By Michael Goldstein
By Dennis Romero
By Sarah Fenske
By Matthew Mullins
By Patrick Range McDonald
By LA Weekly
By Dennis Romero
By Simone Wilson
Monday, April 20
SO, IT’S THE LAUGHTER ...
AFI’s comedy series “100 Laughs” promises that number of guffaws/chortles/chuckles/giggles/snickers/titters for each of the comedy films it screens. This week it’s Young Frankenstein, which, for my money, probably has well over that number just for Madeline Kahn alone. Put the candle back! ArcLight Sherman Oaks, 15301 Ventura Blvd., Sherman Oaks; Mon., April 20, 7:30 p.m.; $12. (818) 501-7033. —L.M.
Tuesday, April 21
WHAT’S IN A BUMPKIN’S ATTIC?
Singer and multi-instrumentalist Marty Stuart is such a notorious pack rat when it comes to country-music collectibles that he actually has his own warehouse in Nashville to store all the eye-popping swag. Fortunately for us, he finally made an effort to pull out some of the finest, and this exhibit, aptly titled Sparkle & Twang: Marty Stuart’s American Musical Odyssey, should deliver a sweet kick in the head to even non–country fans. He’s assembled 300 artifacts, from the likes of George Jones, Jerry Lee Lewis, Dolly Parton, Porter Wagoner, even Johnny Horton (one of his toupees?), with more than 30 prime examples of stage wardrobe, more than 20 musical instruments and dozens of pairs of boots. Better still, there are almost 30 sets of handwritten lyrics — including the great Hank Williams’ original scrawls of “Your Cheatin’ Heart” and “Cold, Cold Heart” (will the latter reveal any clue as to whether Hank really lifted that line from a mushy 1952 romance comic book?). Also, a fat stash of Patsy Cline’s stuff, including her well-traveled makeup bag and a letter to famed North Hollywood “rodeo tailor” Nudie going over plans for a new outfit she wanted — sent less than a week before her death. Stuart’s former father-in-law, Johnny Cash, is represented by his first black suit from 1955 and handwritten “Folsom Prison Blues” and “Man in Black” lyrics. Rounded out by 100 photographs, it’s a fully realized presentation with “a life-size dressing room, interactive performance stage, listening stations, ambient audio and video documentaries” throughout. Head-spinning, hardcore hillbilly thrills assured. Autry National Center of the American West, 4700 Western Heritage Way, L.A.; daily through August 23. (323) 667-2000 or www.AutryNationalCenter.org. —Jonny Whiteside
I MOP LA
This part of Month of Photography Los Angeles — saddled with the decidedly dowdy acronym MOP LA — involves shutterbugs Markus Klinko and Indrani exhibiting their photographs in a cycle devoted to all things graven and craven: “Icons,” all about celebrity and what it means to you and your hard-won entertainment dollars. The artistic partners and former lovers have shot record covers for David Bowie, Kelis and Beyoncé, as well as slightly more glamorous shots of Kate Winslet, Lindsay Lohan and Anne Hathaway, all on display at tonight’s installation. Looking a gift horse in the mouth — cosmologically speaking — Indrani asks, somewhat blithely, “What makes these individuals so beloved? What do they represent for each of us, what roles have we assigned them to play, that they inspire such passions in us?” Klinko, a champion harpist (!), and Indian model Indrani can be seen in the recently renewed Bravo series Double Exposure — also the name of their studio — in which the gentle viewer watches the dynamic duo sail gaily through fashion both high and low in the pursuit of the fleeting image, bringing to mind Richard Avedon’s words: “My portraits are more about me than they are about the people I photograph.” Proceeds benefit Keep a Child Alive, a charity focusing on pediatric-HIV treatment in Africa — but then, you knew it wasn’t all just about glamour and two-dimensionality, didn’t you? Pacific Design Center, 8687 Melrose Ave., L.A.; Tues., April 21, 7 p.m.; free. (310) 289 5223 or thepacificdesigncenter.com. —David Cotner
Wednesday, April 22
Doug Stanhope talks shock and is an inveterate potty-mouth — but the dude’s smarter than any of us. —Libby Molyneaux
L.A. WEEKLY:Why are you so popular with British audiences?
Beats the fuck outta me. They definitely have a better appreciation for live entertainment and more patience as an audience, and I suppose that stems from having really shitty television. Once they have 300 channels and DVR they will become chatty, short-attention-span bores like American crowds.
If this Wikipedia is to be believed, you live in Bisbee, Arizona. Why?
Wikipedia is not to be believed, especially mine. It used to say I was a cast member of The View and born a hermaphrodite. But I do live in Bisbee, Arizona. I can’t tell you why. To make it big, I guess. Plus, I have a wall of stolen clocks as a collection and Arizona doesn’t do daylight-savings time, saving me a lot of trouble every six months. L.A. got to a point where it wasn’t worth living there despite the free money they’d throw at you every year to do shitty projects. I’m a standup and that’s all I want to do right now. There’s no reason to live someplace you loathe.
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