Genre:
Electronica
,
Everything
,
Film
,
Funk
,
Hip Hop
,
R&B
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Tuesday, September 14 9:00 PM
(21+)
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Tuesday, September 21 9:00 PM
(21+)
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Tuesday, September 28 9:00 PM
(21+)
The Triple Door is pleased to continue our partnership with SIFF and Remy-Cointreau. Starting on Tuesday, August 31st and continuing every Tuesday until September 28th in the Triple Door Musicquarium, we launch the Speakeasy Series: Los Angeles with Live Music + Classic Film + Vintage Cocktails. The sixth edition of our Speakeasy series pays tribute to the City of Angels, where during prohibition speakeasy culture flourished, stoked by the booze-fueled entertainment culture that more and more defined and shaped the city.
Both films curated by SIFF, Billy Wilder's Sunset Boulevard and Robert Altman's The Player, albeit from totally disparate eras, are in many ways indispensable historical artifacts, open keyholes to peer through that display Hollywood's murky, convoluted machinations that define power and status. Sunset Boulevard and The Player carry as much weight in terms of representing the LA entertainment complex as any history text.
Our resident mixologist Brian McKay has updated the vintage cocktail list for this series with some outstanding new additions.
Dj Supreme LA Rock, one of Seattle's freshest tastemakers, will be the first Dj to provide musical accompaniment in our series. A regular in Las Vegas, NYC, Miami and LA; Supreme will bring his rangy and diverse repertoire to the scene...LOOK OUT!
Bio:
With discerning taste for style and an impeccably defined character, this world class DJ and cultural icon continues to raise the bar by breaking new artists and continuing to exude impact on night lifestyle while maintaining the integrity and richness of authentic DJ culture.Versatile and unique, Supreme applies technicality and musicianship to his craft, with an eloquent and educated approah to music that holds true in his demeanor both on and off the decks. He is rare in the realm of DJ's that have both respect by pioneers and professionals along side appeal and admiration in the club world.
"With his vast library and musical knowledge; he applies this richness to seamless blends and superior capabilities to read, move, and interact with the crowd. Making a night of DJing a musical masterpiece un-paralleled by most."
Supreme has multiple weekly dj residences throughout various Electro, Dance and Mash-Up venues- along with regular appearances in New York, Miami, Los Angeles, and Las Vegas. Using the latest mixing technology he creates exclusive remixes that are played by other DJs and heard in clubs worldwide. DJ Supreme La Rock is for the music connoisseur as he is for the people who lack resources and the knowledge to delve deeper into music. Not moved by facade, rather led by inspiration, choosing not the follow trends but rather to tastefully set them.
Films and Dj Supreme LA Rock will begin at 9pm.
The Films:
Sunset Boulevard
Billy Wilder 1950
110 Min
Billy Wilder's Sunset Boulevard (1950) is one of the biggest and most luscious of film noirs, set in Hollywood among the decaying splendor of days gone by. It's a cynical celebration of the grand old days of movies, as well as an implication that they may not have been so grand after all. It was one of the first movies to take on filmmaking as anything other than a novelty or a profession.
Sunset Boulevard is unique in that it takes place in big, cavernous spaces, as well as the sunny streets of Hollywood, rather than cramped apartments and shadows. Norma's house is truly glorious, with its fancy ballroom, foyer and swimming pool. There are no shadows here, but there is a sense of decay and rot, a sense of age, cobwebs, disuse and disrepair. These kinds of things creep in at the edges of the film, and they're usually never more apparent than in the "real life" scenes of Betty and Cecil B. DeMille.
"Still the best Hollywood movie ever made about Hollywood." - Andrew Sarris, 2005
The Player
Robert Altman 1992
124 min
Shrewd Hollywood exec Griffin Mill (Robbins) is already paranoid that a rival may join the studio; but what of the anonymous postcards he's getting from a scriptwriter whose pitch he hasn't followed up? Rattled by the death threats, he decides (wrongly) that the likely sender is David Kahane (D'Onofrio). But when Kahane is found dead after a meeting with Mill and it becomes known that Mill is dating the writer's ungrieving lover (Scacchi), his troubles multiply... Altman turns Michael Tolkin's thriller into the most honest, hilarious Hollywood satire ever, even persuading some 60 celebs to play themselves. Besides the superb performances, photography, music and seamless blend of comedy and tension, what's finally so special about the film is its form. Altman refines his open, 'democratic' style of the '70s, to show an untidy world from numerous shifting perspectives, yet the film is far from chaotic. With its many movie references and film-within-a-film structure, it's forever owning up to the fact that it's only a movie. Only? Were more films as complex and revealing about people, society and the way we watch and think about films, today's Hollywood product would be far more interesting than it is.