The Montalbán, a theatre in Hollywood with a rich history (celebrating three anniversaries in 2019, read more about that below), announced its June screening schedule for its popular Rooftop Movies at The Montalbán. In addition, the venue is also rolling out a new creative curation initiative: weekly themed “Binge Weeks” for the rest of the season. The curation team is programming movies within designated themes that will screen each week including “Bad Ass Denzel,” “Sci-Fi Classics,” “Wild and Crazy Guy!,” “Loaded Weapon 1,” and various series such as “Director Series: Pedro Almodovar.” Read the rest of this entry »

Mount Wilson Observatory – the scientific marvel above Pasadena, atop Mount Wilson – is pleased to announce the second date in its Sunday Afternoon Concerts in the Dome six-month series, to take place on Sunday, June 2, 2019. The performances are presented inside the iconic vaulted dome of the 100-inch telescope. A season of musical adventures thoughtfully curated by Artistic Director Cécilia Tsan are offered on the first Sunday of each month through October. The June concert program will feature oboe quartets by Mozart and Britten plus a string trio by Beethoven with Leslie Reed on oboe, Roger Wilkie on violin, Alma Fernandez on viola, and Ms. Tsan on cello. Read the rest of this entry »

Good Shows is proud to present The Book of Briarshire, running for five performances in the 2019 season of The Hollywood Fringe Festival from Saturday, June 8^th through Sunday, June 30^th. Written by and starring Kelly Moore, directed by Colleen Doyle, and produced by Conor Hanney, The Book of Briarshire is an epic medieval fantasy comedy, where kick-ass women rule. With an almost entirely female ensemble cast, Briarshire subverts the fantasy genre, packed with both action and laughs. Our heroine Ylva (played by Moore) wants nothing more than to become a knight and live up to her father’s legacy, so she quests to slay The Dragon (played by Lindsey Mallard) along with her clueless sister Skittles (played by Emily Bolcik) who frequently breaks into unsolicited/undesired freestyle raps. Along the way, they encounter magic, soldiers, elves, and even… a cobbler.  The limited engagement will take place at The Broadwater, Second Stage. Audience members are invited to stay afterwards for refreshments in the attached bar The Broadwater Plunge, owned by TV’s Patrick Duffy. Read the rest of this entry »

Highways turns 30! The performance space presents Behold! Highways’ Queer Fest 2019 May–June, its annual queer performance arts festival, which appropriately collides with the enduring creative space’s 30th birthday. From May 3rd through June 30, 2019, two months of new LGBTQIA work will be presented by Highways’ extended family of artists, writers and performers such as solo-theatre legend Tim Miller (a founder and original co-artistic director), eminent artist-activist Michael Kearns, the nation’s first out transgender modern dance choreographer Sean Dorsey, and Black Lives Matter Co-founder Patrisse Cullors. Look for specific Dirty 30 anniversary events that bookend the festival (5/3, 5/4 and 6/29). Behold! will also feature such emerging performance artists and curators as Tyler Matthew Oyer, Marval A Rex, Celeste XXX, Moises Josue Michel, Kyoko Takenaka and Shruti Purkayastha. 

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Mount Wilson Observatory –  the scientific marvel above Pasadena, atop Mount Wilson – is pleased to announce the third season of its Sunday Afternoon Concerts in the Dome, which will take place on the first Sunday of each month, inside the iconic vaulted dome of the 100-inch Hooker telescope. A wide range of musical adventures, thoughtfully curated by Artistic Director Cécilia Tsan, will be presented in this acoustically remarkable venue during the six-month run of the 2019 season, which concludes on October 6^th. See the Concert Series schedule and line-up below. Poised for rediscovery, the grounds of the legendary observatory— founded in 1904 by astrophysical pioneer George Ellery Hale—are open for free to the public year round. Read the rest of this entry »

LOS ANGELES, CA – Coin & Ghost in association with Vs. Theatre Company present the World premiere of Love Is Another Country, a radical reimagining of Sophocles’s Antigone at Vs. Theatre in Los Angeles from Friday, February 1 through Saturday, March 2, 2019. The third production of Coin & Ghost’s inaugural season, Love Is Another Country is a new play written by the prolific Bay Area theatre artist Lisa Marie Rollins and her first full-length work to be produced in Los Angeles. Directed by Kendall Johnson, the production brings together the ancient tale of Antigone with the deaths of innumerable black men and women at the hands of police. Part ritual, part rage, part collective ask to the audience, the play follows three women of the Chapman family as they navigate living as black women in a country that claims to love them. Read the rest of this entry »

Wajatta in November 2019
Extended Biography

When beat-boxer/comedian/musician Reggie Watts and electronic music artist/DJ/producer John Tejada first joined forces as Wajatta, the results were hailed as “a surprising and winning new collaboration” (NPR) and “in league with Frankie Knuckles and Jamie Principle’s classic house” (Los Angeles Times). Coming from different worlds, but sharing a passion for the rich history of electronic dance music, Watts and Tejada bring out the best in each other’s formidable skill sets. It’s a cosmic collision of funk-infused techno and soul-steeped vocal acrobatics, equaling and at times surpassing the brilliance of their solo work.

Wajatta (a mashup of the artists’ last names, pronounced wa-HA-ta) began in the most fitting of places: an underground warehouse party in 2016, where John was playing a late-night DJ set and Reggie, a long-time fan of John’s propulsive techno productions, was in the audience. From there a friendship blossomed, formed over strong coffee, similar backgrounds (John was born in Austria and raised in Los Angeles; Reggie moved at a young age from Germany to Montana and later Seattle) and similar interests: ‘80s sci-fi films, old-school hip-hop.

When they began making music together, the chemistry was immediate. In their very first session at John’s home studio in Los Angeles, they completed three tracks. “It was pretty instantaneous,” Reggie agrees. “What he played me was really fun and sparked a lot of possibilities in my head.”

Their initial collaborations resulted in the acclaimed 2018 debut album, Casual High Technology, that seamlessly married Reggie’s mix of beat-boxing, scat-singing and multi-octave, R&B-inspired crooning with John’s nimble, harmonically rich forays into house, techno, hip-hop and beyond. Since that release, the two friends have squeezed more recording sessions into their demanding schedules, continuing to find new inspiration in one another’s talents. 

The best of those sessions are now part of a second full-length, Don’t Let Get You Down, due for release on Brainfeeder on February 28, 2020. As thrilling as Casual High Technology was, Don’t Let Get You Down is a major leap forward, a reflection of the way John and Reggie’s partnership has grown deeper and more intuitive.

They build most tracks from scratch, bouncing ideas off one another from initial spark to finished product. It’s all done in person: “We never just share files,” John notes. They also try to keep their sessions as spontaneous as possible, in a neverending quest to, as Reggie puts it, “capture the freshness.” As a result, Don’t Let Get You Down’s 11 tracks crackle with the energy of fresh ideas captured at the moment of inspiration. It’s electronic music made organically, from two masters at the top of their respective games.

That organic approach extends to their live shows, at which Tejada rebuilds the duo’s tracks on his samplers and synths, while the multi-octave Watts conjures vocal symphonies out of little more than a loop station and a delay pedal. Besides a number of concerts in Los Angeles, they’ve performed a handful of shows around the U.S. — San Francisco, Chicago, New York City, Taos — as well as high-profile events and festivals such as Movement in Detroit, MUTEK in Montreal, CRSSD Festival in San Diego, two Dirtybird shows (BBQ in 2018 and Campout in 2019), and a live studio session for KCRW’s Morning Becomes Eclectic.

On Don’t Let Get You Down’s final track, “All I Need Is You,” listeners can get a taste of one of Wajatta’s most unique concerts. The fully improvised song was part of a spontaneously created 90-minute performance for Club Something at The Sweat Spot, an L.A. dance studio run by choreographer Ryan Heffington (Sia, Spike Jonze, FKA Twigs). It’s a six-minute snapshot of the improvisational brilliance that lies at the heart of everything Wajatta does — an approach summed up in Reggie’s off-the-cuff one-liner near the track’s end: “We’re making everything here for you from scratch — just to ensure maximum freshness.”

Watts can currently be seen nightly as the bandleader for CBS’s The Late Late Show With James Corden. He first burst into the American audience’s lives as the co-host of IFC’s groundbreaking variety series Comedy Bang! Bang! Over his 15-year career as a solo performer, he’s honed a unique style that blurs the lines between music and comedy, as is evident in his 9-minute TED Talk in 2012, as well as multiple comedy specials for both Comedy Central and Netflix, and at the invitation of Jack White, the record Reggie Watts Live at Third Man Records. Everything he does is 100% improvised — most notably, the multi-layered music tracks he builds on the fly, looping his beat-boxed rhythms and soulful vocals into spontaneous musical inventions that are funky, hypnotic and often hilarious. See updates at https://www.instagram.com/reggiewatts.

In Wajatta, Reggie infuses those same techniques into John’s sinuous sounds, creating a refreshingly playful take on electronic music — one in which it’s often hard to separate the machines from the human voice. “There’s a lot of stuff happening that you may not realize is Reggie,” John explains. Though he’s a big fan of Reggie’s uncanny beat-boxing skills, John prefers to disguise those effects among the pulses and patters of his analog synths and vintage drum machines. “It’s cool for it to be like, ‘I didn’t know that was his voice.’”

John, for his part, has been at the vanguard of West Coast techno since 1994, releasing a succession of acclaimed albums, singles and EPs for such prestigious labels as Kompakt, Poker Flat, Cocoon, Plug Research and his own long-running imprint, Palette Recordings. Among his best-known tracks are the moody, mesmeric “Farther and Fainter” (from his 2011 Kompakt full-length Parabolas) and the 2005 underground banger, “Sweat (On the Walls)” — now a staple of Wajatta’s high-energy live shows, where Reggie delivers witty, freestyle riffs on the track’s original spoken-word vocals. See updates at https://www.instagram.com/johntejadaofficial.

With influences ranging from Detroit techno to Chicago house, Marvin Gaye to Mantronix, Wajatta’s sound is both familiar and wholly original — and, like all great dance music, ultimately life-affirming, as Reggie vocalizes, sometimes without words, the joyful energy of his and John’s funky, shape-shifting productions. “That’s the great thing about working with John,” Reggie says with an infectious grin. “He’s so steeped in the history of this music. I just pick up on that and run with it.”

130F Films and director/writer Michael Allen present How Hot Is It Going To Get?, a new feature-length global warming documentary that asks a simple question and reveals both the Fahrenheit answer to this question and how young voters can change the answer. The film lays bare the chief hurdles in getting global warming recognized as fact and achieving real policy change in the U.S. to ensure a livable Earth for current and future generations. A dynamic, animation-enhanced visual presentation, How Hot Is It Going To Get? includes interviews with Millennial-generation voters, political experts and climate change scientists who give lucid analysis of the clear and present challenge to prevent a Soylent Green-like future on Earth.

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Creative agency December 9th is proud to present an encore presentation of sculptural painter Francesca Bifulco’s Forcella Reigns: The Men Who Play Cards, an immersive multimedia installation, in deep collaboration with digital artist/sound engineer Alex Schetter. Returning to the site of its successful April 2018 world premiere at ZJU Theater in North Hollywood, the multifaceted art/set/sound installation will run for five days – Wednesday, September 5 through Sunday, September 9, 2018. The artists will be present through its entirety. Forcella Reigns is the culmination of a three-year anthropological study in a rundown neighborhood in Naples, Italy. There, Bifulco imbedded herself with a group of men who play cards on a corner staircase, Gradini Forcella, at the same time everyday, unwitting actors in an improvised show. Surrounded by the smoke of cigarettes, the smell of espresso, and the noise of the dilapidated streets where abuse, violence and organized crime dictate the flow in Forcella, Bifulco would become a mute player and the teller of their story. The installation merges Bifulco’s sculptural paintings with hybrid stage design, integrating shadowbox video projection and 3D environmental sound.

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Overtone Industries, in collaboration with By The Souls of Our Feet (BTSOOF), is proud to present Part I of their epic tale, Cynosemma: A Dirge from the Dog’s Tomb, running for four performances over the weekend of Friday, August 17^th through Sunday, August 19, 2018. Co-Directed by Nathan Singh and Sabina Zuniga Varela with music by O-Lan Jones and libretto by Megan Breen, Cynosemma is a ritualistic opera ripped from the myth of Hecuba. Part I is a ceremonial exploration of the ancient but immediate clash between possession and liberation. The infamous Queen of Troy (played by Jones), along with her daughters and a tribe of women face off with the men responsible for the fall of their city. The limited engagement will take place at Son of Semele. Audience members are invited to stay afterwards for refreshments and a post-show symposium.

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