B A L B O A   B E A T N I K COOL SUMMER Dumb Angel magazine’s new issue follows surf culture to Newport Beach THURSDAY, MARCH 30, 2006 - 3:00 PM Begat, begat, begat: if not for the Beach Boys, Dumb Angel magazine—named for the working title of Brian Wilson’s Smile—probably wouldn’t exist. If not for the Rendezvous Ballroom in Balboa—and Dick Dale, the Blue Beet and the Prison of Socrates—the Beach Boys would exist, but would they be as cool? Depends. “Orange County reminds me of Liverpool. You kind of think of Liverpool and Hamburg as being the small towns, and by the time it hit London it was on Ed Sullivan,” DA publisher Brian Chidester says, drawing a Beatles-Beach Boys connection. “The coolest part about it was, it sort of came from these little beach towns. To me it’s pretty obvious that the Beach Boys and Dick Dale would have had to come out of the Rendezvous Ballroom. It sort of reminded me of the Cavern [Club, early Beatles base]. I think of the Rendezvous as where the Beach Boys played their first show with Dick Dale. It sort of makes sense that these guys would start out there.” Sunday night, he and DA founder Domenic Priore are bringing it back to original Balboa beatnik bar the Blue Beet, where, in between bands, they’ll spin a gang of psychedelic surf instrumentals you’ve never heard (Dirty Feet soundtrack, for one)—and mark the release of the first Dumb Angel issue in 15 years. They named it All Summer Long, after the Beach Boys LP that hit in ’64, the year DA says surf music went international. As did surf culture and its many influences; Dumb Angel is almost as much Welton Becket (architect of the Capitol Records building and the Santa Monica Civic Auditorium) as Beach Boys. Almost. In 148 pages, editor, publisher and writers effectively link the surf music/surfing explosion to modernist architecture, Dutch modernist Piet Mondrian, tiki culture—even to assorted aesthetic atrocities in the Sears catalog. (Remember, famed commercial modernist architect Wayne McAllister was the man who designed Sears stores in the 1960s—and that huge, neon cursive logo. The buildings were cool.) “It was just a real interesting turning point, when the West Coast became the music center,” says Priore. “And we’re just trying to be evocative of that music, art and design that pervaded the greater LA area.” While some of it remains. DUMB ANGEL LAUNCH PARTY, FEATURING THE GHASTLY ONES AND THE BOARDWALKERS, AT THE BLUE BEET, 107 21ST PLACE, NEWPORT BEACH, (949) 675-2338. SUN., 6 P.M.-MIDNIGHT. MAGAZINE AVAILABLE THROUGH AMAZON OR AT WWW.DUMBANGELMAGAZINE.COM Theo Douglas The OC Weekly

	B E A C H   -   B E A T N I K   -   B O H E M I A N '60s fun, fun, fun Surf bands. Googie and midcentury-modern architecture. Hot rods. Tiki lounges. West Coast jazz. Check out the new issue of Dumb Angel magazine, "All Summer Long" — a time capsule of Southern California beach-beatnik-bohemian culture circa 1965. Co-editor Domenic Priore wants to cultivate appreciation for the SoCal '60s architecture, design and culture to preserve what's left and create more truly cool stuff. He points to Newport Beach's Balboa Fun Zone and the Newport Pier area as prime examples of a '60s beach-culture locale, and leads a virtual tour at dumbangelmag.blogspot.com. To catch the vibe live, there's a magazine launch party on Sunday at Sid's Blue Beet, 107 21st Place in Newport Beach, from 6 p.m. to midnight. Special guest Billy Hinsche of Dino, Desi and Billy will reprise songs from the 1968 psychedelic surf movie soundtrack Follow Me. Admission: $8. The magazine is available at Amazon.com or at www.dumbangelmagazine.com Valerie Takahama The Orange County Register

	A B S U R D L Y   A M B I T I O U S SCRAM MAGAZINE Hawthorne-ologist Domenic Priore has teamed up with publisher Brian Chidester to launch this long-overdue new issue of his perfect-bound west coast history lesson (#3 came out in ’89). While the Beach Boys remain the throbbing heart of the discourse, Priore and his writers take a broader view of what made mid-sixties SoCal such a powerful fulcrum for cultural change. Jan Berry gets a detailed appreciation, as does the impact of modern building on social experience, exotica music’s path through surf, and the design influences that shaped the early surfing magazines. The whole package is absurdly ambitious, a full-color 140+ page collection of scarce pop imagery and rare snapshots rendered most handsomely. Beach Boys fiends will want it for the day-by-day history of the band’s movements from 1964-65, pop genealogists for Pete Frame’s fold-out South Bay surf family tree, design geeks for page upon page of stunning finds. Color Scram impressed. Kim Cooper Lost in the Grooves Scram Magazine

	B O H E M I A N GET LOST An offbeat but librarian-like look into the early '60s surf culture that swept Southern California from goofy beach movies to bohemian surf 'zines. These kids are really into this mod-surf aesthetic, from weird thrift store cash-in classical LPs with hipster surfer girls on the cover to the clean spaceship lines of Googie designed drive-ins. It’s funny seeing this world through the eyes of modern day hipsters. They transform the '60s Californian beachside suburbs into utopian futuristic dreamscapes. There’s an extensive Beach Boys rock family tree, too, for Pet Sounds freaks. Get Lost Travel Books San Francisco, California

	E X P L O R I N G   T H E   R O O T S   O F   C O O L SURFER MAGAZINE After a 16-year gap between issues, West Coast pop-culture mavens Domenic Priore and Brian Chidester have published their latest edition of Dumb Angel Gazette. Priore, a leading surf music historian and a past SURFER contributor, founded his kitchen-table guerilla 'zine in 1985 as a tribute to Brian Wilson and the seminal '60s surf bands ("Dumb Angel" refers to the original title of Wilson's long-delayed 1966 masterpiece, "Smile"). Over the years, however, Priore has expanded DAG's scope to include the entire spectrum of '60s pop culture. Each issue is a mind-candy collage free-ranging effortlessly between Beach Boy arcana, L.A. fantasy architecture, Tiki life, primal Sunset Strip psychedelia and vintage surf graphics spanning iconic to kitsch. Entitled "All Summer Long," DAG #4 features a full slate of hip scholarly articles exploring the roots of cool. Some surf-centric topics include: "Cat on a Hot Foam Board: The Evolution of the Surf Sound Through Its Independent Cinema," "Dana Point Dynasty" by The Endless Summer poster creator (and one-time SURFER art director) John van Hamersveld, and "The Epitaph of Surf," a definitive essay by Brian Chidester on the meteoric rise and fall of early '60s surf music. A dense but compelling read, this book is a Ground Zero report on the archetypal post-WWII West Coast pop culture that exploded from the Southern California teen scene of the late '50s. Rating: Long in coming but definitely worth the wait (four-and-a-half stars). Steve Barilotti Surfer Magazine December 2005 Issue

	A   T R E A T   F O R   T H E   E Y E S DICK DALE Last week, I picked up a wonderful publication entitled Dumb Angel Gazette #4 - All Summer Long published by Neptune’s Kingdom Press. Like previous issues of the Dumb Angel Gazette, this is a wonderful celebration of Los Angeles surf music, written mostly by Domenic Priore, who’s best known for an extensive documentation of SMILE, the once-lost album by Brian Wilson and the Beach Boys. In fact, as far as I’m concerned, Domenic’s rather excellent publication on this project may have been the one single thing that helped elevate public consciousness of this project to the point where Brian Wilson actually felt comfortable enough to return to his creation. At least, that’s my theory, and I applaud Domenic for keeping the fires of interest alive. Anyway, this latest Dumb Angel is another great labor of love, this time focusing on, but not limited to other great purveyors of Los Angeles surf music as Dick Dale, Jan Berry, and the late Steve Douglas. This entire publication is really a treat for the eyes, as something of a full-color scrapbook of memorabilia, showcasing a lot of beautiful archival photos of the bands, original handbills, album covers, lovely tiki girls, and really fun vintage advertising. Brian Chidester serves as editor-in-chief/publisher of Dumb Angel, while the magazine’s original founder, Domenic Priore, continues as co-editor. You can find more information about this publication by going to the official Dumb Angel Magazine website. The one thing that really caught my eye in this publication was a prominent mention of the Harmony Park Ballroom in Anaheim, California. Just a few miles from Disneyland, this once popular nightclub was the site for a lot of amazing musical history. The Dumb Angel Gazette mentions that this club was one of the two main spots in the greater Los Angeles area in the early 1960’s where Dick Dale held court with an ongoing rivalry with Eddie Bertrand, who used the Retail Clerks Hall as his headquarters in the quest for regional music domination. Eric Predoehl The Louie Report October 2005

	F A B U L O U S On the Left Coast, the angels were sometimes grievous, they are often fallen—but whatever you do, don't call 'em d-u-m-b. Back for the first time in 15 years (and complete with a marvelously modern website, might we add) is the fabulous Dumb Angel Gazette. (The name comes from the original title of what became Brian Wilson's SMILE album.) This is only the fourth installment ever of an ambitious salute by co-editors Domenic Priore and Brian Chidester to all things surf, SoCal and sublime. After all this time, the 'zine's aesthetic has gone way beyond cut-and-paste—as the editors say themselves: "[It's] a return to unique perspectives on surf instrumental music, Wall-of-Sound productions, Hawaiiana, post-war fashion/graphic design and Modernist Los Angeles architecture. Drawing inspiration from a beatnik surf aesthetic, the magazine has taken on a new look drawn from the vision of surfing's '50s and '60s iconographers." The new issue features Tikiologist Otto von Stroheim on Arthur Lyman and Hollywood journo Harvey Kubernik on Phil Spector—along with photos by Dennis Hopper and a surf genealogy by Rock Family Trees auteur Pete Frame. If that's not enough to convince you of this publication's swank pedigree, check out the links page. Better yet, buy a copy and settle in to enjoy this latest edition of the biggest selling fanzine of all time. Even as fall turns to winter, readers north of the 101 will still be having fun with All Summer Long. Beyond the Roots of Lounge Blog October 2005

	L A V I S H L Y   A P P O I N T E D DIAMOND HEAD Dumb Angel (Neptune’s Kingdom Press): This lavishly appointed 149-page mag is the fourth installment of noted Beach Boys archivist Domenic Priore and co-editor Brian Chidester’s celebration of ‘60s California surf and hot rod culture, the first in 15 years. Lovingly assembled, the new issue includes articles by HITS contributor Harvey Kubernik on Phil Spector, a family tree of South Bay surf bands from illustrator Pete Frame, a story on the Dana Point scene by iconic poster artist John Van Hamersveld and Priore’s takes on the development of the surf sound in the independent cinema, Dick Dale, Brian Wilson and the pop visual style associated with the era. And while there’s a retro feel to the enterprise, one can trace the seeds of the subsequent ‘60s revolution still being felt today in the form of the SoCal beach culture which continues to entrance the world. The name of the ‘zine comes from the original title of Wilson’s SMiLE, whose recent revival makes a neat sidebar to this welcome publication. For more info, check www.dumbangelmagazine.com or order from Neptune’s Kingdom Press, P.O. Box 406, Pasadena, CA 91102-0406. Price is $19.99 plus $2.95 S&H. Roy Trakin HITS Magazine October 14, 2005

	M I N D   B E N D I N G THE LIVELY ONES Holy Hannah!! This is one of the few mags I have read cover to cover as fast as my eyes could register the text and images and wished I could turn it inside out and start all over again. Brian Chidester and Domenic Priore are enthralled with the surf and exotica world of Los Angeles of the early '60s. Their enthusiasm is infectious. You just might regret not being old enough to have witnessed the birth of Dick Dale, the Beach Boys, Jan & Dean, Steve Douglas, the Crossfires, Les Baxter, Martin Denny and a host of relative unknowns after you've read the thought provoking text and feasted your eyes on all the delicious visuals. The attention to historic detail is mind bending whether the author is explaining how surf movies came to be popular or offering up a day to day schedule of Beach Boys activity. I love the '60s and was amazed at how much I didn't know before I read this zine. Encore! Garage & Beat Magazine Home of British Cooking Records Company September 2005

	W H E R E   S H O U L D   I   S T A R T   ? THE BEACH BOYS When I began to write a review about the latest issue of the Dumb Angel Gazette (DAG), I felt completely overwhelmed and immediately thought, where should I start? And that’s exactly how I felt when I first received what could possibly be the greatest publication ever on the ’60s beach pop culture scene. So I will do what I always do when I feel overwhelmed by anything in life and simply start with the end and work backwards . . . Don’t ask me why that seems to make overwhelming projects simpler, it just does! But in the case of DAG #4, one of the first things that caught my attention just happens to be on the last page, and that would be the Target ad. My first thought when seeing the beach beauties pictured in the ad wearing the grooviest bikinis was, "Has Target been around for that long and I just didn’t know it?" Not quite . . . these are new ads made to look like the '60s in an attempt to equate Target with the hip factor of yesteryear. Now I have to admit, I’m already a big fan of Target (I can spend hours in the Spongebob section alone!) but this Target ad in DAG just knocked the variety superstore 10 levels higher in my book; and most importantly, it made me realize that the ’60s are alive and well in the year 2005. And that’s surely a sign of hope for the next generation! So, let me first preface this mini-review by saying this is AND is meant to be a casual review of the latest Dumb Angel Gazette (DAG). Since the publication just came out, I haven’t put it down since I got it and have been trying to digest the contents in a rather paced-out way, in much the same way that you enjoy a good meal. My first thoughts when thumbing through DAG were simply, "This is too good to be true!" So much valuable information, the coolest collection of pictures I’ve ever seen in one publication and an overall vibe that is totally boss! I cannot credit Domenic Priore (founder and co-editor) and Brian Chidester (publisher/co-editor and editor-in-chief) enough for the research they’ve done in assembling DAG. File this under "Just when you thought you’d seen it all, here’s a picture of (insert cool photo of Beach Boys party scene here . . . or many more!)," and enjoy your Coca-Cola like Brian Wilson! Unfortunately, I cannot attest to the accuracy of the contents and like all historical accounts, the perception of reality is somewhat subjective . . . meaning you just don’t know unless you were there! But what is there (and what DAG is ultimately ) is one amazing scrapbook of ’60s beach pop culture with Brian Wilson and the Beach Boys, Jan & Dean, Phil Spector and the Wrecking Crew, and others responsible for providing the soundtrack to this groovy period. How the world of Tiki and Exotica fits into all of this is rather fascinating but somehow it does, and the Tiki Tease page might single-handedly be the most enticing two pages in DAG! Detailed articles about Les Baxter, Martin Denny, Arthur Lyman and Gary McFarland’s Soft Samba will make you create an Exotica section in your CD collection if you don’t already have one. I do and still felt the need to add more. Once again, it’s the pictures in DAG that really make this whole section stand out. Exotic album covers, cool cartoons, pictures of pillows, an ad for the Enchanted Tiki Room at Disneyland, and plenty of island beauties all make for a very stimulating eye experience. An article titled "The Marimba You Send Out Returns To You" ties it all together and makes the point that Martin Denny, Les Baxter, Arthur Lyman and Brian Wilson all used clever musical arrangements and sound effects in an attempt to take the listener to another place. The melody makes the mood. DAG may revolve around the vision of Brian Wilson and the perception of the Beach Boys as a California surf band, but it's the analysis of the modern surfing world in the early ’60s, the influence of Dick Dale and the Los Angeles pop art scene, that I find most fascinating. It’s as if everything cool and groovy in the universe finally happened at the same time in one place (LA!) and created a scene that influenced itself over and over to the point of coolness overload and implosion. Columnated ruins domino indeed! But I just can’t help but think how awesome it must have been to live in a time where everything was cool just by default. Mention Jan & Dean today to a 20-year-old and you might get laughed at (if you’re lucky enough to meet a kid who’s heard of them!) But one reading of "'A Righteous Trip': in the Studio with Jan Berry 1964-1966" will make you realize that Jan was the man! The importance of Jan & Dean in the history of the California pop sound cannot be overemphasized; and the accompanying visuals, from Jan & Dean album covers to TAMI Show artifacts to never-before-seen (to me at least!) studio shots to rare concert ads are all stunning and make you realize that Jan Berry was just as important as Brian Wilson in bringing the "surf sound" to the masses. If you really want to go deep inside the legacy of the Beach Boys, "Do You Remember? A Chronology of the Beach Boys, 1964-65" by Brad Elliot will help you do just that. This is just too much information for anyone’s good and makes you realize just how busy and prolific Brian Wilson and the Beach Boys were in their prime. For a moment, I also felt the amount of pressure that Brian was under and could understand why he had a nervous breakdown. Included in this sessionography are also amazing artifacts like the hand-written lyrics to "Fun, Fun, Fun" and "Don’t Worry Baby," recording session reports, 45 album sleeves and my personal favorite, movie ads and lobby cards for The Girls On The Beach — a must-see if for no other reason than to catch Brian and the boys performing "The Lonely Sea" on the beach. Also included in this section is an incredible family tree of South Bay Surf Groups from 1961-65 that includes all the cool surf spots where the hodads and the gremmies never go! Speaking of Dick Dale, DAG starts with a way-cool article by Domenic on the role that the King of the Surf Guitar played in establishing the South Bay surf scene as the coolest scene in LA between 1961-63. There should be no doubting that Dick’s presence during those years was key in kicking off the scene that Brian Wilson would introduce to the rest of the world. In addition to being an actual surfer and living the lifestyle, Dick dominated the live scene with his infamous gigs at the Pavalon and Rendezvous Ballrooms, recorded on his own label (Del-Tone Records), placed four songs in LA’s Top 5 at the same time, and single-handedly invented a sound that is an influence on surf bands to this day. But I must disagree with Mr. Priore when he disses Dick’s current recordings and highly suggest that all "dickheads" check out his last album, Spatial Disorientation — an aural assault that is every bit as exciting as the King’s classic recordings from the ’60s. The surf is definitely still up! If it seems like I’ve barely scratched the surface in trying to review DAG, it’s because that’s all I’ve done! I already know I will be spending the next year (or ten) deeply entrenched in this issue and will continue to be amazed at the wealth of rare photos, pop artwork, and information I will discover. I don’t think I’m the only one who has concluded that there just doesn’t seem to be any end in the quest to explore and discover everything that is boss in the early 60’s. On that note, I think I’ll go check out the latest Tiki kitchenware at my local Target. Long live the California myth! Surfer Spud of the band Drifting Sand from Endless Summer Quarterly September 13, 2005

	H A N D S O M E   A N D   V I S U A L L Y   S M A R T VIEW POP SURF COMIC Not So Dumb Angel Why is it that an outsider sees what a local blithely ignores? In High Plains Drifter, Clint Eastwood wandered into a town split down the middle by two warring factions. Neither side could see past its own interests to stop an escalating conflict. The Man With No Name called the meeting to order with his six gun. Documentarian and historian Brian Chidester doesn't pack iron but he's able to see the value of Southern California youth culture to a greater degree than many myopic locals. Chidester, "pushing 30" by his own estimation, has already proven to be an important interpreter of the SoCal cultural vortex of the 1950s and beyond. With founder Domenic Priore, Chidester has co-edited the current issue of Dumb Angel Gazette (Neptune's Kingdom Press) the former's best-selling fanzine. Together they have re-imagined Dumb Angel (Brian Wilson's working title for his Smile album) into an object 'd art. Like Priore, Chidester gets the big picture. "I never could understand," he says from his Pasadena home, "why people here didn't value the artwork of Rick Griffin and John Van Hamersveld more, and how they didn't see that it came out of the surf experience and branched out into rock music graphics and other applications. In the same way, Bud Shank's cool jazz was the soundtrack music for Bruce Brown's surf films and a number of Stan Kenton's guys from the early '50s played on Brian Wilson's Pet Sounds album." Dumb Angel is a trove of penetrating essays and features, like Harvey Kubernik's examination of Phil Spector's oeuvre; a pull-out chart tracing the history of South Bay surf bands; Priore's study of Orange County surf music factionalism, "Harmony Park vs. Retail Clerks Hall"; a reprint of a Los Angeles Magazine feature on a June '65 Hollywood Bowl Beach Boys concert (complete with Julian Wasser's photos); Chidester's tracing of the influence of exotica on Brian Wilson; Van Hamersveld's personal history of surf and graphic art, "Dana Point Dynasty." Sub-titled "All Summer Long," it's a publication so handsome and visually smart that it belongs on a coffee table rather than tucked into a bookcase. Graphic designer Chris Green's cover collages eight separate images, among them a locked-in long board surfer, a logo of the old Wich Stand (a popular hangout for South Bay teenagers in Inglewood), a shot of Dick Dale & the Del-Tones, a summer crowd at the Prison of Socrates (an Orange Country folk club) and Beach Boy Dennis Wilson pounding his drums at the Hollywood Bowl. Art Director Mark London, who's made Brian Wilson's tour booklets so highly collectable, used the book as an opportunity to explore moods through color and design elements. A two-page spread of exotica cheesecake rests on a yellow and green jungle pattern. Priore's tome on the influence of post-modern architecture on the Beach Boys music juxtaposes arty building pics and cleverly cropped publicity photos. A page with text by the artist known as Shag deftly nails a style of collage that was prevalent on Capitol Records album covers, "Vine Street Mondrian." He spent his youth in Philadelphia, Monterey and elsewhere but when Chidester came to Los Angeles in his early twenties, he had degrees in philosophy and film notched on his belt. "I have no nostalgia for this," Chidester claims, "I wasn't born when all of this happened. I'm interested in how I can influence my generation to create something that is as potent as what was generated here in the '60s." You can almost see the wide-brimmed hat and poncho when he says, "I'm still very interested in how to break ideas." Is that a high and lonesome whistle that I hear? Brian Chidester and Domenic Priore will sign and discuss their book with graphic designers John Van Hamersveld and Chris Green, Shag, and surf band the Boardwalkers at Soap Plant/Wacko/La Luz de Jesus, 4633 Hollywood Blvd., L.A., on Fri. at 6 p.m.. Call (323) 666-7667. Kirk Silsbee Pasadena Weekly September 8, 2005

	Y O U   W A N T   T O   G E T   L O S T   I N   I T S   P A G E S RIDE THE WILD SURF While nominally a periodical (this is Issue #4, but #3 was published in 1989), Dumb Angel Gazette has the heft and sense of purpose of a book. Editors Domenic Priore and Brian Chidester have delivered their foamiest, frothingest great-shake in this edition of DAG, subtitled All Summer Long after one of the Beach Boys’ most sophisticated/underrated tracks. It's not specifically about the Beach Boys, but it is an oversized valentine to their mid-'60s music, Southern California and the youth culture the Hawthorne heroes both reflected and stoked. Articles address surf films and surf-mag graphics, the Beach Boys' relation to the post-war physical environment, Dick Dale, Jan Berry’s productions, Spector sidemen, etc. The book's design conjures L.A. itself — as it must’ve been then, as it may ever be in myth — which makes DAG a true Chet Baker read: you want to get lost in its pages. [DAG will] likely send you to your Beach Boys discs/files/vinyl, which is just as it should be. Gene Sculatti The Catalog of Cool Managing Editor, Ice Magazine August 21, 2005

	I M M E N S E L Y   L I K E A B L E WICH STAND The OTHER location in L.A., long forgotten The Dumb Angel Gazette — an arty theme magazine that last published 15 years ago — wants to be the sharpest-looking thing on your coffee table. The publication just relaunched as an immensely likeable 148-page music/pop culture 'zine subtitled "All Summer Long," chronicling the '60s surf and tiki scenes, Los Angeles pop and modernist architecture, illustrated by the likes of Dennis Hopper, Rick Griffin and others. "I want people to read Dumb Angel and feel like they're right in the middle of 1964, experiencing how relevant these musicians and sound designers are today," said publisher/co-editor Brian Chidester, who's also a documentary filmmaker ("The Secret Map of Hollywood," "Feel Flows: A Tribute to Carl Wilson"). The mag has a back story: issue No. 2, dedicated to Brian Wilson's "Smile" album, became the largest-selling fanzine of all time (more than 100,000 copies sold), and has never been out of print since its original issue. "All Summer Long" (conceived and edited at the last remaining Tiny Naylor's restaurant on Wilshire Boulevard) costs $19.95, available at art galleries, book and record stores; www.dumbangelmagazine.com. Los Angeles Daily News What's New, What's Hot August 7, 2005

	A N   L. A.   E V E N T BRIAN CHIDESTER (left) with pop artist JOHN VAN HAMERSVELD, at the Duck Soup event in L.A. on June 16. VAN HAMERSVELD wrote the article "Dana Point Dynasty" in Dumb Angel No. 4. Art Critic’s Choice: John Van Hamersveld & Brian Chidester Is there a graphic artist who has both captured and put his own visual stamp on L.A. at more successive junctures than John Van Hamersveld? Isn’t it enough that he triangulated surf culture, rock culture and corporate culture in this town? Consider Van Hamersveld’s track record: the Day-Glo poster for the movie Endless Summer; his iconic Pinnacle posters; the ubiquitous late ‘60s work at Capitol Records; album covers for Crown of Creation by Jefferson Airplane, Magical Mystery Tour by the Beatles and Exile on Main Street for the Rolling Stones; the sleek poster for the ’84 Olympics; the wild style corporate quarterly reports. Duck Soup, the merchandising arm of Rhino Records (the store, not the label), hosts an in-store with Van Hamersveld, who will be presenting and signing his new poster for the London reunion concert by Cream. The 24 Minute Video, Notes From The Underground: The Pop Art & Culture of John Van Hamersveld Journalist and documentarian Brian Chidester’ll query him in a Q & A session. Chidester, who produced and directed the forthcoming Notes From The Underground: The Pop Art & Culture of John Van Hamersveld, has his fingerprints all over the brand new Dumb Angel Gazette, also on display. Founded and co-written by Domenic Priore, it contains scholarly and illuminating — to say nothing of fun — examinations of SoCal history. Between the two of these guys, whatcha got here is an L.A. event. Rhino Records, 2028 Westwood Blvd., L.A., info: (310) 441-8544, 7:30. Kirk Silsbee Los Angeles City Beat June 14, 2005

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