3, 4:15, 5:30, 7:45, 9:05, 10:05, 11:05 p.m.; Wed., 10:35 a.m., 12:50, 2:05, 3, 4:15, 5:30, 6:30, 7:45, 8:45, 9:45, 11:05 p.m.

The Lego Batman Movie Fri., 10:05 a.m., 12:40 p.m.; Sat.-Sun., 9:20 a.m., 12:40 p.m.; Mon.-Wed., 10:05 a.m., 12:40 p.m.

Hidden Figures Fri.-Wed., 11:25 a.m., 2:45 p.m.Cape Fear (1962) Mon., 7:30 p.m.

BEACHES

Santa Monica, Malibu

AMC SANTA MONICA 7 1310 Third Street Promenade (310) 395-3030Beauty and the Beast Fri.-Sun., 10 a.m., 2, 3:30, 4, 8,

10 p.m.; Mon.-Tues., 11 a.m., 3:30, 4, 10 p.m.; Wed., 11 a.m., 3:30, 4, 8, 10 p.m.; Thurs., 10 a.m., 4, 10 p.m.

Beauty and the Beast in Disney Digital 3D Fri.-Sat., 11 a.m., 1, 5, 7, 11 p.m.; Sun., 11 a.m., 1, 5, 7 p.m.; Mon.-Wed., 1, 2, 5, 7 p.m.; Thurs., 1, 7 p.m.

Before I Fall Fri.-Sun., 1:30, 7:15 p.m.; Mon.-Wed., 11 a.m., 1:30, 7:15 p.m.

Logan Fri.-Wed., 12:30, 3:50, 7:20, 10:30 p.m.Get Out Fri.-Sun., 10:10 a.m., 12:45, 3:15, 5:45, 8:15, 10:45

p.m.; Mon.-Wed., 12:30, 3, 5:30, 8, 10:30 p.m.The Lego Batman Movie Fri.-Sun., 9:45 a.m., 12:30,

3:20, 6:15, 9 p.m.; Mon.-Wed., 12:30, 3:20, 6:15, 9 p.m.Hidden Figures Fri.-Sun., 10:30 a.m., 4:10, 9:45 p.m.;

Mon.-Wed., 4:10, 9:45 p.m.La La Land Fri.-Wed., 12:30, 6:30, 9:30 p.m.AERO THEATER 1328 Montana Ave. (323) 466-FILM Call theater for schedule.LAEMMLE’S MONICA 4-PLEX 1332 Second St. (310) 478-3836The Settlers Fri., 1:40, 4:20, 7:10, 10 p.m.; Sat.-Sun., 11

a.m., 1:40, 4:20, 7:10, 10 p.m.; Mon.-Thurs., 1:40, 4:20, 7:10, 10 p.m.

You Can’t Have It 9:55 p.m.The Sense of an Ending Fri., 1:30, 4:30, 7:30, 10:10

p.m.; Sat.-Sun., 10:50 a.m., 1:30, 4:30, 7:30, 10:10 p.m.; Mon.-Thurs., 1:30, 4:30, 7:30, 10:10 p.m.

The Freedom to Marry Fri., 1:10, 5:40 p.m.; Sat., 11 a.m., 1:10, 5:40 p.m.; Sun., 11 a.m., 5:40 p.m.; Mon., 1:10, 5:40 p.m.; Tues., 5:40 p.m.; Wed.-Thurs., 1:10, 5:40 p.m.

National Theatre Live: Saint Joan Mon., 7:30 p.m.; Tues., 1 p.m.

Kedi Fri., 3:20, 7:50, 10:10 p.m.; Sat., 10:45 a.m., 3:20, 7:50, 10:10 p.m.; Sun., 10:45 a.m., 7:50, 10:10 p.m.; Mon., 3:20, 7:50, 10:10 p.m.; Tues., 7:50, 10:10 p.m.; Wed.-Thurs., 3:20, 7:50, 10:10 p.m.

The Salesman (Forushande) Fri., 1, 4, 7, 9:55 p.m.; Sat.-Sun., 10:30 a.m., 1, 4, 7, 9:55 p.m.; Mon., 1, 4 p.m.; Tues.-Wed., 1, 4, 7, 9:55 p.m.; Thurs., 1, 4, 9:55 p.m.

Betting on Zero Fri., 1:50, 4:40, 7:20 p.m.; Sat.-Sun., 11:20 a.m., 1:50, 4:40, 7:20 p.m.; Mon.-Thurs., 1:50, 4:40, 7:20 p.m.

Fittest on Earth 1:20, 4:10, 7, 9:50 p.m.AMC LOEWS CINEPLEX BROADWAY 1441 Third Street Promenade (800) 326-3264 706Beauty and the Beast 12 noon, 6 p.m.Beauty and the Beast in Disney Digital 3D 3,

9 p.m.The Belko Experiment Fri.-Wed., 11:45 a.m., 2, 4:30,

6:45, 9:15 p.m.Logan Fri.-Wed., 11:30 a.m., 2:50, 6:20, 9:30 p.m.Get Out Fri.-Wed., 11:45 a.m., 2:15, 4:45, 7:15, 9:45 p.m.

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The Once and Future Kingdom

DJ, PRODUCER AND LABEL BOSS KINGDOM CAME TO L.A. TO REINVENT HIMSELF — AND CREATED HIS OWN SCENE IN THE PROCESS

BY JEFF WEISS

It was 2011 and Kingdom was liv-ing up to the dominion implied in his name. Spinning three or four times a week at New York clubs, the DJ/produc-er operated at

the vanguard of North American underground dance music. His col-laborations with Fools Gold and rising London imprint Night Slugs cast him as one of the few American produc-ers capable of matching the imagination and en-ergy of the flourishing British post-dubstep diaspora, which en-compassed U.K. funky, purple and instrumental grime.

But something felt o� — partially due to a Type 1 diabetes diagnosis the year before, which had forced Kingdom to drastically alter his lifestyle.

“Dealing with it became a full-time job. I’d go to my weekly DJ residences but felt like I was in my own world, where the people didn’t know what I was going through,” says the artist born Ezra Rubin, who grew up in the far-flung sub-urbs of Boston and eventually moved to New York to study fine art at Parsons.

“I’d leave the club to eat my snack to keep my blood sugar even,” Kingdom continues. “Nobody really knew, but they weren’t about to understand why I was going to Subway in the middle of DJ sets either. I’ve recovered, but those initial years felt really isolating. I knew I needed to remake my life from scratch.”

So Kingdom quietly headed west, at-tracted to the weather, weed, food and our city’s bizarre fusion of suburb and city. But if his sound — a futuristic, late-night collision of hip-hop, contemporary R&B, ballroom, Baltimore and Jersey Club, and subterranean U.K. dance music — naturally fit in New York, he quickly discovered that he had to build his own scene here.

Just over a half-decade later, his Fade to Mind label has become one of the most important L.A. dance music (and R&B) institutions, in the top tier alongside Body High, L.A. Club Resource and 100%

Silk. It has classic warehouse parties and indelible releases from Kelela, Dawn Richard, Nguzunguzu, Fatima Al Qadiri and DJ Sliink to its name.

But all the feverish labor of building the label and brand distracted Kingdom from producing a definitive full-length state-ment of his own. While dance music is historically a singles and EP format, pro-ducers rarely cross over to mainstream audiences without an album. Cue Tears in the Club, which Kingdom released last month and which figures to be one of the best R&B albums of the year.

A manifestation of solo nighttime hikes, sunset drives bumping music and subterranean warehouse parties, it reflects a more complex and mature artist in his latest stage of evolution, one who struck a cease-fire with himself.

“I realized that I kind of hated myself for having diabetes — like, why couldn’t I be normal,” Kingdom says at the small Fade to Mind headquarters and studio at the northern fringe of Koreatown. He

wears a label tee, black zippered pants, close-cropped copper-colored hair and a diamond stud in his ear.

With two songs apiece from TDE’s SZA and The Internet’s Syd, the record balances gauzy vocals with gritty beats, ethereal pleas with a haunted slink.

“People hear synth sounds and think, ‘Oh, commercial,’ or they hear Baltimore club and think, ‘That’s some hood club shit,’ or they hear Syd and SZA and think alternative R&B,” he says. “It’s a little peek into my world where there aren’t any value judgments of what’s cheap and what’s fancy or cool or what’s radio. I want to allow that all in but also allow for people to hear me venting my emotions. There’s a sadness and a healing element, too. It really does tell the story of my life out here.”

An L.A. native, Je� Weiss edits Passion of the Weiss and hosts the Bizarre Ride show on RBMA Radio. Follow him on Twitter @passionweiss.

| Music // | Bizarre Ride //

PHOTO BY LANE STEWART

Kingdom

HIS FADE TO MIND LABEL HAS BECOME AN L.A. R&B/DANCE MUSIC INSTITUTION.

NEW ALBUM

AVAILABLE NOW“The Shins’ most adventurous album yet.”

- Entertainment Weekly

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STADIUM ROCK

I just returned from spending the better part of the week in Mexico City. On the fl ight, I shared the plane with a lot of people in

heavy metal T-shirts, who I assumed were headed to the Foro Sol, a 62,000-capacity out-door venue where Metallica would be playing three sold-out shows with Iggy Pop supporting.

As my taxi closed in on the Marquis Reforma Hotel, I thought about the practicalities of spending several days in a country whose citizens comrade Trump has all but demonized and seeks to wall off. I’ve traveled outside our borders through every administration from Reagan to now, and it’s always a more hospitable environment when there isn’t a Republican in the White House. An American in Mexico isn’t unusual but, things being what they are, I didn’t know what to expect. I understand the anger that can arise from being insulted and belittled. Coming from a lightweight such as Trump, it might make me want to unload on a perceived sympathizer. I hoped for the best but kind of knew that I would be OK.

The morning after arrival, I met up with Iggy’s band in the lobby to head to the venue, where, due to tra� c and security logistics, we would spend the hours leading up to their set at 1930 hrs.

In the blazing sun, I stood on the stage with the band as they ran through songs at soundcheck. � e size of the operation is truly impressive. To put on a Metallica show requires literally hundreds of people. As the band banged away, I watched large groups of security and staff receive their briefings in the massive area in front of the bleachers. � e songs sounded ridiculous in this setting, as the booming echo made it sound like they were waging war with silence.

� e setup was epic yet utilitarian. At the rear of the stage, a high wall, which was actually a screen, ran its entire length. A camera sus-pended by cable could cover the action and send the images to the screen. Without this, the people seated nearly a city block away would see only small dots onstage. For them, it would be a live documentary — rock & roll pay-per-view, with great sound.

A� er soundcheck, I sat in the windowless, rectangular room for the band and tripped on the seeming impossibility of playing on a stage you could get lost on, and trying to connect with a huge audience, who will basically watch you loom over them, the images selected by the camera operator. I wondered if, in the

case of Metallica, who have been playing arenas and stadiums for about 30 years, it infl uenced their songwriting. � ere’s defi nitely a mindset you need to be in to fi ll up a stage that size. You don’t necessarily have to be an egomaniac, but you need to be able to bring it in an epic fashion.

I have seen more than one band who got very big but were never able to grow into the venues required to accommodate their audi-ences. � e Beatles are a perfect example of one of the biggest bands in the history of music who looked microscopic on every stage they played on a� er they hit the big time. � en there’s � e Rolling Stones, who seem to dwarf every stage they ever set foot on.

Punk rock got me out of the arenas and into the clubs, o� en a few feet or less away from the bands I went to see. � e transition didn’t make me look back with contempt at what I had just le� , but made me realize there was a loneliness to it that I was happy to have behind me.

I was fascinated to see what Iggy and his bandmates would make of a stage with that crazy circular runway thing enclosing a group of people, like fi sh in a barrel, looking up at them. During the three shows over fi ve nights, I got a good chance to fi nd out.

Iggy Pop was made to be seen. In the tradi-tion of all great frontmen, he does everything possible to make you forget there is anyone else in the world you should be thinking about. He’s real damn good at it, too. It was a Metallica crowd and, as with any band with such devoted fans, they are not always hospitable to the openers. But Iggy had ’em immediately.

I watched all three shows from the sound-board. Even as close as I was, I found myself watching the images of the band on the video monitors. I was at a live show but watching a screen, and though the strangeness of that was ever present, it made the overall oddly impactful. � e band played great and Iggy, probably unknowingly, shrunk the size of the place as he loomed larger than life over us.

There were moments that were almost hypnotizing. On the second night, he spoke the fi rst verse of “Some Weird Sin”: “Well, I never got my license to live/� ey won’t give it up/So I stand at the world’s edge/I’m trying to break in/Oh, I know it’s not for me/And the sight of it all/Makes me sad and ill/� at’s when I want some weird sin.” � en the band came right in and at that moment, the whole place seemed perfectly suited for him.

Several minutes later, Metallica hit the stage and it was a di� erent thing altogether. The crowd roared and thousands of cell-phones, the new lighter, created a beautiful sea of waving stars as the band totally smashed it to pieces.

It was a truly awesome thing to witness, and one of the more eclectic pairings. I think Bill Graham would have been proud.

Henry Rollins

The Column!

TO PUT ON A METALLICA SHOW REQUIRES LITERALLY HUNDREDS OF PEOPLE.

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THU. MARCH 16THU. MARCH 16

3/20 THE FLOOR IMPROV NIGHT 3/21 COLORS COMEDY 3/22 HOT SAUCE3/23 DBLTAP 3/24 MILK MILK LEMONADE 3/24 TEEN PARTY3/25 BOOTIE LA: JUSTIN VS. JUSTIN MASHUP NIGHT3/26 COAST 2 COAST LIVE 3/26 VIP NETWORKING SPRING GALA 3/26 CULTIVATE 3/27 COME TOGETHER 3/28 THE MOTH 3/30 COMMITTED3/31 SUGA FREE4/1 NEF THE PHARAOH 4/1 LA MISA NEGRA 4/2 ANTI POP 4/4 THE MOTH4/6 VOZ DE MANO

3/18 BACKWOODS N’ DUTCHES3/18 NERD BOY EXTRAVAGANZA3/18 BLESS UP! 3/19 BANJEE BALL3/19 DISCO BALL 2017 “STAYIN’ ALIVE” 3/19 POT OF GOLD EXOTIC DAY PARTY3/23 DEFFIE, MALCOLM ANTHONY, KOZZE 3/23 NOER THE BOY 3/25 RAVEN FELIX 3/24 CRO-MAGS 3/24 STATE OF THE UNION WITH XXYYXX PLUS SPECIAL GUEST HOODBOI 3/24 GET HEAVY 3/25 RAVEN FELIX 3/25 BRUT3/25 CARPENTER BRUT 3/25 PRIMITIVE TOMORROW U.S. TOUR 3/30 SPRING BREAK PART II3/26 CHENCHA 3/30 CURED BY CULTURE

COMING SOON: 3/30 SPRING BREAK PART II3/31 FORGIVE ME FATHER3/31 BLACKOUT: LA LEATHER PRIDE W/ DJ HECTOR FONSECA 4/1 DARK ARTS LA4/2 NAMASDRAKE: A DRAKE THEMED YOGA CLASS 4/2 NAMASBEY: A BEYONCÉ THEMED YOGA CLASS4/7 HARDRUSH: HARDCORE UNDERGROUND 4/7 HORSE THE BAND 4/8 B-SIDE00184/15 MECHANICAL TURK 4/21 LA RESISTENCIA 4/21 PERPETUAL DAWN / INTERSESSIONS - PLANNED PARENTHOOD BENEFIT PARTY 4/29 ACXDC 4/29 NEW SCHOOL DAZE5/25 THE NEW DIVISION6/15 SADISTIC INTENT

COMING SOON: 4/7 A CLUB CALLED RHONDA 4/8 MISSING PIECES 4/8 PLAY IT LOUD4/8 DS-13 4/10 THEE STATIC AGE PRESENTS: SUBHUMANS 4/13 OG MACO & YOUNG GREATNESS 4/15 DILF LOS ANGELES 4/16 OHANA TREE FEATURING B. DOLAN, DJ ABILITIES, CAS ONE VS FIGURE, DOPE KNIFE, BESATREE, ANALOG DIVE, FREEWILL4/18 THE MOTH4/19 COAST 2 COAST LIVE4/20 QUEEN TRIBUTE CONCERT 4/21 CLUB 90’S 4/24 THE LYSTENING TOUR 4/30 I DON’T DO CLUBS PRESENTS: MUST LOVE BEARDS 5/4 STONER SYMPHONY TOUR 6/1 THE POISONOUS TOUR

FRI. MARCH 17

FRI. MARCH 17

SAT. MARCH 18

FRI. MARCH 17

LUCIDITY LOS ANGELES PRE-PARTYCLAUDE VONSTROKE

SAT. MARCH 18

SUN. MARCH 19

FRI MARCH 17

SUN. MARCH 19

SUN. MARCH 19

SAT. MARCH 18

A CLUB CALLED RHONDA

BOOTIE LAST. PADDY’S AFTER PARTY

TY LAW INSOMNIAC TOUR

PARTY MCFLY

GOTH MONEY RECORDS

ELECTRONIC ENLIGHTENMENTFT. REKOIL, AKRONYM, SWEET TOOTH, CSHAY, ZONII

AMPLIFY AFRICA PRESENTS

AFROSOUL LIVE

SPRING BANG TOURFT. PVO

VOLTAXSPELL, BLADE KILLER & WITCHSTONE

THU. MARCH 16

XIU XIUPETE SWANSON (DJ), ODWALLA88, MEISHI SMILE & GIRL PUSHER

THU. MARCH 16

DEDEKIND CUTJAMES FERRARO, ELON KATZ, & RENE HELL

UP TO SOMETHINGFT. TRVESO + SPECIAL GUESTS

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fri 3/17Yellowcard

@ THE OBSERVATORYRemember “Ocean Avenue,” Yellow-card’s inescapable, breezy 2003 hit, brimming with hazy scenes of Southern California sunsets and nostalgia for young romance? Even for those who don’t quite view lost love through rose-tinted lenses, the track hits a sweet spot somewhere between solemn and sunny (with a twist of violin). Florida-bred pop-punk heavy-hitters Yellowcard have occupied the space between bright and dark and dominated emo playlists for nearly 15 years. If you’ve ever wanted to belt out “Only One” with someone you love, now’s your chance — and it’s among your last, as the band wrap up what they’re saying will be their final tour at the end of March. Also Sunday, March 19, and Friday, March 24, at the Novo and Saturday, March 25, at House of Blues Anaheim. —Artemis Thomas-Hansard

GØGGS @ THE ECHO

It sometimes seems as if Ty Segall is behind every notable modern garage-punk and psychedelic hard-rock band. Beyond his own prolific solo career, the 29-year-old Laguna Beach native also performs with Fuzz, The Muggers, Tim Presley, Broken Bat and longtime pal Mikal Cronin. Segall fires o� a fusillade of heavy guitar ri�s and adds the occa-sional hint of melody in his backing vo-cals in GØGGS, but the group is fronted by Ex-Cult shouter Chris Shaw and powered by drummer Charles Moothart. When GØGGS made their live debut last summer at In the Red Records’ 25th-anniversary show at the Echoplex, they came o� like midperiod Black Flag, with a more pronounced hardcore edge than Segall’s other projects. Shaw’s raw vocals add seedy menace to such bleakly titled rants as “Assassinate the Doctor” and “Glendale Junkyard.” —Falling James

sat 3/18L Festival

@ PICO RIVERA SPORTS ARENAThe San Gabriel Valley, one of the most underappreciated parts of L.A. County and home to the region’s working-class, predominantly Latino backbone, is the appropriate setting for the L Festival, a celebration of music from Mexico, the Caribbean, Central and South America, and right here in our own backyard. Ev-erything from norteño (Los Tigres del Norte) to reggaeton (Daddy Yankee) to rock (Juanes) to global Latin pop (Mar-co Antonio Solís, J Balvin) and even a hologram of late Mexican-American pop star Jenni Rivera are represented

on the festival’s diverse line-up. This is the soundtrack of Alta California, distilled into a single event. Also Sunday, March 19. —Sam Ribakoff

Damian Lazarus, Heidi Lawden

@ SOUND NIGHTCLUBDamian Lazarus doesn’t sim-ply DJ at parties — he brings the party. The revered turn-table shaman and epitome of dance-floor cool is known for many things. At the top of the list are his outdoor parties: Get Lost, Rebel Rave and Day Zero all draw massive crowds looking for Lazarus and his Crosstown Rebels label experience. Still riding high from his live artist project, the mystically titled Damian Lazarus and the Ancient Moons (which has a single forthcoming at the end of the month), Lazarus will be exercising his controlled and commanding DJ skills in a rare, one-o� club appearance. Getting the party ignited is the inimitable Heidi Lawden, who in more than two de-cades behind the decks has rarely made a wrong choice in her tune selection. —Lily Moayeri

Ann Magnuson @ TREPANY HOUSE AT

THE STEVE ALLEN THEATERAnn Magnuson is the kind of restlessly provocative Renaissance woman who might be elusive and hard to define and yet tends to show up like Wonder Woman just when she’s needed the most. In the past, the former New Yorker has personi-fied a large galaxy of mundanely bizarre characters as a star of sitcoms and films (Anything but Love, Making Mr. Right) and as the voice of such subversively unpredictable bands as Bongwater. To-night she returns to the soon-to-be-de-molished Steve Allen Theater for a show she’s pointedly titled Seriously, WTF?! — Dream Girl Reacts to the National Nightmare. Backed by bassist Marc Doten and drummer Joe Berardi (Dead-beats/Fibonaccis), Magnuson debuts a Trump-inspired spoken-word opus and post–Election Day anti-hymns, alongside her twisted glam-pop reinterpretations of famous protest songs and “freshly rel-evant” Bongwater oldies. —Falling James

sun 3/19James Chance & the Contortions

@ THE ECHOPLEXSome of the earliest punks in the mid to late 1970s soon tired of the limitations of the Ramones-style formula and began wandering into sonic byways that were still fueled by punk aggression but open to a wider range of musical experimenta-tion. In Manhattan, the No Wave scene

gave birth to such abrasively noisy and defiantly anti-rock combos as Lydia Lunch’s 8-Eyed Spy and funky post-punks Bush Tetras. One of the most charismatic No Wave performers was James Chance, a brash saxophonist-vocalist who led a series of bands that melded James Brown–inspired funk grooves with an arty, Bee¬eart-like angularity. As leader of James Chance & the Contortions, he perfected an approach that was busy and claustrophobic yet brainy and danceable. He brings the Contortions back to L.A. for the first time since 1982. —Falling James

Âme @ LOT 613

German DJ/producer duo Âme captured the hearts of clubgoers worldwide in 2005 with the melodic house anthem “Rej.” That massive, omnipresent single, which was featured on dozens of compilations, was one of the first releases on Innervisions, the label they run with Dixon, which stands today as one of dance music’s most note-worthy imprints. Tonight Frank Wiede-mann will represent the pair on his own, performing a live set that will draw from Âme’s back catalog (Kristian Beyer played a well-received solo DJ gig at Lot 613 last July). Wiedemann achieved some cross-over success in 2013 with “Howling,” which he co-produced with Ry X of Mute Records indie electronic act The Acid, with whom he continues to collaborate. —Matt Miner

mon 3/20Otep

@ WHISKY A GO-GOFronted by no-nonsense poet and activ-ist Otep Shamaya, the band Otep have

| Music // | Picks //

Âme: See Sunday.

PHOTO BY ESRA ROTTHOFF

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been together for a decade and a half — and, after an ill-fated stint with hardcore label Victory Records, have found their feet again with the more metal-focused Napalm Records. Their most recent album, Genera-tion Doom, is a furious blast of genre-defying rap-metal. While the band emerged during the nu-metal revolution, when rap and metal were becoming natural bedfellows, Otep was nothing like Limp Bizkit. Shamaya’s lyrics are intelligent — often personal, always thought-provoking. In the face of this new administration, she has been out marching in protest, and that anger is bound to translate to her music and live performances. In other words, if you think Otep were pissed o� before, you ain’t seen nothing yet. —Brett Callwood

tue 3/21Kate Tempest

@ THE ECHOPLEXKate Tempest lives up to her name with an angry but inspiring whirlwind of non-stop words that she spits out with hip-hop rhythms and a decidedly unsentimental worldview. The English poet isn’t waiting for her words to be discovered in a musty attic a hundred years from now. Instead, she casts out her blurry spells with a hard-driving immediacy that makes it palpably clear that now is the time to reclaim our lives from social oppressors. “We have learned nothing from history/The people are dead in their lifetimes/Dazed in the shine of the streets,” Tem-pest warns over a coldly funky backdrop on her timely new video “Europe Is Lost,” from her latest album, Let Them Eat Chaos. Later she surveys a barren land-scape of racial injustice, environmental destruction, “tainted” language, poverty and seeming hopelessness: “Riots are tiny though, systems are huge/Tra�c keeps moving.” —Falling James

Dungen @ THE GETTY

Ever-morphing polymusic wizards Dun-gen had, by the 2008 release of Dungen 4, mastered the art of a new rock that could reliably make the listener tap the chin in deep rumination while banging his or her head on the nearest wall. Over the course of a few more albums, the Swedish band’s heavily rocking psychedelia has morphed further into unfettered territories of imprecise genre, hovering amid richly musical yet blisteringly raw guitar-rock and deeply orchestrated space-jazz, like the soundtracks for films yet to exist. Just out is the band’s first all-instrumental album, Häxan (“The Witch”), on the Mexican Summer label, a stand-alone compendium of music the band com-posed and performed for a reissue of Lotte Reiniger’s 1926 The Adventures

of Prince Achmed, the oldest surviving full-length animated feature film. Also at Amoeba Music, Wednesday, March 22. —John Payne

wed 3/22Cro-Mags

@ ALEX’S BARFor West Coasters nostalgic for the golden age of NYC hardcore, this is about as close as you’ll get. While Cro-Mags’ bewildering lineup changes and public bickering for years overshad-owed their actual music, the current (apparently stable) incarnation features 40 percent of the quintessential crew that recorded their genre-igniting 1986 debut, The Age of Quarrel. Though it was now-absent guitarist Parris Mayhew’s metal-edged ri�s that set the album apart, returned Age of Quar-rel alumni John Joseph (vocals) and Mackie (drums) also were a huge part of its gritty glory. The former’s versatile, confrontational ranting and the latter’s deceptively groovy battering were intrinsic to the deliciously visceral joys of battle-scarred assaults like “Street Justice” and “World Peace.” Thirty years later, Cro-Mags still all but define hardcore’s most adventurous era. Also at Union, Friday, March 24. —Paul Rogers

thu 3/23Rough Kids, Maniac

@ CAFE NELAL.A. makes a strong showing at this gig with locals Rough Kids and Maniac, brothers-from-di�erent-mothers outfits that do first-wave punk with shock-wave impact. Rough Kids are hardcore punkologists who slash through the best of ’78 to ’81 (or whenever Zero Boys’ Vicious Circle came out) with guts and gusto, mixing Rikk Agnew speed and melody with deep-cut classic influences such as The Testors, Radio Birdman, The Victims and more. It’s fast and nasty, just like it should be. Much-loved locals Maniac are riding on their recent “Midnight Kino” 7-inch, two songs of hooky, hammer-down punk that make for a storming sequel to the transmogri-fied ’70s glam anthem that held down their “Chola Queen” 7-inch in 2015. Consider it the one-two punch you’ve been asking for. —Chris Ziegler

Dungen:See Tuesday.

PHOTO BY FRANK ASCHBERG

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4/11:4/14:4/15:4/19:4/19:4/21:

5/9:

Teenage Fanclub Britta PhillipsLettuce The Russ Liquid TestCameron AveryPart Friend The MotetThumpasaurus Electric Guest Thee Oh Sees (Benefi t for the Smell) Clipping Super Lunch Matter RoomPlumber Envy on the Coast Generationals Delicate Steve Red Baraat Festival of Colors Patti Smith and her BandThe London Souls + People’s Blues of RichmondSenses FailPower TripOf MontrealSuicide Girls Blackheart BurlesqueAnders OsborneTortoisePolica State ChampsPeter Silberman of The Antlers

Patti Smith and her Band Patti Smith and her BandSOLD OUT

State Champs State ChampsSOLD OUT

SOLD OUT

Teenage Fanclub Teenage Fanclub SOLD OUT

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C LU B S

ROCK & POP

ACEROGAMI: 228 W. Second St., Pomona. Cigarette Bums, The Ugly Kids, Steppe People, Fri., March 17, 10 p.m., free.

ALEX’S BAR: 2913 E. Anaheim St., Long Beach. Black Mountain, Bob Log III, ZZZ, Sat., March 18, 8 p.m., $15. Thieves & Tyrants, Space Shuttle to Nicaragua, The Moan, Sun., March 19, 9 p.m., $5. Cro-Mags, The Last Gang, The Eulogy, Love Canal, Wed., March 22, 8 p.m., $15 (see Music Pick). The Biffers, Transistor LB, Thu., March 23, 8 p.m., $5.

AMOEBA MUSIC: 6400 Sunset Blvd., Los Angeles. DJ Dirtie Blonde, Fri., March 17, 8 p.m., free. Dungen, Wed., March 22, 6 p.m., free.

ARROYO SECO GOLF COURSE: 1055 Lohman Lane, South Pasadena. Lynn Langham, Doug Gill, Wed., March 22, 7 p.m., $10 & $15. Pete Anderson, Thu., March 23, 7:30 p.m., $10 & $15.

ART SHARE L.A.: 801 E. Fourth Place, Los Angeles. L.A. Stories, with storytelling and music from Jamie Thierman, Reena Esmail, Eugene Micofsky, and Phil Popham & Mark Carlson, Sat., March 18, 7 p.m., $15.

BARDOT HOLLYWOOD: 1737 N. Vine St., Los Angeles. Doombird, AllDay, Mon., March 20, 8 p.m., free.

BEYOND BAROQUE LITERARY ARTS CENTER: 681 Venice Blvd., Venice. Beyond Words, with spoken word and music from Rich Ferguson, Josh Haden, Butch Norton, Tyson Cornell, Rachel Kann, James Morrison, F. Douglas Brown and others, Sun., March 19, 4:30 p.m.

BOARDNER’S: 1652 N. Cherokee Ave., Los Angeles. Jason Charles Miller, 8mm, Wild Eyes, Sat., March 18, 10 p.m., TBA.

BOOTLEG THEATER: 2200 Beverly Blvd., Los Angeles. Kyle McNeill, Eli & the Itches, The Saxophones, Andrea Silva, Fri., March 17, 8:30 p.m., $10. Afrolicious, Sensae, Sat., March 18, 8:30 p.m., $12. Bonepocket, Eyvind Kang, Josh Nelson, Sun., March 19, 8 p.m., $10. La Bouquet, Tampa, Jupiter Winter, Mon., March 20, 8:30 p.m., free. Wrabel, Molly Kate Kestner, Tue., March 21, 8 p.m., $15. Vera Blue, Caroline Smith, Wed., March 22, 8:30 p.m., $15. Duckwrth, Keith Charles, Spacebar, Yeek, Thu., March 23, 8:30 p.m., $15.

CAFE NELA: 1906 Cypress Ave., Los Angeles. Akrid, Reckless, Informal Society, Prepare to Stop, Offset, Fri., March 17, 8:30 p.m., $5. The Gears, The Cheifs, The Grim, Red Pills, Spider, Sat., March 18, 8 p.m., $10. The Cheifs, 647-F, Red Pills, Jack Rivera & the Great Americans, Gross Polluter, Rats in the Louvre, Liquor Locos, Sun., March 19, 7 p.m., $10. The Chinchees, Rough Kids, Pinned in Place, Maniac, Thu., March 23, 8:30 p.m., $8 (see Music Pick).

CALIFORNIA INSTITUTE OF ABNORMAL ARTS (C.I.A.): 11334 Burbank Blvd., North Hollywood. Circus Secrets, with Zulu’s Interpretations (with Aceyalone), Neverful, Duke Skellington plus burlesque and a game show, Sat., March 18, 8:30 p.m., $10.

CANYON CLUB: 28912 Roadside Drive, Agoura Hills. The Spazmatics, Fri., March 17, 10 p.m., $19.50. Hollywood U2, Sat., March 18, 9 p.m., $19.50.

THE COACH HOUSE: 33157 Camino Capistrano, San Juan Capistrano. The Fenians, Fri., March 17, 8 p.m. Five for Fighting, Sat., March 18, 8 p.m. Rod Piazza & the Mighty Flyers, Sun., March 19, 7 p.m. The Adrian Belew Power Trio, Saul Zonana, Thu., March 23, 8 p.m.

CODY’S VIVA CANTINA: 900 Riverside Drive, Burbank. The Woody James Big Band, Fridays, 1-3 p.m., free; The Cody Bryant Experience, Steve Waddington & the Retro Rock All-Stars, Susan Ritter, Fri., March 17, 7:30 p.m., free. The Gene Taylor Trio, Kid Ramos & the Memphis Kings, Jude Ciccolella, Sat., March 18, 7:30 p.m., $15 & $20. Blue Monday, Murphy’s Flaw, Sun., March 19, noon, free. The Messaround, with a tribute to the late Red Simpson with David Simpson (Red’s son), Cody Bryant, James Intveld, Jaydee Maness, Tracy Dawn, Ronnie Mack, Rip Masters, Groovy Rednecks and others, Sun., March 19, 6 p.m., free; Debra Lee & Trigger Happy, Sundays, 6:30 p.m., free. The Brombies, Mondays, 7:30 p.m., free; Chris Cerna & Bluegrass Republic, Mon., March 20, 8 p.m., free. John Pisano’s Guitar Night, Tuesdays, 7:30 p.m., free; The Flight 584 Big Band, Tuesdays, 7:30 p.m., free. This Ain’t Your Daddy’s Big Band, Wednesdays, 7:30 p.m., free; Tracy Dawn, The Cody Bryant Experience, Wednesdays, 7:30 p.m., free. Jimmy Angel, Lou Farah, Cody Bryant, Mike Hastings, Thursdays, 6:30 p.m., free; The Glen Roberts Big Band, Thursdays, 7 p.m., free; Jay Dee Maness, Cody Bryant, Carmine

Sardo, Ronnie Mack, Thursdays, 8:45 p.m., free.COMPLEX: 806 E. Colorado St., Glendale. R.A.B., Toad

Corners, Fri., March 17, 8 p.m. Ruines ov Abaddon, Mictlantecuhtli, Highland, Exhausted Prayer, Obsidian, Sat., March 18, 8 p.m., $5 & $10. Sikora, Drea, USB Slave, DJ Mallorca, Sun., March 19, 8 p.m., $10. Psyclon Nine, The Vile Augury, Mon., March 20, 9 p.m., $10. John Chantler, Tom Hall, Marc Kate, Tue., March 21, 8 p.m. Rozamov, Deathkings, The Rare Breed, Wed., March 22, 8 p.m., $8.

THE ECHO: 1822 W. Sunset Blvd., Los Angeles. Gøggs, Flat Worms, Warm Drag, Naked Lights, Fri., March 17, 8:30 p.m., $16.50 (see Music Pick). The Dig, Nico Yaryan, Boone Howard, Sat., March 18, 5:30 p.m., $11.50. Let’s Eat Grandma, Cellars, Slugs, Amindi K. Frost, Sun., March 19, 7 p.m., $9.50. Tashaki Miyaki, Lael Neale, Joel Jerome, Slow Dancer, Mon., March 20, 8:30 p.m., free. Skott, Midnight to Monaco, Tue., March 21, 8:30 p.m., $14. Allison Crutchfield & the Fizz, Vagabon, Wed., March 22, 8:30 p.m., $13.50. Slothrust, Sons of an Illustrious Father, Ramonda Hammer, Thu., March 23, 8:30 p.m., $11.50.

THE ECHOPLEX: 1154 Glendale Blvd., Los Angeles. Pottercon, Sat., March 18, 2 p.m., $15. James Chance & the Contortions, Collapsing Scenery, Traps PS, Sun., March 19, 9 p.m., $18 (see Music Pick). Little Simz, CJ Fly, Mon., March 20, 8:30 p.m., $15.50. Kate Tempest, Tue., March 21, 8:30 p.m., $16.50 (see Music Pick). Keith & Tex, The Soulutionaries, Charlie Organaire, The Steady 45s, Wed., March 22, 9 p.m., $15. Polyphia, Jason Richardson, Covet, Thu., March 23, 7 p.m., $13.50.

THE FEDERAL BAR: 102 Pine Ave., Long Beach. Through the Roots, Wed., March 22, 9 p.m., TBA.

GASLAMP RESTAURANT & BAR: 6251 E. Pacific Coast Highway, Long Beach. The Iron Maidens, Sat., March 18, 8 p.m., TBA.

GENGHIS COHEN: 740 N. Fairfax Ave., Los Angeles. Reindeer Flotilla, Geoff Grayson & Clark Chimp, Thu., March 23, 7:30 p.m., TBA.

THE GLASS HOUSE: 200 W. Second St., Pomona. Architects, Stray From the Path, Make Them Suffer, Fri., March 17, 8 p.m., $20. Firing All Cylinders, Critically Disturbed, Still Not Dead, Revolution Underground, Midnight Nightmare, Unstoppable Force, Sat., March 18, 7 p.m., $12. La Luz, Veiny Hands, Brainstory, Wed., March 22, 8 p.m., $15. The Paranoyds, Moaning, Dear Boy, Thu., March 23, 9 p.m., $10.

GRAMMY MUSEUM: 800 W. Olympic Blvd., Los Angeles. Andy Summers, Thu., March 23, 8 p.m., $20.

THE GRIFFIN: 3000 Los Feliz Blvd., Los Angeles. Shannon Lay, Sarah Bethe Nelson, Wed., March 22, 7 p.m., TBA.

HARVARD & STONE: 5221 Hollywood Blvd., Los Angeles. Johnny Travis Jr. & the Delta Dawns, Sundays, 8 p.m., free.

HERMOSA SALOON: 211 Pacific Coast Highway, Hermosa Beach. SuperSession, Neckbreaker, Sat., March 18, 9 p.m.

THE HI HAT: 5043 York Blvd., Highland Park. Vinyl Williams, Flaural, Pregnant, Madeline Kenney, Sat., March 18, 8 p.m., $10. Gøggs, Yah Mon, Enemy, Sun., March 19, 8 p.m., $16. The Reverend Shawn Amos, Clifton Weaver, Mon., March 20, 8 p.m., free. Night Talks, Paul Hernandez, Draag, Twin Temple, Tue., March 21, 8 p.m., free. Clap Clap, Wed., March 22, 8 p.m., $10. The MC Lars & Mega Ran Experience, Thu., March 23, 8 p.m., $12.

THE HOTEL CAFE: 1623½ N. Cahuenga Blvd., Los Angeles. Essayan Hart, Fri., March 17, 7 p.m., $10. Paul the Trombonist, Wed., March 22, 8 p.m., $10.

HOUSE OF BLUES ANAHEIM: 1530 S. Disneyland Drive, Anaheim. Wu-Tang Clan, Fri., March 17, 8 p.m., $65. Wrabel, Sat., March 18, 7 p.m., $12; 311, Sat., March 18, 7:30 p.m., $49.50. Death Cab for Cutie, Sun., March 19, 7 p.m., $35. The Kills, Mon., March 20, 7 p.m., $30-$35. Big Sean, Madeintyo, Tue., March 21, 7 p.m., $49.50. Common, Thu., March 23, 7 p.m., $40.

HYPERION TAVERN: 1941 Hyperion Ave., Los Angeles. Ye Olde Hushe Clubbe, with DJ Don Bolles, Wednesdays, 9:30 p.m., free.

JUMBO’S CLOWN ROOM: 5153 Hollywood Blvd., Los Angeles. Groovy Rednecks, Fri., March 17, 6 p.m., free.

KALYE HITS BAR & RESTAURANT: 4161 Beverly Blvd., Los Angeles. Raised on TV, The Ooze, Carlos Carmen, Ivy Alex, Rockit Writer, Sat., March 18, 8:30 p.m., free.

KEYSTONE GALLERY: 338 S. Avenue 16, Los Angeles. L.A. Drones, Sat., March 18, 10 p.m., free.

THE KIBITZ ROOM: 419 N. Fairfax Ave., Los Angeles. Spookey Ruben, Sundays, 3 p.m., free. The Fockrs, Tuesdays, 9 p.m., free.

LOS GLOBOS: 3040 W. Sunset Blvd., Los Angeles. PVO,

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MARCH 26

MAY 6 MAY 10

LA SERAAPRIL 12 APRIL 17

MARCH 24

MOVING UNITS

PLAYING THE SONGSOF JOY DIVISION

APRIL 18

LA SERAMARCH 17

LA SERAMARCH 25

MARCH 31 APRIL 2

APRIL 22

La Luz

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Mitski

WHITNEY THE DEVIN TOWNSEND PROJECT

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Type Uno, Kloud, Oceanoo, AG, Sat., March 18, 6 p.m. Ty Law, Sun., March 19, 8 p.m. Hot Sauce, Reti, Soul Shadows, Niantic, The Florida Mistakes, Wed., March 22, 9 p.m.

MAUI SUGAR MILL SALOON: 18389 Ventura Blvd., Tarzana. Symbol Six, The Katellas, Electric Children, Fri., March 17, 8 p.m., free. Dirty Old Town, Sat., March 18, 9 p.m., free. Nick Schnebelen, The Brenna Davis Band, Mon., March 20, 8 p.m., TBA. Just Dave Bernal’s Last Chance Country Jam, Wednesdays, 9 p.m. Matt Mann & the Shine Runners, Thursdays, 9 p.m. Thru March 30, free.

MCCABE’S GUITAR SHOP: 3101 Pico Blvd., Santa Monica. John York, Fri., March 17, 8 p.m., $20. Tommy Keene, Ivan Julian, Sat., March 18, 8 p.m., $20.

THE MINT: 6010 W. Pico Blvd., Los Angeles. Midnight North, The Alpine Camp, The Mosaics, Cranky George, Fri., March 17, 8 p.m., $10. Hunnypot, Every other Monday, 7 p.m., free. The Buck Johnson Band, Honey River, Tue., March 21, 8 p.m., $10. William Cobb, In Audela, Emma G, Travis Marsh, Keven Fitzgerald, Wed., March 22, 7:30 p.m., $10. Midnight Ball, Junglecats, Poster Boyz, Flying Hand, Thu., March 23, 7:30 p.m., $10.

MOLLY MALONE’S: 575 S. Fairfax Ave., Los Angeles. King Washington, Thu., March 23, 9 p.m., TBA.

OYSTER HOUSE SALOON: 12446 Moorpark St., Studio City. Record Head, Saturdays, 3 p.m., free.

PALADINO’S: 6101 Reseda Blvd., Reseda. Lucky Otis, Mondays, 8 p.m., TBA.

PAPPY & HARRIET’S PIONEERTOWN PALACE: 53688 Pioneertown Road, Pioneertown. The Kills, Fri., March 17, 9 p.m., $35. Teenage Fanclub, Britta Phillips, Sat., March 18, 9 p.m., $20. The Sunday Band, Sundays, 7:30 p.m., free. Open Mic, Mondays, 7 p.m., free.

THE REDWOOD BAR & GRILL: 316 W. Second St., Los Angeles. Dirty Old Town, Ollin, La Tuya, Fri., March 17, 9 p.m.-2 a.m., $10. Alvie & the Breakfast Pigs, Bones & Bootleggers, Sun., March 19, 9 p.m. Machine Gun Vendetta, Mon., March 20, 9 p.m. Name the Band, Wednesdays, 9 p.m. Thru March 29.

RESIDENT: 428 S. Hewitt St., Los Angeles. Juke Joint St Patrick’s Day Special, with Jackie Jackson & Her Royal Gents, Fri., March 17, 8 p.m., free. Sonny & the Sunsets, Part Time, Psychomagic, Reptaliens, Tue., March 21, 8 p.m., $13. Picture This, Jim & Sam, Wed., March 22, 8 p.m., $15. Bad Pop, Thu., March 23, 8 p.m., $7.

THE ROSE: 245 E. Green St., Pasadena. The Rising, Fri., March 17, 9 p.m., $19.50. Doobies Inc., Sat., March 18, 9 p.m., $19.50.

THE ROXY: 9009 W. Sunset Blvd., West Hollywood. The Bouncing Souls, Fri., March 17, 8 p.m., $26. Architects, Stray From the Path, Make Them Suffer, Sat., March 18, 7:30 p.m., $20. Dave, AJ Tracey, Sun., March 19, 8:30 p.m., $15. Steel Panther, Mon., March 20, 8 p.m., $26. Jesca Hoop, Tue., March 21, 8 p.m., $15 & $20. Rainbow Kitten Surprise, Wed., March 22, 8 p.m., $15. Viceroy, Rainer & Grimm, Thu., March 23, 8:30 p.m., $19.

SASSAFRAS SALOON: 1233 Vine St., Los Angeles. The Rumproller Organ Trio, Mondays, 9 p.m., free. The Sazerac Steppers Brass Band, Tuesdays, 9 p.m., free.

THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles. Geordie Kieffer, Julia Nunes, Plasmic, Clara-Nova, Mon., March 20, 9 p.m., free. Jackbenny, Bad Wave, Willis Avenue, Tue., March 21, 9 p.m., $10. Island Apollo, The Brevet, The Sound of Ghosts, Ships Have Sailed, Wed., March 22, 9 p.m., $8. Flames of Durga, Stars at Night, The Menstruators, Pleasure Fix, Thu., March 23, 9 p.m., $8.

SILVERLAKE LOUNGE: 2906 Sunset Blvd., Los Angeles. Haven & Creekside, Alex Dante, The People, Musehead, Analog Saint, Phantom Smell, Fri., March 17, 8 p.m., $15. Van Goat, Bullhorn Messiah, Crystal Coast & the Visions, Twin Seas, Sat., March 18, 5 p.m., $10. Grace Albritton, The Velopheliacs, Tue., March 21, 8 p.m., $10. Cedar Boulevard, St. Tropez, No Darling, Jake Tittle, Wed., March 22, 8 p.m., $10. Sleeping Lessons, Twin Seas, Mind Monogram, Thu., March 23, 7 p.m., $10; Sleeping Lessons, Twin Seas, Mind Monogram, Thu., March 23, 8 p.m., $10.

THE SMELL: 247 S. Main St., Los Angeles. Faim Kills, Sage Emeralds, Slum the Resident, Emeyecee, June Howard, Sat., March 18, 9 p.m., $5. Easter Teeth, Hot Brothers, Sketch Orchestra, Espresso, Sun., March 19, 9 p.m., $5. French Vanilla, Roses, Post-Life, Thu., March 23, 9 p.m., $5.

SOL VENUE: 313 E. Carson St., Carson. The Aggrolites, Bad Apples, Back Bone, Blanco y Negro, Fri., March 17, 7:30 p.m., $15.

TREPANY HOUSE AT THE STEVE ALLEN THEATER:

4773 Hollywood Blvd., Los Angeles. Ann Magnuson, Sat., March 18, 8 p.m., $20. See Music Pick.

TAIX FRENCH RESTAURANT: 1911 Sunset Blvd., Los Angeles. Titanic Titanic, Brochure, Fri., March 17, 10:30 p.m., free.

THE TERAGRAM BALLROOM: 1234 W. Seventh St., Los Angeles. Teenage Fanclub, Britta Phillips, Fri., March 17, 9 p.m., $26. Lettuce, The Russ Liquid Test, Sat., March 18, 9 p.m., $27. Cameron Avery, Tue., March 21, 8 p.m., $16.

TRIP: 2101 Lincoln Blvd., Santa Monica. Vanderocker, Fri., March 17, 8 p.m., $10. The Julian Coryell Trio, Tuesdays, 9 p.m., free. Triptease Burlesque, Wednesdays, 10 p.m., free.

THE TROUBADOUR: 9081 Santa Monica Blvd., West Hollywood. We the Kings, Cute Is What We Aim For, Plaid Brixx, Astro Lasso, Fri., March 17, 7 p.m., $25 & $79. State to State, Melted Vinyl, Chandler Juliet, Avalon Landing, East of Eli, Sat., March 18, 7:30 p.m., $12-$18. Maggie Rogers, Overcoats, Tue., March 21, 7 p.m., $15. Jain, Two Feet, Wed., March 22, 8 p.m., $18. Potty Mouth, Partybaby, Tennis System, Pastel Felt, Thu., March 23, 7 p.m., $12.

UNION NIGHTCLUB: 4067 W. Pico Blvd., Los Angeles. Voltax, Spell, Blade Killer, Witchstone, Fri., March 17, 8 p.m., $15. Nerd Boy Extravaganza, Sat., March 18, 3 p.m., free.

THE VIPER ROOM: 8852 W. Sunset Blvd., West Hollywood. Diz, Collete, Christi Mills, Lacey IQ, Fri., March 17, 9 p.m.-2 a.m., $20.

WHISKY A GO-GO: 8901 Sunset Blvd., West Hollywood. John 5 & the Creatures, Fri., March 17, 7 p.m., TBA. Hollywood Roses, Sat., March 18, 11 p.m., TBA. Havok, Warbringer, Exmortus, Sun., March 19, 6:45 p.m., TBA. Otep, The Convalescence, The World Over, Mon., March 20, 7 p.m., TBA (see Music Pick).

—Falling James

JAZZ & BLUES

ALVAS SHOWROOM: 1417 W. Eighth St., San Pedro. Tateng Katindig, with Jeff Littleton, Abe Lagrimas Jr. & Ner De Leon, Sat., March 18, 8 p.m., $20.

AU LAC: 710 W. First St., Los Angeles. Jeffrey Gimble, Fri., March 17, 7:30 p.m., TBA. Diane Hubka, Sat., March 18, 7:30 p.m., TBA.

THE BAKED POTATO: 3787 Cahuenga Blvd. W., Studio City. Lao Tizer, Fri., March 17, 9:30 p.m., $20. Ronnie Foster, Sat., March 18, 9:30 p.m., $25. Kai Narezo, Sun., March 19, 9:30 p.m., $15. Monday Night Jammmz, Mondays, 9:30 p.m., $10. Groove Legacy, Wed., March 22, 9:30 p.m., $20.

BLUE WHALE: 123 Astronaut E.S. Onizuka St., Los Angeles. Matthew Stevens, Fri., March 17, 9 p.m., $20. Joshua White, Sat., March 18, 9 p.m., $15. Manu Delago, Sun., March 19, 7 p.m., TBA. Sigmund Fudge, Mon., March 20, 9 p.m., TBA. The Armen Nalbandian Trio, Tue., March 21, 9 p.m., $15. Kristin Beradi, Wed., March 22, 9 p.m., TBA. Jonah Levine, Thu., March 23, 9 p.m.

BURBANK MOOSE LODGE: 1901 W. Burbank Blvd., Burbank. Pete Anderson, Mondays, 8 p.m., free.

CATALINA BAR & GRILL: 6725 W. Sunset Blvd., Los Angeles. The Joey DeFrancesco Quartet, March 17-18, 8:30 p.m., TBA. The Al Williams Jazz Society, Tue., March 21, 8:30 p.m., TBA.

COLOMBO’S: 1833 Colorado Blvd., Eagle Rock. Steve Thompson, Fridays, 5:30-9 p.m., free. The Eric Ekstrand Trio, Mondays, 4:30 p.m., free. Tom Armbruster, Tuesdays, 7 p.m., free. Karen Hernandez & Jimmy Spencer, Wednesdays, 7 p.m., free. Trifecta, Thursdays, 7 p.m., free.

D’VINE LOUNGE BAR: 821 S.Flower St., Los Angeles. Flavia Bullet & Adam Hansbrough, Sat., March 18, 8:30 p.m., free.

DESERT ROSE: 1700 Hillhurst Ave., Los Angeles. The Mark Z. Stevens Trio, Saturdays, 7-11 p.m., free.

THE DRESDEN: 1760 N. Vermont Ave., Los Angeles. Marty & Elayne, Tuesdays-Saturdays, 9 p.m., free. The Readys, Sundays, 9 p.m.-midnight, free.

GALLERY 800: 5108 Lankershim Blvd., North Hollywood. The Do Drop In Jazz Trio, performing at the reception for the “Drawing Down the Moon” group art exhibition, Sat., March 18, 5-8 p.m., free.

GRAND CENTRAL MARKET: 317 S. Broadway, Los Angeles. The Sandra Booker Quartet, Sun., March 19, 7 p.m., free.

GRIFFINS OF KINSALE: 1007 Mission St., South Pasa-dena. Barry “Big B” Brenner, Thursdays, 8 p.m., free.

HARVELLE’S SANTA MONICA: 1432 Fourth St., Santa Monica. The Toledo Show, Sundays, 9:30 p.m., $10. The House of Vibe All-Stars, Wednesdays, 9:30

6400 SUNSET BLVD.(323) 245-6400

MON-SAT 10:30AM-11PM ★ SUN 11AM-10PMVALIDATED PARKING AT THE ARCLIGHT!

BUY-SELL-TRADE: CDS, LPS, DVDS, VIDEOS, BLU-RAY & MORE!

UPCOMING EVENTS at AMOEBA!All shows are FREE and ALL AGES

For a full calendar of events, visit AMOEBA.COM

AMOEBA.COMFREE SHIPPING ON MUSIC & MOVIES - NO MINIUMUM!

Friday • March 17th

ST. PATRICK’S DAY SALEGreen taG Movies & books

3 FOR $9Saturday • March 18th • Noon-4 PM

SIDEWALK SALE!Your chance to score huge deals on

music, movies, books, comics, t-shirts, toys, and more!

Wednesday • March 22nd • 6 PMDUNGEN

In-store performance and signing ofDungen’s first all-instrumental album,Häxan. Signing limited to purchasers

of Häxan.

Saturday • April 1st • 4 PMCHARITY AUCTIONbenefittinG MaLdef

Bid on concert tickets, collectibles and amazing ephemera to benefit the

MEXICAN AMERICAN LEGAL DEFENSE AND EDUCATIONAL FUND!

Thursday • March 23rd • 6 PMTUXEDO DJ SET

Grammy-nominated artists Mayer Hawthorne & Jake One launch their new

album, Tuxedo II (Stones Throw Records) with a double-DJ set and signing! Live @

The Regent Theater (full band) 3/25.

Tuesday • April 4th • 5 PMMASTODON

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p.m., $10.THE HIDEAWAY BAR & GRILL: 12122 Kagel Canyon

Road, Sylmar. The Shuffle Brothers Blues Jam, Sundays, 4-8 p.m., free.

IL PICCOLO VERDE: 140 S. Barrington Pl., Los Angeles. David Marcus & Chris Conner, Tuesdays, Thursdays, 7:30 p.m., free. David Marcus & Jon Alvarez, Thursdays, 8 p.m., free.

LAS HADAS: 9048 Balboa Blvd., Northridge. Cool Blue, Mondays, 7-9 p.m., free. Johnny Vana’s Big Band Alumni, Tuesdays, 10:30 a.m.-12:30 p.m., free. Rex Merriweather, Wednesdays, 8-10 p.m., free.

THE LIGHTHOUSE CAFE: 30 Pier Ave., Hermosa Beach. Adam Schroeder, Sat., March 18, 11 a.m.-2:30 p.m., free. Mike Gurrola, Sun., March 19, 11 a.m.-3 p.m., free. Al Williams, Wed., March 22, 6-9 p.m., free.

94TH AERO SQUADRON: 16320 Raymer Ave., Van Nuys. Adrian Galysh, Fridays, 6-9 p.m., free.

PERCH: 448 S. Hill St., Los Angeles. The Todd Hunter Trio, Saturdays, 12-3 p.m., free. The Jesse Palter Quartet, Sundays, 12-3 p.m., free. Ben Rose, Thursdays, 7-10 p.m.; Sundays, 7-10 p.m., free. The Brian Swartz Quintet, Tuesdays, 7-10 p.m., free.

PIPS PIZZA PASTA SALADS: 1356 S. La Brea Ave., Los Angeles. Jeff Robinson, Fridays, 7 p.m., free. Cal Bennett, Sundays, 11 a.m., free. Barbara Morrison, Tuesdays, 7 p.m., free.

ROCKWELL TABLE & STAGE: 1714 N. Vermont Ave., Los Angeles. Tim Curry, Jamie Donnelly, Mon., March 20, 8 p.m., $15-$25.

SPAGHETTINI SEAL BEACH: 3005 Old Ranch Parkway, Seal Beach. DW3, Thursdays, 8 p.m., $15.

STARBOARD ATTITUDE: 202 The Pier, Redondo Beach. Open mic, Wednesdays, 7 p.m., free.

TUNING FORK: 12051 Ventura Place, Studio City. Barry “Big B” Brenner, Wednesdays, 8:30 p.m., free.

VIBRATO GRILL & JAZZ: 2930 Beverly Glen Circle, Bel-Air. Anna Mjöll, Pat Senatore, Fri., March 17, 6 p.m., free. Mark Copeland, Pat Senatore, Sat., March 18, 6 p.m., free. Hefti Plays Hefti, Sun., March 19, 8 p.m., $25. The Michael Ragonese Trio, Tue., March 21, 8 p.m., $20. The Phil Norman Tentet, Wed., March 22, 8 p.m., $20. The Summit, Thu., March 23, 8 p.m., $25.

THE WORLD STAGE: 4321 Degnan Blvd., Los Angeles. Sisters of Jazz Jam Session, Sundays, 8 p.m., $5. Jazz Jam Session, Thursdays, 9 p.m., $5.

—Falling James

LATIN & WORLD

COCOPALM RESTAURANT: 1600 Fairplex Drive, Pomona. Chino Espinoza y los Duenos del Son, Fridays, 10 p.m., free.

THE CONGA ROOM: 800 W. Olympic Blvd., Los Angeles. Discoteca DTLA, Fridays, 9:30 p.m., TBA. Conga Room Saturdays, Saturdays, 9 p.m., TBA.

EL FLORIDITA RESTAURANT: 1253 N. Vine St., Los Angeles. Salsa Night, Fridays, 8 p.m.; Saturdays, 9:30 p.m., $10.

THE GRANADA LA: 17 S. First St., Alhambra. Salsa Fridays, Fridays, 9:30 p.m., $10. Salsa & Bachata Saturdays, Saturdays, 7 p.m.-3 a.m., $15. Salsa & Bachata Tuesdays, Tuesdays, 9:30 p.m., $5. Bachata Thursdays, Thursdays, 8 p.m., $5-$10.

TIA CHUCHA’S CENTRO CULTURAL & BOOKSTORE: 13197-A Gladstone Ave., Sylmar. Open mic, Fridays, 8-10 p.m.

—Falling James

COUNTRY & FOLK

THE CINEMA BAR: 3967 Sepulveda Blvd., Culver City. LoveyDove, Groovy Rednecks, Talkin’ Treason, Sat., March 18, 10 p.m., free. The Hot Club of L.A., Mondays, 8:30 p.m., free.

THE COFFEE GALLERY BACKSTAGE: 2029 N. Lake Ave., Altadena. The Lion Sons, Fri., March 17, 8 p.m., $18. Bruce Forman, Sat., March 18, 3 p.m., $15; Suzy Williams, Bill Burnett, Sat., March 18, 7 p.m., $20. Janet Klein & Her Parlor Boys, Sun., March 19, 7 p.m., $20. Roy Zimmerman, Tue., March 21, 8 p.m., $18. Duo Violão Brasil, Thu., March 23, 8 p.m., $20.

IRELAND’S 32: 13721 Burbank Blvd., Van Nuys. Reign, Sat., March 18, 8 p.m., free. Acoustic Jam, Tuesdays, 8 p.m., free. Everett Coast, Wed., March 22, 8 p.m., free.

JOE’S GREAT AMERICAN BAR & GRILL: 4311 W. Magnolia Blvd., Burbank. St. Patrick’s Day, a full day of music with Whiskey Sunday, The Radio Publica, The Ploughboys, The Cleary School of Irish Dance, Fri., March 17, 10 a.m., free. Bandwagon, Sat., March 18, 9 p.m., free. Kara Grainger, Sun., March 19, 8 p.m., free. Dave Stuckey & The 4 Hoot Owls, Mon., March 20, 9

p.m., free. Doña Oxford, Tue., March 21, 9 p.m., free. Bernie Dresel, Thu., March 23, 8:30 p.m., free.

SAGEBRUSH CANTINA: 23527 Calabasas Road, Cala-basas. Sonny Mone, Saturdays, 4:30-8 p.m., free.

TINHORN FLATS SALOON & GRILL: 1724 N. Highland Ave., Los Angeles. Tina Michelle & the Rhinestone Cowgirls, Tuesdays, 9 p.m., free.

—Falling James

DANCE CLUBS

THE AIRLINER: 2419 N. Broadway, Los Angeles. Low End Theory, with resident DJs Daddy Kev, Nobody, The Gaslamp Killer, D-Styles and MC Nocando, Wednesdays, 9:30 p.m.-1:30 a.m.

AVALON HOLLYWOOD: 1735 Vine St., Los Angeles. Kream, Arman Cekin, Dante Klein, Jon Mon, Fri., March 17, 9:30 p.m.; Control, with DJs spinning dub-step and more, Fridays, 9:30 p.m. Tensnake, Solardo, Doorly, DJ Yoda, Tan Dem, Sat., March 18, 10 p.m. TigerHeat, Thursdays, 10 p.m.

THE BELASCO THEATER: 1050 S. Hill St., Los Angeles. Bad Company UK, Loadstar, DC Breaks, Wed., March 22, 9:30 p.m., TBA.

COUTURE: 1640 N. Cahuenga Blvd., Los Angeles. Matt Sassari, Fri., March 17, 10 p.m., $10.

CREATE NIGHTCLUB: 6021 Hollywood Blvd., Los Angeles. Nervo, Fri., March 17, 10 p.m., $20 & $50; Noize Fridays, Fridays, 10 p.m. Arcade Saturdays, Saturdays, 10 p.m.; Rebecca & Fiona, Sat., March 18, 10 p.m., $10 & $15.

THE ECHO: 1822 W. Sunset Blvd., Los Angeles. Funky Sole, with Music Man Miles, DJ Soft Touch and oth-ers, 21+, Saturdays, 10 p.m., free-$5.

THE ECHOPLEX: 1154 Glendale Blvd., Los Angeles. Club 90s, Fri., March 17, 9:30 p.m. Baby Girl: Mi Vida Loca, Sat., March 18, 9 p.m.-2 a.m., $10. Dub Club, an eternally mesmerizing night of reggae, dub and beyond from resident DJs Tom Chasteen, Roy Corderoy, The Dungeonmaster and Boss Harmony, plus occasional live sets from Jamaican legends, 21+, Wednesdays, 9 p.m., $7.

EXCHANGE L.A.: 618 S. Spring St., Los Angeles. MAKJ, Fri., March 17, 10 p.m.; Awakening, Fridays, 10 p.m. Inception, Saturdays, 10 p.m.; Bakermat, Jerry Folk, Sat., March 18, 10 p.m.

GRAND STAR JAZZ CLUB: 943 N. Broadway, Los Angeles. Club Underground, with DJs Larry G & Diana Meehan spinning Britpop, post-punk and new wave, 21+, Fridays, 9 p.m., $8.

LA CITA: 336 S. Hill St., Los Angeles. Punky Reggae Party, with DJ Michael Stock & DJ Boss Harmony, Fridays, 9 p.m., $5. Doble Poder, with cumbia and norteno bands TBA, Sundays, 2-9 p.m., free; DJ Paw, 21+, Sundays, 9 p.m.-2 a.m., free. DJ Moist, Mondays, 9 p.m., TBA.

LOS GLOBOS: 3040 W. Sunset Blvd., Los Angeles. A Club Called Rhonda, Fri., March 17, 10 p.m. Bootie L.A.: St. Paddy’s After-Party, Sat., March 18, 9 p.m.-2 a.m., $5 & $10. K. Cero, Nick Pacoli, Scootie, Prvdnt, Mikerawk, Thu., March 23, 9 p.m.

LOT 613: 613 Imperial St., Los Angeles. Âme, Sun., March 19, 9 p.m., $20. See Music Pick.

LURE: 1439 Ivar Ave., Los Angeles. Juelz Santana, Sat., March 18, 10 p.m.-2 a.m., $0-$40.

MAMA SHELTER: 6500 Selma Ave., Los Angeles. DJ Rawdon, Fri., March 17, 9 p.m.-1 a.m., free.

OHM NIGHTCLUB: 6801 Hollywood Blvd., Los Angeles. Jacquees, Birdman, Rich Homie Quan, Lloyd, Thu., March 23, 9 p.m., TBA.

R BAR: 3331 W. Eighth St., Los Angeles. DJ Mint Julep, DJ Dot, Saturdays, 10 p.m.-2 a.m., free.

THE SATELLITE: 1717 Silver Lake Blvd., Los Angeles. Dance Yourself Clean, Saturdays, 9 p.m., free-$5.

SHORT STOP: 1455 Sunset Blvd., Los Angeles. Super Soul Sundays, Sundays, 10 p.m., free. Motown on Mondays, Mondays, 9 p.m., free.

SOUND NIGHTCLUB: 1642 N. Las Palmas Ave., Los Angeles. Damian Lazarus, Heidi Lawden, Sat., March 18, 10 p.m., $25-$40. See Music Pick.

UNION NIGHTCLUB: 4067 W. Pico Blvd., Los Angeles. Rekoil, Akronym, Sweet Tooth, CShay, Zonii, Fri., March 17, 9 p.m., free-$20; Claude VonStroke, Fri., March 17, 10 p.m., $35 & $40. Lucidity Festival Pre-Party, with Mr. Bill, David Starfire, Da Moth, The Librarian, Origin, Worthy, Fritz Carlton, Freddy Be, DJ Holly Adams and others, Sat., March 18, 9 p.m., $20-$35; Backwoods n’ Dutches, Jasmine Jaye, DJ Wiz Kid, Sat., March 18, 9 p.m., $20. Disco Ball 2017, with Kathleen Bradley Redd, Hanani Taylor, Sun., March 19, 6 p.m., $20; Banjee Ball, with Jack Mizrahi, Sun., March 19, 10 p.m. Noer the Boy, Cloud D, St4rfox, Dreamlyfe, Jmart, Thu.,

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March 23, 9 p.m., $10.THE VIRGIL: 4519 Santa Monica Blvd., Los Angeles.

Funkmosphere, Thursdays, 9:30 p.m.-2 a.m., free-$5.—Falling James

For more listings, please go to laweekly.com.

C O N C E R T S

FRIDAY, MARCH 17

DASH BERLIN: 9 p.m., $35-$65. Hollywood Palladium, 6215 W. Sunset Blvd., Los Angeles.

DIANNE REEVES: 7:30 p.m. Musco Center for the Arts, Chapman University, 1 University Drive, Orange.

FLOGGING MOLLY: With The Mighty Mighty Bosstones, Mariachi El Bronx, 7:30 p.m., $29.50-$69.50. The Forum, 3900 W. Manchester Blvd., Inglewood.

GAMBLERS MARK, VIERNES 13: 7 p.m. The Yost Theater, 307 N. Spurgeon St., Santa Ana.

MUSINK: With NOFX, The Vandals, Lagwagon, A Wilhelm Scream, 3 p.m., $45-$299. OC Fair & Event Center, 88 Fair Drive, Costa Mesa.

RICKIE LEE JONES, MADELEINE PEYROUX: 8 p.m. Arlington Theatre, 1317 State St., Santa Barbara.

SUSAN EGAN: 8 p.m., $40 & $60. The Beverly O’Neill Theater, 300 E. Ocean Blvd., Long Beach.

GO THAO: 8 p.m., $20. Hollywood Forever Cemetery, 6000 Santa Monica Blvd., Los Angeles.

VAN MORRISON: 8 p.m., $198.50-$253.50. The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles.

GO YELLOWCARD: 8 p.m., $35. The Observatory, 3503 S. Harbor Blvd., Santa Ana. See Music Pick.

ZUCCHERO: 9 p.m., $38-$68. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills.

SATURDAY, MARCH 18

BÉLA FLECK & ABIGAIL WASHBURN: 7:30 p.m., $75-$115. The Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica.

DANCE GAVIN DANCE, CHON: With Eidola, Vasudeva, 8 p.m., $23. The Observatory, 3503 S. Harbor Blvd.

THE DAZZ BAND: With Tom Browne, 8 p.m., $34-$74. Saban Theatre, 8440 W. Wilshire Blvd., Beverly Hills.

FORTUNATE YOUTH: With Josh Heinrichs, For Peace

Band, Iya Terra, 8 p.m., $14.50-$29.50. The Regent Theater, 448 S. Main St., Los Angeles.

KEOLA BEAMER & JEFF PETERSON: With Moanalani Beamer, 2 p.m., $47. The Ruth B. Shannon Center for the Performing Arts, 6760 Painter Ave., Whittier.

KIM & THE CREATED: With The Lovely Bad Things, Facial, in the Constellation Room, 10:30 p.m., $5. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

GO L FESTIVAL: With Marco Antonio Solís, Alejandro Fernández, Juanes, Los Tigres del Norte, J Balvin, Banda El Recodo, Intocable, Luis Fonsi, Daddy Yankee and a hologram of Jenni Rivera, 1 p.m., $89-$225. Pico Rivera Sports Arena, 11003 Rooks Road, Whittier. See Music Pick.

MADELEINE PEYROUX, RICKIE LEE JONES: 8 p.m., $30-$50. Luckman Fine Arts Complex, 5151 State University Drive, Los Angeles.

MUSINK: With The Used, Glassjaw, Goldfinger, Story of the Year, Hell or Highwater, 12 p.m., $45-$299. OC Fair & Event Center, 88 Fair Drive, Costa Mesa.

OSCAR HERNANDEZ & ALMA LIBRE: 7:30 p.m., $39. Janet & Ray Scherr Forum Theatre, 2100 E. Thousand Oaks Blvd., Thousand Oaks.

GO STARRY NITES FESTIVAL: With The Kills, She Wants Revenge, The Dandy Warhols, Thunderpussy, The Strawberry Alarm Clock, Kolars, Tropo, Elvis Depressedly, Band Aparte, Feels, The Blank Tapes and others, 12 p.m., $150 & $200. Live Oak Campground, 4600 Highway 154, Santa Barbara.

GO STEVE AOKI: With Yellow Claw, Krewella, Kiiara, Grandtheft, Venessa Michaels, 7:30 p.m., $48.50-$65. Shrine Auditorium & Expo Hall, 665 W. Jefferson Blvd., Los Angeles.

UMPHREY’S MCGEE: With Spafford, 7 p.m., $25 & $30. The Wiltern, 3790 Wilshire Blvd., Los Angeles.

VAN MORRISON: 8 p.m., $198.50-$253.50. The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles.

THE WHISPERS: With Lakeside, 8 p.m., TBA. The Novo by Microsoft, 800 W. Olympic Blvd., Los Angeles.

ZUCCHERO: 9 p.m. Morongo Casino Resort & Spa, 49500 Seminole Drive, Cabazon.

SUNDAY, MARCH 19

THE BILLY CHILDS TRIO: 2 p.m., TBA. Doheny Mansion,

10 Chester Place, Los Angeles.DAM VINH HUNG: 5 p.m. Morongo Casino Resort &

Spa, 49500 Seminole Drive, Cabazon.GIORGI MIKADZE: With Dave Fiuczynski, 7 p.m., free

with RSVP. The Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica.

GO L FESTIVAL: 1 p.m. Pico Rivera Sports Arena, 11003 Rooks Road, Whittier. See Music Pick.

MUSINK: With Bad Religion, Pennywise, Swingin’ Utters, Unwritten Law, 12 p.m., $45-$299. OC Fair & Event Center, 88 Fair Drive, Costa Mesa.

SHOHREH NOROUZ BASH: With Julius, 9:30 p.m. The Yost Theater, 307 N. Spurgeon St., Santa Ana.

GO STARRY NITES FESTIVAL: With The Alan Parsons Live Project, Teenage Fanclub, Cat Power, Lumerians, Miranda Lee Richards, Black Mountain, Cellar Doors, Jesika Von Rabbit, Asteroid #4, Sky Parade, Potions, Goon and others, 12 p.m., $150 & $200. Live Oak Campground, 4600 Highway 154, Santa Barbara.

VAN MORRISON: 8 p.m., $198.50-$253.50. The Theatre at Ace Hotel, 929 S. Broadway, Los Angeles.

WU-TANG CLAN: 8 p.m., $59.50. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

YELLOWCARD: 8:30 p.m. The Novo by Microsoft, 800 W. Olympic Blvd., Los Angeles.

MONDAY, MARCH 20

ANDY SHAUF: With Aldous Harding, 8 p.m., $13. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

THE BAND PERRY: 8:30 p.m. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles.

TUESDAY, MARCH 21

GO AGNES OBEL: With Ethan Gruska, 8:30 p.m. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles.

ANDY SHAUF: With Aldous Harding, 7 p.m., $12.50-$17.50. The Regent Theater, 448 S. Main St.

GO DUNGEN: 7:30 p.m. The Getty Center, 1200 Getty Center Drive, Los Angeles. See Music Pick.

JAIN: With Two Feet, 9 p.m., $15. The Observatory.LAKE STREET DIVE: 10 p.m. The Theatre at Ace Hotel,

929 S. Broadway, Los Angeles.

MØ: With Tei Shi, 8 p.m. The Observatory.RZA: With Stone Mecca, 7 p.m., $42.50. The Belasco

Theater, 1050 S. Hill St., Los Angeles.

WEDNESDAY, MARCH 22

THE CALIFORNIA FIRE FOUNDATION GALA: With All-4-One, plus comedians Gina Yashere, Melissa Peterman, Thomas Lennon, 6-9:30 p.m., $250. Avalon Hollywood, 1735 Vine St., Los Angeles.

GO KATE TEMPEST: With Boom Bip, 9 p.m., $15. The Observatory, 3503 S. Harbor Blvd., Santa Ana.

VINCE GILL, LYLE LOVETT: 7:30 p.m., $51-$106. Fred Kavli Theatre, 2100 Thousand Oaks Blvd.

THURSDAY, MARCH 23

THE AIRBORNE TOXIC EVENT: 8:30 p.m., $18. El Rey Theatre, 5515 Wilshire Blvd., Los Angeles.

LEFTOVER CRACK: With Starving Wolves, Bad Cop Bad Cop, 8 p.m. The Observatory, 3503 S. Harbor Blvd.

MØ: 8 p.m. The Novo by Microsoft, 800 W. Olympic Blvd.MODERN ENGLISH: With Cold Showers, Sextile, DJ

Michael Stock, 8 p.m., $20.50. The Regent Theater.WU-TANG CLAN: 7 p.m., $59.50-$75. Hollywood

Palladium, 6215 W. Sunset Blvd., Los Angeles.—Falling James

C L A S S I C A L & N E W M U S I C

ALISON BJORKEDAL, THE LYRIS QUARTET: Harpist Bjorkedal and the Lyris string quartet combine for an evening of chamber music by Marcel Grandjany, Louis Spohr, Claude Debussy, Jane Brockman and Ludwig van Beethoven, Sat., March 18, 8 p.m., $20. Jack Rutberg Fine Arts, 357 N. La Brea Ave.

THE CALDER QUARTET: The resident ensemble digs out two string quartets (numbers 1 & 7) by Beethoven, Sun., March 19, 4 p.m., $36-$65. The Broad Stage, 1310 11th St., Santa Monica.

DMITRY KOUZOV & YULIA KOUZOVA: The Russian cel-list Kouzov and pianist Kouzova engage in sonatas by Brahms, Beethoven and Debussy, Sun., March 19, 6 p.m., free. LACMA, Bing Theater, 5905 Wilshire Blvd.

THE GAME OF THRONES LIVE CONCERT EXPERIENCE: With composer Ramin Djawadi, Thu., March 23, 8 p.m., $39.50-$125. The Forum, 3900 W. Manchester Blvd., Inglewood.

GO L.A. CHAMBER ORCHESTRA: Mezzo-soprano Sasha Cooke flits across selections by Mahler, Mozart and Handel, pianist Jon Kimura Parker alights on Brahms’ Piano Concerto No. 2, and music director Jeffrey Kahane conducts the world premiere of Julia Adolphe’s Shiver and Bloom., Sat., March 18, 8 p.m., $27 & up. Alex Theatre, 216 N. Brand Blvd., Glendale. Sun., March 19, 7 p.m., $27-$124. UCLA, Royce Hall.

GO L.A. PHILHARMONIC: Pianist Jean-Yves Thibaudet tackles a work that was composed for him, James MacMillan’s Piano Concerto No. 3 (“The Mysteries of Light”), and Stéphane Denève conducts Britten’s Passacaglia, Fauré’s Pelléas & Mélisande, and Debussy’s La Mer, March 17-18, 8 p.m., $20-$183. Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles. Mirga Grazinyte-Tyla conducts five selections by Johann Strauss Jr. at a neighborhood concert, Sun., March 19, 5 p.m., free. Rosemead High School, 9063 Mission Drive, Rosemead.

LOS CANCIONEROS MASTER CHORALE: The chorus bursts forth with W.A. Mozart’s Coronation Mass and Karl Jenkins’ Stabat Mater, Sun., March 19, 7 p.m., $25. James R. Armstrong Theatre, 3330 Civic Center Drive, Torrance.

MANA TRIO: The piano-sax trio bobs and weaves through the rhythms of Johannes Brahms, Carl Anton Wirth, Joseph Lyszczarz, Aram Khachaturian and Astor Piazzolla, Sat., March 18, 3 p.m., free. First Lutheran Church & School, 2900 W. Carson St., Torrance. Sun., March 19, 2 p.m., $20. Greystone Mansion & Park, 905 Loma Vista Drive, Beverly Hills.

MUSICA ANGELICA: Sat., March 18, 7 p.m., $40-$50. The Beverly O’Neill Theater, 300 E. Ocean Blvd., Long Beach Convention & Entertainment Center.

NATIONAL SYMPHONY ORCHESTRA OF UKRAINE: Pianist Alexei Grynyuk dials up Schumann’s Piano Concerto, and Theodore Kuchar conducts Dvorák’s Carnival Overture and Rachmaninoff’s Third Symphony, Wed., March 22, 8 p.m., $30 & up. Renée & Henry Segerstrom Concert Hall, 600 Town Center Drive, Costa Mesa.

GO NIGHT & DREAMS: A SCHUBERT & BECKETT RECITAL: Director Yuval Sharon juxtaposes short plays by Samuel Beckett with songs by the play-

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wright’s favorite composer, Franz Schubert. The cast includes soprano Julia Bullock and actors Alan Mandell, Barry McGovern, Bella Merlin and Priscilla Pointer, Tue., March 21, 8 p.m., $20-$108. Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles.

AN OPERA GALA BENEFIT CONCERT: Anthony R. Parnther conducts the Hollywood Chamber Orchestra, and soprano Golda Berkman and tenor Landon Shaw II belt out operatic favorites by Rossini, Bellini, Verdi and Puccini to help fund a children’s hospital in Kenya, Fri., March 17, 8 p.m., $20 & $50. St. Monica’s Catholic Church, 725 California Ave., Santa Monica.

PACIFIC SYMPHONY: Pianist Zhang Zuo sets up Beethoven’s Third Piano Concerto, and Darrell Ang conducts Huang Ruo’s Folk Songs for Orchestra and Edward Elgar’s Enigma Variations, Thu., March 23, 8 p.m.; March 24-25, 8 p.m., $25-$195. Renée & Henry Segerstrom Concert Hall, 600 Town Center Drive.

THE PALOS VERDES REGIONAL SYMPHONY ORCHESTRA: Elmer Su conducts the large group, Sat., March 18, 7:30 p.m., $12. James R. Armstrong Theatre, 3330 Civic Center Drive, Torrance.

GO PASADENA SYMPHONY: Violinist Rachel Barton Pine romps through Mozart’s Violin Concerto No. 5, and Nicholas McGegan conducts Schubert’s Overture in the Italian Style and Mendelssohn’s Third Symphony, Sat., March 18, 2 & 8 p.m. Ambassador Auditorium, 131 S. St. John Ave., Pasadena.

GO THE PERFECT AMERICAN: Long Beach Opera boldly presents the U.S. premiere of a provocative work that will likely never be performed at Disney Hall, composer Philip Glass and librettist Rudy Wurlitzer’s 2013 darkly operatic contemplation of the dying Walt Disney (portrayed by baritone Justin Ryan), whose enchanting creations were contrasted by his allegedly racist tendencies. LBO artistic direc-tor Andreas Mitisek conducts, Sat., March 18, 8 p.m., $49-$150. Long Beach Terrace Theater, 300 E.

Ocean Blvd., Long Beach.SACRED & PROFANE: The Gay Men’s Chorus of

L.A., Christoph Bull, the Culver City Middle School Voicestra Choir and others rhapsodize over Carl Orff’s Carmina Burana, Sun., March 19, 4 p.m., $30-$40. First Congregational Church of Los Angeles, 540 S. Commonwealth Ave., Los Angeles.

GO SALOME: Soprano Patricia Racette bares it all in a searing performance as the sociopathic title character, and L.A. Opera Orchestra is at its most grandly dynamic as conductor James Conlon mar-shals composer Richard Strauss’ rousing melodies, Sun., March 19, 2 p.m., $29-$299. The Music Center, Dorothy Chandler Pavilion, 135 N. Grand Ave.

GO TEN-HOUR BACH MARATHON: Bach in the Subways commemorates the 332nd birthday of Johann Sebastian Bach with its annual celebration, which this year features Phillip Levy, The Aria Chorale, The A+B Harmony Ensemble, The Calyx Quartet, The Noir Saxophone Quartet, The Olancha Trio, L.A. Organ Company, Kaleidoscope, The L.A. Recorder Orchestra and others, Sat., March 18, 9 a.m.-7 p.m., free. Union Station, 800 N. Alameda St. Ste 203, Los Angeles.

TRIO DINICU: The guitar-violin-bass trio performs jazz and Eastern European folk music, Sun., March 19, 7 p.m., $15. Elysian, 2806 Clearwater St., Los Angeles.

GO WHIPPED CREAM: Cupcakes and other sugary confections come to life during a boy’s fever dream in a pastry shop, in the world premiere of American Ballet Theatre’s reinvention of Richard Strauss’ Schlagobers, performed by Pacific Symphony with choreography by Alexei Ratmansky and set design and costumes by iconic pop-surrealist artist Mark Ryden, Thurs.-Sat., March 16-18, 7:30 p.m.; Sat., March 18, 2 p.m.; Sun., March 19, 1 & 6:30 p.m., $29-$129. Segerstrom Hall, 600 Town Center Drive, Costa Mesa.

—Falling JamesFor more listings, please go to laweekly.com.

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Notices

660Public Notices

660Public Notices

ORDER TO SHOW CAUSEFOR CHANGE OF NAMECase No. VS029768Superior Court of California County of Los Angeles lo-cated at: 111 N Hill St #102, Los Angeles, CA 90012. Filed On 12/13/16 - In the matter of petitioner: Eliza-beth De Horta. It is hereby ordered that all persons in-terested in the above-enti-

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SUMMONSNOTICE TO DEFENDANT:TIANXIUONG ZOU, an individ-ual YOU ARE BEING SUED BY PLAINTIFF: OCCIDENTAL COLLEGE CASE NUMBER: 14A26030. NOTICE! You have beenserved. The court may de-cide against you withoutyour being heard unless

656Legal Notices

NOTICE TO CREDITORS BY PUBLICATION PURSUANT TO §15-12-801, C.R.S.In the Matter of the Trust created by: Bellina, Joseph. NOTICE TO CREDITORSEstate of Christopher Todd Bellina,Deceased. Case Number2017PR030205All persons having claims against the above-named estate are required to present them to the Per-sonal Representative or to Denver Probate Court of the City and County of Den-ver, Colorado 1437 Bannock Street, Room 230Denver, Colorado 80202 on or before June 16th, or the claims may be forever barred. Deborah Bellina, Trustee Villa Bella Estate 73530 Military Road Coving-ton LA 70435-6018.M. Anthony Vaida, M Anthony Vaida PC 899 Logan Street #208 PHONE #: 303-832-2100 EMAIL: manthonyvaidapc @vaida.netFAX #: 303-861-3759 Atty. Reg. #: 26411

tled matter of change of name appear before the above-entitled court as fol-lows to show cause why the petition for change of name should not be grant-ed. Court Date: 2/15/17 Lo-cated at Superior Court of California County of Los An-geles 111 N Hill St #102, Los Angeles, CA 90012. And a petition for change of name having been duly � led with the clerk of this Court, and it appearing from said petition that said petitioner(s) desire(s) to have his/her name changed from: MICHAEL KHAI De HORTA to TYLER KHAI MI-CHAEL CASH. Now there-fore, it is hereby ordered that all persons interested in the said matter of change of name appear as indicated herein above then and there to show cause why the petition for change of name should not be granted. It is further or-dered that a copy of this order be published in the LA Weekly, a newspaper of general circulation for the County of Los Angeles, once a week for four (4) successive weeks prior to the date set for hearing of said petition. Set to publish 3/2/17, 3/9/17, 3/16/17, 3/23/17. Dated: February 15th, 2017.

you respond within 30 days.Read the information be-low. You have 30 CALEN-DAR DAYS after this sum-mons and legal papers are served on you to � le a writ-ten response at this court and have a copy served on the Respondent. A letter orphone call will not protectyou. Your written responsemust be in proper legalform if you want the courtto hear your case. Theremay be a court form thatyou can use for your re-sponse. You can � nd thesecourt forms and more in-formation at the CaliforniaCourts Online Self-HelpCenter (www.courtinfo.ca.gov /selfhelp), yourcounty law library, or thecourthouse nearest you. Ifyou cannot pay the � lingfee, ask the court clerk for afee waiver form. If you donot � le your response ontime, you may lose the caseby default, and your wages,money, and property maybe taken without furtherwarning from the court.There are other legal re-quirements. You may wantto call an attorney rightaway. If you do not know anattorney, you may want tocall an attorney referral ser-vice. If you cannot affordan attorney, you may be eli-gible for free legal servicesfrom a nonpro� t legal ser-vices program. You can lo-cate these nonpro� t groupsat the California Legal Ser-vices Web site: (www.Law-HelpCalifornia.org)the California Courts Online Self-Help Center (www.courtinfo.ca. gov/ selfhelp), or by contacting your local court or county bar association. NOTE: The court has a statutory lien for waived fees and costs on any settlement or arbi-

tration award of $10,000 or more in a civil case. The court’s lien must be paid before the court will dis-miss the case. The name and address of the court is:SUPERIOR COURT OFCALIFORNIA, CHATSWORTH9425 Pen� eld Avenue,Chatsworth, CA 91311The name, address, andtelephone number ofPetitioner’s attorney, or Pe-titioner without an attor-ney,is: WINN LAW GROUP110 E Wilshire Ave. Ste 212 Fullerton, CA 92832Filed: December 05, 2014Executive Of� cer/Clerk:Sherri R. Carter

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Eric 310-409-36831546 Argyle Ave,

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General Manager (El Segundo, CA): Reqs Bachelor’s in Business Admin or rltd �eld + 4 yrs exp as Producer,

Director or VP in online game publishing. Exp must incl: mgmt & recruitment of a development team & spprt staff; biz mgmt for game-as-a-service devel models; player behavior

data analysis; game balance analysis; on-boarding;

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Graphic Designer (L.A., CA), Circle Trim, Inc. B.A. Req’d. Send resume to 1919 S. San Pedro St., L.A., CA 90011

HSBC seeks GTRF Sales Mgr (LA, CA) dev revenue by �nding & identifying new custs & selling innov GTRF solutions maximizing com- mercial pro�tability. Resumes to: S.Scibelli, SBC Bank USA, N.A. 95 Washington St, Atrium 1NW, Buffalo, NY 14203. Must ref job #3167-660. No calls/emails/faxes EEO/AA/Minorities/Wom- en/Disability/Veterans.

Labor Relations Specialist - Entry LevelInvestigate, document & analyze employee/manage- ment con�icts/concerns, act as mediator, & maintain document log. Master's De- gree in Human Resources & Industrial Relations req'd. Resume: FRT Int'l Inc. dba Frontier Logistics Services 1700 N. Alameda St., Comp- ton CA 90222.

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Program & Development SpecialistReq’d: BA in Psychology, Counseling or similar, & min. 1 yr experience coordi- nating organizational pro- grams. Oversee, assesse, develop, & implement train- ing of seminary wide pro- grams to improve overall quality of school. Full-time. Peace Theological Seminary & College of Philosophy, Los Angeles, CA 90018. Please email resumes to Mr. Mark Lurie, Treasurer mark@msia.org

Research Analyst sought by Los Angeles Biomedical Research Institute in Tor- rance, CA. Master's + 1 yr exp. Send resume to: Rick Aguayo, HR Manager, LA BioMed, 1124 West Carson St., Bldg. J-3, Torrance, CA 90502 or fax (310) 222-3640.

SOFTWARESoftware Engineering Associate Manager (Multiple Positions) (Accenture LLP; El Segundo, CA): Analyze, design, build, test, implement and/or maintain multiple system components or applications for Accenture or our cli- ents. Must have willingness and ability to travel domes- tically approximately 50% of the time to meet client needs. For complete job description, list of require- ments, and to apply, go to: www.accenture.com/us- en/careers/ (Job # 00449906).

Sr. Consultant-Share Point & Mobile Applics. needed in LA, CA: build web & mobile apps for RMBS analysis & rel. securities; discuss use cases & req’ts for mobile apps w/ business users; de- velop wireframes for mo- bile apps; re-architect data- base layers to support speci�c client needs; devel- op custom iOS & android app using the rewritten DB, UI & Web services layers. BS in Comp. Sci., Info. Tech. or rel. �eld or for. equiv. plus 2 yrs. rel. exp. Exp. in devel- oping mobile apps in iOS & android & exp. in share- point req'd. Send resume w/ cover to: HR, Vichara Tech. Inc., 7 North Broad St., Ridgewood, NJ 07450. No emails or tel. calls. EOE.

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SOFTWARESoftware Engineering As- sociate Manager (Multiple Positions) (Accenture LLP; El Segundo, CA): Analyze, design, build, test, imple- ment and/or maintain mul- tiple system components or applications for Accenture or our clients. Must have willingness and ability to travel domestically approxi- mately 80% of the time to meet client needs. For complete job description, list of requirements, and to apply, go to: www.accenture.com/us-en/careers/ (Job # 00453007).

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