PREMIUM UNDERGROUND Urban Legend Complex Posted in Uncategorized with tags Premium Underground Kenneth Masters Cramske #kmass kmass #cramske #ghhm #ghh Good Hip Hop on June 18, by INDEPENDENT DIGITS. Highly sought after Independent release from the minds and talents of Kenneth Masters and Cramske. Formed together in Philadelphia, America. CD Baby, de cara foi uma grande facilitadora para mim, desde lá, lançamos um disco, um EP e agora novos Singles virão até o fim do ano. Tudo de forma simples, prática e organizada. Tenho muito carinho pela plataforma, pois sou muito bem atendida pela equipe sempre muito solícita e atenta as minhas demandas e ideais. Jul 21, · "Top Paid #iBooks #Preview" [ наверх] Wild Irish Dreamer - Tricia O'Malley What would happen if dreams came true? It's said that the world is made of dreamers. Which is a lovely thought and all, except for when those dreams come with a foretelling of the future. In order to find out what she really wants, Fiona MacAuliffe has spent her life running .
Edward Albee's unlikely but brilliant play about one man's ill-fated love affair with a barnyard animal unfolds into a modern-day Greek tragedy all the more devastating for its sheer improbability.
Director Ken Sawyer's staging is consummately well-realized, and the cast is superb, but it is Ann Noble who commands our awe as a modern-day Fury bent on a mission of righteous and appalling vengeance. Kathleen Foley Ends Sun. McCadden Place, Hollywood.
Imagining three great historical thinkers locked in a room to spend the afterlife debating philosophy, religion and personal morality provides an entertaining and informative engagement of ideas; if you like the notion of "Steve Allen's Meeting of Minds" crossed with Jean-Paul Sartre's "No Exit," this is the play for you.
Philip Brandes Ends Sunday, Dec. Familiarity with Shakespeare's "The Winter's Tale" is not strictly needed to follow and enjoy Craig Wright's modern-day transposition, but it does help to appreciate the psychological depths and structural quirks in the Road Theatre's charming and hauntingly beautiful production; as with all resonant fables, emotional credibility matters more than literal realism here.
Philip Brandes Ends Sat. Odyssey Theatre, S. Sepulveda Blvd. After the success of his Broadway adaptation of "The Producers," Mel Brooks worked with book-writer Thomas Meehan to stage another of his beloved films, "Young Frankenstein.
Quintana as the monster who really knows how to put on the Ritz. Margaret Gray Ends Sunday, Nov. Oxford Ave. Run the Jewels is the team of two indie titans, El-P and Killer Mike, who have upended convention by remaining idealistically true, artistically adventurous and creatively emboldened well into their second decade as rapper-producers. Headphone rap of the highest order, tracks on this sequel hum and groove, laced with texture and hidden sonic accents. It's the most famous room in the annals of pop music, its history equal parts legend and truth.
In the decades since its use as a rehearsal space, this subterranean refuge has become known as the birthplace of some of America's most examined non-Paris-Hilton-sex, non-Watergate tapes. The Basement Tapes. Many of a certain generation know the basics: In and around Woodstock, N. As the story goes, while recuperating from a motorcycle crash and starting his life as a husband and father of two, Dylan and his compadres, who soon rechristened themselves the Band, crafted a mysterious vessel on more than 40 reels of tape that have since become sacred texts of sorts.
But until this week, the full set has never been officially issued. A two-CD volume collects highlights. Randall Roberts Read more. Wearing a loose-knotted black sweater that revealed his carved torso beneath, the pianist, singer and songwriter known as Perfume Genius sat before a whisper-quiet sold-out crowd at the Roxy in West Hollywood and tried to explain the raw, full-throated wail he'd just unleashed.
Dubbing it his "general horror movie scream," the artist born Mike Hadreas had just poured forth during "Grid," a highlight from his new album, "Too Bright," and devastating as performed live in a room with so much history. It was a harrowing cry amid a remarkable set, delivered from the thin membrane that separates singing and raging, a place expertly inhabited by artists including Jeff Buckley and his father, Tim, Fiona Apple and the Cocteau Twins' Elizabeth Fraser.
A realm that straddles an egoless display of creative emotion and uncontrollable onstage breakdown. Classical music has a habit of burning out on birthdays. Two years ago, John Cage's music was everywhere, what with Los Angeles and the world celebrating the centennial of his birth on Sept. The party lingered. Last September, Gustavo Dudamel opened the Los Angeles Philharmonic season with a performance of Cage's famous so-called silent piece, "4'33".
But three excellent ongoing Cage CD series have new releases to frost the Cage birthday cake. Mark Swed Read more. Summer offers ample time for the kind of concentrated listening that drives musical love affairs.
Whether aboard a luxury liner headed for Alaska or in a hand-me-down Hyundai road-tripping to Joshua Tree, the season presents opportunities galore to catch up on hot records that plugged-in friends have had on repeat. Here are 10 records released this year that I've been recommending to friends. The "best" so far?
Sure, but don't expect the same list at the end of the year — or even the end of next week. By the time that Ty Segall hit age 26, he had already recorded and released six solo albums, appeared or collaborated on a dozen or so other albums of frantic guitar rock, issued 20 singles or extended-plays through various record labels, appeared on dozens of compilations and composed a few hundred songs.
In that burst of inspiration, the Laguna Beach-born guitarist, singer, surfer, skater and songwriter toured nonstop, gigging hundreds of shows across the country. He produced similarly minded bands, played punk and indie festivals and tore through many wickedly searing guitar solos. The Memphis garage rock label Goner had already released the first Segall singles collection by the time he was Before starting work on his new album, "Manipulator," Segall pronounced like the bird had accumulated a bulldozer's worth of distorted rock 'n' roll riffs, amassing ideas while sweating the proverbial 10, hours required of an expert craftsman.
So it makes sense that in crafting his follow-up, Akinmusire nearly goes everywhere. Chris Barton Read more. If there's a lingering take-away from "Blank Project," that's it.
Cherry, whose breakout hit "Buffalo Stance" was practically inescapable in the late '80s, left music for years before reemerging with "The Cherry Thing" in A brash stab of skronky jazz-punk that paired Cherry's soulful vocals with a blustery Scandinavian saxophone trio, the record was one of the year's best. Here Cherry proves that comeback was no fluke. Lo-Fang is the pseudonym of Matthew Hemerlein, a singer and pop composer who wrote, recorded and played all the instruments on this debut.
An early contender for debut of the year, "Blue Film" comes out Feb. Lo-Fang goes on tour with his most famous fan, Lorde, this spring. Highly recommended. Looking back from the fragmented media landscape ofit's hard to imagine someone like John Lurie was ever possible. An immediately recognizable character actor who appeared in landmark indie films including Jim Jarmusch's "Down by Law" and "Stranger Than Paradise," Lurie was also a brilliant saxophonist who helped push the boundaries of jazz in the '80s and '90s with his band, the Lounge Lizards.
But Lurie was forced to give up music and acting after being stricken with advanced Lyme disease and has since switched to painting his work has been exhibited numerous times and was collected in a book, "A Fine Example of Art". Lurie's low profile in recent years is also because of significant trouble with a stalker — a situation that was examined in a New Yorker profile the facts of which Lurie has vigorously disputed.
You can't talk about drummer Matt Wilson without talking about swing, that pulse of jazz that's been his specialty on more than recordings as a sideman. Reconvening his longtime quartet, Wilson again shines with some unexpected help in keyboardist John Medeski. Often lumped into some jam-band ghetto for his ventures with the avant-funk trio Medeski Martin and Wood, Medeski's talents have long been harder to pigeonhole, including a contemplative solo record in Here, he's a precisely moving part on an album that should be mandatory listening for traditionalists and jazz-curious Phish-heads alike.
When Claudio Abbado, the revered Italian conductor who died Monday, turned 80 last summer, record companies celebrated with several super-sized box sets of his recordings and videos. It's not hard to find discs with which to spend the weekend remembering one of the greats. Abbado's career was a grand one, fairly well documented. His interpretations of the 19th-century masters — Beethoven, Brahms, Schumann, Mendelssohn, Bruckner, Mahler, Verdi, Rossini — are exquisitely accomplished.
Abbado was a polisher and took no note for granted. But sometimes his mid-career recordings can sound almost too reliable. It's the vibrant early and the masterly moving late performances that really shine, as well as the more offbeat. The ambitious new set "The Rise and Fall of Paramount RecordsVolume 1" comes packaged in a sturdy wooden suitcase dubbed "The Cabinet of Wonder," an apt title considering the awe-inducing sounds and history it resurrects.
They were released through a subsidiary of a Port Washington, Wis. Your opinion of Saint Martha, a cramped new bistro in a Koreatown mini-mall, will probably correlate pretty closely with your view on steak and oyster tartare, the default signature dish.
The tartare appears on the short menu under the heading Rawesome. It comes to the table flanked by two scorching-hot empanadas stuffed with molten bone marrow. A pair of sauces, tart sabayons, are presented one inside the other and look like a fried egg.
The scarlet mound is almost a self-saucing mechanism, designed to maximize umami. I think I like it, but I change my mind every time I taste it. The dish is a shotgun marriage of opposites. Saint Martha, S. Western Ave. This taco truck, parked permanently deep in the Eastside, is famous for pescuezos, delicious deep-fried chicken necks The skin is pushed up the shaft of the neck before frying, which gives the effect of a tanned, meaty cylinder surmounted by an Elizabethan collar of pure crunch; hidden bits of chewy meat and a corona of pure, fatty pleasure.
Because the truck has colonized a largish brick-and-mortar taqueria, there are plenty of tables to sit around, and you can always find parking. If pescuezos aren't your thing, the pork al pastor, sliced from its spit to order is decent. But really, you should try the necks. Tear off a bit of meat, and wrap it in a warm tortilla with a splash of peppery tomato salsa.
And on weekends, Santa Rita is open until 3 a. Santa Rita, Jalisco, E. First St. Anybody can make a pork chop taste good. It takes dedication to cook a memorable carrot. His takes on student rice bowls, Hawaiian beach food and Jamaican party eats at Chego, A-Frame and Sunny Spot are both intelligent and easy to eat. If he listened to venture capitalists, there would probably be Kogi stands in half the food courts in America. But as steeped as he is in L.
He has a bestselling memoir and a show on CNN. He plans to collaborate on a chain of healthy fast-food restaurants with Patterson, who is perhaps the most cerebral chef working in the U. When Choi hinted that Commissary, his new restaurant in the Line Hotel in Koreatown, would be vegetable-focused, it made sense.
Highbrow chefs concentrate on vegetables now. It is a given. Commissary, Line Hotel, Wilshire Blvd. Alimento, a new Italian restaurant from Zach Pollack, has, in just a few months, established itself as one of the better small Italian restaurants in Los Angeles, a place so fantastically popular that the valet station occasionally backs up Silver Lake Boulevard and even TV stars content themselves with sitting at the bar.
This is an era of solo acts, young chefs breaking away from the strictures imposed by serial restaurateurs and their pocketbooks, and Silver Lake may be an appropriate place for chefs as well as musicians to go indie.
And Pollack is turning things upside down. Alimento, Silver Lake Blvd. When you are evaluating a sushi bar, you can tell a lot by looking at the tamago, the sweetened omelet often served as a last course. To casual customers, it may be a throwaway, but the consistency and texture reveal a lot about a chef's concentration and skill.
In Hong Kong-style restaurants, I was surprised to learn last year, chefs may judge one another on the excellence of their sweet and sour pork, a plebeian dish that relies on superb technique. And in a new bistro, you can probably discover everything you want to know about a chef by his escargot, a dish that in the wrong restaurant can resemble nothing so much as chunks of black rubber in scented grease.
Great escargot is earthy, a little tender, adding a distinct hit of umami to the garlic and herbs. But there may be no better plate of escargot in town than at the new Petit Trois: six fat snails arranged on a custom metal plate, shells brimming with garlic, minced parsley and melted butter. Petit Trois, N. Highland Ave. Since the day it opened, Tsujita has attracted mobs to Sawtelle's Little Osaka neighborhood; on sunny weekends, the wait for a table can last an hour or more.
Tsujita, a spinoff of a well-respected Tokyo ramen restaurant, is small and accepts no reservations. It also happens to serve the best ramen in a ramen-crazed part of town, and only at lunch. Across the street, the newer Tsujita Annex serves an ultra-rich, somewhat different kind of ramen for lunch and dinner, soaked in a gravy-thick pork broth and garnished with what seems like double handfuls of chopped back fat.
Tsujita Annex also has its lines. But when you discover the latest addition to the Tsujita empire up the block from the annex, hidden behind a patio festooned with a massive crystal chandelier, you will find that it does not serve noodles at all.
Chef Shigeru Kato, as well as most of the seafood, is imported from Tokyo. As at Q Sushi downtown, the sushi can sometimes remind you less of fresh fish than of delicate, exquisitely scented Japanese charcuterie.
The aim is sushi without compromise. Sushi Tsujita, Sawtelle Blvd. If you are looking for a clue to Shi Hai, the new Hong Kong-style seafood restaurant in Alhambra, you might find it in the cold cucumber appetizer, a dish that appears at both dim sum breakfast and at dinner. If this is your first time at the restaurant, you might be anticipating the well-garlicked hacked cucumbers you find at Shandong-style delis, or possibly something in the vein of the lightly fermented pickles from Japan.
But the cold cucumbers turn out to be just that — cucumbers cut into neat spears and jammed into crushed ice in a sort of vegetable Stonehenge. If the cucumbers are pickled, the cure is too subtle to taste, but they are cool and perfectly crunchy. A small saucer of soy sauce and wasabi is served alongside if you care to dip. The dish is plain. You will probably wonder why you ordered it. And then halfway through the meal, at the point when you are sated with new and unfamiliar flavors, you will be delighted to rediscover the cucumber, your chilly new friend.
Occasionally, simplicity can be key. Shi Hai, S. Garfield Ave. Of course. Cuisine costs. But great cooking takes many different forms in Los Angeles, and some of the most exquisite flavors belong to us all. If you have been following the Chinese-restaurant scene in the San Gabriel Valley in the last few years, you probably know about Chengdu Taste, the restaurant that showed California the world of Sichuan cuisine that lay beyond mapo tofu and twice-cooked pork — if only for the famous two-hour wait for a table on weekends.
And if you had been driving along Valley Boulevard in Alhambra in the last couple of weeks, you might have noticed another enormous crowd outside a Sichuan restaurant: the brand-new Szechuan Impression, home to yet another brand of modern Sichuan cuisine. Szechuan Impression, W. Valley Blvd. The last time I went to Aqui Es Texcoco, the kitchen had run out of lamb. And while this might not have been a problem in most Mexican restaurants, where you'd shrug and move on to the roast pork or the mojarraAqui Es Texcoco is more or less a one-dish restaurant — that dish being barbacoa in the style of the Mexico City-adjacent Texcoco, an area as famous for pit-roasted lamb as it is for its Aztec ruins.
When you see the word "Texcoco" on the sign of a restaurant or food stand, you know there is going to be pit-roasted lamb. When you get in your car and drive to the odd neighborhood of industrial parks in which you find Aqui Es Texcoco, you are not there for the Mexican craft beers, the promise of handmade pulque or the sturdy quesadillas, you are there for vast portions of lamb, chewy and gelatinous and touched with crunchy bits of char, piled on sheets of aluminum foil.
Aqui Es Texcoco, S. Eastern Ave. Micah Wexler first came to attention as the chef at Mezze, up in the old Sona space on La Cienega Boulevard, and in his stint at the short-lived restaurant he redefined what Middle Eastern food might be, garnishing braised tripe with nuggets of crunchy falafel, drizzling labneh onto foie gras and splashing manti with spiced almond milk. It was only after several months that a lot of people realized his inspiration was at least as deeply rooted in Jewish cooking as it was in the cuisines of Israel's neighbors, and his delicatessen Sundays, based on the food he grew up eating in Los Angeles, were sold out long in advance.
So it perhaps makes sense that he opened Wexler's Deli in the newly revivified Grand Central Market downtown, a delicatessen reborn in a civic space that hasn't seen decent pastrami in years.
The deli, which opened just this spring, looks as if it has been part of the market since the early s, chubby neon sign, battered counter and all. Have you ever tasted real paella? And by "real," I should specify that I mean not the stuff you eat with sangria down by the beach or even the lovely yellow rice with seafood that you have to order a day in advance at Cuban restaurants, but the real thing, rare outside its birthplace in the mountains outside Valencia, which is less a vehicle for costly ingredients than it is a big, shallow pan of methodically toasted rice.
An alarming percentage of the best paellas I have eaten have come from the well-seasoned steel pans of Perfecto Rocher, a third-generation paella chef now at the new Smoke.
He is a fairly spectacular creative chef, fully conversant with the toys of the modernist kitchen and a master of the Melrose Ave. Roy Choi has gone through a lot in the last few years, and his journey — from a chef ingloriously fired from a high-profile restaurant to food truck pioneer to baron of a restaurant empire — has been much celebrated lately.
His cookbook and memoir, "L. Son," is a bestseller. In the events surrounding the film "Chef" this spring, it is hard to know whether the bigger draw was Choi, a co-producer, or Jon Favreau, who directed and starred. Laid-back, a little surly and genuinely funny, Choi has become the current archetype of the L. But where you might expect Pot, his new restaurant in the Line hotel, to be a hipster joint, dishing out sleekly reimagined Korean fusion food to a generation whose first exposure to celebrity-cooked food may have been his Black Jack quesadillas, it is kind of a regular Korean place, home to bubbling tureens of crab soup and sizzling kimchi-fried rice, super-clean bowls of cold noodles with chile sauce and Korean pickles, and crisp potato pancakes like the ones you get at Kobawoo.
In the Line Hotel, Wilshire Blvd. Rob Wynne has a way with eccentric materials, including limpid mirrored-glass wall reliefs and lovely drawings of birds and insects made from embroidery Album) and beads tediously stitched onto vellum. Ends Saturday, Dec. Gavlak Gallery, N. Unless one is Native American, getting a grasp of complex Native American spiritual cosmologies is not easy. And that distinction, which might be called a quality of profound otherness, is in essence what drives a fascinating show recently opened at the Autry National Center of the American West in Griffith Park.
It's a story of survival, of a will to endure in the face of crushing opposition. And it is a story told through beads. Christopher Knight Through April 26 Read more. Marsden Hartley was one of the two greatest painters the United States produced in the artistically tumultuous first decades of the 20th century the other was Arthur Doveand there hasn't been an L.
Hartley show since The show is deeply moving. The paintings Hartley made during a three-year European sojourn embody his startling artistic breakthrough: Call it modern public pageantry of private grief.
Christopher Knight Ends Sun. Treacherous life, irrepressible life. Absurd, confounding life. The drawings of Kathleen Henderson take on nothing less. She chronicles banal, everyday debacles on up to shameful cultural crimes. Her recent work, at Rosamund Felsen, is tough as ever, searing and satirical, propelled by a variable mix of cynicism and wonder.
Leah Ollman Ends Saturday, Nov. A measure of respect is due any artist who has the nerve to take on a revered masterpiece. Hodges' take on it is one of 56 works in the year retrospective of his career concluding its national tour at the Hammer Museum Christopher Knight Through Jan.
The circle of artists and writers around Bay Area painter Jess Collins and his lifelong romantic partner, poet Robert Duncan, didn't have a memorable name or a specific program. But it was to San Francisco in the s and s something of what the Bloomsbury group was to London in the first decades of the 20th century. The California crew was composed of exiles — not entirely refugees from the upper-middle professional class, as their British forebears were, but from the dull, often small-minded and oppressive American realities of the Album).
Like the Bloomsbury group, and not unlike the West Coast Beats with whom they overlapped, they were bohemians. Art for them was a self-created — and privileged — refuge.
In true democratic style, anyone was welcome to join in, choosing the privilege for himself or herself, regardless of past social standing. The group did not produce a raft of major art, but overall the ethos is beguiling. At the Pasadena Museum of California Art, a thorough and impressive survey lays out the contours of their work. In more than objects of warrior regalia, it surveys often stunningly designed samurai suits of armor, face masks, swords, shin guards and breast plates, horse garments including remarkable lacquered stirrupshelmets — even metal fans.
Christopher Knight Through Feb. The untitled group exhibition stands out as one of the best sculpture shows in recent memory. Making no big claims or overblown pronouncements, the nine-artist show demonstrates that unassuming idiosyncrasy is sculpture's strong suit David Pagel Through Nov. Marc Foxx Gallery, Wilshire Blvd. Denis Johnson tends to let his work speak for itself.
Naomi Klein has made a career critiquing the effects of global capital and consumerism. Her book "No Logo" looked at the exploitation of workers by large multinationals, including Nike; her follow-up, "The Shock Doctrine"examined the ways in which corporations benefit from disasters, wars and other upheavals, often with the assistance of policy initiatives. These books have led to the Canadian-born Klein being called "the most visible and influential figure on the American left.
Nowhere is this more true than when it comes to climate change, the subject of her new book, "This Changes Everything: Capitalism vs. First, a few facts: Edward Hirsch's son, Gabriel, died on Aug.
Hurricane Irene was making landfall in New York. He had a seizure and went into cardiac arrest. It took Hirsch and his ex-wife four days to find out what had happened to their son. That is the back story, the bare-bones context for Hirsch's book-length poem "Gabriel," which is as raw, as relentless in its inconsolability, as anything I've read. But the real point here is that facts, that context, offer no comfort, Album). What we most want — for things to work out differently — is what we cannot have.
Haruki Murakami's "Colorless Tsukuru Tazaki and His Years of Pilgrimage" begins with a simple premise: A Tokyo railroad engineer, the Tsukuru Tazaki of the novel's title, finds himself borne back ceaselessly to the summer of his sophomore year in college, when, for no reason he can determine, he was cut off by his close-knit group of high school friends. Kenneth Masters and Cramske* are: The Premium Underground - The Urban Legend Complex (CD betrayal sent Tsukuru into a spiral. There is a rawness, a vulnerability, to this situation, a sense that the surface of the world is thin.
This is true even after Tsukuru reaches back across the years to make contact with his former friends. How do we connect, or reconnect, Murakami wants us to consider, not only to those around us, but also to the very essence of ourselves?
Part travelogue, part memoir, part reportage on Mexican politics and the scourge of narcoterrorism, it is also, in the finest sense, a book that creates its own form. Stuart Dybek's stories occupy a territory somewhere between Vladimir Nabokov and Nelson Algren — beguiled by the play of language, but also gritty and specific, fundamentally urban at their core. And yet, to read him is to be reminded of the resonance of small moments, the connections that arise and dissipate with the passing power of a thought.
And yet, deep in the second book of this six-volume, 3,page autobiographical project, Knausgaard offers us an unexpected key. In mine there were two.
My father and the fact that I had never belonged anywhere. The first time Armistead Maupin ended his "Tales of the City" serial — inwith his sixth novel, "Sure of You" — he did it with a departure. It was a sad if not unexpected outcome. Maupin was ready to move on. It was nearly two decades before he returned to these characters, first with the novel "Michael Tolliver Lives" and then with the follow-up, "Mary Ann in Autumn," in What makes "Tales of the City" so resonant is Maupin's ability to draw broad, human lessons from the particularity of his characters' lives.
This is why it has struck such a chord for close to 40 years now: adapted into three miniseries and an opera, the source of "Tales"-related San Francisco tours. Now, Maupin has chosen to end the series again with "The Days of Anna Madrigal," a work that is less about departure than coming home. Featuring the full complement of "Tales" regulars with the exception of Mona, who died in the novel "Babycakes"the book is an elegy — for San Francisco, for its characters, for a way of life. Boyle's "Stories II" gathers all the short fiction he has published in the past 15 years — 58 stories, including 14 that have never appeared in book form.
This is no mere collection, in other words, but an edifice intended, not unlike its equally massive predecessor "Stories"to define a legacy. To some extent, that's a sign of Boyle growing older; he will turn 65 in December. Death, or the threat of death, is all over these stories — or more accurately, a sense of mortality, of time zeroing in.
But even more, it's a signifier that here, he is holding nothing back. In "Stories II" we stare down 15 years of fiction, and how does it add up? When news emerged three years ago that filmmaker Shane Salerno and writer David Shields were working on an oral biography with accompanying documentary about J.
Salinger, I assumed it would be all smoke and no fire. The idea is to present a portrait of Salinger as both his own savior and something considerably darker, and for the most part, the co-authors get the goods. Adrian Tomine's Optic Nerve is one of my favorite alternative comics: smart, understated and with a subtle yet pointed bite. Merging straight realism with an impressionistic sense of narrative, his stories often seem to be offhanded when, in fact, they are highly structured and defined.
As an example, look at "Winter ," one of three pieces in the newly released Optic Nerve 13, a one-pager, told by way of 20 small panels, in which Tomine portrays himself as a Luddite, distressed by the indignities of the electronic age.
Optic Nerve Album) other stories include a long central piece, "Go Owls," in which a woman meets an older man in a step program and winds up in a relationship that becomes increasingly abusive and fraught, and the exquisite "Translated, From the Japanese," a love letter from a mother to her baby that is among the most beautiful things Tomine has ever done. When, in the s, the pioneering Southern California social critic Louis Adamic called Los Angeles "the enormous village," he didn't mean it as a compliment.
Rather, he was referring to L. Edited by former Los Angeles magazine architecture critic Greg Goldin and Sam Lubell, West Coast editor of the Architect's Newspaper, and accompanied by an exhibition at the Architecture and Design Museum, it's a lavish counter-history of the city as it might have been: a literal L.
The Muslim, the Protestant puritan, and the teetotaler are kin; they understand the world in a very similar way, despite all their enormous differences, while the drinkers know that the parameters that contain us are not all human, let alone divine. There are first loves, which are important, yes, and then there are first pets. The power of imagination as well as a little ingenuity when it comes to crafting the perfect larger-than-life paper airplane goes a long way toward forging the relationship in this heartwarming tale, one that just so happens to be completely wordless and textless.
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