REDCAT International Children’s Film Festival this weekend.

The 6th annual REDCAT International Children’s Film Festival rolls out the red carpet for a mind-expanding collection of short film programs, each crafted with care to appeal to the next generation of movie-lovers. Inspiring, magical works made by acclaimed filmmakers and up-and-coming auteurs alike take you on a celluloid ride around the globe, with enchanting programs for tiny tots, chills and thrills for adventurous older viewers, and films sure to inspire the whole family.

This year’s festival highlights include a special selection of new animation from China curated by acclaimed animator Joe Chang, a program showcasing the emerging talents of indigenous filmmakers from throughout the world, and the always popular Nick Family Fun Day.


Saturday, March 26

12:00 pm Tally Ho: Films that Fly High

1:30 pm Legends Come Alive

3:00 pm Family Matters

Sunday, March 27 | Nick Family Fun Day

12:00 pm Nick Jr.

3:00 pm Nickelodeon

Saturday, April 2

12:00 pm All Creatures Great and Small

1:30 pm Indigenous Showcase

3:00 pm Round the World and Home Again

Sunday, April 3

12:00 pm Into the Woods and Under the Sea

1:30 pm Once Upon an Adventure

3:00 pm Goosebumps Galore

Saturday, April 9

12:00 pm Joe Chang and Friends

Sunday, April 10

12:00 pm Tally Ho: Films that Fly High

1:30 pm Indigenous Showcase

Saturday, April 16

12:00 pm Into the Woods and Under the Sea

1:30 pm Round the World and Home Again

3:00 pm Joe Chang and Friends

Sunday, April 17

12:00 pm All Creatures Great and Small

1:30 pm Legends Come Alive

3:00 pm Family Matters

$5 each screening

Funded in part with generous support from the George and Marylou Boone Fund for artistic advancement and Nickelodeon.


BILL CUNNINGHAM NEW YORK opens 3.25. @ The Nuart.

The “Bill” in question is 80+ New York Times photographer Bill Cunningham. For decades, this Schwinn-riding cultural anthropologist has been obsessively and inventively chronicling fashion trends and high society charity soirées for the Times Style section in his columns “On the Street” and “Evening Hours.” Documenting uptown fixtures (Anna Wintour, Tom Wolfe, Brooke Astor, David Rockefeller—who all appear in the film out of their love for Bill), downtown eccentrics and everyone in between, Cunningham’s enormous body of work is more reliable than any catwalk as an expression of time, place and individual flair. In turn, Bill Cunningham New York is a delicate, funny and often poignant portrait of a dedicated artist whose only wealth is his own humanity and unassuming grace.

About Bill:

William J. Cunningham (born 1928/9) is a fashion photographer for The New York Times, known for his candid street photography.

Bill dropped out of Harvard University in 1948 and moved to New York, where he initially worked in advertising. Not long after, he quit his job and struck out on his own, making hats under the name “William J.” After being drafted and serving a tour in the U.S. Army, he returned to New York and got a job writing for the Chicago Tribune. During his years as a writer, he contributed significantly to fashion journalism, introducing American audiences to Azzedine Alaia and Jean-Paul Gaultier. While working at the Tribune and at Women’s Wear Daily, he began taking photographs of fashion on the streets of New York. As the result of a chance photograph of Greta Garbo, he published a group of his impromptu pictures in the Times in December 1978, which soon became a regular series. His editor, Arthur Gelb, has called these photographs “a turning point for the Times, because it was the first time the paper had run pictures of well-known people without getting their permission.”

Bill photographs people and the passing scene in the streets of Manhattan every day. Most of his pictures, he has said, are never published. Designer Oscar de la Renta has said, “More than anyone else in the city, he has the whole visual history of the last 40 or 50 years of New York. It’s the total scope of fashion in the life of New York.” Though he has made a career out of unexpected photographs of celebrities, socialites, and fashion personalities, many in those categories value his company. According to David Rockefeller, Brooke Astor asked he be invited to her 100th birthday party, the only member of the media so honored.

In 2008 Bill was awarded the title chevalier dans l’ordre des Arts et des Lettres by the French Ministry of Culture.

More Here...

Bill Cunningham New York Trailer from Gavin McWait on Vimeo.


DAZED and CONFUSED Tonight @ the New Beverly.

For the month of March as part of his birthday celebration Quentin Tarantino has been programing the films at his Grind-house theater , The New Beverly. Tonight's screening is none other than Richard Linklater's classic film "Dazed and Confused".

Once every decade or so, a movie captures the hormone-drenched, fashion- crazed, pop-song-driven rituals of American youth culture with such loving authenticity that it comes to seem a kind of anthem, as innocently giddy and spirited as the teenagers it's about. George Lucas' American Graffiti (1972) had this open-eyed exuberance. So, to a lesser degree, did Fast Times at Ridgemont High (1982). Now, in the exhilarating Dazed and Confused, director Richard Linklater delivers what may be the most slyly funny and dead-on portrait of American teenage life ever made.

Set in an unnamed Texas town on a single day in 1976, Dazed and Confused follows a pack of two dozen teenagers as they celebrate the end of the school year by driving around, consuming ridiculous amounts of beer and marijuana, playing pinball and Foosball, flirting and making out, engaging in some rather bizarre hazing rites, and, finally, ending up at a woodside keg bash on the edge of town. The characters, in other words, engage in the classic American- teen pursuit of thrills, sex, rowdy fun.

Yet if the film's episodic, all-night-party structure harks back to American Graffiti, its documentary-like style is fresher and looser, nearly Altmanesque, and its subject is new enough to seem revelatory. Dazed and Confused is the first Hollywood movie to capture the high schoolers of the '70s-the original grunge kids, the first adolescent generation to appropriate the style and values of an older, anti - establishment rebel culture. From its pungent opening shot-a low-riding orange jalopy driving aimlessly around a school parking lot, its slow, circuitous journey lent an oddball dignity by the blissed-out strains of Aerosmith's ''Sweet Emotion''-Dazed and Confused immerses us in the druggy randomness of life in the '70s, that singular moment in the 20th century when getting high, dressing in whatever was handy, saying whatever came into your head, and, in general, not doing much of anything somehow passed as righteous behavior.

For anyone who lived through this period, Linklater produces one comic shock of recognition after another. Here are the long-haired brainiac nerds in their flared pants and untucked T-shirts, the dope-smoking jocks greeting one another with soul-brother handshakes, the girls who flaunt themselves (only half-knowingly) in puffy flower-child shirts and jeans as tight as corsets, the stoners who can barely make it through a week of gym class, and the long- haired junior high schoolers (they're like third-generation hippies) who touchingly imitate everything the older kids do. Linklater doesn't just capture the clothes, the slang, the cars, the vintage rock songs (by Alice Cooper, Kiss, Foghat). He gets the attitude of carefree dilapidation-the ramshackle, good-time delirium that marked a generation of happy burnouts.

For all that, I suspect younger audiences will respond to Dazed and Confused as enthusiastically as anyone who lived through the era. Linklater is no mere pop anthropologist. He's an inspired entertainer whose characters are - hilarious, subtle, offbeat, moving-and bracingly life-size. Dazed and Confused is really a stoned comedy of manners. After a while, you begin to grin at the very sight of characters like the sensitive males Tony (Anthony Rapp) and Mike (Adam Goldberg); Pink (Jason London), the dreamboat quarterback who's squirming about whether to sign a pledge saying he won't do drugs; Darla (Parker Posey), the gleaming-eyed princess obsessed with ''bitches'' and ''sluts''; Slater (Rory Cochrane), the babbling pothead who looks as if he just stepped out of an R. Crumb panel; Wooderson (Matthew McConaughey), the aging lothario whose oily come-ons (and hairstyle) are a priceless study in macho self-delusion; and Cynthia (Marissa Ribisi), the well-grounded smart girl who's always forecasting the next decade. Ironically, the film's youngest player may be its breakout star. As Mitch, the junior-high jock whose initiation into sex and drugs and rock & roll marks his coming of age, Wiley Wiggins has a gently acerbic manner and lovely, man-in-the-moon face that make him the movie's charismatic center of calm.

Here, as in his 1991 debut feature, the wittily perceptive Slacker, Linklater creates characters who are desperate to talk-and have plenty to say- but remain exquisitely sealed inside their own obsessions. Dazed and Confused presents the '70s as ground zero for this state of consciousness: the first era in which teenagers communicated by wearing their media-addled brains on the outside. Yet if Linklater captures the comic goofiness of the time, he also evokes its liberating spirit. The film finds its meaning in the subtle clash between the older, sadistic macho-jock ethos and the follow-your-impulse hedonism that was the lingering legacy of the '60s. Dazed and Confused says that, for all its limitations as a life philosophy, there remains something great-and quintessentially American-in the ability to do whatever pleases you at the moment. When Pink finally decides whether or not to sign that football pledge, it's a small gesture, but it speaks volumes-about a generation that understood, for a few scruffy years, that disregarding all the rules could feel a lot like freedom.

More Here...

Critics' Picks: 'Dazed and Confused' - nytimes.com from The New York Times on Vimeo.


3.19. @ GIANT ROBOT - Water Works - A benefit for UNICEF and child victims of the earthquake in Japan.

Water Works at GR2 - A benefit for UNICEF and child victims of the earthquake in Japan

March 19 - April 13, 2011
Reception: Saturday, March 19, 6:30 - 1p

The U.S. Fund for UNICEF (USF) is raising funds to help children in Japan impacted by the March 11 earthquake and tsunami. This is an unusual decision, as Japan is a donor to UNICEF, not a recipient of its assistance. However, due to the unprecedented nature of the epic disaster and its impact on children, resources are going to be critical in helping provide for the very unique needs of children. These may include health, development, and protection and other needs that may have been compromised or disrupted in the wake of the catastrophe. Giant Robot is proud to join the effort, and have asked many of our talented friends to create water-themed art to raise funds to support the efforts of UNICEF.

In addition to raising money by selling artwork, Giant Robot will be donating the following to UNICEF:
1. Proceeds from the sale of water bottles featuring labels created by artists and signed by celebrities.
2. Fifty percent of proceeds from Giant Robot’s small restaurant, gr/eats, on Saturday, March 19.
3. A percentage of all sales at Giant Robot, GR2, and GRSF during the weekend of March 18-20.
4. Raffles for donated merchandise including designer- and artist-signed items, GR gear, horseback rides, and other items.
5. Cash donations accepted for UNICEF.

Contributors include the following:

Andrice Arp
Gary Baseman
Chris Bettig
Jude Buffum
Chris Buzelli
Louise Chen
David Choe
Luke Chueh
Jesse Fillingham
Renee French
Ayako Fujitani
Matt Furie
Rodney Greenblat
Katherine Guillen
Joe Hahn
Clement Hanami
David Horvath
Mari Inukai
James Jean kozyndan
Jesse LeDoux
Lisa Ling
Barry McGee
Ryan McGinness
Jeff McMillan
Junko Mizuno
Megan Mullally
Gary Musgrave
Mark Nagata
Saelee Oh
Bryan Lee O'Malley
Nathan Ota
Mu Pan
Albert Reyes
Jay Ryan
Rob Sato
Ryan Jacob Smith
Deth P. Sun
Jillian Tamaki
Katsuya Terada
Edwin Ushiro
Esther Pearl Watson
Daniel Wu
Yoskay Yamamoto
Kohei Yamashita

The opening reception featuring many of the artists will take place from 6:30 - 10p on Saturday, March 19.

2062 Sawtelle Blvd.
L.A, 90025

More Here...


John Barry 007 Tribute @ The Egyptian this Thursday 3.17.

Double Feature:
The Man With The Golden Gun, 1974, Dir. Guy Hamilton.
In his second outing as Agent 007, Roger Moore chases a solar-powered weapon. Christopher Lee is the bad guy; Britt Eklund is the Bond girl.

, 1983, Dir. John Glen.
After the death of a fellow agent, James Bond (Roger Moore) is led to Octopussy, the mysterious head of an international “jewel smuggling ring” (a cover-up for a planned nuclear attack).

Plus rare John Barry interviews. All ticket buyers eligible to win a DVD of a film scored by John Barry.

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Bonus Video

John Barry Vs John Williams Mini Mega Mix from AmberGamblerAV on Vimeo.


Gary Oldman will be at CINEFAMILY to host a Q&A with Ben Gazzara on Sunday 3.13. -

A Sunday With Gary Oldman and Ben Gazzara
(feat. The Strange One, The Killing Of A Chinese Bookie & Saint Jack -- Ben Gazzara and Gary Oldman in person!)

Gary Oldman the actor and filmmaker, well-known to audiences for his portrayals of dark and morally ambiguous characters in films such as State of Grace, True Romance, Léon, The Fifth Element, The Contender and Dracula. known for his portrayals of real-life figures, having portrayed Sid Vicious in Sid and Nancy, Joe Orton in Prick Up Your Ears, Lee Harvey Oswald in JFK, Ludwig Van Beethoven in Immortal Beloved and Pontius Pilate in Jesus. In recent years he is recognizable as Sirius Black in the Harry Potter film series and James Gordon in Christopher Nolan's reboot of the Batman film series.

This Sunday, Gary Oldman will conduct a Q&A with long time legendary film and Broadway actor Ben Gazzara for a triple feature of John Cassavetes films.

Oldman came to prominence in the mid-1980s with a string of performances that prompted pre-eminent film critic, Roger Ebert, to describe him as "the best young British actor around". He has since come to be regarded as one of film's most diverse actors, and has been cited as an influence by a number of successful actors. In addition to leading and central supporting roles in big-budget Hollywood films, Oldman has frequently acted in independent films, as well as having appeared on television shows such as Fallen Angels and Friends, his performance in the latter bringing him an Emmy Award nomination for Outstanding Guest Actor in a Comedy Series. He also directed, wrote and co-produced the Palme d'Or-nominated, double BAFTA-winning Nil by Mouth, a film partially based on his own childhood, and served as a producer on The Contender, Plunkett & Macleane and Nobody's Baby. Apathetic towards celebrity and the Oscars, Oldman has been cited by The Guardian as arguably the best actor never nominated for such an award. Nonetheless, he has won, and been nominated for, multiple major film and television awards during his career.

Tonight's Cassavetes films are as follows:

The Strange One - 6p-ish
The Strange One is an odd little movie, an allegory of evil that seems made by a studio that only exists in an alternate reality, and beamed onto a local TV station late into the night. In his first starring role, Gazzara immediately proved he had serious acting chops, oiling up the screen with his creepy, charismatic portrayal of a Machiavellian military cadet who’s rotten to the core. Looking dapper in a sailor cap and robe, a casually manipulative Benny spews out his hyper-articulate lines with the coolness of a proto-Buddy Love type, sadistically getting pleasure out of destroying the lives of everyone he touches. Directed by fascinating film footnote Jack Garfein (a teenage Holocaust survivor cum successful Broadway theater director who only directed two films) and largely populated with fellow skilled Actors Studio members including George Peppard and Pat Hingle, is not quite like any other film you’ve seen, and is not easily forgotten. The Strange One is indeed a strange one.
Dir. Jack Garfein, 1957, 35mm, 100 min. (Archival 35mm print courtesy of Sony)

The Killing Of A Chinese Bookie - 8p-ish
Only Cassavetes would couch a love letter to the art and the life of Theater inside a neo-noir take on the sleazy side of ‘70s Southland life! In what other film will you find a scene of a waitress from the famed proto-vegan L.A. restaurant The Source takeing her morning break to walk next door and audition for Ben Gazzara’s bizarro stripclub/ performance art venue? Rather than focusing on the bottom line, Gazzara’s character seems more obsessed with directing and coaching his strippers in charmingly inept, dated burlesque numbers -- and when his high-flying life style produces a gambling debt owed to a sinister syndicate of low-lifes (led by Cassavetes regulars Seymour Cassel and a wonderfully mushy Timothy Carey), he’s given a tough choice: knocking off a Chinese “bookie”, or losing his beloved theatre. Cassavetes renders all of this with a somewhat hallucinatory eye, subverting all crime genre conventions with his unsettled, staccato rhythms and a tone that drifts freely from absurdist to sweet, and back again. Likewise, Gazzara embodies perfectly the fractured, contradictory persona of Vitelli, a character as filled with frailty and vice as he is with ambition and integrity.
Dir. John Cassavetes, 1976, 35mm, 135 min.

Saint Jack - 10:45p-ish
After decades of portraying stern fathers, captains of industry and denziens of the underworld, Ben Gazzara gave one of his most happy-go-lucky turns in Saint Jack, the tale of an American hustler whose chaotic business it is to “satisfy the needs” of visiting businessmen in Vietnam War-era Singapore. “Saint Jack” Flowers’ philosophy is “people make love for so many crazy reasons, why shouldn’t money be one of them,” and, indeed, Gazzara plays Flowers as a breezy Fitzcarraldo type, a man preternaturally driven towards delivering the classiest brothel and the absolute best in carnal pleasures to the GIs, ex-pats and generally wayward souls lost amongst the luscious backdrop of southeast Asia. Based upon the Paul Theroux novel, the film marked a considerable critical comeback for director Peter Bogdanovich. In a humanist return to form that matches the subtle heights of The Last Picture Show, Bogdanovich exercises the precious instinct that gives Gazzara the room to ride the breathtaking line between savvy, charismatic huckster and moralistic citizen of the world.
Dir. Peter Bogdanovich, 1979, digital presentation, 112 min.

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Stephen Petronio Dance Company returns to UCLA Live Friday, 3.11.

Work inspired by Shakespeare’s ‘The Tempest’ with original score by Nico Mulhy

Stephen Petronio Company brings I Drink the Air Before Me—a piece created in celebration of the acclaimed New York-based troupe’s 25th anniversary--to UCLA Live’s Royce Hall Friday March 11 and Saturday March 12 at 8 p.m.

Petronio, who is known for adventurously artful pairings of contemporary music and movement in lush performance landscapes was intrigued by a line from Shakespeare’s The Tempest, spoken by the mythical creature Ariel as he does the magician Prospero’s bidding: “I drink the air before me, and return/Or ere your pulse twice beat.”

Petronio also performs in part of the piece, as a sailor buffeted by the ebb and flow of the onstage action. “While there is no narrative to this work, Nico Muhly and I have built an arc that moves from a calm world, through swelling peaks, and concludes with a dance whose song is drawn from the liturgical text for the blessing of a bell upon installation into its tower.”Petronio describes.” This conclusion is an invocation of sort, a beacon in search of a state of calm and hope.”

The work is a celebration of the not only the successful past, but the present and future of the Petronio Company: “Instead of looking back on our achievements like photographs of old friends, I chose to look to the future with a new work. I wanted to give a dance that spoke of riding the awesome and unpredictable forces of now,” Petronio says.

Contemporary composer Nico Muhly orchestral works have been premiered by the American Symphony Orchestra, Aurora Orchestra (Seeing is Believing), the Boston Pops (Wish You Were Here), the New York Philharmonic (Detailed Instructions) and the Chicago Symphony (Step Team). He is currently working a new quintuple concerto commissioned by the piano-playing Five Browns. Film credits include Muhly’s scores for Joshua (2007), and Best Picture nominee The Reader (2008).

About Stephen Petronio Company:
Founded in 1984, Stephen Petronio Company has performed in 26 countries throughout the world, including over 35 New York City engagements with 15 seasons at The Joyce Theater. The Company has been commissioned by Dance Umbrella Festival/London, Hebbel Theater/Berlin, Theater Scene National de Sceaux/France, Festival d’Automne a Paris, CNDC Angers/France, The Holland Festival, Festival International Montpellier-Danse, Danceworks UK Ltd, International Cannes Danse Festival, and in the US by San Francisco Performances, The Joyce Theater, UCSB Arts & Lectures, Wexner Center for the Arts, Walker Art Center, and White Bird, among others.

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SLAKE Celebrates Lundi Gras at the Bootleg Tonight.

Lundi Gras @ The Bootleg Theater
Monday, March 7 @ 7p

Slake celebrates New Orleans on Fat Monday with art, stories, film and music.

7 p.m. Doors, Crazy Creole Cafe Truck
7:30 p.m. Screening, reading, acoustic songs by honeyhoney and Paul Gailiunas
9 p.m. New Orleans Traditional Jazz & Funeral Band
10:30 p.m. honeyhoney

Short films by Helen Hill and Robert Sobul
Readings from Hank Cherry and other Slake contributors
Art by Matjames, Mary Woronov, Anne Fishbein, Ingrid Allen, Michelle Pullman

Food by Crazy Creole Cafe Truck
Furniture by Living Room

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Dance - Eiko & Koma: Regeneration now @ REDCAT through 3.6. -

Eiko & Koma
: Regeneration

Collaborative partners for more than 40 years, Eiko & Koma are venerated for their groundbreaking dance works—works that have been performed in gallery spaces, a graveyard, a river—placing their bodies within visual landscapes and evoking near-geologic expanses of time. Stark and elemental, the works use precision and stillness as the duo creates resonant performances of slowly evolving movement and image. Presenting the seminal works White Dance and Night Tide along with their latest piece, Raven, these undisputed innovators offer a powerfully moving triptych that traverses their early career and delves into dark worlds to elicit a profound contemplation of the unyielding forces of nature and human desire.

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Young Directors Night - Saturday, March 5, @ LACMA.

For the tenth year in a row, Muse will highlight the emerging talent of Los Angeles’ film community in our popular Young Directors Night. A celebration of film and the art of cinema, the showcase features six short films screened in the unique setting of an art museum, and a Q&A with the directors. The exhibition doubles as a competition, with the host panel along with the audience voting on best in show. The winner, announced at a reception following the screening, takes home the Art of Film Award and is rewarded a prize designed to further advance in their medium.

All films compete for the Art of Film Award, going to best in show as voted on by the audience along with the Host Panel. The winner takes home an all-access pass to the Los Angeles Film Festival, a $2,000 rental credit at Samy's Camera, and more!

LACMA is also thrilled to reveal the 2011 Host Panel:
Elgin James, Director, Little Birds
Jennifer Wilson, Associate Director, Los Angeles Film Festival
Paul Wolff, Professor, USC

Following the screenings, the host panel will engage the directors in a brief Q&A session on the process of creating their films.

After the screenings at LACMA, the night culminates in a reception at the A+D Museum, located just across the street. Guests will have the opportunity to mingle with the directors while enjoying complimentary drinks provided by Karl Strauss, Malibu Family Wines, Hornitos Tequila, and Russian Ice Vodka plus dessert by Frosted Cupcakery and entertainment. Additional food will be available to purchase from the Patty Wagon and Komodo food trucks.

Muse is LACMA's premier membership group for art enthusiasts in their 20s, 30s, and 40s. Offering everything from private exhibition tours to penthouse after-parties, we support the arts through a dynamic series of social, educational, and philanthropic activities within LACMA and throughout Los Angeles.

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Cassavetes’ name has become a catchphrase among indie filmmakers over the last two decades. This is tiring, because a lot of films harp his legacy simply because they use improvisation and shaky camerawork, making you wonder if they even watched any of his films, or just heard the stories of the Hollywood actor-turned-iconoclastic-writer/director, mortgaging his house over and over again in order to make films the way he wanted. If you actually watch Cassavetes’ films, you instantly find that they are powerful and timeless stories of everyday people overcoming obstacles we all know, but with means and ways that are unusual, sometimes shocking, always compelling. You can love Cassavetes for many things: his raw style, his endless lovable energy, his compelling characters or the powerful performances he elicited from fellow actors. You don’t watch his movies as much as experience them, and, regardless what you may come to feel about them, you’ll walk out of the theater a changed person.

3.10. @ 8p
Shadows (co-star Lelia Goldoni in person!)

3.11. @ 7:30p
Too Late Blues shown with The Best of "Johnny Staccato"

3.12. @ 7:30p
An Evening With Ben Gazzara (feat. Husbands)

3.13. @ 5:30p
A Sunday With Ben Gazzara
(feat. The Strange One, The Killing Of A Chinese Bookie & Saint Jack)

3.15. @ 8p
An Evening With Seymour Cassel (feat. Minnie And Moskowitz)

3.18. @ 7:30p

3.19. @ 7p
A Woman Under The Influence
shown with

3.20. @ 5p
Cassavetes-As-Actor Sunday
(feat. Mikey & Nicky, Machine Gun McCain & 3rd film TBA!)

3.24. @ 7:30p
Love Streams shown with Opening Night

"I don't give a fuck what anybody says. If you don't have time to see it, don't. If you don't like it, don't. If it doesn't give you an answer, fuck you. I didn't make it for you anyway."
- John Cassavetes

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and Here.



The authentic, annual Los Angeles tradition of Brazilian Carnaval erupts on Saturday, March 5, 2011 at Club Nokia/LA Live, transforming the multi-level dance floor into a true Brazilian party in Downtown LA. This BRAZILIAN BLOWOUT offers its LA audience the once a year opportunity to indulge their senses and lose themselves in a pulsating sea of samba, Afro-Brazilian contagious rhythms, sequins, masks and feathers. Brazilian food and drinks are served to fully round out the evening. Costumes are encouraged! Carnaval, the annual celebration before Lent, is the most famous holiday in Brazil and has become an event of huge proportions. The country stops completely for almost a week and festivities are intense, day and night, mainly in coastal cities.

Catch the Carnaval sensation and mingle, misbehave, shimmy and dive in to the contagious beats of an All Star band curated by Chalo Eduardo (performed with Sergio Mendes, Santana, Mickey Hart,) featuring top notch musicians playing classic Carnaval hits all night long. The band includes: Katia Moraes Andrea Ferraz; Hector Torres, Kirk Brundage, Will Philips (Percussion), Joe De Sa (Guitar), Sandro Rabel (Keyboards), Antonio Carlos de Sant’anna (Bass/Vocal), Chalo Eduardo (Percussion/Vocals), Leo Costa (Drumset) and more.

Chris Brazil will spin additional Brazilian dance music between sets. A 100 piece community drum circle will culminate in a thunderous grand finale that includes audience participation. Video visual environment by Leonardo Bondani (performed with Moby, Deep Forest, Lila Downs, Mexican Institute of Sound) will include a Rio Carnaval simulcast.

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