#to be fair all my music is sadgirl music

[lynxindisguise]

lynx! 🎧-> r/s uncontrollable sobbing naked in each other's arms vibes

oh sash my sadgirl playlist really came through for this one:

I wanna keep you inside me like a secret (snow fell like sifting flour for over an hour)

That I'll never tell (oh, I wish you could see it)

And when all is said and done

We'll run

[manysmallhands]

My Favourite Songs of 2023 part 4: 10 - 1

The final countdown! (synth melody plays)

Previous entries in the series can be found here, here and here.

10. Tyla - Water

Water sounds like nothing so much as the romance novel version of the last night on a Caribbean holiday; the twitchy afrobeat rhythms feel slightly mischievous while the vibes are relaxed and extremely seductive. There’s plenty of fun to be had singing along to the group chorus but it’s the innocent charm of Tyla’s performance that really carries the song. Though Tik Tok is not really known for producing lasting careers, I’d like to hope she’ll go a long way.

9. GAYLE - Butterflies

It’s fair to say that the abcdefu star has done little of note since her moment in the limelight but Butterflies is a surprise banger and might well be the best song on the already stacked Barbie soundtrack. Yes, it piggybacks on its pilfered Crazytown interpolation but GAYLE’s rapid fire vocal and fierce pop energy carry the day and make a good case for her working more often with this harder edged approach.

8. beabadoobee - The Way Things Go

Bea’s sweet-toothed multigenre world has crept up on me more as the year's gone on but she’s never sounded better than she does on her most recent single. Her farewell to a dying relationship is given life by a delicately resigned vocal and set to an orchestral swirl so otherworldly that it entirely rubbishes her claim to be “not far from the ordinary”. There’s even a bit of a Harriet Wheeler impression on the outro to get the indieheads all teary, proving that beabadoobee is truly a renaissance woman.

7. Tate McRae - Greedy

Always better when she ditches the sadgirl songs, Tate’s swipe at sleazy old men instead rides atop a wonderfully rolling rhythm and sports the kind of sticky hook that will still randomly pop up in yr head in 20 years time. This is played about once every half an hour on the radio at the moment and yet it's never made an unwelcome appearance, in fact it’s the song that I’d rather hear there more than anything else.

6. Doja Cat - Fuck The Girls

While her hits cast a softer tone on what has become a totemic and obsessive personal crusade, Fuck the Girls was perhaps the most strident assault yet in Doja’s ongoing war with her annoying online stans. While the battle itself is probably not that compelling, Doja’s take on it is furious and funny enough to hold my interest and the rattling breaks and twitchy stand-up bass provide a hauntingly austere framework from which to launch her barbs. Truth be told, it just goes incredibly hard: what more can you ask for?

5. Charli XCX/Sam Smith - In The City

In The City feels like Charli moving away from the Crash era, focused anew on 90s club culture and with that hard edged bass synth powering everything along. But more than anything, it’s a glorious shot of light, full of yearning and surprising melodic beauty, and with a happy ending out on the dance floor that - surprisingly for Charli - does not involve a car. And Sam Smith is good! Not bad like you think! Shut up over there!

4. Poppy - The Attic

The Attic represents the cleanest example of Poppy’s pivot back to pop this year, for once ditching the goth adornments and going full on euphoric drum n bass. For someone who’s music often creeps and lurches along, The Attic is a surprising blast of musical weightlessness, full of skittering rhythmic energy and flashing piano chords. The lyrics as ever tell a different (and far more uncomfortable) story but by once more casting aside the idea of what a Poppy song ought to be, she’s made something new that blew me away completely.

3. Mitski - My Love Mine All Mine

The surprise hit of a major artist’s career has always been a tricky area to navigate: for every Walk On The Wild Side there’s tended to be an equal and opposite My Dingaling. However, Mitski has managed to luck out here, with international success neatly falling into the lap of one of her very best singles. My Love Mine All Mine sounds like a sepia tinted 50s ballad, simple and elegant, with each flourish of piano or guitar cutting eerily through the song’s low-key veneer. And Mitski herself has never sounded better, the sombre warmth of her vocal seeming to express all the ambiguity that radiates from the heart of the song.

2. U.S. Girls - Tux

Sounding for all the world like a classic era disco 12” that Meg has just happened to find down the back of the sofa, Tux also profits from an extended lyrical metaphor that’s so complicated and yet catchy that you’ll be singing along to every word before you’ve figured out what any of it means. Rare is the album cycle where U.S. Girls don’t release a top tier single or two and Tux manages to continue that very long winning streak. 

1. Olivia Rodrigo - Vampire

I can’t honestly say that Olivia Rodrigo’s theatrical disco banger stands way above everything else here (do not let anyone tell you that 2023 has been a bad year for music) but Vampire still hits hard all these months on. It’s a song that’s full of breathtaking moments: from the doof doof of the bass drum at the end of the first chorus to the surging harmonies in the second; the full-on sound assault that hits halfway thru to the rousing final step into “the way you sold me for parts” at the end; each one feels like a gut punch and yet they just keep on coming. Despite having listened to it many many times since the middle of this year, it hasn't even started to get old yet and is still perfectly capable of stopping me in my tracks. I’ve already said plenty about Vampire before so I won’t drag this on for too long, but in a year that perhaps for the first time has been more pop than rock for me, It feels fitting to have a record sat atop of it that embodies the best parts of each without ever feeling strained or clumsy, from an artist who spent 2023 truly finding her voice.

And that's it! If anyone read these posts and/or found them at all interesting, thank you for your time and i hope you liked some of the songs! Below is a Spotify playlist of the whole 40 (Kweli/Madlib aside, which is Soundcloud only), followed by a few of the songs that i might have picked had i only given things a bit more thought. And i rounded it off with Cruel Summer by Taylor Swift, which though not really eligible for a best of 2023 round up, was so inextricably bound up with the year that it feels like it should have its place somewhere. Sayonara!

[toomuchtimenerd]

Review for ‘The Queen’s Rising’ series by Rebecca Ross

I stayed up until 3am last night to finish this 2-part series and wow oh wow do I not regret it at all. Both the first book, The Queen’s Rising, and its sequel The Queen’s Resistance had pretty slow starts... but jeez once the plots got going they really got going. This duology was one of the many books that I had put on hold awhile ago. I think I originally wanted to read this during my sadgirl post-breakup phase exactly two years ago, a 3-month long period of time where I got broken up with, had an identity crisis, and proceeded to drop out of my sorority while fully embracing my inner nerd. Disclaimer: I loved being in a sorority, I really did. It just took up way too much of my time and I had realized juggling sorority duties and school left me with no time to pursue my own personal hobbies. 

BUT ANYWAY, I’m really glad I finished this series and really glad I took my time with it. The Queen’s Rising has a pretty slow start and by start I mean probably the first half of the entire book. But it became super complex with all the court politics going on and honestly it went from slow to holy shit whaT’S HAPPENING AHH over the course of like a chapter halfway through the book. The Queen’s Resistance was more or less the same, except with way more political twists (in my opinion, of course) and a touch more romance. Emphasis on touch, because neither of these books were romance-focused or even had that much romance at all, which was kind of a bummer because hello it’s me the lover of all things sappy romance. But I’ll get to that in a second.

The Queen’s Rising follows a young girl named Brienna who essentially gets dumped by her grandfather at a prestigious academy that trains young girls to become ‘passions’. This refers to someone who is master at one of the five subjects: art, music, drama, wit, and knowledge. Brienna’s mother dies before the start of the story, and Brienna’s father is purposefully kept a secret from her. Brienna herself dabbles in each of the five passions before settling on knowledge, which is taught by Master Cartier. Her biggest fears at the beginning of the book is not being picked up by a patron who will endorse the utilization of her passion, and unfortunately this comes true. But she’s offered by the academy headmistress to stay the summer and continue studying her passion, and the headmistress will try her best to pair her with a suitable patron in a few months. Brienna agrees to this and stays in contact with Master Cartier through letters for much of the summer when suddenly everything changed when the fire nation attacked. Just kidding. Brienna shares her strange visions of a Maevana lord from over a century ago with the headmistress, who gives her the choice to choose a strange man who goes by the name of Jourdain as her patron father. Brienna complies, and basically her entire fate is changed at this point.

So my first thoughts were that I really liked the sisterhood that went on throughout the six girls at the academy. Even though the book opens with the conclusion of their schooling we, as the reader, can still get a glimpse of how deep their relationships go. Ciri was a little bit of a brat, but I personally don’t blame her due to her unusual circumstance of sharing an instructor with someone else and Merei was LITERALLY Brienna’s ride-or-die. Obviously spoilers (because my reviews are always ridden with spoilers), but Merei’s role later on in the plot while they’re all in Maevana had me mentally screaming “YESSS SIS”. Cause honestly if I was Brienna, that’s what I would’ve done, especially when Merei shot Allenach on the battlefield. Well, maybe not if I was bleeding out on the ground but still. 

And how could I forget, Brienna the main character. I liked her quite a bit, truly, but if I’m being nit-picky then I definitely do have an issue with how her character progresses in The Queen’s Rising. Brienna starts off as someone who is clearly headstrong and determined, so I guess that’s ultimately the drive that keeps her going through the revolution and such. But I kind of felt like she went from “sheltered girl who’s only ever had time for books” trope to “Maevana warrior who is willing to fight and die for her rightful queen” a little too quickly. I get that she is half Maevan on her dad’s side (who is holy shit such a dick) but it just seems kind of abrupt for her to go from “I grew up as a dainty fair maiden in Valenia my whole entire life and don’t know anything about Maevana outside of what I learned from books” to “I’m going to beg the cruel king of Maevana for my adopted father’s safe passage back into the country and then when no one’s paying attention to me I’m going to scout this land I’ve never been on to look for a stone that has been lost for over a century and everything will be fine” all in the span of... maybe two or three chapters? We are shown that she receives sword/combat lessons from Isolde, the rightful queen of Maevana, but if my mental timeline for this story is correct then those lessons should have only been over the course of maybe two weeks. How much sword technique can a sheltered eighteen-year-old girl actually learn in two weeks? Enough to walk around enemy territory with a concealed weapon and be confident enough to use said weapon when needed? Errr... I don’t know fam that just doesn’t seem realistic. 

Another related issue I have with Brienna is that I feel like she embraces Maevana as her home incredibly quickly. In The Queen’s Rising we found out that Master Cartier is actually Lord Aodhan Morgane, the son of Kane Morgane who had survived the failed first uprising as an infant. He, like Brienna, spent virtually his entire life growing up in Valenia and was schooled in the passion of knowledge. In The Queen’s Resistance every other chapter was in Cartier’s POV, so we got a lot of glimpses into his personal thoughts and his own struggles with returning to Maevana. Unlike Brienna, Cartier/Aodhan really struggled with settling into Maevana, being a Lord, finding his place in a land that he didn’t grow up in, and trying to be a leader to people he had never met before. A lot of the first half of The Queen’s Resistance was centered around Cartier/Aodhan’s inner turmoil in these regards, whereas Brienna (in BOTH books) never seemed to have this struggle despite having a very similar upbringing. Brienna just seems to fit right into Maevana in a way that doesn’t seem particularly realistic or natural given the circumstances that surround her upbringing. 

Now onto the romance! The romance is all centered between Brienna and Cartier, and there are some subtle hints at the beginning of The Queen’s Rising that indicates this is the main relationship throughout the story. However, like the plot this relationship does not really exist or evolve in any way until after the halfway point of the book, when Brienna finds out that Cartier and Lord Morgane are one and the same. Which, by the way, came as a HUGE shocker to me. I DEFINITELY did not see that coming. I assumed Cartier would show up in Maevana in some way or another, but definitely not like that. It was a great twist though, and having both Brienna and Cartier in Allenach’s castle made for a great yet somewhat slow-burn romance. Admittedly, the romance aspect was pretty negligible in The Queen’s Rising. There’s a little bit more emphasis on their relationship in the sequel, but even then it’s not all that much... unfortunately. I really liked these two, and I thought the matching constellations on their passion cloaks were JUST SO DAMN TOUCHING. And the ending of The Queen’s Resistance with the whole golden thread tradition low key had me clutching my chest for a solid two seconds. So the final verdict here is that for the little bits of romance that this series featured, it was beautiful. But ultimately romance wasn’t the focus, nor was it even an emphasis, and if I could have things my way I would’ve definitely liked there to be a little more romance building and one-on-one moments between the pair.

Let’s see... I’m racking my memory for any notable thoughts on some of the side characters. Not gonna lie, Isolde fell pretty flat to me and despite her being the queen I personally could not bring myself to care all that much for her. Luc was a jolly guy, but again not very notable or stand-out-ish in a good way. While it doesn’t bother me, I do have to ask what was the point of Neeve’s character? She shows up in The Queen’s Resistance, and we learn pretty early on that she’s actually another one of Brienna’s half siblings through her father. I don’t understand why Neeve was cast aside by Allenach, after all wasn’t she a daughter that he so desperately wanted? Illegitimacy didn’t matter to him anyway, he could’ve just legitimized her and the fact that Neeve’s mother was dead meant that Allenach didn’t need to worry about anyone influencing Neeve aside from himself. Was Allenach banking THAT much on Brienna? I dunno, none of Neeve’s backstory really makes sense to me or brings much value to the plot either. I like the character just fine, I just don’t understand her purpose... aside from being a long-lost half-sister to the main character. 

I also kept thinking Sean Allenach would eventually betray the queen’s side but he never did, which also makes little sense to me. I mean I guess deep down he really is just a good kid, but it just seems so unlikely for that to be the case when both his older brother and his father are incredibly cruel people. I understood why Ewan and Keela didn’t take after their father, Declan Lannon, because after all they always had each other and they had Tomas who was always a good guy trying to set them on a better path. So for Sean, who seemingly did not have any kind of positive influence to counter the shitty influence that is his brother and father, to be such a kind person willing to undermine his own father’s power just seems statistically unlikely I guess?

And finally, the ending of The Queen’s Resistance with the whole thing about Cartier/Aodhan’s mother still being alive was... good GOD. She was the bone sweeper??? SERIOUSLY? Now that’s a fucking plot twist that I would’ve never saw coming. My heart definitely hurt for Lile, and her written account of what had happened to her over the last 25 years nearly brought tears to my eyes. I do wonder though, when Declan said he loved Lile was he referring to romantic love or the love shared between a mother and son? I was assuming the second type of love, since Declan kept referring to Cartier/Aodhan as ‘brother’. But in Lile’s written account of what happened in her life she writes that she took the Lannon name after ten years in the dungeons. I feel like there’s a lot of ambiguity as to what that actually means. Did she essentially become Declan’s consort? Or did she remain a motherly figure to him and her sharing Declan’s family name made it more real for him? I hope it’s the second one, because I would feel VERY uncomfortable if it were the first case.

When I started this series, I thought I had it all figured out. I guessed that Brienna was the rightful Kavanagh queen within the first chapter, but little did I know the author wanted to tell the story about the queen’s right hand woman, not the queen herself. Which is a very unique approach to a story and I think Ross did quite well (despite the queen herself falling flat as a character. Perhaps some sacrifices need to be made if the story is to emphasize someone other than the queen). Again, I do wish there was a bigger emphasis on Brienna and Cartier’s relationship. I enjoyed Brienna enough, but I simply adored Cartier/Aodhan and I admit I really wanted to see more interactions between the two through Cartier’s POV. I almost wish the last chapter of The Queen’s Resistance was written in Cartier’s POV because I wanted to know what thoughts swirled through his head while he was looking for the golden thread in the tapestry. Petitioning for a prequel novella, completely through Cartier’s POV, during the seven years he spent watching Brienna grow up dabbling in other passions before choosing to become a passion of knowledge. I would pay dumb money to read this. And I would go broke, because I would pay a lot of money to read a lot of things. 

[juangallojongaro]

Best of 2020

Bruce Springsteen – “If I Was the Priest” Lauded as a return to form for the Boss (I found the album…middling?), this is the standout track on Letter to You. Written in the early seventies and first recorded this year, the track is a perfect slice of Springsteen pomp. A soaring Marian Devotional that recasts the Holy Family as prostitutes, saloon proprietors, and cowboys, it’s grandiose, kind of stupid, and perfectly Springsteen.

Cardi B (ft. Megan Thee Stallion) – “WAP” When I first heard it, I was wandering through one of those endless early quarantine days that have all blended together. It made me laugh, and since I’ve listened to it at least 20 times. Really grateful for Cardi B! LYRIC OF THE YEAR 1: “I want you to park that Big Mack Truck right in this little garage”

Colter Wall – “Big Iron” I spent the latter half of the year reading and thinking about American Westerns. This Marty Robbins cover is a delight. Wall has a remarkable voice, deep and tonal. The sparse instrumentation sets the table perfectly for the confrontation between the Arizona Ranger and the dastardly Texas Red.

Dogleg – “Kawasaki Backflip” The virus turned the volume down on everything and stretched it out. It’s a small and personal unfairness I wasn’t able to see this band shred through this spectacular song in some shitty hot venue while drunk on too expensive beer.

Doja Cat (ft. Nicki Minaj) – “Say So” So, this was a TikTok meme, right? I thought TikTok would fill the Vine-sized hole in my life (RIP, Vine, the only good social media); alas, it wasn’t to be, as it seems to be a platform built exclusively to encourage mediocre young white men to be mediocre-er. I digress; this song is fucking great. Built on the Niles Rodgers-esque disco guitar riff, the addition of a typically professional Minaj elevates this from confection to classic.

Dua Lipa – “Levitating” The lyrics are asinine (see: “My sugarboo/I’m levitating/The Milky Way is liberating/Yeah yeah yeah”). Pop music doesn’t have to have lyrics this dumb (see: above Cardi B re: the garage), but alas. It’s a shame, because the rest of this package is so slick, a pop fan’s wet dream of talent, groove, and Top 40 danceability.

Fiona Apple – “Shameika” The word genius is probably thrown around to liberally, but 2020 marked a moment when the culture seemed to coalesce to bestow the honorarium on Apple. And why not? She’s released five albums, all of them at least great. She’s a singular voice, making scabrous, confident, off-putting, kinda fucked up music (who among us didn’t hear her wail, “You raped me in the same bed your daughter was born in” and not, like, gulp and say out loud to no one, “yikes!”). Despite the traumatic subject matter, the songs are a fucking auditory pleasure. When we were all cooped up this year, Apple’s claustrophobia was a balm.

illuminati hotties – “content//bedtime” In 2019, I had the pleasure of seeing IH open for pup at the Old National Center. After their set, I was on my way to the baño¸ and noticed IH front person Sarah Tudzin at the merch table. I approached, expressed my admiration for her work, and inquired as to the release of the next album. The reception was chilly! It turns out that Tudzin was fighting her label, ultimately leading to the release of FREE I.H.: This is Not the One You’ve Been Waiting For, a weird little record made for the express purpose of getting out of her contract. It’s still a good album! And this song is a wacky Oingo Bingo-y banger. LYRIC OF THE YEAR 2: “Woah-oh-oh-oh/No-oh-oh-oh/Pouring a bowl of Illuminati hot-o's.”

Jeff Rosenstock – “***BNB” It took me a minute, but once I released it was a song about a mother secretly renting out her adult daughter’s room as an AIRBNB, I was smitten. It eventually turns into an extremely Rosenstockian loud meditation on the difficulty/anxiety/sadness of travel which is good and kick ass.

Jessie Ware – “Remember Where You Are” It’s fucking annoying as shit that the year disco came back (see: Cat, Doja; Lipa, Dua; Genius, Perfume) that we were all stuck in our fucking houses with our fucking cat who is 85% sweet and 15% annoying and 100% smelly god I love her.

The Killers (ft. k.d. lang) – “Lightning Fields” This is probably not the best song on this album (gotta be “Caution”, right?), but it is the stupidest which probably makes it the most Killers-y track of the year. It was somewhere around uttering the question, “are we human/are we dancer” that the Nevada-based boys decided to start fucking around non-stop. This song carries on that proud tradition. The metaphors are incomprehensible, it sounds kinda like “Like a Prayer” at the end, and has a friggin’ great k.d. lang guest spot. It’s so fucking dumb.

Megan Thee Stallion (ft. Beyoncé) – “Savage Remix” This is basically a Beyoncé (just discovered Word will autocorrect Beyonce to Beyoncé. Good job, Bill Gates) song, and it’s wonderful! That part when she goes from whisper singing to full Beyoncé-voice singing at the three-minute mark? The best!

NOBRO – “Marianna” A perfect rock song. The last minute is the best minute of music in 2020 and it’s like, 40% of the song.

Origami Angel – “24 Hr Delivery/KD MVP” For whatever reason, this emo revival duo released an EP of songs using Minecraft samples. Ostensibly a remake of their 2019 twee-bullshit ode to making your sad friend feel better by taking them out to get fast food, the song segues into a completely baffling yet moving sound collage featuring sad piano, cheese guitar, and Kevin Durant’s tearful NBA MVP speech. I don’t claim to understand it, but the heart wants what it wants. A slam dunk!

Orville Peck – “Fancy” My wife won’t let me listen to this Reba McIntyre cover in the house because it makes her cry every time. We’ve learned a lot about each other this year.

Perfume Genius – “On the Floor” A sumptuous slinker. Plausibly the best song about dancing on your own since Robyn’s classic, “Dancing on My Own,” it’s an emotional powerhouse. Have I sang this song while crying in the shower? No. Would I? You bet! LYRIC OF THE YEAR 3: “I cross out his name on the page!”

Phoebe Bridgers – “Savior Complex (Copycat Killer Version),” “I Know the End” 2020 fucking sucked. I couldn’t go outside. I couldn’t see my pals. I got stuck in my loft for ten days with a COVID scare. My life shrank and it became too easy to doom scroll all the shitty news of mass death, the senseless murder of unarmed black people, riots, curfews, the fucking election, and then the chaser of a bunch of white supremacists trying to overturn a free and fair election because they can’t believe a majority of Americans are tired of being run by a big wet racist moron.

I’m not saying that Bridgers had anything to say this year about The World, but when I felt the worst I put on Punisher. It didn’t make me feel better, but it didn’t make me feel worse. It’s the sadgirl album for the sadgirl year. ALBUM OF THE YEAR: Punisher.

Rilo Kiley – “Teenage Lovesong” Rescued from the scrap heap of history, Rilo Kiley re-released their self-titled debut that was originally only available at their live shows. It’s a precocious record (there’s some, like, turntable scratching on one song???), but it’s astonishing how fully formed Jenny Lewis’s voice is even in 1999. That instrument is on display in this old fashioned twanger, where Lewis shows off the tone, clarity, and range.

Run the Jewels – “ooh la la” Listened to this song very loud in a rental Mustang driving from Joshua Tree to Vegas in January. It was cool.

Sturgill Simpson – “Just Let Go” Ol’ Sturg decided that 2020 was the year to become a bluegrass boy and you’ll hear no complainin’ from Ol’ Johnny. This reworking of his 2014 transcendental ode to the “universal shared consciousness,” becomes a good hearted bluegrass ditty brimming with existential joy.

[longlistshort]

Dustin Lovelis- Off The Rails

Things to do in Los Angeles this weekend (1/26-1/29/17)-

Thursday

LA band The Regrettes are playing a free show at Amoeba Records in Hollywood

Bergamot Station is hosting The Night of Ideas, " a 7-hour marathon of debates, live performances, readings, art installations, screenings and music"  that  explore the idea of utopias (free with registration)

As part of The Broad's program The Un-Private Collection, musician and art collector, Flea, will be speaking with artist Thomas Houseago (who has work in The Broad's current exhibition Creature) at The Theatre at Ace Hotel

There are still tickets available to see photographer Candace Feit discuss her work with the transgender community in India at the Annenberg Space for Photography (free with registration)

Seratones are playing with Communist Daughter and Ever So Android at The Echo

Friday

Blum & Poe is hosting Poetry & Piano, an evening with music from Donal Fox and readings by Will Alexander, Tisa Bryant and Robin Coste Lewis in conjunction with Sam Durant's exhibition at the gallery ($10 suggested donation with all proceeds going to Planned Parenthood)

Cayetana are opening for Mikey Erg and Lemuria at The Echo

Bootleg Theater is hosting Girlschool 2017, a 100% women-led music festival with bands that include Deap Vally, The Bird and the Bee, The Regrettes, Winter, and more playing, DJ'ing, and speaking over three nights ($16 per night or $45 for 3 days)

Peach Kelli Pop, SadGirl, and The Paranoyds are playing a benefit at Music Tastes Good in Long Beach

No Age are playing at Non Plus Ultra with Drug Apts

Saturday

My favorite of the LA art fairs, stARTup Art Fair returns to the Highland Gardens Hotel (opening on Friday and closing Sunday). The programming is worth looking into and last year each of the independent artists took over one of the unique hotel rooms and turned it into a temporary gallery  (discounts on Goldstar and Groupon)

Night on Broadway returns to celebrate the history of the famous downtown LA street, with music and performances both on the street and in the historic theaters, all free

Art Los Angeles Contemporary continues at The Barker Hangar (also Friday and Sunday- discounts on Goldstar)

Frank Turner & The Sleeping Souls are playing at The Wiltern

Sunday

Dustin Lovelis is opening for Prism Tats at The Hi Hat

The big Museum Free-For-All is on with museums that include LACMA, the Craft & Folk Art Museum, Descanso Gardens, MOCA, and more

REDCAT is screening the documentary The Murder of Fred Hampton: The Struggle Continues by Howard Alk and Michael Gray, with a panel discussion to follow with artist Sam Durant, activist and educator Ericka Huggins and UCLA scholar Robin Kelley

If you missed No Age on Friday you can see them in Long Beach at The Federal Underground

'80s band Gene Loves Jezebel are playing at The Echo with Fatal Jamz