Nolune live outside of Bar Henry for Echo Park Rising
For one baffling moment, the thought of walking the 1.2 mile stretch of Sunset Blvd. between Spacedust and Bar Henry for Echo Park Rising on Saturday afternoon sounded doable. I quickly came to my senses and vetoed that option, though, on account of it being somewhere around 90 degrees, per the weather app on my phone. Plus, the list of things I wanted to do that day was out of control. So, instead, I stuck around Bar Henry long enough to see Nolune, Micah Preite and Datamaps play fantastic sets on the sidewalk as traffic whizzed past us.
Joe Joe’s Bizarre City Pop Night at Silverlake Lounge on September 6, 2023. (Pic: Liz O.)
I love it when I don’t know the music at a club. Maybe that’s a DJ thing or a music snob thing. It could just be a Liz O. quirk, IDK. Still, I’m the last person who will run up to the booth and say, “play something I can dance to.” I will, however, run up to the booth and compliment the DJ for playing something that’s unfamiliar to me, but sounds like funky Cocteau Twins, which is what happened on Wednesday during my friend Elvin Estela’s set at Silverlake Lounge for Joe Joe’s Bizarre City Pop Night.
Seeing Der Fan in a theater beats watching it at home.
There’s a moment in Der Fan, when it’s obvious that something is extremely not right about Simone. A cute, teenage boy who clearly has a thing for the protagonist of this 1982 German film hands her a cassette tape. She rejects the tape so casually that I practically gasped while sitting in the front row of a screening at Alamo Drafthouse.
You won’t see much more than a few lights inside “Party/After Party,” but you’ll hear, and feel, a lot.
On April 16, “Party/After Party,” the sound installation from esteemed DJ/producer Carl Craig, opened at MOCA’s Geffen Contemporary in Little Tokyo. I interviewed Craig for Southern California News Group prior to the opening, which you can read online. (If you don’t have a subscription, but do have a Los Angeles Public Library card, log in through the LAPL portal to read it.) However, I didn’t get to walk through “Party/After Party” until this past week. It was both an incredibly familiar and unusual experience.
I hate to break it to you in the midst of this “indie sleaze” moment, but the late ‘00s weren’t that cool. It was the era when poseurs and paparazzi flocked to Hollywood and West Hollywood to catch a glimpse of the misadventures of Lindsay Lohan. Bottle service was on the rise, as were the profiles of well-connected, but barely competent DJs. People started dressing up for Coachella, a baffling development to anyone who ever stepped near a porta potty on the final evening of the festival. This was also the time when it was obvious that we were in an endless war and the divide between the haves and have-nots was just going to get bigger. The late ‘00s foreshadowed all of today’s bullshit, but people were too entranced by gossip blogs to notice.
Lest I ruin your enjoyment of early 21st century nostalgia, I’ll let you in on one really cool thing that happened in the midst of ‘00s L.A. That was Sean Carnage’s Monday Nights. Between the mid-’00s and mid-’10s, Sean put together weekly showcases of local and touring underground artists first at Il Corral in East Hollywood and then at Pehrspace in Historic Filipinotown. Over 1100 bands played the events. Some became well-known, at least in indie circles. Most were just really cool.
Nostalgia drives culture in such bizarre, consumerist ways. Buy this limited edition throwback to an era you hardly remember. Spend your rent money on tickets to this reunion show. Watch this reboot of a show that sucked the first time around. Click on this story, like this Instagram post and, maybe for a moment, you’ll forget that the 21st century is trash.
Paul’s Boutique display inside Beastie Boys Exhibit
The first song I heard inside Beastie Boys Exhibit at Beyond the Streets and Control Gallery was “Goo Goo Muck,” The Cramps’ weirdo classic that recently went viral via Netflix. I don’t know what the song had to do with the exhibition. In fact, save for the very few actual Beastie Boys’ songs that played over the course of a half-hour or so, I don’t know what any of the music had to do with the show. It was playlist that sounded as if it were generated by an algorithm rather than a human.
