With its vast diversity, there’s no single sound that defines the Southern California scene. But one thing’s for sure: You can . . . : Paint It Back

Beaten to its knees commercially by hip-hop and novelty teen pop in recent years, rock ‘n’ roll is back with a vengeance--and its home base is once again Los Angeles.

Unlike Seattle’s flannel-clad grunge movement--which took rock’s center stage away from L.A. in the early ‘90s, when a remarkable group of songwriters, led by Kurt Cobain, touched a special nerve among alienated youth--there is no single sound attached to this latest L.A. rock uprising.

Like the city itself, the scene gains strength from its diversity. The wave of stars ranges from Rage Against the Machine, the politically driven quartet that defined the explosive rap-rock style that is the sound of American rock at the end of the century, to Korn and Limp Bizkit, whose rap-rock is built around a cruder and more generic form of angry discontent.

The scene’s boundaries are wide enough to encompass the suburban angst of the Offspring, the lighter new wave bounce of No Doubt, the introspection of the Wallflowers and the sexy, party-time spirit of Buckcherry.

All these bands--or their leaders--are based in the L.A. area or have strong ties here, part of a late ‘90s commercial groundswell that also includes such varied bestsellers as Beck, Alanis Morissette, Marilyn Manson, Sugar Ray, Rob Zombie, Blink-182 and Lit.

Sales of hard-rock albums are up more than 100% in the U.S. in the first half of 1999, thanks largely to Limp Bizkit (whose leader, Florida native Fred Durst, now lives here)--and retailers are hopeful of blockbusters from Rage Against the Machine, Korn, No Doubt, the Wallflowers and Beck, all of whom have albums due over the next six months.

As record industry centers, Los Angeles and New York have a big advantage in attracting talent, but L.A. far exceeds New York as a magnet for young rock musicians because of its better weather, more affordable lifestyle and the glamour of a rock tradition that dates back to the ‘60s, when the Doors and the Byrds started out in Sunset Strip clubs.

“The California dream is real when it comes to musicians around the country, and it draws them here year after year,” says Tom Whalley, president of Interscope Records. The Westwood-based company is the record label of the ‘90s, thanks to a rock roster that includes Nine Inch Nails, Beck, the Wallflowers, No Doubt, Limp Bizkit, Marilyn Manson, Hole, Smash Mouth and Chris Cornell.

More than simply home to scores of acts, the extended L.A. area is also a nonstop workplace where songs are written, albums recorded, tours rehearsed and videos shot. Sampling that energy, Calendar checks out a photo outing with Rage Against the Machine; a recording studio mastering session with No Doubt; an all-night video shoot with Buckcherry; and an Internet planning meeting with the Offspring’s Dexter Holland.

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POP EYE: The club scene is hopping again, and not all the talent is concentrated along the Sunset Strip. Page 60