Category Archives: Adventures in L.A.

Listening By Moonrise at L.A. State Historic Park with Low Leaf and Salenta + Topu

Low Leaf live at L.A. State Historic Park for Listening by Moonrise from Clockshop and Living Earth on July 21, 2024 (Photo: LIZ OHANESIAN)
Low Leaf live at L.A. State Historic Park for Listening by Moonrise on July 21, 204 (Photo: Liz O.)

There’s a pocket in L.A. State Historic Park where city life almost fades away. It’s near the back of the 32-acre park, just beyond sculptor Anna Sew Hoy’s bronze arches, “Psychic Body Grotto,” between the track that runs around the periphery of the park and the small creek bed that fills during storms. Here, the trees are large, at least by the standards of downtown Los Angeles. Even though many of their leaves have already fallen and dried, there is still plenty of shade and a cool breeze rustles through them. The reminder that we’re still in L.A. comes every five to ten minutes, when A Line trains whizz past the park to and from the Chinatown Metro station. 

L.A. State Historic is my local park, so I’m here often, but on this particular Sunday, I stopped by for music. A few times a year, around the full moon, the local arts and culture non-profit Clockshop, the same group that puts on the annual Kite Festival, hosts a music and sound event called Listening By Moonrise. For the July session, they teamed up with Living Earth, a fairly new collective that produces events that bring together performance and local nature.  On this occasion, the performers are Salenta + Topu, a jazz duo that met in Brooklyn, but are now based in L.A., and Low Leaf, who makes impossible-to-categorize music with, primarily, a harp and synthesizer.

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Fourth of July in L.A. with Grupo Soñador, DJ Nu-Mark, Tropa Magica and Healing Gems

Healing Gems live at Gloria Molina Grand Park for the 2024 Fourth of July Block Party (Photo: Liz Ohanesian)
Healing Gems live at Gloria Molina Grand Park for the 2024 Fourth of July Block Party (Pic: Liz O.)

At 5 p.m. on the Fourth of July, the sun is still beating against Gloria Molina Grand Park. It’s not as hot in downtown Los Angeles as one might expect after hearing the word “heatwave” over and over again on the news. It’s definitely not as hot as the Twilight Zone episode I had just watched, “The Midnight Sun,” which, let me tell you, is not one you want to see right as you’re getting ready to leave your air conditioned bubble on a summer day. Still, it’s sweaty-hot and all-too-sunny in the section of the park across from City Hall on this Thursday afternoon, but Healing Gems is riding a party vibe.  

For Fourth of July, Grand Park throws a massive, free block party. There’s live music, DJs, rides, games and, for the second year in a row, a drone spectacle that lights up the sky without all the side-effects of fireworks. Once the sun sets, this 12-acre park will be packed, but we haven’t reached that point yet. Right now, a handful of folks have already staked claims on the park’s few shady spots with picnic blankets. A smattering of others brave direct sunlight for space in front of the stage. 

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Go See Giant Robot Biennale 5 at Little Tokyo’s Japanese American National Museum

Yoskay Yamamoto "Moonage Daydream" installation with Luke Chueh painting in background at Japanese American National Museum in Little Tokyo for Giant Robot Biennale 5. (Photo: Liz Ohanesian)
Yoskay Yamamoto’s installation “Moonage Daydream” with painting by Luke Chueh in the background at Giant Robot Biennale 5. (Pic: Liz O.)

It’s a been a minute, but the Giant Robot Biennale is back. Between 2007 and 2015, the group exhibition developed by Erik Nakamura and the Japanese American National Museum popped up roughly every other year, bringing together a cross-section of artists that you might recognize from shows at the GR2 Gallery in West L.A., or from the pages of the magazine Giant Robot, which ran from 1994 until 2010 and helped introduce audiences to artists like Takashi Murakami and Yoshitomo Nara

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Miki Berenyi Trio, Tolhurst x Budgie at Fonda Theatre, May 29, 2024

Miki Berenyi Trio live at Fonda Theatre in Los Angeles on May 29, 2024 (Photo: Liz Ohanesian)
This was the least crappy cel phone pic of Miki Berenyi Trio I took from the back of the room at Fonda Theatre.

Lol Tolhurst x Budgie were a couple songs into their set opening for Miki Berenyi Trio on Wednesday night when I noticed something strange. The sea of people in front of me at the Fonda Theatre was dark. There was not a single cel phone glowing above their heads. It was a sight I hadn’t seen since the year before the iPhone was released and it was jarring. Did I miss an announcement or something? Was security going to kick me out if I pulled out my phone?

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Digging for Heat at On the Record Vinyl Fair

The Music Center in downtown Los Angeles on Saturday, May 4, 2024 for On the Record Vinyl Fair (Photo: Liz Ohanesian)
On the Record Vinyl Fair at The Music Center on May 4, 2024 (Pic: Liz O.)

Salt Box Records has never steered me wrong. So, when I saw a 7” with a tag on cover the sleeve that read “Italo-style Spanish synth pop,” I grabbed it. I had never heard of the band Tango?— or, at least, in that moment, I thought that I hadn’t heard them— and the song title “Breve Síntesis de los Huecos,” sounded completely unfamiliar to me. I bought it strictly because that descriptive tag, written in Sharpie by an actual human, said, “Listen to me, Liz” in a way that algorithmic suggestions never do. 

Later on, I would realize that I had previously heard Tango?, who were based in Barcelona and active in the mid-1980s. They had a self-titled song that was included on the stellar compilation, Ritmo Fantasía: Balearic Spanish Synth-Pop, Boogie and House. The two songs couldn’t be more different, though. “Tango?,” the song, is a slow groovy piece suited for pool parties and bars where they serve tapas on shady, outdoor patios. “Breve Síntesis de los Huecos” should have accompanied a montage in an ‘80s movie. It’s a vibe.

But, back to the record shopping. 

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“Energy: A Documentary About Damo Suzuki” Premiered in L.A. at Philosophical Research Society

Auditorium lobby at Philosophical Research Society in Los Feliz, Los Angeles with sign for screeening of "Energy: A Documentary About Damo Suzuki" in foreground and portrait of Manly P. Hall in background.
Energy: A Documentary About Damo Suzuki, premiered in L.A. at Philosophical Research Society on April 13, 2024. Portrait in the background is of PRS founder Manly P. Hall. (Pic: Liz O.)

Energy: A Documentary About Damo Suzuki had its Los Angeles premiere on Saturday, April 13 at the Philosophical Research Society. Fortunately, I was able to attend, so I’m writing this post now to tell you that you should: 1. Seek out Energy and watch it. 2. Go to the Philosophical Research Society. 

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Lost in Time at WHAMMY! Analog Media

Hammerman cartoon starring MC Hammer from 1991 on VHS at Whammy! Analog Media in Echo Park. (Photo: Liz Ohanesian)
At Whammy! Analog Media, I learned that there was an M.C. Hammer cartoon. (Photo: Liz O.)

On a drizzly, Sunday afternoon, I half-forgot about what I was looking for inside WHAMMY! I was semi-crouched in a small aisle, scooting out of the way of passersby while scanning the spines of VHS releases of old cartoons. There was the Charlotte’s Web movie that I still vividly recall seeing multiple times on TV as a kid. (Was it one of the Family Film Festival movies? Do anyone else who spent ‘80s weekends watching KTLA remember?) Two Care Bears cassettes were filed next to something called Buttons & Rusty, which I don’t remember at all. 

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Digging for Miguel Bosé

Miguele Bosé Bandido (1984) on vinyl found at Sonido del Valle in Boyle Heights, Los Angeles. (Photo: Liz Ohanesian)
My copy of Bandido by Miguel Bosé the day I found it inside Sonido del Valle in Boyle Heights (Pic: Liz O.)

I paused with the door of the convenience store fridge open when I heard the song. It sounded like Ultravox during the Midge Ure years, but it was in Spanish. Who was this? Shazam likely would have turned up the answer, but I asked the cashier instead. Miguel Bosé, she answered immediately. 

Maybe I should have known that? I think the cashier was surprised that I didn’t recognize the singer. We talked about music often when I popped into the store. She played a lot of ‘80s Spanish pop jams. Once I remarked, “ooh, I love this song!” while Flans’ version of “No Controles” played and that got us started. But, I also didn’t grow up with the music. I had some knowledge of the alternative bands that were in the 1990s ether, stuff like Cafe Tacuba and Kinky, but I didn’t start listening to Spanish ‘80s until the ‘00s and what I knew came via my friends who are DJs. 

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The Time Chaz Jankel’s Post-Disco Jam “Ai No Corrida” Turned up at Fingerprints

Chas Jankel vinyl 1981 with "Ai No Corrida" Photo by Liz Ohanesian
Chaz Jankel’s debut solo album featuring “Ai No Corrida.” (Pic: Liz O.)

I walked towards the front of Fingerprints feeling fairly accomplished. A dig through the holiday record bin may have turned up no copies of “El Burrito de Belén” (or “El Burrito Sabanero”), but, I did find a vinyl copy of Let It Be Blue, the !!! album that was one of my favorites of 2022, on sale for a very 2002 price. I was happy to leave the store with that and nothing else, but Carlos called me over to a bargain bin. “Look,” he said with excitement on his face. He held up  the Chaz Jankel record where the musician’s first name was spelled Chas. It’s the album with the original version of “Ai No Corrida.” 

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New Year, New Vinyl

Records from Musical Youth, Detroit Grand Pubahs, Body of Light inside Going Underground Records in Little Tokyo, Los Angeles from "New Year, New Vinyl" by Liz Ohanesian
Records from Musical Youth, Detroit Grand Pubahs and Body of Light inside Going Underground Records (Pic: Liz O.)

My first quandary of 2024 occurred late in the afternoon on January 1 inside Going Underground Records as I quickly flipped through a crate of indie releases alphabetized by the letter F. There, I found Kate Fagan I Don’t Want to Be Too Cool and Future Islands As Long As You Are on vinyl, both of which I could use in my collection. But, when it comes to new vinyl, I need to exhibit some restraint. Which should I choose? 

In the end, I chose neither. 

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