Isaiah Rashad has spent the past decade being asked to explain who he is, where he fits and what comes next. These days, his answer is simpler: “I’m just a dude.”
In between legs touring his new album “It's Been Awful” he returns to Los Angeles for The Anniversary Show at YouTube Theater, next Tuesday, Sept. 29, honoring 10 years of his studio debut “The Sun’s Tirade” and celebrating over a decade of music, growth and devoted fans.
At 35, Rashad is continuing to figure out what he’s learned along the way. He talks about the pressure of being put on a pedestal, sobriety, fatherhood, Chattanooga, Los Angeles and the role of family in keeping him grounded.
He also explains why these days he’s more interested in making a table, cooking a meal or finding somewhere with fireflies than building a mythology around himself.
laweekly.com/isaiah-rashad-i…
9
127
27,320
Getting Social: Nirvana for @Hot_Wheels fans! laweekly.com/getting-social-…
1
2,876
A dumpling bowl in San Gabriel and more - Here's What's Popping Up
laweekly.com/relish-orange-c…
1
4
3,445
Who remembers the House of the Future in Tomorrowland at @Disneyland? laweekly.com/art-news-lacmas…
2
8
4,521
Alice Bag has spent nearly 50 years making music and creating space for women, Chicanas and people who have often been excluded from rock.
Born and raised in East Los Angeles, Alice became the frontwoman of The Bags in 1977, emerging from LA’s first punk wave. She became a teacher, author and archivist, maintaining the “Women in L.A. Punk” digital archive since 2004 and documenting her experiences in her memoir, “Violence Girl.”
On Sept. 9 at the Wiltern, the Alice Bag Band played its final show, opening for Bikini Kill. While that chapter is closing, Alice has several projects ahead, including a new record with Juanita & Juan and a punk operetta with Kathleen Hanna, Adele Bertei and Andrew Springer.
For Alice, community remains central as the resistance continues. “Shows are places where you can refuel and reaffirm your sense of community,” she says. “It’s gonna be a long fight, so we got to hang together and take time to renew our strength.”
laweekly.com/alice-bag-retir…
6
12
3,262
LA Weekly retweeted
Brian Wilson surrounded by instruments in bed. An illustration by @KorenShadmi for @LAWeekly
2
3
28
1,324
Swords, steel and 800 roaring fans — The Armored League made its West Coast debut last Friday, Sept. 4.
The sold-out TAL 21 brought full-contact armored combat to the Ukrainian Cultural Center, with fighters wielding blunted swords, axes and polearms alongside shields, punches, kicks, elbows, knees and headbutts. The fighting isn’t scripted, and the clanks are piercing.
The night ended with an all-LA final between Nathaniel Gaston and Ronin Sato, both members of local club LA Golden Knights. Gaston took the win, earning an Armored League title and cash prize.
Founded in New York City in 2024 by Anthony Rafes, Damion DiGrazia, Pedro Navarro and Scott Litts, The Armored League has grown from small local tournaments to events featuring international fighters from across the globe.
Following the sold-out LA debut, the League is making plans to come back even bigger.
laweekly.com/the-armored-lea…
2
4
3
2,868
It's never too soon to get your #halloween ducks in a row laweekly.com/your-guide-to-t…
1
2
3,090
Trash cans, explosions, confetti, dancing, a 25-minute side quest, someone getting killed. Somehow, this is “Stamptown.”
Zach Zucker and Co's clown variety show started in the basement of a gay bar in Edinburgh, where the guys flyered in suits and performed for zero to three people a day. Ten years later, it’s on Netflix.
The special, taped at the Montalbán during Netflix Is a Joke Fest, crams hours of comedy into 59 minutes — hilarious, daring, horny, and at times both profound and deviant levels of stupid.
Onstage, “Stamptown” can resemble total anarchy. Behind the curtain, its operation is more like a football game, built around performers taking real risks every single night.
Chad Damiani calls it “the standard.” Courtney Pauroso calls it “the clown phenomenon that it is today.” And Zach? “This is all of our win.”
laweekly.com/why-zach-zucker…
1
7
5
4,266
Tenderfest is back and where to celebrate #MexicanIndependenceDay - Here's What's Popping Up laweekly.com/first-of-all-op…
4
3
3,003
Something special is happening at @CineconFilmFest this week laweekly.com/getting-social-…
1
3
1
3,579
For more than a decade, Dahi has helped define the sound of other artists. From Kendrick Lamar’s “Money Trees” and Travis Scott’s “90210” to work with SZA, Drake, Madonna and countless others, the Inglewood-raised producer has spent years behind the boards, winning the Best Rap Song Grammy for 21 Savage and J. Cole’s “a lot” in the process.
Now, he’s stepping into the center with “Black Boy (Alternative),“ his debut album as Dahi, out tomorow, Aug. 28.
The 11-track album brings together Kendrick Lamar, Childish Gambino, Vince Staples, Ravyn Lenae, Moses Sumney, Channel Tres, Amber Mark, Fousheé and more, in a genre-agnostic triumph/sensation that draws from the hip-hop, R&B, rock and West African sounds that shaped his upbringing.
The album took 12 years to develop, partly because Dahi had to figure out what his own voice sounded like, finally coming together upon this realization: “I really need to honestly make this album for me and not really care about anything outside of that.”
laweekly.com/dahi-in-and-out…
✍️ Mark Stefanos
📸
Marissa Blair
Barrington Darius
2
5
6
2,807
Art News: The Japanese American National Museum will re-open in Little Tokyo laweekly.com/art-news-the-ja…
1
4
6
3,954
Black Restaurant Week will be smokin hot this year - Here's What's Popping Up laweekly.com/black-restauran…
2
9
4
4,038
Four years in the making, @NatGeo's harrowing real-life Lion King is streaming now on @DisneyPlus and @hulu
.laweekly.com/in-jon-favreaus…
1
7
7
3,646
