Superheroes, nasty villains, and zombies will visit us as the Hero Complex Film Festival returns to Los Angeles on May 18-21, at the Regal Cinemas at L.A. Live. Cinema classics will be screened with stars and creators of the movies, such as RoboCop with an appearance by Peter Weller, Shaun of the Dead featuring director Edgar Wright, and A Clockwork Orange with Malcolm McDowell. On Monday, pioneer comic book creator Stan Lee (Spider-Man, X-Men, Fantastic Four, etc.) will be there for a not yet announced screening. Although the $105 festival pass is listed as sold out, individual screening passes can be had for $20, which isn’t much more than a movie ticket on a weekend night nowadays.
Staffwriter Hector Becerra spends all of the front page article in today’s Los Angeles Times and plenty more after the jump building the implication that the Dodgers were the primary reason for the Chavez Ravine disgrace, including this patently disingenuous paragraph:
“But the removal of more than 1,000 mostly Mexican-American families from Chavez Ravine to make way for the stadium is a dark note in LA’s history.”
What a surprisingly reprehensible and negligent generalization that is.
I was relieved when Becerra eventually explained that the public housing debacle by the city’s leadership years before Los Angeles was even a gleam in Walter O’Malley’s eye was the true catalyst for the evictions. And he finally contradicts his previous fallacy by mentioning there were only a few families remaining — not “more than 1,000” — in 1959.
But it is shameful and irresponsible that Becerra and his editors failed to reference those previous events higher up in the article and instead of qualification opted for false simplification in the form of an inaccurate chronological order to the dreadful sequence of events that destroyed the entire community, not just the handful of brave families who fought eviction to that bitter end.
I shall read any words appearing under Becerra’s byline now with a far more skeptical eye.
I’m guilty of more than a few. You? I particularly like the dig about moving to the West Side…a place I barely know as there is simply no easy way to get there from where I live and there is never any parking. There, I said it.
I just learned that on the ninth day into the fourth month of his thirty-ninth year as a pressman at the Los Angeles Times, Ed Padgett was fired. Fired as a result of some sort of clandestine investigation conducted by human resources for reasons he’s not at liberty to divulge at this point. Fired over the fucking phone.
I was unsuccessful in an attempt to leave a comment of support or of use on his blog. I was swinging too severely between outrage and sadness. Still am. So I came here. To tell you a little something about Ed — which isn’t much, but it’s better than me cursing or crying.
Probably about five or six or so years ago we first met online here at Blogging.la. In January 2007 I posted an open invite for any and all fellow lunatics to join me in making good on a long-time resolution to walk the entire 24-mile length of Sunset Boulevard from Union Station to the sea. Ed commented that he was interested but had other plans. When the fateful day came in February I was joined by another B.la reader Don Hosek and USC grad student Lisl Walsh and off we went.
After the jump, Ed magically appears around Mile No. 23.
Rex Bruce’s exhibit “Moving Violations” opens for a 2 month run at the Los Angeles Center for Digital Art on October 13. The opening reception will be that day held in conjunction with the Downtown LA Art Walk.
Moving Violations is a capture of life in LA through the windows of a moving car. It is really a commentary on the destruction of the city and its environment done by the cars that we pretty much live in getting from place to place. The exhibit is still images and video aimed at a sensory overload with a political message. The full artists bio and description of the show can be found HERE. In the artists words:
The work is pretty self explanatory—toxic SoCal overkill and maximum carbon emission, but it is informed by a particular vision of my era that has coalesced in my mind.
Deets:October 13-December 3, Reception Thursday October 13, 7-9pm, 102 W 5th Street, Los Angeles CA 90013 MAP HERE.
I know it’s a print-is-dead digital world in which what’s new is old already, but if there’s something that still demonstrates the power and worth of newspapers, it’s the jaw-drop that happens when you unexpectedly find yourself holding almost half-century-old history in your hands, which in this case came when I moved some boxes out of my mom’s place and into our basement today. One such box in particular was my stepdad’s — something of a collector — and right on top of an amazing stack of Life and Look and Saturday Evening Post magazines from the 1920s through the ’70s were these two local publications, the first editions to hit the street after the assassination (click them for the bigger pictures):
You can bet I’ll be going carefully through these pages gape-mouthed on a slow analog ride in the wayback machine.
Time is running out fast but here’s the deets. If you are a male 25-45 (that’s what they are looking for in particular but will consider anyone) and want to play the role of paparazzi in a Weird Al video you need to get moving. All you need to do is send them a picture of yourself holding a “professional looking camera” (my guess a DSLR). Send that pic to firstname.lastname@example.org along with your contact info. They have no deadline, but say that the earlier you get it to them the better as they are shooting on May 15 for release in June. Weird Al’s blog has all the details HERE.
Now I wish I had a pic of me with my DSLR as this would be a fun adventure to add to my bucket list of things done.
Pic by computer_saskboy on flickr and used under a creative commons license. Link to him HERE..
Most of you probably saw, or at least heard about this happening last night on our local CBS 2 News:
……..yeah. Funny right? Maybe not. Turns out she was taken to the hospital to rule out the possibility of a stroke. Inability to speak can often be the first sign. I REALLY hope this isn’t the case. I went to school with her and I seem to remember her being very nice. Hopefully it was just a quick flub. Cause if she’s OK, then we can laugh.
To say that Los Angeles is car crazy omits half the story: sometimes it’s not the cars, but what the drivers put on their cars, that is of interest. Case in point: spotted while parked on the West Side yesterday, this otherwise nondescript Honda Fit pretty much covered the cultural spectrum with its stickers. When you’ve devoted equal automotive real estate to Fellini, Pablo Neruda, Oscar Wilde, Phil Jackson, Severus Snape, and the Lakers, you’re probably an L.A. area driver.
A producer friend of a friend once described his pre-Oscar ritual as something akin to a runner prepping for a marathon: “Eat. Because you’re not going to until hours and hours later.” That he has to go hungry during the 3+ hours of The Emmys or The Oscars is the worst thing about the gala for him (for people who actually are in it to win it, the worst thing probably is not being nominated or losing what may be your only chance to claim the “O” in “EGOT“). Anyway, the reason why, say, The Golden Globes and The Screen Actors’ Guild Awards are better in his book is in part because you get to eat. Eating is, after all, the panacea for all the ups and downs during any awards ceremony, whether it be The SAG Awards at The Shrine or your kid’s end-of-the-year award ceremony at The Overcrowded Multipurpose Room. Anxious? Snack, nervously. Weren’t nominated? Chomp, vengefully. Didn’t win? Nosh, sadly. Did win? Feast, gluttonously. Bored? Eat, mindfully.
Now, say you’re the chef who has to cater said eating awards event. What do you do? Suzanne Goin, chef and owner of Lucques, AOC, and Tavern, is doing the cooking for the Screen Actors’ Guild Awards this Sunday. She and her entourage at Lucques Catering will serve some 1,250 people who are hungry/nervous/overconfident/not confident enough given the caliber of their work/there for the swag. To ease the emotional roller-coaster, she will plate a lovely quartet of palate-pleasers that reflect local, seasonal cooking.
Clockwise from the top left: beluga lentils with carrots, pine nuts, and feta; slow-roasted salmon with ginger-mint chutney; slow-roasted lamb with chickpeas and feta salsa verde; a beautiful salad with blood oranges, dates, arugula, and parmesan; and a baked herbed crostini with parmesan and chopped thyme and parsley to bring it all together. When each part is consumed, and why – well, to each his or her own.
And, because if you’re anything like me and sometimes like seeing how they made, say, Toy Story 3, almost as much as you like seeing the finished product, a couple of photos of the kitchen at Lucques:
For those of you not part of the SAG action on Sunday night, Lucques and AOC are both participating in DineLA. Lucques is offering a three-course lunch menu for $28, and a three-course dinner menu for $44. AOC is offering a three-course dinner menu for $44. Given the caliber of the food at both restaurants – really, unlike other high-end restaurants, I can’t recall ever having a meal at either Lucques or AOC that I regretted – the prix fixe menus are a great deal. Go on, snack, chomp, nosh, feast, eat. Your emotions will thank you later.