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Tina Turner performing, used in the documentary "Tina." ; Credit: Dave Hogan/Getty Images/HBO

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Larry Mantle and KPCC film critics Wade Major, Claudia Puig, Peter Rainer and Charles Solomon review this weekend’s new movie releases.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Jason Statham's character H in the film "Wrath of Man"; Credit: Metro Goldwyn Mayer Pictures

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Larry Mantle and KPCC film critics Christy Lemire and Tim Cogshell review this weekend’s new movie releases.

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Chris Rock as Detective Zeke Banks in the film "Spiral."; Credit: Lionsgate

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Guest host John Horn and KPCC film critics Claudia Puig, Amy Nicholson and Andy Klein review this weekend’s new movie releases.

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Vera Farmiga and Patrick Wilson in "The Conjuring: The Devil Made Me Do It"; Credit: Warner Bros. Pictures

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Larry Mantle and KPCC film critics Amy Nicholson, Wade Major and Charles Solomon review this weekend’s new movie releases on streaming and on demand platforms.

This content is from Southern California Public Radio. View the original story at SCPR.org.

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The lineup from the "Justice League" animated series.; Credit: Warner Bros.

Bruce Timm's DC Comics animated universe, beginning with "Batman: The Animated Series" and continuing with "Superman," "Batman Beyond," "Justice League," "Justice League Unlimited" and more, remains one of the most beloved and critically acclaimed animated runs in existence. The run was so idenified with the producer that it was sometimes called the Timmverse, but the last show in that continuity ended in 2006 and Timm officially stepped down from working with DC animation in 2013.

Now Timm is back. He's providing a darker take than the optimistic world he became known for in "Justice League: Gods and Monsters," a three-part digital series launching spring 2015 that will be tied in with a full-length animated film that comes out later that year, according to a press release.

Timm's also re-teaming with Alan Burnett, who worked with Timm on "Batman: The Animated Series." It's part of DC Comics' efforts to set up their new film "Batman v Superman: Dawn of Justice," which hits in 2016, with the full Justice League film set for 2018.

DC Comics as a whole has been moving in a darker direction with Christopher Nolan's Batman trilogy, the "Man of Steel" reboot of Superman and a more serious direction in many of its comic books. The company has followed in its tradition of epic storytelling, passing on the quips Marvel has popularized in films from "Iron Man" to "Guardians of the Galaxy."

It's yet to be seen if Timm can recapture any of the magic from his classic cartoons, but there's reason to be optimistic for the creator of the series that introduced fan favorite Joker sidekick Harley Quinn, created a new origin for Mr. Freeze that cemented the character in the Batman mythos and led the team reimagining numerous characters in an iconic, broadly appealing way.

If you want to catch up on Timm's legacy, his previous two Justice League series are available on Netflix and Amazon Prime, along with "Batman Beyond," while the Batman and Superman animated series are available on Amazon Prime.

Timm also recently produced a short for the 75th anniversary of Batman called "Strange Days," setting the character in the retro world of the serialized pulp storytelling from the time Batman was originally created. You can watch that below:

Batman anniversary short

Watch the classic opening to "Batman: The Animated Series":

Batman: The Animated Series opening

And, a personal favorite joke from when Lex Luthor and the Flash trade bodies on "Justice League Unlimited":

Flash/Luthor body swap

MPK Night Market. ; Credit: MPK Night Market (via YouTube)

Ahhhhh. Can you feel that breeze? Cool temps are here to stay through Sunday and we're going ham (in a totally respectable, public radio kind of way). Because frankly, we all deserve a break after sweating ourselves through this near-awful workweek. 

Here's everything you need to know: 

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1. Pro volleyball at Hermosa Beach

Video: NVL highlights

These people are serious about volleyball — and they look damn good doing it. Take a trip to Hermosa Beach this weekend, where the National Volleyball League will be hosting its fifth tour stop of the season. The championship will feature 32 elite men’s and women’s teams, all competing for a prize of $50,000. Come by at noon Saturday for a free juniors’ clinic (all ages welcome). Sign up here. 

When: Friday through Sunday | Schedule here

Where: Hermosa Beach Pier | MAP

Price: Free

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2. #DTLA salsa dancing

Video: Music Center's Dance Downtown

We know you're dying to show off your salsa skills. Join dancers of all levels at the Music Center's last Dance Downtown of the summer on Friday night. Temps are dropping (hallelujah!) so pack a picnic and get movin'.

When: 6:30 to 10 p.m. Friday 

Where: The Music Center Plaza | MAP 

Price: Free

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3. Shades and Shadows 

Looking for something a little different and a bit creepy? The reading series Shades and Shadows focuses solely on horror, sci-fi, fantasy and any other form of dark literature that you’re afraid to put down. To honor its one-year anniversary, the group will be haunting the California Institute of Abnormalarts. (Yes, this exists. It's in North Hollywood). Stop by for an all-female lineup, including Nancy Holder of "Buffy the Vampire Slayer" and the Internet's most famous mortician, Caitlin Doughty.  

When: 8 p.m. Saturday

Where: California Institute of Abnormalarts | MAP

Price: $10

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4. Oktoberfest at Angel City

It doesn't feel like fall. The sun is blazing and the thought of drinking a pumpkin-spice latte is just gross. That's why we're sipping on cold beer instead. Savor seasonal craft brews with sausage, sauerkraut and soft pretzels at Angel City Brewery's Oktoberfest on Sunday. Festivities will include keg races, live polka music, ping pong and brewery tours. The best part? You're drinking for a good cause — a portion of the event’s beer and retail store sales will go to the Downtown Women’s Center.

When: Noon to 8 p.m. Sunday

Where: Angel City Brewery | MAP

Price: Free admission

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5. Monterey Park Night Market 

Video: Every food you ever wanted

Have your pick of tacos, sliders, pressed juice or even a sushi burrito at Monterey Park's Night Market on Friday. That's not all — other highlights include food and dessert from Sticky Rice and Ice Cream Lab. After indulging, walk it off while viewing funky art prints, interesting hand-painted rocks and L.A.-inspired oil pantings. 

When: 5:30 to 10:30 p.m. Friday

Where: Barnes Park | MAP

Price: Free admission; eat at your own will 

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6. Friday Night Flicks 

Watch: The best of Johnny Depp

Take a break from Netflix and catch classic Johnny Depp in "Benny and Joon" at Pershing Square on Friday. Pack a picnic, bring a blanket or lawn chair and watch the '90s flick on a 20-foot inflatable screen. Pro tip: Dogs are welcome (if on a leash). For quick easy access to Pershing Square take the Metro (Pershing Square 5th street stop) or park in the Pershing Square Garage.

When: 8 p.m. Friday

Where: Pershing Square | MAP

Price: Free 

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7. Kayaking in Malibu

(Photo: Benjamin Brayfield/KPCC)

Spend a leisurely day kayaking the waves of the Pacific. Head to Malibu Surf Shack and grab a one- or two-seater before staking your spot on Malibu Lagoon State Beach. The state park has shallow tide pools and a lagoon with pelicans — plus, it's home to the Malibu Pier. Pro tip: Wear sunscreen and don't drop your phone in the ocean while taking selfies, people.

When: The Surf Shack is open daily 10 a.m. to 6 p.m. 

Where: Malibu Lagoon State Beach | MAP

Price: $35 per day for single kayak; $50 per day for double kayak

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8. Feline Film Festival 

Video: We are gonna have a cat party

Imagine watching "America's Funniest Home Videos," but every entry includes a cat. That's what's happening Sunday at the L.A. Feline Film Festival. Sit back and enjoy over an hour of the most popular feline flicks from the Internet. Special guests include Lil Bub, Tara the Hero and Dusty Klepto Kitty. There will also be music, cat adoptions, a cat costume contest, food and drink. Pro tip: Cat flair is obviously encouraged.

When: 1 to 10 p.m. Sunday

Where: Exposition Park | MAP

Price: $15 admission; $15 parking | Purchase tix here

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What'd we miss? Let me know on Twitter @KristenLepore.

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Lisa Emery, left, and Lois Smith are in the world premiere of Jordan Harrison’s “Marjorie Prime” at the Center Theatre Group/Mark Taper Forum. ; Credit: Craig Schwartz

Lois Smith has had a long and varied acting career. She made her Broadway debut in 1952 and three years later was cast opposite James Dean in “East of Eden.” She was in “Five Easy Pieces” with Jack Nicholson and — more recently — she had a role on HBO’s “True Blood.”

Now, the 83-year-old Smith is starring at the Mark Taper Forum in the world premiere of “Marjorie Prime” — a play by Jordan Harrison about aging, memory and artificial intelligence.

Smith spoke with The Frame's John Horn about the play and her role.

Interview Highlights

Smith on how "Marjorie Prime" addresses the notion of memory

"One character at some point says, 'I don't know what memory's made of. Is it sedimentary layers?' The play [is] not a meditation, but a riff, perhaps, on that subject. Jordan [Harrison, the playwright] said at some point, 'This play is the intersection of perhaps humanity and technology.' The play takes place a bit in the future. Not a long time — we'll all recognize ourselves very well — but that's one of its surprises."

Smith on the evolution of becoming a character

"It's been extremely interesting. I suppose in every play [the process] deepens and stretches out. This one, no doubt about it...it's elusive in a lot of ways and I think, 'Oh good, I'm getting there, I'm finding out.' And then I think, 'Oh, farther to go.'" 

Smith on how audience members of different ages react to the play's take on aging

"One friend saw it in regards to [her] mother, who's becoming forgetful. [That] mother saw her own very aged father. They laughed about what they each brought up, because they had just been sitting at the same performance of the same play."

Smith on her role, which isn't too physically taxing

"I'm not doing much walking around. I walk on, I walk off, I walk on — and that's about it. I sometimes say, 'It's almost as good as a bed part,' because I spend time in a recliner, which is pretty nice."

 

 

 

 

The relationship between pianist Justin Kauflin and trumpeter Clark Terry is at the heart of the documentary, "Keep On Keepin' On."; Credit: COURTESY OF RADiUS-TWC

Trumpeter Clark Terry played in Count Basie's and Duke Ellington's bands. He was the first African American hired for The Tonight Show band. He mentored the teenage prodigies Miles Davis and Quincy Jones. But Terry isn't as well known as you might think he'd be. 

Thanks to the new documentary, "Keep On Keepin' On," you can see Clark Terry — or C.T., as everyone calls him — in action. The film tells the story of Terry's early love of the trumpet, his quick rise through the jazz ranks, and how he's devoted much of his life to inspiring other musicians — all with a sparkle in his eye.

The movie is directed by first time filmmaker Alan Hicks and made on a shoestring budget. Hicks is himself a drummer and had been one of Terry's students. Originally it was going to be a short film about Terry and Hicks' relationship, funded by the Australian Broadcasting Company. (Hicks is from Australia.) When that financing fell through, Hicks improvised. Determined to tell the world about Terry, he and a childhood buddy, Adam Hart, decided to do it themselves — despite having no filmmaking experience. They bought a camera and plane tickets to the U.S. and began following Terry.

For many years their schedule was to shoot until they ran out of funds, usually about three months, work for a few months to save more money, then go back to shooting. To demonstrate how Terry mentors his students, they followed one young man in particular. Justin Kauflin is a blind jazz pianist with stage fright who would spend days and nights practicing at Terry's bedside. Over the course of the film, as we learn about Terry's past, we see the aging trumpeter in the present (he's now 93) — struggling with advanced diabetes, but always composing riffs from his bed late into the night.  

In one moving scene, Kauflin is riddled with anxiety as he prepares to compete in the Thelonious Monk International Jazz competition. Terry sends him an audio letter and some lucky socks for inspiration.

Years into the project, when Quincy Jones came to visit Terry, he met Kauflin and the filmmakers. Eventually Jones signed on as an executive producer of "Keep On Keepin' On" — as is only fitting given that, at age 13, he'd been Terry's first student.

Jones, Hicks and Kauflin spoke with The Frame about Terry and his unparalleled talent as a musician and as a mentor.

 

Kevin Smith with a room full of his own strain of pot, created for his new film, "Tusk." ; Credit: James Kim/KPCC

When Kevin Smith records his podcast, Smodcast, he says, "I'm usually blazed." Which, if you've heard the episode where Smith comes up with the entire story for his new film, "Tusk," it should come as no surprise.

 

The film is about a man who takes another man hostage and turns him into a walrus. While the movie itself doesn't mention or include any weed, Smith thought medical marijuana would be a nice complement to the viewing experience. 

A24, the film distribution company, came to Smith with a marketing idea: create strains of weed for the film. Smith thought it was genius. Buds and Roses — a cannabis dispensary in Studio City — was approached by Smith and his team to make medical marijuana specifically for the film. The dispensary came up with two strains called "Mr. Tusk" and "White Walrus." 

We met up with the director at Buds and Roses to see why the green substance was a perfect pairing for the film: 

Interview Highlights:

Smith knows that some people enjoy going to the movies stoned: 

"This movie, out of all movies, seems like a real head trip of a flick. So if they have their medical marijuana card, by all means, enjoy the movie. Don't feel the need to go back if you don't remember anything. It's not a gimmick to make them go twice or anything. But in a world where people are gonna smoke medicinal marijuana, having a 'Tusk' sticker on there just makes me smile. Kind of makes sense for this movie." 

How Fleetwood Mac and weed helped his writing:

"I put on Fleetwood Mac's 'Tusk' over and over on repeat and would just sit there and blaze while I wrote. And you know, I blaze in the way that I used to smoke cigarettes. So, I'll light it and put it in an ashtray, let it burn and stuff. So it fills the room like incense if you will. But, yeah, for a movie like 'Tusk,' I guess you gotta be pretty stoned to make the guy-who-makes-a-guy-into-a-walrus movie. And I'm kinda glad I did. It's weird. People are calling it the best movie I've ever made and I was like, 'Well, this is the only one I made stoned.' So I'm like, 'Guess what I'm doing, kids!'"

Smith used to be against drugs: 

"I smoked weed in my life, but I would never consider myself a stoner. In fact, I still had the '80s [attitude] lingering, 'Just say no,' and,  you know, 'Oh my lord! It's a drug!' It wasn't until I became older — age 38 — when I started smoking weed on a regular basis. I was like, 'This is not a drug. This is ridiculous! It grows in the Earth.' So once I got past the bias that was pounded into us in the '80s, suddenly I was like, 'Heavens. I like who I am here.' It doesn't make you a better person, kids. It doesn't make you more creative. What it does is it kind of knocks fear on its ass. You face your fears a little better." 

Disclaimer: Smith wants you to know that he does not endorse marijuana for anyone under 21:

"Kids, teenagers... I'm talking to you. The teenage brain is stunted by marijuana smoking so you guys have to wait 'til you're older. I didn't start smoking 'til I was 38 years old. I'm not saying wait 'til then. That was a stupid mistake on my behalf. But wait until you're legit. Wait until you're 21 before you start smoking." 

 

The general equation of the δ direct methods is established and applied in its difference form to the definition of one of the two residuals that constitute the SMAR phasing algorithm. These two residuals use the absolute value of ρ and/or the zero conversion of negative Fourier ripples (≥50% of the unit-cell volume). Alternatively, when solved for ρ, the general equation provides a simple derivation of the already known δM tangent formula.

We enumerate the 55083357 iso-edge subdivisions of six-dimensional translational lattices. We report on the use of the method of canonical forms that allows us to apply hashing techniques used in modern databases.

Source: Leo Mariani 11/01/2024

"We rate Matador Resources Co. (MTDR:NYSE) a Buy based on the company's best-in-class production growth, strong inventory of wells, growing base dividend, and reasonable balance sheet," wrote Roth MKM analyst Leo Mariani.

Roth MKM analyst Leo Mariani, in a research report published on November 1, 2024, maintained a Buy rating on Matador Resources Co. (MTDR:NYSE) with a price target of US$68.00. The report follows the announcement that MTDR's EVP of Production Glenn Stetson purchased company shares in the open market.

Mariani highlighted the insider purchase, stating, "MTDR reported that EVP of Production Glenn Stetson bought 1,000 MTDR shares in the open market on October 30 for total proceeds of US$51,330 at an average price of US$51.33, which was 1.5% below yesterday's closing price of US$52.11."

The analyst explained his positive view on the company, noting, "We rate Matador Resources Co. (MTDR) a Buy based on the company's best-in-class production growth, strong inventory of wells, growing base dividend, and reasonable balance sheet."

Regarding Matador's operations, Mariani noted that the company has "192,000 net Permian acres, and most of its position is in the heart of the Delaware Basin. Its production mix is roughly 59% oil and 41% natural gas/NGLs." He also highlighted the company's midstream presence through its "51% ownership in San Mateo Midstream, which owns oil, gas, and water-gathering assets that are tied into MTDR's producing assets."

Roth MKM's valuation methodology is based on a multiple of Debt-Adjusted Cash Flow (DACF). Mariani explained, "Our US$68 price target for MTDR is based on a 4.2x multiple of our 2025 DACF estimate, which is based on US$70 WTI oil and US$3.10 HH gas."

The analyst also outlined several risk factors, including "slightly higher leverage than peers, completely unhedged in 2024; and acquisition risk given the company's propensity to do bolt-on M&A."

In conclusion, Roth MKM's maintenance of a Buy rating and US$68 price target reflects confidence in Matador Resources' operational excellence and growth potential in the Permian Basin. The share price at the time of the report of US$52.11 represents a potential return of approximately 30.5% to the analyst's target price, suggesting significant upside potential as the company continues to execute its development strategy.

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Important Disclosures:

1. This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.

For additional disclosures, please click here.

Disclosures for Roth MKM, Matador Resources Co., November 1, 2024

Regulation Analyst Certification ("Reg AC"): The research analyst primarily responsible for the content of this report certifies the following under Reg AC: I hereby certify that all views expressed in this report accurately reflect my personal views about the subject company or companies and its or their securities. I also certify that no part of my compensation was, is or will be, directly or indirectly, related to the specific recommendations or views expressed in this report.

Disclosures: The price target and rating history for Matador Resources Co. prior to February 1, 2023 reflect MKM’s published opinion prior to the acquisition of MKM Partners, LLC by Roth Capital Partners, LLC. Within the last twelve months, ROTH Capital Partners, or an affiliate to ROTH Capital Partners, has received compensation for investment banking services from Matador Resources Co.. Within the last twelve months, ROTH Capital Partners, or an affiliate to ROTH Capital Partners, has managed or co-managed a public offering for Matador Resources Co.

Not Covered [NC]: ROTH Capital does not publish research or have an opinion about this security. ROTH Capital Partners, LLC expects to receive or intends to seek compensation for investment banking or other business relationships with the covered companies mentioned in this report in the next three months. The material, information and facts discussed in this report other than the information regarding ROTH Capital Partners, LLC and its affiliates, are from sources believed to be reliable, but are in no way guaranteed to be complete or accurate. This report should not be used as a complete analysis of the company, industry or security discussed in the report. Additional information is available upon request. This is not, however, an offer or solicitation of the securities discussed. Any opinions or estimates in this report are subject to change without notice. An investment in the stock may involve risks and uncertainties that could cause actual results to differ materially from the forward-looking statements. Additionally, an investment in the stock may involve a high degree of risk and may not be suitable for all investors. No part of this report may be reproduced in any form without the express written permission of ROTH. Copyright 2024. Member: FINRA/SIPC.

( Companies Mentioned: MTDR:NYSE, )

Source: Streetwise Reports 11/07/2024

Jericho Energy Ventures Inc. (JEV:TSX.V; JROOF:OTC; JLM:FRA) has announced a strategic move to spin off its hydrogen solutions platform into a separate entity. Read more on how this transition aims to unlock growth in both hydrogen and traditional energy sectors.

Jericho Energy Ventures Inc. (JEV:TSX.V; JROOF:OTC; JLM:FRA) has announced a strategic move to spin off its hydrogen solutions platform into a separate entity. The new entity, to be named Hydrogen Technologies Corp. (HTC), was approved by the company's board of directors. The intention is to create two specialized companies focusing on hydrogen technology and traditional energy assets, respectively. Each Jericho Energy shareholder will retain their Jericho shares while receiving shares of the new HTC entity on a pro-rata basis in consideration of the transfer of Jericho's hydrogen assets.

The planned transaction, still subject to regulatory and shareholder approvals, aims to allow both companies to focus on their distinct markets and strategies. Jericho Energy expects this restructuring to enable each company to operate with tailored capital structures and investment plans, positioning them for growth within their specific sectors. The final terms of the spinout will be detailed in a management information circular to be shared with shareholders before they vote on the proposal.

Approval processes for the spinout include a review by the TSX Venture Exchange, shareholder consent, and possibly court approval in British Columbia if the plan proceeds via a formal arrangement. Jericho's CEO, Brian Williamson, noted in the news release, "By separating our hydrogen platform, we can create two agile, focused companies . . . positioning them for long-term growth and success."

Jericho Energy, which will continue trading on the TSX Venture Exchange under the symbol JEV, will retain its traditional oil and gas assets following the separation. The company's annual general meeting on January 15, 2025, may serve as a venue for shareholder approval, or a separate meeting may be scheduled.

Hydrogen Energy and Clean Tech

Energy Storage, in its November 5 report, underscored the growth potential for green hydrogen in the U.S. Supported by the government's US$7 billion Regional Clean Hydrogen Hubs program, this program aimed to boost clean hydrogen production and reduce costs. The report noted that the Mid-Atlantic Hydrogen Hub (MACH2) anticipated large-scale green hydrogen projects, generating over 20,000 jobs and incorporating hydrogen applications across sectors like steel, aviation, and maritime.

On November 6, Reuters reported that despite political shifts, U.S. clean energy momentum continues to be driven by federal tax credits and technology advancements. Renewable energy sources, including hydrogen, were identified as the fastest-growing segments on the power grid, benefiting from initiatives like the Inflation Reduction Act (IRA) and state mandates. Carl Fleming, a partner at McDermott Will & Emery, highlighted that "the jobs and the economic benefits have been so heavy in red states, it's hard to see an administration come in that says we don't like this." Although political challenges might impact renewable sectors like offshore wind, the trajectory of clean energy, including hydrogen, remained strong due to market demand and state-level support.

The International Energy Agency's (IEA) 2024 Global Hydrogen Review reported that global hydrogen demand reached 97 Mt (metric tons) in 2023. This demand was projected to approach 100 Mt in 2024. The IEA highlighted a rising focus on low-emissions hydrogen, particularly for refining and heavy industries. Although new applications in transport and energy storage accounted for less than 1% of global demand, industry interest grew, with chemical, refining, and shipping sectors making strides in contracting low-emissions hydrogen. The IEA also noted substantial investments in electrolyzer projects worldwide, with installed capacity expected to grow significantly.

Jericho's Catalysts

According to Jericho Energy's April 2024 investor presentation, the spinout of Hydrogen Technologies Corp. aligns with a broader strategy to drive advancements in hydrogen technology. Currently, an area experiencing significant momentum due to global energy transition efforts, the investor presentation highlights key growth drivers, including Jericho’s patented hydrogen-based boiler technology and emerging partnerships with institutions and companies across the hydrogen sector. [OWNERSHIP_CHART-7025]

The decision to separate hydrogen assets positions HTC to capture opportunities within the rapidly expanding hydrogen ecosystem, benefiting from policy support and rising market demand for green energy solutions. As part of its strategy, Jericho intends to leverage its expertise in traditional energy systems while directing resources to support innovation in hydrogen applications.

Ownership and Share Structure

Around 35% of Jericho's shares are held by management, insiders, and insider institutional investors, the company said. They include CEO Brian Williamson, who owns 1.19% or about 3.1 million shares; founder Allen Wilson, who owns 0.76% or about 1.97 million shares; and board member Nicholas Baxter, who owns 0.44%, or about 1.14 million shares, according to Refinitiv' latest research.

Around 10% of shares are held by non-insider institutions, and approximately 55% are in retail, the company said.

On March 6, 2023, JEV completed an insider-led private placement financing, above the current share price, for gross proceeds of CA$2.23 million.

JEV's market cap is CA$25.19 million, and it trades in a 52-week range of CA$0.07 and CA$0.18. It has 259.75 million shares outstanding, approx.. 189.99 million floating.

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Important Disclosures:

1. As of the date of this article, officers and/or employees of Streetwise Reports LLC (including members of their household) own securities of Jericho Energy Ventures Inc.
2. James Guttman wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an employee.
3. This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.

For additional disclosures, please click here.

( Companies Mentioned: JEV:TSX.V; JROOF:OTC; JLM:FRA, )

"Dispersion" (detail). Acrylic ink and paint on canvas. (Courtesy of Kenyatta A.C. Hinkle); Credit:

Rosalie Atkinson | Off-Ramp®

Kenyatta A.C. Hinkle's "The Evanesced" was inspired by the #SayHerName movement against police violence, as well as Los Angeles's Grim Sleeper serial killer. Hinkle depicts black women in the nude, twisting and writhing, as though they're sinking back into the canvas. Or are they reemerging from it?

Deputy Director of the California African American Museum Naima Keith says Hinkle's exhibit looks at the "historical present," the way in which history still affects us today, harkening back to slavery and Jim Crow. Keith says the main issue Hinkle is addressing is the invisibility of black women, especially those who are abused or in danger. 

Hinkle was particularly inspired by the South LA serial killer "The Grim Sleeper." He is accused of murdering over one hundred women from the 1980's onward, until being captured in 2007. Many of his victims were women of color according to the Los Angeles Police Department.

"He had been killing prostitutes and runaways and drug addicted women," says Keith, noting that some saw these deaths as occupational hazards.

Most of Hinkle's subjects in the paintings and sketches in "The Evanesced" are clearly nude. This was a deliberate choice to showcase femininity, according to Keith. She says:

She’s talking about being women... There’s love, there’s joy, there’s pain. All things we experience as all women... But [nudity], I think, allows us to focus on the female form, not necessarily get caught up on what they are wearing or what they’re doing.

In the artwork, viewers can see that every face, body, and hair style is completely unique to each sketch or painting. Keith says this helps the viewer appreciate the diversity amongst women of color. She says:

You have women that are smiling. You have women that are looking at you- you know- lovingly, shyly. Not every one, not every image in the show is about negativity, disappearance, or sadness. There is a bit of celebration. There’s interaction between multiple women. That’s what makes the body of work so interesting: it’s not just seeing women of color through one lens. There’s the possibility of seeing them through, like I said, disappearance, and also the freedom to have a wide range of emotions.

There is one painting that continues to draw Naima Keith back to it. It is called "Uproot 2017" and it features a feminine figure with three exposed breasts. She says this painting speaks to her about motherhood and the connection women have with their changing bodies. Keith says:

I asked Kenyatta why she depicts women with multiple [extra] breasts and we had a conversation about being moms. Kenyatta and I are both mothers of young children... As moms, we just kinda talked about how things aren't what they used to be, in terms of where they used to be. Like I said, becoming mothers, you have this different relationship with your body in relation to someone else.

Kenyatta A.C. Hinkle's "The Evanesced" runs at the California African American Museum through June 25, 2017.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Drew Arriola Sands, left, sings in the South Gate band Trap Girl at La Conxa, 2017.; Credit: Amina Cruz

Chris Greenspon | Off-Ramp®

Growing up, Drew Arriola-Sands' music was "too weird for the weird kids." Her first band couldn't even get a backyard gig, but since Sands transitioned in 2013, her current band, Trap Girl, have been at the center of an exploding queer hardcore scene in Los Angeles. 

NOTE: Trans Pride L.A. is taking place this weekend, Saturday June 17, at the Los Angeles LGBT Center. To hear a preview of the event with organizer Gina Bigham, listen to the extra audio on this post.

Sands is 28 now, but she's always been drawn to glamorous women with big hair. Her mirror is adorned with pictures of Ronnie Spector, Dolly Parton, and Jayne Mansfield. Wig idols, she calls them. Sands has a large collection of wigs, and even makes her own, but it all started 20 years ago.

"When I was a little kid, my mom always had short black hair," Sands remembers. "And then one day, getting ready for school, she walked out of the bathroom with a long, thick, black braid with a ribbon on it, and it freaked me out, because I never saw her with long hair. So I was like, 'That’s weird! What is it?'" She was eight years old. For weeks to come, Sands would lock herself in the bathroom and stare at the extension braid in it's clear, Avon box until her mother threw it away without warning. The seed had been planted, though.

Her love of singing came at an early age too. As a child, Sands would stand up on a chair while watching baseball with her father to sing the national anthem. Her mother would scold her for being loud and tell her that she could sing at a baseball game when she was older. At 11, her father put her in little league.

We look at a picture of young Drew in a baseball jersey. Sands was a chubby little kid, biting down a smile, and burying her hand in her mitt. "I was a 'catcher' even then," laughs Sands.

"I was told I was gay before I even knew I was gay, because people saw I was feminine, did things a little different, spoke a little different, a little more sensitive," says Sands. Bullying was a consistent part of her childhood, with no one incident standing out because there was always "80 more horrible ones," she says. But she found ways to cope through her hobbies.

Her father said if she wasn't going to play a sport, she had to play an instrument. The first instrument she started with in earnest was the guitar, before picking up bass and more. "Nirvana was still the biggest band in the world. Everyone at my junior high who played guitar learned how to play 'Rape Me' or 'Smells like Teen Spirit' as their first song" says Sands. The first song sands learned on guitar was Nirvana's "About a Girl," and the first album she bought was Hole's "Live Through This."

"One of my first jobs, actually, was making burnt cd’s for a guy who sold them at the alley, and he made me copy Trina cd’s, ten at a time. She had songs on there like 'Nasty Bitch,' things like that, and I just loved it! But it was like a guilty pleasure, 'cause I was still a rock kid."  - Drew Arriola-Sands

By her early twenties, she started her first real band, The Glitter Path; Sands describes it as something like Daniel Johnston, the schizophrenic outsider musician, mixed with Patsy Cline - extremely emotional, "lying across the road, ready to die type of music." It didn't fit in in the "very straight, very cis, surf rock-indie" backyard scene, says Sands. She can't remember the band playing more than two or three shows, anywhere, but she says she doesn't hold any grudges.

The Glitter Path's "Wear a Wig"

We look at another photo of Sands from her Glitter Path days. She points out the increasing number of women’s accessories she was wearing at the time. She was starting to feel a change coming.

"I was in a relationship in 2013 with an artist, but I was male presenting, and I had these feelings of identity and gender, and I expressed them to him, and he accepted them," Sands says,  "but didn’t know how to deal with me and I didn’t know how to deal with myself." Sands boyfriend broke up with her, and she reevaluated her emotional state. "My mental health was not going to get better if I did not come out [as a trans person]," she decided.

She had a much easier time dating after transitioning, and one chance hook-up set Sands down a new musical road.

"So this guy I was hooking up with at the time would play the Damned in the room while we were hooking up. I had a guitar in the room, and he didn’t know I played music and said, 'Do you play guitar?' I said, 'Yeah.' He said, 'Well, you should start a band, like the Damned, and play guitar. It’d be good, looking the way you do, and wear ball gowns.'” - Drew Arriola-Sands

Sands started Trap Girl, not as guitarist, but as lead singer, in 2014.

The early shows were backyard gigs in South Central. Songs like “Dead Men Don’t Rape” went over well, but Sands wasn’t out as a trans performer yet. Maybe people could read between the lines though, with a name like Trap Girl. Sands offers a few definitions for Trap Girls/Trap Queens (though she has never settled on just one).

• A woman who helps out a "trap lord," or drug dealer
• A very convincing transvestite
• A girl trapped in a man's body

Throughout 2015, Trap Girl built their following Downtown and on the Eastside, with Sands finally out as a trans artist.

Trap Girl live at Xicana PUNK Night

"I started this band alone," explains Sands. "I didn’t know any queer people, I didn’t know any trans people, I didn’t know who was gonna help this band. Who was gonna give us a shot? So, I was ready to defend this band, even though there was no one defend it from."

Rather, Trap Girl were embraced and found sisterhood in bands like Sister Mantos and Yaawn. In 2016, Sands took it a step further and organized the first annual Transgress Fest (at the Santa Ana LGBT Center), for trans performers. "We had people as young as twelve to people as old as sixty in the audience," she says. "We had a huge turnout. I never expected that."

Transgress Fest is coming back in November. In the meantime, Trap Girl are getting ready to release their second EP, "The Black Market." The title track grapples with the question of whether or not a trans person needs surgery.

"Being a woman doesn’t mean you have to look like a woman. I didn’t know any trans people at all before I transitioned, so automatically, my idea was to think that I needed to present as feminine to be accepted as a trans person, but little did I know, that that’s the last thing you need to be a trans person. Not all people can pass, and that’s ok." - Drew Arriola-Sands

Sands says the takeaway from "The Black Market" is not to risk your life with black market cosmetic procedures. "These girls are killing themselves to achieve their looks," says Sands. "They’re getting it offline [sic], off Craigslist. You know, they go to someone’s basement and get their ass injected with cement, and then they go home and get a blood clot in their lungs, and they die." "The Black Market" EP is due for release this summer.

Trap Girl is singer Drew Arriola-Sands, bassist Ibette Ortiz, drummer Jorge Reveles, and guitarist Estevan Moreno.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Elizabeth Harper, a relics expert, at Mountain View Cemetery in Altadena; Credit: John Rabe

John Rabe | Off-Ramp®

"Reach a certain moment in your life, and you discover that your days are spent as much with the dead as they are with the living." – Paul Auster

This has been one of my favorite quotes for a long time. To me it means that when you get older and your friends, relatives, and heroes start dying, you have a choice. You can either stop thinking about them because they're dead, giving up, as it were, the pleasure of their company; or you can keep them in your life. To me, that's not denial; it's being realistic.

So, it makes sense that I felt a kindred spirit with Elizabeth Harper, who keeps the website All the Saints You Should Know, when we met at a beautiful mausoleum at Mountain View Cemetery in Altadena to talk about the history of cemeteries, relics, castrated Italian avuncular mummies, and the best spots in Los Angeles to commune healthily with death.

Elizabeth will be part of the team when Atlas Obscura leads tours of The Cathedral of Our Lady of the Angels on Saturday, July 1. It's billed as "A celebration of life, death, architecture, and the patron saint of Los Angeles."

Here are some highlights of my mausoleum conversation with Elizabeth Harper:

At first glance, she says, all of the tombs are very similar.

And that was one of the things, when we started making modern cemeteries, outside the city lines, they wanted them to be regular and not so expressive and macabre. But people leave little things behind. On a lot of these (crypts), you can see a little emblem of something that was important to them. If they were a Mason or if they served in the Army. I like the (cremains) urns that are shaped like books. I have a friend who is a librarian and she was very taken with the idea of being in a book.

Napoleon instituted the Edict of Saint-Cloud, which mandated that cemeteries must be outside city limits (for health reasons) and must be toned-down (for no good reason).

People did not like the edict. There's a very famous poem called Sepulchers by Ugo Foscolo that was written in protest, that said, essentially, looking upon the graves of strong men strengthens the mind and the spirit.

From Slate: Photographing the Real Bodies of Incorrupt Saints, by Elizabeth Harper

Elizabeth often writes about cemeteries and tombs and sometimes posts photos of bodies, which causes a "certain segment" to assume she has no experience with death, or she wouldn't presume to do such a thing.

What I want to put out there is that we have this pervasive idea that we grieve and move on, and this moving on is very important, and I think there are multiple ways to incorporate the idea of death in your life, to get used to the idea, without forgetting, that's more of a way of memorializing. When I take these pictures, I'm very aware that these are real people, and I think of myself, what I will be one day, and people I love, who are already there.

Make sure to listen to our entire interview in the audio player to hear Elizabeth's 3 top spots in Los Angeles to consider the place of death in our lives, and to hear about poor old Uncle Vincent, a neutered naked mummy in a small town in Italy who has a large fan base.

 

This content is from Southern California Public Radio. View the original story at SCPR.org.

L-R: Three Southern California retro fanatics, John Rabe, Chris Nichols, and Charles Phoenix; Credit: John Rabe/KPCC

John Rabe | Off-Ramp®

Is it possible that the two titans of retro Southern California - Charles Phoenix and Charles Nichols - have never been on Off-Ramp at the same time? But maybe that brings up a larger question. Is it even possible for them to exist in the same place, at the same time, or would their meeting cause a cosmic singularity, an undarnable rending of the time-space continuum?

The answers are, stupidly, yes; and thankfully, yes.

Over the 11 years of Off-Ramp, "God Bless Americana" author Charles Phoenix and Los Angeles Magazine's Chris Nichols have played a large part in bringing interesting and endangered places to our listeners. From Pomona to Chatsworth to Bellflower to Anaheim, both men have made careers of highlighting and preserving things that in their day were seen as expendable, flavor-of-the-month, mass marketed creations. Like programmatic architecture (buildings that look like what they're selling or making, i.e. the Donut Hole in La Puente, the Idle Hour - a giant wine cask - in NoHo).

Yet, with hindsight, we've been able to see them as archetypal and important touchstones of our region.

For their final appearances on the show, they got in the Mercedes and shared their love of getting lost in Southern California.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Off-Ramp host John Rabe and Mayor Eric Garcetti playing backgammon in John’s car. Julian “The First Lady of Off-Ramp” Bermudez in the passenger seat with camera. ; Credit: Andrea Garcia

John Rabe | Off-Ramp®

John Rabe’s last show coincides with Eric Garcetti’s inauguration for his second term as Mayor of Los Angeles. In John's car, the two talked about:

• The joys of exploring Los Angeles
• The time the future Mayor's mom and dad took his drivers' license away
• Where Justin Trudeau should visit when he comes to LA
• And how the drop in crime has led to more people doing the Off-Ramp thing

The Mayor also did some slam poetry, and then played a competitive game of backgammon. Listen with the audio player to see who was brown and who was white. And listen to Off-Ramp on the radio to find out who won the game! (Saturday at noon/Sunday at 6pm)

This content is from Southern California Public Radio. View the original story at SCPR.org.

Full Text:

The Maya of Central America are thought to have been a kinder, gentler civilization, especially compared to the Aztecs of Mexico. At the peak of Mayan culture some 1,500 years ago, warfare seemed ritualistic, designed to extort ransom for captive royalty or to subjugate rival dynasties, with limited impact on the surrounding population. Only later, archeologists thought, did increasing drought and climate change lead to total warfare -- cities and dynasties were wiped off the map in so-called termination events -- and the collapse of the lowland Maya civilization around 1,000 A.D. (or C.E., current era). New evidence unearthed by National Science Foundation-funded researchers call all this into question, suggesting that the Maya engaged in scorched-earth military campaigns -- a strategy that aims to destroy anything of use, including cropland -- even at the height of their civilization, a time of prosperity and artistic sophistication. The finding also indicates that this increase in warfare, possibly associated with climate change and resource scarcity, was not the cause of the disintegration of the lowland Maya civilization.

Image credit: Francisco Estrada-Belli/Tulane

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What an animal eats is a fundamental aspect of its biology, but surprisingly, the evolution of diet had not been studied across the animal kingdom until now. Scientists at the University of Arizona report several unexpected findings from taking a deep dive into the evolutionary history of more than one million animal species and going back 800 million years, when the first animals appeared on our planet. The study revealed several surprising key insights: Many species living today that are carnivorous, meaning they eat other animals, can trace this diet back to a common ancestor more than 800 million years ago; A plant-based, or herbivorous, diet is not the evolutionary driver for new species that it was believed to be; Closely related animals tend to share the same dietary category -- plant-eating, meat-eating, or both. This finding implies that switching between dietary lifestyles is not something that happens easily and often over the course of evolution.

Image credit: Daniel Stolte/UANews

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How do galaxies such as our Milky Way come into existence? How do they grow and change over time? The science behind galaxy formation has long been a puzzle, but a University of Arizona-led team of scientists is one step closer to finding answers, thanks to supercomputer simulations. Observing real galaxies in space can only provide snapshots in time, so researchers who study how galaxies evolve over billions of years need to use computer simulations. Traditionally, astronomers have used simulations to invent theories of galaxy formation and test them, but they have had to proceed one galaxy at a time. Peter Behroozi of the university's Steward Observatory and colleagues overcame this hurdle by generating millions of different universes on a supercomputer, each according to different physical theories for how galaxies form. The findings challenge fundamental ideas about the role dark matter plays in galaxy formation, the evolution of galaxies over time and the birth of stars. The study is the first to create self-consistent universes that are exact replicas of the real ones -- computer simulations that each represent a sizeable chunk of the actual cosmos, containing 12 million galaxies and spanning the time from 400 million years after the Big Bang to the present day. The results from the "UniverseMachine," as the authors call their approach, have helped resolve the long-standing paradox of why galaxies cease to form new stars even when they retain plenty of hydrogen gas, the raw material from which stars are forged. The research is partially funded by NSF's Division of Physics through grants to UC Santa Barbara's Kavli Institute for Theoretical Physics and the Aspen Center for Physics.

Image credit: NASA/ESA/J. Lotz and the HFF Team/STScI

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