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Events / Events (51)

Sunday, October 2

Christmas Cantata

Shrine Auditorium

665 W Jefferson Blvd., Los Angeles, CA 90007


The Christmas Cantata features 3 dynamic stages filled with cherished carols, gorgeous sets, and an eternal message of hope wrapped in one huge, breathtaking show.

Admission to Christmas Cantata is FREE but each performance is first-come, first-served and seating is limited. You can also make a donation to our US Tour and reserve your seats without waiting in line!

Come celebrate the true meaning of Christmas with Gracias Choir and GMF: the birth of love, hope, and happiness in each and every one of hearts.

**To maintain the quality of the event, children under 5 years old will not be allowed to enter.

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Monday, October 3

Islamic Art Now, Part 2: Contemporary Art of the Middle East


5905 Wilshire Blvd., Los Angeles, CA 90036


n recent years, the parameters of Islamic art have expanded to include contemporary works by artists from or with roots in the Middle East. Drawing inspiration from their own cultural traditions, these artists use techniques and incorporate imagery and ideas from earlier periods. LACMA has only recently begun to acquire such work within the context of its holdings of Islamic art, understanding that the ultimate success and relevance of this collection lies in building creative links between the past, present, and future. Islamic Art Now: Contemporary Art of the Middle East marks the first major installation of LACMA’s collection of contemporary art of the Middle East.

As the second of a two-part program, this exhibition features approximately 29 works by artists from Iran, the Arab world, Turkey, and Azerbaijan, including Shoja Azari, Lulwah Al Homoud, Burhan Doǧançay, Fereydoun Ave, Shirin Guirguis, Newsha Tavakolian, Shadi Ghadirian, Hassan Hajjaj, Ahmed Mater, and Faig Ahmed, among others.

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Jeff Johnson discusses and signs Everything Under the Moon

Book Soup

8818 Sunset Blvd, 8818 Sunset Blvd, CA 0


Born in Missouri more than a century ago and raised in a Pentecostal orphanage, the creature now calling himself Gelson Verber has changed his name countless times. He’s part-werewolf, and makes his living hunting certain kinds of bad men, criminals, rapists, thugs, in an often grotesque parody of the natural order. Verber is clearly suffering from the kinds of things a werewolf would be uniquely vulnerable to in the modern world: the horror of war, drug abuse, and isolation in the rain-drenched environment of Portland, Oregon. He has PTSD, but in a unique way, often flashing back to his time with a regiment in World War II.   His smooth life as a serial killer takes a turn when he falls into the crosshairs of Salt Street, a development corporation running pirated criminology software and Big Data sieves to identify werewolf hybrids, who are then forced into servitude. As he falls deeper into the trap that has been set for him, his introduction to its evil architect triggers within Verber a string of recollections, conversations with the late werewolf-hybrid, John Jack Bridger. Salt Street's trap is masterful, but it does have one terrible flaw: you cannot cage someone, or some thing, like Gelson Verber. 

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Mean Girls


611 N. Fairfax, Los Angeles, CA


The next installment of Doug Benson’s Movie Interruption, where Doug and his friends (who, in the past, have included everyone from Jon Hamm to Sarah Silverman and Zach Galifianakis) chill on the front row couches, mics in hand, and say whatever hilarious thing pops into their heads while a movie of their choosing unfolds on the screen.

Dir. Mark Waters, 2004, 35mm, 97 min.

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Margaret Glaspy

The Echo

1822 W. Sunset Blvd., Los Angeles, CA 90026


"Emotions and Math" is not simply the name of Margaret Glaspy's new debut album. That expression drills right to the heart of the New York singer-songwriter's proper introduction, a mission statement both artistic and personal.

Glaspy, who's 27 and grew up in Red Bluff, California, self-produced the album, which frames her revealing ruminations in shards of jagged guitar rock. Building on its early buzz - Rolling Stone hailed first single "You and I" for its "hot barbs of electric guitar," and BrooklynVegan declared it a "stomping rocker with a DGAF attitude" - Glaspy prepares for a big year in 2016.

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Wednesday, October 5

BANKS album signing

Amoeba Hollywood

6400 Sunset Blvd, Los Angeles, 90028


BANKS' new album, The Altar, comes out September 30th on Harvest Records - on CD, LP and Amoeba Exclusive Translucent Red Vinyl versions. Purchase your copy beginning 9/30 at Amoeba Hollywood to attend this special signing event. Free poster with purchase, while they last!

“This is me looking in the mirror and being present in the moment,” she says. “Not being scared of change, and not being scared of my own strength and my own power.”

When BANKS broke out with 2014’s Goddess, she became the world’s most blogged about artist, with a voice compared to the likes of Fiona Apple, Erykah Badu and Lauryn Hill, and a sound that took alt-pop and R&B to electrifying new places. With every song written and controlled creatively by BANKS, The Altar pushes those edges even further, and pulls no punches. It’s an inspiring confrontation of complicated love, pain, and self-doubt.

“I pushed myself. I pushed my boundaries. I found my own strengths while making this album,” she says. “I found that when I needed a shoulder to lean on, I could be that shoulder for myself.”

The album opens with “Gemini Feed” a song that swells with core-shaking beats, and her stirring voice turns resolute: “Open up your eyes.”

Nowhere is BANKS’ fearless self-confrontation more evident than in “Fuck With Myself,” which Zane Lowe premiered in July as a Beats 1 “World Record.” “I fuck with myself more than anybody else,” sings BANKS, cutting through propulsive beats and ominous grooves. In the powerful, jarring video she dances and struggles with contortionists wearing her image--it’s hard to watch, but it has to be faced. “In the video I'm looking in a mirror, because it's like looking at myself with open eyes. My hair is not in my face anymore. I feel less scared to be seen.”

On the haunting, slow-burning “Mind Games,” she challenges us to do just that: “Do I ever have to notice? I’ve been standing here and I don't know why. Did you ever even see me try? Do you see me now? Do you see me now? Do you see me now?”

Other songs on the album like “Mother Earth” are fearless in their vulnerability--led by strings and acoustic guitar, BANKS sings “Follow me to my bed, cause every time you fall I'll be holding your head up. And when will you get tired of feeling bad? And every time you fall, follow me.”

“I wrote that song when I was feeling sickened by this weight that society puts on women,” she says. “It tries to make them want to be as small as possible and take up as little space as possible. Be as perfect and wrapped up in a bow as possible. My sister just gave birth to a baby girl and I just I felt really sad and scared for her because I didn't want her to feel how I have felt.”

The album, which features collaborations with producers and writers including Tim Anderson, SOHN, DJ Dahi, and Jenna Andrews, was driven by BANKS’ deep, insistent need for raw expression and solace.

“Once I was ready to write again it really just poured out of me,” she says. “It was just like my body needed it so bad. I think I was probably chomping at the bit to put everything that I had gone through on paper. I went through a depression while I was creating, and it came out in my music in the best way--not in a sad way, but all of this deep-seated stuff that was weighing on my mind.”

And the album’s title, The Altar, honors the spiritual experience of that creation.

“Sometimes it feels like the inspirations for my songs come from somewhere else, where I’m not even thinking, they just come out,” says BANKS. “My music and my songs, they feel like my religion, and the altar is the holiest place there is.”

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Punctum Saliens

Theatre Raymond Kabbaz

10361 W. Pico Blvd. Los Angeles CA, Los angeles, CA 90064


Théâtre Raymond Kabbaz (TRK) is proud to present a spectacular evening of interdisciplinary contemporary/acrobatic dance, Lux Aeterna Dance Company’s Punctum Saliens, premiering in the US on Wednesday, October 5, 2016. The critically acclaimed, Los Angeles-based Lux Aeterna, founded and directed by pioneering breakdance daredevil Jacob “Kujo” Lyons, will perform Punctum Saliens (a creation for 4 dancers) with Lee "Mislee" Chesley, Lamonte "Tales" Goode, Jacob "Kujo" Lyons, Rauf "Rubberlegz" Yasit at the TRK event.

Pre-show with free cheese and cookie tasting!

This event is made possible with the support of FLAX Foundation (France Los Angeles Exchange), also supported by FUSED: French-US Exchange in Dance, a program of the New England Foundation for the Arts’ National Dance Project, the Cultural Services of the French Embassy in the United States, and FACE Foundation, with lead funding from the Doris Duke Charitable Foundation, the Florence Gould Foundation, and the French Ministry of Culture and Communication.

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Pete Yorn

El Rey Theatre

5515 Wilshire Boulevard, Los Angeles, CA, United States, CA 0


It's hard to think of anything more starkly reliable than the ticking of a clock, but time is an untrustworthy thing. It feels like ages since we've had a proper Pete Yorn LP to dissect, though it's been just five years. And it seems like only yesterday that we first heardmusicforthemorningafter, which came out back in 2001. Yorn's brand new album and Capitol Records debut, ArrangingTime, plays with the elasticity of the years both in between and since — it's not only a culmination of the Los Angeles by way of New Jersey artist's adventurous latter-day projects, but a return to his original leaner methods.
For the first time since 2003's Day I Forgot, producer R. Walt Vincent returns to help Yorn execute his most poised and diverse set of songs yet. ArrangingTime runs the gamut from elegiac folk to wasteland blues to upbeat, synth-kissed rock. Of course, some things never change. Yorn still plays the observer, stepping into characters — or his past selves from previous years — routing wistful poems and beatific visions through the weather-beaten voice of a man who's seen a few things in his time.
"I'll look at pictures of places I went, or things I did," says Yorn, "and I think, 'Look at how great that day was and you just missed it.' I think about the past and how much of it is a blur. The title of the album is a reminder to be present and within each song is a minor lesson about that. Time only gets faster as you get older."
We blinked and Yorn turned 40, but he isn't settling or slowing. If the extra-musical side of his last few years has been about anything, it is hard work. He's focused on personal growth, broken bad habits, learned to get out of his own way, and become more lithe to life's undulations. He got married. He gave the commencement address at alma mater Syracuse University (his speech was about running toward the stuff that makes you uncomfortable in life). And last year, after completing an acoustic tour without a backing band or a set list, he welcomed a child into this world.
"I was taking my life back," says Yorn. "It was back-to-back with the records, and I toured a lot. There used to be just one way to approach the road in my mind: fucking burn it out. I had to realize, 'Maybe I'm addicted to some things, and a little scared of adulthood.' I said, 'I want to tackle this.' Now, discipline feels better than excess."
As he prepares to release another album, it's clear his music has been shored up too. By one measure, another trick of time, Yorn's first three albums span a single day. The so-called "trilogy" — musicforthemorningafter, Day I Forgot, and Nightcrawler (2006) — captures the man's progression from an unknown songwriter unspooling raw magic at the storied Café Largo, to the sort of dude who can dial up Dave Grohl for a ripping drum solo and trade twanged verses with Natalie Maines. Those all found Yorn solo with a producer, building songs in the studio (or garage).
But for his last two, 2009's Back & Fourth and 2010's Pete Yorn, he did the session thing, stepping into readymade bands under the guidance of Saddle Creek producer Mike Mogis and Pixies genius Frank Black, respectively. And those were bookended by collaborative projects: 2009's playful album-length duet with Scarlett Johansson, Break Up, and The Olms(2013), a sunny, '60s-styled retro-pop duo with J.D. King.
"I went on a run abandoning my first approach," says Yorn. "I was molting an old skin in a lot of ways. After that, it felt natural to come back to just letting it flow with Walt. I have no illusions: You can't walk through the same river twice. I'm not trying to recreate an album I made in my 20s. I'm revisiting a method. I started off doing watercolors, then I did sculpting. And now I'm back on watercolors."
But he does bring his experience with him to the looser style of his first producer, R. Walt Vincent (with work from a couple of others). ArrangingTime opener "Summer Was a Day" drops us into the desert at night — it's lush with shimmering ambience, swelling strings, ringing guitar strum and skittering beats. And while "In Your Head" juxtaposes Springsteen's heartland chug with Morrissey's dramatic softness, a song like "Shopping Mall" is just understated and pretty — spare on instrumentation and generous with emotion. Penultimate track "Tomorrow" is almost a dance cut, and Yorn's attempt to buck the singer-songwriter trend of the album-ending slow fade.
ArrangingTime flows like a mixtape with Yorn's warm voice and perspective as the through-line. These 12 songs are populated by fragmented folks: people waiting for something to happen (the bus-stop sitter in the dreamy "Halifax"), or chasing a feeling they once had (the angsty burnout in the raucous "Screaming at the Setting Sun"). But it's not all so bleak — light seeps through the cracks in "I'm Not the One," where our host morphs into a loner coming to terms with his self-imposed isolation.
"I'm an observer," says Yorn. "I'm into subtleties, the moments between moments, but I don't pretend to know where all the ideas come from. I try to clear myself, create a melody and let that emotion dictate what comes out. I like my own songs when I haven't even figured them out yet. I'm into the mysterious part of the process."
But we're still allowed to guess at the hidden lessons of ArrangingTime. In the case of the characters above, one's stuck on the future, one's trapped in the past, and the other's learning to be present. The ambling "Walking Up" acknowledges outcomes both negative and positive as neutral — the titular act is what's important: facing the challenge, eyes open, in the moment. Because as seemingly treacherous as that tick-tock, tick-tock can be, it's not time that's changeable. It's the timekeeper.

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