Steve the Showman

How did Steve Aoki become the biggest thing in EDM? In last week's cover story, Dennis Romero cited, among other things, the tricks of Benihana, the marketing skills of Andy Warhol and a rockstar's sensibility (“The Neon Punk of EDM“).

Shawn Hubler writes, “Really interesting article. It's amazing how huge he's gotten. I wrote about him six years ago, when he was on his way up, and it's fascinating to see how far his dedication has gotten him.”

Peter Crysdale agrees. “Wow. I really love this dive into Steve's life. I never really knew much about him before this article.”

But P. Avion sees the story as an indictment of the entire city. “I'm going to write a book called, Why No One Takes L.A. Seriously. Or maybe: Why the 'Trustafarians' in L.A. Win, But Everyone Else Loses,” he writes. “This is how the L.A. cycle works in a nutshell: Someone is born rich, and/or with a minor degree of parental celebrity. Everyone in L.A. — including the watery-minded writers at the L.A. WEAK-ly — kisses their a**, in hopes of reaping some benefit of proximity (which they probably never will). And so the cycle of micro-celebrity and talentlessness continues.”

Pay No Attention to the Writer Behind the Curtain

James Luksic was moved to write after reading Scott Foundas' review of Oz the Great and Powerful (“I Could While Away Two Hours,” March 8). He writes, “All too often, Foundas is perceived as some infallible expert perched on a pedestal, but his miserable summary of this film was a rambling misfire.

“Many of his points were disappointing and bizarre: Foundas took another tiresome swipe at James Franco — and preferred the hero be portrayed by Nathan Fillion or Bruce Campbell, the latter of whom is 54? For Foundas to crave more doom from a Disney production involving the Emerald City is not only laughable but irresponsible. (What did he expect from a story about hope and heart?)

“The film is a visual masterpiece, with gorgeous and masterful images, with brilliant camera angles to boot. Most of the cast was spot-on, with the exception of Mila Kunis' wicked witch — the one participant Foundas inexplicably praised.

“Your favorite critic's review was a pretentious bore. Any person who constantly overwrites, as if trying to prove his command of language, is actually at its mercy.”

Correction

Our March 15 story and headline about Kevin Jerome Everson's documentary Quality Control referred incorrectly to the state where the film is set. It actually takes place in Alabama. We regret the error. You Write, We Read

Please send letters to L.A. Weekly, 3861 Sepulveda Blvd., Culver City, CA 90230. Or write us at ReadersWrite@laweekly.com. Full name and contact info preferred.

Advertising disclosure: We may receive compensation for some of the links in our stories. Thank you for supporting LA Weekly and our advertisers.