September 15, 2016 – OC Weekly by Duncan McIntosh Company

BIKERS AND HOMELESS ON THE SANTA ANA RIVER | WHAT ANTI-MEXICAN SLUR “GREASER” ACTUALLY MEANS | MAKING VINYL RECORDS IN BUENA PARK SEPTEMBER 16-22, 2016 | VOLUME 22 | NUMBER 03

The

GETTING FAT ON FALAFELS, LIKE ALL GOOD AMERICANS SHOULD | OCWEEKLY.COM

CBGBtofo

the Lef C ast

Celebrating 20 years at the tiny, all-ages club Chain Reaction

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The County

07 | NEWS | The Public Law Center is

here to help students scammed by forprofit colleges. By Denise De La Cruz 09 | ¡ASK A MEXICAN! | Where did the anti-Mexican slur “greaser” come from? By Gustavo Arellano 09 | HEY, YOU! | On little Villa Park rich-boy wusses. By Anonymous

Feature

11 | MUSIC | Chain Reaction

celebrates 20 years. By Mary Carreon

in back

Calendar

18 | EVENTS | Things to do while

watching the crabs.

Food

21 | REVIEW | Ironwood brings great

Indian restaurants. By Sarah Bennett

Film

24 | REVIEW | The Beatles: Eight Days a Week—The Touring Years: More Don’t Look Back or Some Kind of Monster? By Aimee Murillo 25 | SPECIAL SCREENINGS |

Screw Netflix. Go out and see stuff locally! By Matt Coker

Culture

26 | ART | “My Skin Is My Krustle

(Pink Marble)” is feminist but boring. By Dave Barton 26 | TRENDZILLA | Marloe purses have a purpose. By Aimee Murillo

Music

also

33 | CONCERT GUIDE 35 | SAVAGE LOVE | By Dan Savage

on the cover Photo by Ariana Rose Design by Dustin Ames

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Tough Luck

PUBLIC LAW CENTER

You a student scammed by for-profit colleges? The Public Law Center is here to help

Coincidentally, Ferrin’s office is located across the street from what was once Everest College—a for-profit institution owned by Corinthian Colleges Inc., the Santa Ana-based chain that folded after being fined $30 million for misleading students and falsifying job-placement rates. Volunteers at the PLC would place fliers promoting free legal services for students with debt next to Everest College fliers advertising enrollment to the doomed school. Ferrin says most of the PLC’s student clients were enrolled or graduated from Everest College campuses in Santa Ana, Anaheim and throughout the Inland Empire. “They were still advertising [for enrollment] up until a few days before they closed,” Ferrin says. “Particularly predatory,” according to Ferrin, are institutions with private loan programs. “At least with federal loans, there are options—there’s income-based payments, there’s discharges, there’s ways you can work with it,” Ferrin says. “With a private loan, you’re stuck, and you can get sued on it, and the collectors were suing on it.” Ferrin says for-profit schools are also targeting military veterans. “At least 10 percent [of tuition payments] must be from non-federal funding, and G.I. bill money counts as non-federal funding,” Ferrin says. Aside from shady tactics to receive federal funding, for-profit schools have also garnered a reputation for low-quality

vocational programs. “They’re overproducing and undereducating,” says Ferrin. “I had one woman who went to [ITT Tech’s] criminal-justice program. . . . She got out, and she applied for a job, and all the state agencies and probation departments told her that ITT Tech doesn’t count, that her degree wasn’t sufficient.” Ferrin also warns students of scammers offering student-loan-help programs for a profit. They offer basic U.S Department of Education form-filing services for a cost, the same services the PLC offers for free. “It’s not their program; it’s the government’s program. Anyone can do it for free,” Ferrin says. “Yet these people will charge [students] 500 bucks to fill out a paper with basically their name and social security number on it—that happened in the foreclosure crisis, too.” The attorney advises her clients to seek vocational and educational programs from credible and affordable institutions such as community colleges. In some cases, alumni of for-profit colleges have applied to graduate programs at different schools, only to be told they would have to start over as an undergraduate because their degree didn’t meet most universities’ accreditation standards. But what if you’re already in debt from attending a for-profit college? According to Ferrin, an enrolled student can apply for a closed-school discharge, in which the student may be eligible for a federal

refund for attending a recently defunct school, unless they have graduated from the school, even a day after the school folded. A student can also make a defense of their repayment, which Ferrin advises to seek legal help for, as this essentially requires the student to submit a legal brief of all their institution’s wrongdoings. Applying for a disability discharge, unpaid-refunds discharge or looking into tapping into the federal Student Tuition Recovery Fund are also options for debtstricken students. “One thing we tell people with student loans is, don’t get into default—there’s so many ways to avoid being in default—because once you’re in default, it’s just so much harder—not impossible, just harder,” she says. With college debt becoming a major campaign issue in this year’s presidential election, Ferrin notes that for-profit colleges led the way on student-loan defaults last year. “I think all of those things together have lent themselves toward more attention being paid on what we’re actually getting out of the money we’re paying for our education,” she says. DDELACRUZ@OCWEEKLY.COM

For more information on the Public Law Center, visit www.publiclawcenter.org.

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ou know the commercials, the ones advertising for-profit schools that promise to get you a great career in six months or less? Or the ones with catchy jingles about college followed by a number to dial to speak to a representative on how to enroll? They all make you wonder: When did higher education become such a sleazy business? (Disregarding rape-y college frats and the nonpayment of student athletes, of course.) The U.S. Department of Education continues to crack down on for-profit schools for misleading students with false job-placement rates and poor-quality vocational programs. Recently, ITT Tech— which had a heavy presence in Orange County—shut down all of its nationwide campuses after the feds banned the operator from enrolling new students who use federal financial aid. “After the foreclosure crisis, the student-loan crisis is the next big thing,” says Leigh E. Ferrin, directing attorney for consumer law and Operation Veterans Re-Entry at the Public Law Center (PLC) in Santa Ana, a 501(c)(3) nonprofit providing free legal services to low-income residents and other nonprofits in Orange County since 1989. Ferrin and her fellow volunteers specifically offer free legal aid to low-income students struggling with heavy student debt while obtaining nearly worthless degrees and certificates from for-profit learning institutions.

BY DENISE DE LA CRUZ

S eptem b er 16-22 , 2 016

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¡ask a mexican!» » GUSTAVO ARELLANO DEAR MEXICAN: I heard you on NPR describing the various ways that Mexicanfood images are used to scare white people about the brown hordes from the South coming up here to steal their stuff and take away their ketchup. You used the phrase “greaser” as an example of a culinary-related insult. But I thought “greaser” originated as an occupational term for Mexican helpers on 19thcentury cattle drives who were supposed to keep the wagon wheels greased so they wouldn’t jam, not anything related to tacos or deep-fried rellenos or even hair oil. What’s the real story? Gabacho Academic DEAR GABACHO: Greaser, for the younger readers out there, was the illegal of its day, an epithet used by gabachos through the 19th century and beyond to degrade Mexicans as inhuman and, well, greasy. It’s nowadays also seen as a foodrelated epithet, even if it wasn’t originally the case. But, híjole, gabacho academics sure love folk etymologies! Your theory is almost as bad as the one that says the word gringo came from 19th-century American soldiers singing “Green Grow the Lilacs” while invading Mexico, and Mexicans mishearing it—didn’t J. Frank Dobie invent that one? Greaser was already established as a favored American slur against Mexicans by the time cattle drives became a thing, so to say the term came from wagon wheels is as laughable as Latinos for Trump. But don’t take it from me: no less a genius than Américo Paredes, in his paper “On Gringo, Greaser and Other Neighborly Names,” dismissed this theory—popularized in American letters by legendary raconteur H.L. Mencken in his supplements to the magisterial The American Language—as “probably never taken seriously by anyone.” BOOM.

Paredes, in the same paper, explained greaser’s popularity to insult Mexicans as “the fact that people of darker complexions have oilier skins than do the Nordics”—a result of diet, not work. He had no idea about its origins but noted an 1853 definition said greaser was how Texans referred to bedraggled rancheros who wore “economical apparel . . . shining from grease and long usage.” He also said the earliest known mention of greaser in its anti-Mexican use dated to 1846, which is two years earlier than the Oxford English Dictionary’s earliest citation. Well, the Mexican is humbled to advance Paredes’ and the OED’s good work by announcing the discovery of an even earlier reference: in the Telegraph and Texas Register of Houston, Texas. On April 20, 1842, a letter from Mexico City by a nameless prisoner held captive for participating in the Texan Santa Fe Expedition (a failed invasion by the Republic of Texas against New Mexico) mentioned that “foreigners” in the metropolis used greaser to describe “a ragged fellow, or one with his breeches split up at the side”—again with the sartorial hint! Interestingly, the anonymous American didn’t mean Americans or Texans when referring to “foreigners,” but rather another nationality—the Brits, perhaps? So where did greaser come from? The Mexican’s theory: It’s an English speaker’s mispronunciation of grosero, which technically means “rude” but sounds like “gross”—a false cognate if ever there was one. We at least know that the earliest use of the term referred to clothing, so perhaps gabachos picked it up from Mexican elites ridiculing poor Mexis. Silly folk etymology, Gabacho Academic? Perhaps. But still better than yours. ASK THE MEXICAN at themexican@askamexican.net, be his fan on Facebook, follow him on Twitter, or ask him a video question at youtube.com/askamexicano!

#RNRLA

» ANONYMOUS Too Big for Villa Park

HEY, YOU! Send anonymous thanks, confessions or accusations—changing or deleting the names of the guilty and innocent—to “Hey, You!” c/o OC Weekly, 18475 Bandilier Cir., Fountain Valley, CA 92708, or email us at letters@ocweekly.com.

½ MARATHON

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pparently, I was in the way of your need for speed. You rushed around BOB AUL me, slammmed your car into park at the light, ran around to my window and started screaming at me. “Shit, you’re really big,” you said when I got out of my car. “Yes,” I answered. “And now it’s time for you to get back in your car and make the next right turn.” Fuck Villa Park and its little rich boys with more testosterone than sense.

OCTOBER 30, 2016

S eptem b er 16-22 2 016 M ON TH X X–X X , ,2014

HEYYOU!

The

CB G B

of the Left Coast

ARIANA ROSE

Celebrating 20 years at the tiny all-ages club Chain Reaction By

Mary Carreon

wo girls in their late teens stand side-by-side at Chain Reaction in Anaheim, their arms resting against the front of the stage. The house lights have just come up, signaling the end of the opening act. The walls of the dark, no-frills venue are covered with band stickers and T-shirts—a visual testament to its rich music history. “Sam, is he on next?” the girl with Manic Panic blue pinup curls asks her friend, as a new group of musicians bring their instruments onstage. A young drummer with golden, shoulder-length hair and a blue backward baseball hat emerges from the shadows. Focused like a construction worker about to turn screws in the dark, he places one pair of drumsticks on the seat behind his Zildjian drum kit and another on the ground, but within arm’s reach. Sam’s eyes stay glued on the drummer until he walks offstage. She then looks at her friend, who is smiling at her. “Oh, man,” Sam replies with a mischievous smile and eyes loaded with dreamy puppy love. “He’s definitely on next.”

Hotel Books take the stage. As the drummer sits, he and Sam make eye contact, and he smiles at her. “You guys are the kind of ‘friends,’” the blue-haired girl says to Sam, emphasizing the word with air quotes, “that are going to get married.” Sam shoots a look at her friend, then shakes her head while a smirk forms on her face. “It’s rare to find someone who will protect you in mosh pits, who you also get to kiss and go to their shows,” says the blue-haired girl. The first heavy guitar chord shrieks from the speakers. The crowd tightly packs together in front of the stage, unencumbered by barricades. Hotel Books’ lead singer addresses the crowd: “Everyone should expect to get hit, but if you see someone on the ground, HELP THEM UP!” Sam laughs as her blond-haired beau smacks his sticks together three times, signaling the start of the show. She raises a fist in the air and screams, “Fuck yeah!” The lights dim, and the bodies in the room form a gaping, churning mosh pit. It’s a scene that’s repeated night after night at Chain Reaction, one of the few all-ages, DIY punk venues in OC left standing, and it’s all

Continued on page 13

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| SERRAO: GUARDIAN OF CHAIN REACTION

thanks to the people inside dedicated to propping it up. Tucked in a strip mall on the corner of Lincoln Avenue and Euclid Boulevard, Chain Reaction never bothered with vintage décor or trendy mixologists. Instead, it thrives—as it has for the past 20 years— on being an anti-hipster refuge, complete with no alcohol, concertgoers between the ages of 15 and 20 looking to release some angst, and a lovable-yet-dingy aesthetic. Its stage has hosted bands from big names to cult faves to your cousin’s metal trio that had their parents helping them unload amps and guitars from a Jeep Renegade.

| | |

Halperin says. “There wasn’t a night when five to 10 industry people—whether it be record label executives, A&Rs, you name it—weren’t there hanging out.” By the time Chain Reaction opened its doors, all-ages music clubs—always a regional rarity—were on their way out in OC as concert promoters sought the revenue of liquor and adults. But as an alcohol-free venue, it provided a safe space of sorts for teens and young adults to hang out and see live music without

much threat of being in harm’s way or getting into trouble. “There isn’t a drug or alcohol problem there,” Halperin says. “Which made it a safe place for parents to drop off their kids.” The onetime talent buyer even recalls meeting numerous young concertgoers’ parents to walk them through the venue prior to or during a show. “It shows support all around,” Halperin says. “I mean, why wouldn’t people do that?”

» CONTINUED ON PAGE 14

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The venue became a hotspot for A&R reps and record-label honchos. Nitro Records, founded by Offspring front man Dexter Holland, and Bob Becker’s Fearless Records were just two of the major labels that frequently camped out at Chain Reaction. Bands in the developmental stages of their careers—including Thrice, 18 Visions and Saosin—would roll through the venue, causing it to catch the attention of bigger markets, particularly hardcore. “That was when things really started to get going,”

M ON TH X X–X X , ,2014 S eptem b er 16-22 2 016

hain Reaction gained a reputation early on among music-lovers and top industry executives for booking bands that went on to become big. Among those deserving of credit for that is original owner Tim Hill. He had been running a lucrative electrical-wiring business in Santa Fe Springs when a friend persuaded him to invest in a club, but that venture turned out to be a bust. Hill decided to stick with the idea, though, buying his friend out of the business for $10,000, and started putting on punk and metal shows. Though Chain Reaction lost money for five years, Hill describes it as a labor of love. “It’s so rewarding to see Chain still thriving and prospering,” says Hill. “The fact that it’s been around for 20 years is amazing—especially for a place that doesn’t serve alcohol.” According to renowned talent buyer Jon Halperin, before the club opened in 1996, bands often hopped right over OC while touring SoCal. But that began to change as word about the all-ages, DIY venue spread. From 2000 to 2006, when Halperin booked shows for Chain Reaction, the club hosted dozens of stellar bands, from At-The-Drive-In and Death Cab for Cutie to Taking Back Sunday. “What we did was help to bring live music to Orange County,” Halperin says. “We’re a part of that sphere. We’re not all of it, nor are we trying to take credit for all of it. But I feel like Chain Reaction played an important role in creating a live-music environment in Orange County.” Around 2003, the Plain White T’s and Fall Out Boy were practically in-house bands, playing the venue whenever they came through Orange County because they knew people would show up to see them. People went to the club even if they didn’t know the band that was playing, Halperin explains, because of the consistency of quality music. “I used to make deals with people all the time,” Halperin says. “People would buy tickets to one show, and I’d tell them to buy tickets to another show based upon the other tickets they’d purchased. If they didn’t like the music, I’d give them a refund, no questions asked.” No one ever asked for their money back.

The CBGB of the Left Coast

» FROM PAGE 11

13 13

The CBGB of the Left Coast

» FROM PAGE 13

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The Chain Reaction staff tried to make the place particularly safe for girls to attend concerts in an era before safe spaces became popular. “Back in those days, girls didn’t really go to punk shows—it was a rarity to see one because of how dangerous the shows sometimes got,” recalls Becker. “You could count all of the girls at a punk show on less than one hand. But all that changed when the next wave of punk came—you know, when Epitaph, Fat Wreck Chords and all those bands were doing their thing. That’s when girls finally started coming out to shows, and that was a really great thing.” But Chain Reaction being located next to Disneyland and not serving alcohol are two reasons Becker believes it’s a place at which parents can feel safe leaving their kids. Though Becker laughingly admits he thinks it’d be awesome if the venue had a section for older people to enjoy a beer or two, he recognizes that being a dry club is a testament to its longevity and success. “They’re obviously doing something right because it’s challenging to keep a venue like that open,” he says. “It’s pretty amazing Chain Reaction has been able to last the way it has for 20 years.”

ndy Serrao began going to shows and working at Chain Reaction when he was 15 years old. Now in his early 30s, Serrao owns the venue, allowing him to nurture the community he grew up in. Like many young underground-music-lovers, Serrao became infatuated with Chain Reaction as soon as he realized it was a spot where he and his friends were allowed—and encouraged—to hang out. “I became

friends with some of the security guards, and I was always friends with the bands who played at the venue,” Serrao says. “When I moved out of my parents’ house to go to Cal State Fullerton, I was promoted and made a part of the Chain Reaction staff, and that’s when I realized I never wanted to leave. I worked seven days a week while in college, and I’d go 60 to 70 days without a day off.” He worked the door, box office or any other area that required his efforts. All of Serrao’s friends, including the ones he made while in high school and college, are from Chain Reaction. He even met his wife through friends at the club. “There are a lot of kids who go to Chain once, sometimes multiple times a week,” Serrao says. “That was me back in the early 2000s. That’s how all of this happened for me.” Helping him run the place are Darel McFadyen and Garrett Carroll. Serrao calls them his right-hand men and says they do whatever needs to be done. “[Andy] really cares about the people working around him,” says Becker. “He cares about his workers, and he cares about the bands—he really takes care of them. That’s why employees don’t want to stop working at Chain. It’s also why bands, big and small, come back and want to play there.” But the venue’s charisma and spirit are also factors in its endurance. “Chain Reaction was always like the little engine that could,” says Tazy Phyllipz, DJ and creator of the long-running radio show Ska Parade. “It’s always had a lot of heart and soul in ways that other venues don’t.” “Bands could play House of Blues or the Observatory, but they choose to play Chain,” says Hill. “It goes to show that bands are taken care of, which is something I did and something Andy still does. It’s why bands love to play there.”

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» CONTINUED ON PAGE 16

o ahead and call Chain Reaction what it is: the CBGB of the West Coast. Although comparing an all-ages venue in Anaheim to New York’s world-famous birthplace of punk seems blasphemous, the similarities between the two are more than music snobs would admit. “[Chain Reaction has] given people in Orange County who aren’t into mainstream music a place of refuge basically, and that’s what CBGB gave people living in or around the East Village in Manhattan for decades,” says Good Fight Entertainment owner Nick Grimaldi, better known as “Biggie” among those in the industry. Before CBGB became a wildly popular venue to catch world-class underground music, it was a dive bar. As if a dive bar in Manhattan’s very shady East Village wasn’t enough, the bar pretty much transformed into a biker bar. Bryan Waterman’s book Marquee Moon paints a pretty epic

picture of owner Hilly Kristal’s clientele before the venue was revamped into Country BlueGrass and Blues, or CBGB. “Hilly’s primary clientele in the early ’70s was as uneven as the neighborhood’s reputation,” Waterman wrote. “In addition to some stray drag performers from the Bouwerie Lane across the street, [Hilly] poured drinks mostly for the members of Hells Angels, whose HQ was nearby. . . . It was a derelict bar. Bums would line up outside at 8 a.m. right when the doors would open. The location was less than desirable. Even cabs avoided the area— stripped-out cars on the side streets during the day and trashcan fires on corners at night.” Before Chain Reaction was the music venue it is today, the location was a divey biker bar known as Time Out. Although Anaheim in the early ’80s was a far cry from the streets of New York City, it sure as hell wasn’t a crime-free, goody-twoshoes town. In fact, a couple of murders went down in the building. Aside from those murders, not much else is known about that time in Chain Reaction’s history, though it’s widely believed among the staff there that the place is haunted. There have been a number of unexplainable experiences there. Paranormal investigators who’ve learned about the murders have even reached out to Serrao to examine the facility. “I’m going be honest,” Serrao says, “I’ve seen things at Chain that have blown my mind. I used to never believe in spirits or ghosts and hauntings—until now. And I’m not the only one; I’ve seen weird, insane things happen with multiple people who work here.” The venue experienced a few more transitional periods than CBGB did

On Saturday, on the Observatory grounds, Chain Reaction celebrates its 20 years of existence with Chain Fest, a musical showcase featuring some of the most iconic bands that have played there, including Circa Survive, Coheed and Cambria, MXPX, Portugal the Man, and Underoath. The lineup also has a stacked undercard of supporting acts who continue to work their way up the ladder. Coheed and Cambria lead guitarist Travis Stever says playing Chain Fest feels like a homecoming of sorts. “Playing that area and for Chain Reaction is going to bring back a lot of memories for me and the band,” he says. “We’re so excited to play with the other bands on the bill; some of those guys are like our brothers. It’s going to be a great night of music, for sure.”

15 15

The CBGB of the Left Coast

» FROM PAGE 15

before taking on the role of an underground-music club. It went from a biker bar in the early ’80s to a Mexican restaurant in the mid-’80s that was shut down in the early ’90s for selling drugs. Hill then took over the building and turned the venue into Public Storage Coffee Lounge. The PS from that incarnation remained on the floor long after the location assumed a new name. “The actual Public Storage company sent me a cease and desist letter to change our name,” Hill recalls with a laugh. “That’s when we became Chain Reaction.” Since 1996, Chain Reaction has remained a place pop/punk, ska, hardcore, metal and alternative bands could be nurtured and thrive. It keeps a reputation among young bands as the venue to play to not only get noticed, but also catapult into the industry. “Chain Reaction is definitely a feeder venue into music festivals, like Warped Tour,” Grimaldi says. “I’d even go as far to say that, at least for a while, all the bands that played Warped Tour were also Chain bands. . . . Chain Reaction definitely influenced that festival, and it still does.” But Warped Tour isn’t the only music festival that Chain Reaction has influenced; bands connected to the venue are now playing massive festivals, including Coachella, Berlin’s edition of Lolla-

MCFADYEN, SERRAO AND CARROLL (LEFT TO RIGHT) KEEP CHAIN RUNNING

JOHN GILHOOLEY

palooza and Austin City Limits. Among them is Long Island-based band Brand New. “It’s crazy because Brand New is selling out arenas now, playing major music festivals and co-headlining shows with bands like Modest Mouse,” says Serrao, his voice loaded with excitement. “I mean, had you told Brand New they’d

be as successful and big as they are now when they were selling out shows at Chain Reaction, they probably would’ve looked at you like you were crazy. They probably wouldn’t have believed it.” Serrao pauses to laugh. “I wouldn’t have believed it! It’s so awesome to see them killing it the way they are.”

fter watching the set, Sam and her blue-haired friend head outside to the smoking area. The two are dripping with sweat, but they have massive smiles on their faces. “I’m so glad I ditched work for this,” Sam says to her friend. “They’re so fucking good live!” The blue-haired girl dabs the sweat from her face with paper towels. “I agree. I’m glad we came—but I’m so sweaty I feel like I just took a shower—except the opposite.” A young man exits the club and overhears the women. “You should strive to leave every concert like that,” he tells them. “Otherwise you’re not having a good time.” “Agreed,” shouts Sam. “Getting rowdy and sweaty is why I love Chain.” For Serrao, watching young fans discover their love for concerts through nightly bouts of slam-dancing and shrieking is Chain Reaction’s link in the DNA of the OC music scene. “We’re a mom-and-pop shop, and we’re not trying to be anything different than that,” he says. “It’s because of this that Chain’s always remained the same: It’s always maintained its flavor.” MCARREON@OCWEEKLY.COM CHAIN FEST featuring Circa Survive, Coheed and Cambria, Underoath, and more at the Observatory, 3501 S. Harbor Blvd., Santa Ana, (714) 957-0600; www.observatoryoc. com. Sat., noon. $60. All ages.

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wednesday›

AN EYE FOR AN EYE?

HISHAM AKIRA BHAROOCHA & ABBY PORTNER

fri/09/16

[THEATER]

KLAATU BARADA NIKTO!

Evil Dead: The Musical

Two genres seemingly at odds with each other—horror and musical—are somehow fused together fantastically in the GarageTheatre’s newest production. Sam Raimi probably never imagined his original low-budget, DIY horror smash would get the song-and-dance treatment, yet here it is, complete with raving, possessed cabin dwellers tormenting their last sane friend, Ash, who must try to survive the night without becoming a horrible creature of the undead. Originally debuted in a Toronto bar in 2003, this show features all the bloody guts, makeup, black comedy and special effects of all three Evil Dead films to make this cult classic a groovy good time. So buckle up, boneheads, ’cause you’re going for a ride! Evil Dead:The Musical at the GarageTheatre, 251 E. Seventh St., Long Beach, (562) 433-8337; www.thegaragetheatre.org. 8 p.m. Through Oct. 15. $15-$25. —AIMEE MURILLO

sat/09/17 [CONCERT]

[FOOD & DRINK]

[CONCERT]

The Thunder Rolls

Tequila Sunset

Horn Hands Up!

The public has seen so little of Garth Brooks since his self-imposed semihiatus in the early 2000s to focus on his family, but fans are still devoted to the soulful country/pop singer. His most recent album, 2014’s Man Against Machine, carries on Brooks’ legacy and musical style, which bounces between classic country ballads, toe-tapping rockers and some righteous cowboy songs. Perhaps, then, his performance tonight at the Honda Center will remind fans of Brooks’ personable stage presence and innovative blend of country, rock and pop. Brooks will electrify audiences for three consecutive nights in Anaheim, so if you don’t get enough Garth tonight, you have two more chances to see the icon. Garth Brooks with Trisha Yearwood at the Honda Center, 2695 E. Katella Ave., Anaheim, (800) 745-3000; www. hondacenter.com. 7 p.m.; also Sat.-Sun. $68.73. —AIMEE MURILLO

God bless the blue agave plant for all the tequila that flows from its fermentation! In that spirit, the Museum of Latin American Art hosts its annual celMORE ebration of the ONLINE libation, Viva El OCWEEKLY.COM Tequila! Among the participating brands this time around are Apocalypto, Don Nacho and Puño de Lobos. The blanco, reposado and anejo varieties are available in unlimited supply, so Uber your way home! Quinto Sol—veteranos of the East Los Angeles music scene—will be providing entertainment with their righteous reggae riddims. Subsuelo, a DJ collective straight outta East Los and Boyle Heights, is also on hand to keep the music moving. Viva El Tequila! at the Museum of Latin American Art, 628 Alamitos Ave., Long Beach, (562) 437-1689; www.molaa.org. 7 p.m. $50-$60. 21+. —GABRIEL SAN ROMÁN

As Irvine Meadows’ calendar—as well as its existence—starts to wind down, voices from the past continue to harken. Hair-metal icons including Vince Neil, Bret Michaels, Slaughter, Faster Pussycat, Lita Ford and Kix bring the ’80s back to Irvine, if only for one night. These alums are sure to bring the good times, and with venerable radio personality Eddie Trunk as host, the show T H I S CO D E TO DOWNLOAD THE FREE promises to be nothing OCWEEKLY but a good time for those IPHONE/ANDROID APP who want to bust out their FOR MORE EVENTS OR VISIT ocweekly.com hairspray, Spandex and memories of the decade of decadence. Expect a strong dose of nostalgia as these rockers say goodbye to the venue. Hair Nation Fest at Irvine Meadows Amphitheatre, 8808 Irvine Center Dr., Irvine, (949) 855-8095; www.hairnationfest. com. 2 p.m. $18-$1023. —DANIEL KOHN

Garth Brooks

Viva El Tequila!

Hair Nation Fest

SCAN

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—DENISE DE LA CRUZ

Excelsior!

Long Beach Comic Con Did you miss out on the big San Diego Comic-Con this year? Or maybe you haven’t had your fill of comic books, cosplay and all things comic fandom? Fear not, Long Beach Comic Con is bringing a who’s-who of authors, illustrators and cosplayers; panels; a Space Expo for the whole family; and

comic-book retailers to the Long Beach Convention Center. There will also be appearances from stars of popular TV shows such as Firefly’s Adam Baldwin and Summer Glau and Daredevil’s Tommy Walker. Get your hands on some classic comic books and be the envy of all your fellow nerds. Long Beach Comic Con at Long Beach Convention Center, 300 E. Ocean Blvd., Long Beach, (562) 436-3636; longbeachcomiccon.com. 10:30 a.m. $25-$60. —JOSH CHESLER

mon/09/19

[ART]

PICTURE THIS ‘Lens Flare’

This month, the closet-size Las Laguna Gallery will be filled with works by nearly 20 different photographers.The “Lens Flare” exhibition is meant to be a study in how contemporary photographers use the medium to evoke emotion, thought, even social consciousness using composition, lighting, focus, subject and story and a variety of cameras, including digital, film, Polaroid and tintypes.What hangs on these walls are the best of hundreds of submissions—all eyecatching images you won’t soon forget. “Lens Flare— A Photography Exhibition” at Las Laguna Gallery, 577 S. Coast Hwy., Laguna Beach, (949) 667-1803; www.laslagunagallery.com. 11 a.m. Through Sept. 30. Free. —AIMEE MURILLO

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JA RULE & ASHANTI

SEPT 24

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Each year, the Irvine Animal Care Center saves hundreds of neglected, abused, unwanted and lost cats, dogs, turtles, birds and sundry other critters—but all of that requires generous giving from OC residents. One easy way to support this leader in animal rescue and care is by grabbing a gaggle of friends and attending tonight’s standup-comedy benefit at the Irvine Improv, hosted by Jason Collings. The evening includes dinner, with proceeds going directly to the Care Center, where they’ll enrich the life of another animal in need. Comedy Unleashed Benefit for Irvine Animal Care Center at Irvine Improv, 527 Spectrum Center Dr., Irvine, (949) 8545455; www.cityofirvine.org/animals. 7 p.m. $35. 18+. —SR DAVIES

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tue/09/20

COUNTING CROWS & ROB THOMAS

“I’m a savage coming straight out of Aztlán,” are the unapologetic raps from IllNes Infection of the Salvajes crew, which also includes Mic Hempstead, AlphaReady and DJ Clouded Daily. Meaning “savages” in Spanish, the name Salvajes perfectly describes this rebellious SanTana hip-hop collective that has been

[POP CULTURE]

county

Salvajes

repping hard for la raza for five years, born out of SanTana’s El Centro Cultural de México. Expect classic boom-bap beats with a mix of conscientious Spanglish rhymes. This pure rap savagery is the opening act for underground hip-hop’s grittiest rappers, Psycho Realm. Xicano backpackers, rejoice! Salvajes with Psycho Realm at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; www. obersvatoryoc.com. 8 p.m. $20-$25.

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The Hunchback of Notre Dame

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DICK DALE NELSON DELTA RAE THE BLASTERS DWEEZIL ZAPPA ERIC SARDINAS TAL WILKENFELD SHOOTER JENNINGS TREVOR HALL SUPER DIAMOND

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JOHN MAYALL TYRONE WELLS YOUNG DUBLINERS DAVE MASON THE DAN BAND LEE ANN WOMACK BERLIN “HOLIDAY SHOW”

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[CONCERT]

MERCURY MEN Animal Collective

Despite all the fuzz and paisley flapping around stages these days, you gotta admit that at their highest points, Animal Collective tapped into something truly psychedelic.Theirs was a delirious, glorious kind of confusion, a maximal everything-is-everything sound that spun your head around, especially if you caught them at one of those live shows at which it seemed as if everybody there went a little astral. Now, after a decade and then some poking heads into wormholes, maybe their biggest challenge is building on what they’ve already built. For anyone who thought they might be painting themselves into a corner, they delivered a happily fractalized 2016 album called Painting With—which meant not only that they’re still there with you, but also that there are no corners. Animal Collective with Eric Copeland at the Observatory, 3053 S. Harbor Blvd., Santa Ana, (714) 957-0600; www.observatoryoc. com. 8 p.m. $30. —CHRIS ZIEGLER

[ART]

UPCOMING SHOWS

1/12 1/13 1/14

Ring the Bells

GUITAR ARMY

FEATURING:

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thu/09/22 [THEATER]

TICKETS and DINNER RESERVATIONS: 949-496-8930

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wed/09/21

@coach_house

Space Is the Place

‘California: The Center of the Universe’ Good or bad, the Golden State has been the locus of the nation’s aerospace industry, including the research, development and manufacturing behind space exploration, intelligence gathering and defense. It’s the boon that went boom, employing thousands, putting us on the moon and on cellphones, and charting the galaxy by way of innovations in astronomy. The Fullerton Museum’s solipsistically titled exhibit “California: The Center of the Universe” argues its case convincingly with a display of the physical record, including telescope and rocket models, large-scale images from the Space Telescope Institute, artifacts from Mt. Wilson and Caltech, videos and photo montages, all documenting the role of the state and our region in “understanding the universe” and, we hope, ourselves. “California: The Center of the Universe” at Fullerton Museum, 301 N. Pomona, Fullerton, (714) 738-6545; ci.fullerton.ca.us/ museum. Noon. $3-$5. —ANDREW TONKOVICH

In line with La Mirada Theatre for the Performing Arts’ series of theater productions based off Disney adaptations of classic stories comes this newish musical version of the classic Victor Hugo novel The Hunchback of Notre Dame. Songs written for the 1996 Disney animated-cartoon version by Alan Menken and Stephen Schwartz, T H I S CO D E as well as new, previTO DOWNLOAD THE FREE ously unheard tunes, OCWEEKLY tell the story of Hugo’s IPHONE/ANDROID APP FOR MORE EVENTS OR VISIT shy but intrepid hero, ocweekly.com a hunchbacked bell ringer (played here by John McGinty), the evil minister Frollo (Mark Jacoby) and the free-spirited gypsy Esmeralda (Cassie Simone). It’s directed by Glenn Casale, who previously directed Disney musical productions of Beauty and the Beast and Peter Pan, so you know this one will be a memorable show. The Hunchback of Notre Dame at La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd., La Mirada, (714) 9946310; lamiradatheatre.com. 7:30 p.m. Through Oct. 9. $20-$70. —AIMEE MURILLO

SCAN

[CONCERT]

CAIT THE GREAT Caitlin Lucia

When it comes to modern folk with a country twist, Caitlin Lucia’s your girl. Her sound is sweet without being saccharine, tenderhearted and fun with a dose of swagger.The Huntington Beach native has toured up and down the California coast during the past year and snagged an opening slot for classic-rock icons MORE Heart over ONLINE OCWEEKLY.COM the summer. Now committed to music full-time, she’s back on the road with her Gretsch Resonator guitar in hand and will return to the Wayfarer stage for another exceptional performance. She’s joined by fellow folkinspired acts Lee Gallagher and the Hallelujah and Hank and Her Ponies. Caitlin Lucia with Lee Gallagher and the Hallelujah and Hank and Her Ponies at the Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; www.wayfarercm. com. 8 p.m. $5. 21+. —HEIDI DARBY

WOULDN’T THIS PHOTO LOOK BETTER WITH YOU IN IT?

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OC’s Barbecue Future THE SMOKING RIBS 14211 N. Euclid St., Garden Grove, (714) 867-6057; www.thesmokingribs.com.

The Hills Have Chicken

BRIAN FEINZIMER

Ironwood brings great dishes and a killer chicken schnitzel to Laguna Hills

shows off in a framed picture hanging in the dining room. Chewy, dry and fibrous, the wings aren’t much different than reheated leftovers from Buffalo Wild Wings. Each piece took me about three minutes to masticate and swallow. On a second trip, I discovered what’s possibly its best appetizer: the jumbo lump crab with sea salt heirloom beets. Refreshing and full of contrasting textures that change by the forkful, the dish lies in the sweet spot somewhere between a crab Louie and a sushi-bar appetizer. But truthfully, we could’ve skipped the appetizers since the entrée portions here are always generous. The pan-roasted Greek sea bass we ordered was split onto two plates without having to ask. And if you saw our plates, you would’ve thought they were full-sized meals, each serving a whole fillet—my half with the tail, hers without—pan-crisped skin still attached to snowy meat. And there were Russian banana potatoes, cara-cara oranges and other vegetables I don’t have the space to list here, as it took three lines to describe on the menu. But I think you get the point. You want this dish and everything Ironwood serves, especially the ones that exceed your expectations of what a normal-sized piece of chicken, meatball or fish should be. IRONWOOD 25250 La Paz Rd., Laguna Hills, (949) 446-8772; www.ironwoodlagunahills. com. Open Mon.-Thurs., 5-10 p.m.; Fri.-Sat., 5-11 p.m.; Sun., 5-9 p.m. Dinner for two, $35-$75, food only. Full bar.

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After I destroyed the chicken, I took my phone and looked up the menu at Vine, Ironwood’s sister restaurant in San Clemente where I first encountered Jared Cook’s food. I didn’t remember the dish the last time I ate there. But there it was: the schnitzel was the first thing listed, served with the same sauce. There was one major difference, though: Vine’s version uses pork, not chicken. I decided I probably had the better of the two renditions here at Ironwood. And parking in this leafy Laguna Hills shopping mall is easier than at downtown San Clemente. Vine also doesn’t serve what I consider the second-best thing I ate at Ironwood: the giant meatball, an enormous boulder that looks as if it could chase Harrison Ford down a dark tunnel. We spent the evening chipping pieces off it with our forks. In our mouths, the meat melted as though pudding, soft and thoroughly flavored with the marinara it absorbed while it simmered. The meatball could’ve stood by itself, but the kitchen served it with pasta—a made-from-scratch pappardelle that we had to cut into swatches after realizing the wide-as-duct-tape noodles couldn’t be twirled around a fork. It wasn’t the only homemade pasta we encountered that night. There were thick, ravioli-like dumplings stuffed with English peas, topped with fresh goat cheese, then drowned in a pistachio brown butter I’m not ashamed to say I spooned up as though it were soup. The dumplings are, by far, a better appetizer than the “signature” crispy duck wings the restaurant

S eptem b er 16-22 2 016 M ON TH X X–X X , ,2014

did a double-take when the Jidori chicken schnitzel at Ironwood landed on our table with a thud. It’s covered end-to-end in golden-brown breading and has a surface area so large you could pick it up and wear it as a scarf. “Do chickens have breasts this wide or this flat?” I asked my dining companion. We tried to imagine what kind of reverse origami the kitchen staff did to accomplish it. I determined it was butterflied at least twice and involved a light pounding with a mallet. Whatever it was, the result was a masterpiece: the perfect ratio of crispy breadcrumb to moist meat in every bite—as good as a piece of white meat chicken could ever be. At first, I set out to eat only half of it. But I realized when I was done with the first half that I needed to finish the second. The crispness wouldn’t survive the trip home. At least that’s what I told myself. Before long, I licked the plate clean. For something that should’ve been as heavy as a piece of deep-fried, countyfair decadence, it was extraordinarily light. Perhaps it had something to do with the veritable farmers’ market worth of vegetables also on the plate: the romanesco with its Fibonacci spirals, the glistening pearl onions, the earthy mushrooms. Or maybe it’s because the starch in the curiously chewy nubs of spaetzle answered the acres and acres of protein nicely. I decided it was the sauce—a preserved-lemon-andbasil emulsion—the chefs spooned atop parts of the chicken. I left no trace of it on the plate. I squeegeed every drop.

BY EDWIN GOEI

o. Much. Meat. Before you’re even a quarter of the way done with your order at the Smoking Ribs in Garden Grove, a knowing waitress will ask if you want a to-go box. She knows that your puny gut can only whittle down a pound or so of pork or beef in one sitting. And she also knows you loved your meal so much that you’re going to feast on the meat in front of you for days, accompanied by sides you barely put a dent in. The meat! Angus-beef brisket, redolent of a citrus rub and with a bold pepper crust, is so tender you can sip it with a straw and comes in slabs so big I was able to make brisket burritos for a week. A dish of pulled pork, fatty and luscious, resembles the porcine mountain version of Richard Dreyfuss’ mashed-potato Devil’s Tower in Close Encounters of the Third Kind. Ribs, whether beef or pork, are out of The Flintstones; the buttery tomahawk steak could knock a person unconscious but works better as a meal for eight. Indeed, most people come to the Smoking Ribs in groups, the better to lay waste to steer and pound craft beers. But don’t think this small, loud spot is the Viet-Am version of the Claim Jumper. You know it means business with the logs out front and inside and with a kitchen that’s nearly three times the size of the dining room and mostly ovens, grills and smokers—a modern-day Industrial Revolution. Owner Kenny Tran’s many barbecue trophies are on display, though not so conspicuously, showing a man who’s proud of his craft but would rather let the dishes speak for him. He doesn’t claim barbecue tradition in general, but I’d call it SoCal-style: more of an emphasis on beef than pork, sauce on the side and Mexified (spiked with habanero, it’ll sweetly burn), thrown on fries and tacos as appetizers, the kind perfected over numerous weekends with the cousins. The Smoking Ribs needs ’cued links, and the candied bacon sells out too fast. Otherwise, here’s the future of barbecuing in Orange County. Now, lemme sleep off my grub for a day or 30. . . .

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FALASOPHY

More Authentic Than Frida

Falafel taco at Falasophy

’ve been eating at Falasophy for years, pigging out on everything from the spicy falafel pita sandwich to an awesome tabbouleh salad to garlic fries to some crazy bowl—basically everything except the falafel taco. It wasn’t fanatical Puritanism that kept me away—I just never got around to caring enough to ask for it. That all changed during the Weekly’s recent Summerfest, when I had an empty stomach and a #fuckthehaters mentality. It seems rather heretical: falafel, pickled red cabbage, avocado and cilantro-garlic crema in a flour tortilla, along with pick-

EATTHISNOW

» GUSTAVO ARELLANO led jalapeños. But Falasophy’s “chief falasopher,” Rashad Moumneh, nailed it: a tart, crunchy, spicy beauty worthy of the Taco Truck Party. Better yet, Moumneh sources his tortillas from El Metate in SanTana, one of the best in OC. That alone makes Falasophy’s falafel taco delicious and more authentic than Frida Kahlo—you can look it up! Follow Falasophy on Twitter: @falasophy.

DRINKOFTHEWEEK » GUSTAVO ARELLANO

The Perfect Champagne at Leatherby’s Cafe Rouge

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ave you been to Leatherby’s Cafe Rouge recently?” one of OC’s greatest chefs asked me at Break of Dawn’s recent 10th-anniversary party. “Yeah,” I said, hesitatingly, wanting to see where the conversation was leading. “Took my mom and sisters there before the Pepe Aguilar concert.” “I took my mom, too!” he replied. “Man, chef Ross [Pangilinan] is seriously underrated!” Relieved he felt the same way I did, we proceeded to rave about the café’s food: perfect plating, subtle-but-strong flavors, beautiful service. “But there’s one area that I think they’re lacking in,” I confessed. “Bar program still isn’t up to par.” “Oh, you gotta give them a break on that.” “No! They deserve awesome cocktails. They were terrible last year—too simple. But they’re starting to pick it up.” And then I

GUSTAVO ARELLANO

told him about the Perfect Champagne. THE DRINK

It was actually the simplest entry on the cocktails list, but it did exactly as advertised. The bubbly was a tart Schramsberg Sparkling rosé, balanced with passionfruit liqueur. “It was great for the hot day that we went,” I told him. “Refreshing, delicious, and I was able to let my mom and sisters taste it so they could realize life is more than margaritas and Merlot.” LEATHERBY’S CAFE ROUGE 615 Town Center Dr., Costa Mesa, (714) 429-7640.

PRETTY, TOO!

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Naan Not Needed

Fresh Kabobs makes Indian curries and three-way chicken without the wait

LONGBEACHLUNCH » SARAH BENNETT

FRESH KABOBS 145 E. Fourth St., Long Beach, (562) 951-1227; www.fresh-kabobs.com.

Hi-Time Wine Cellars September Wine of the Month Borsao Berola

2012 Campo de Borja $11.95 [381888] Spain Our wine of the month is from Campo de Borja in Northeastern Spain, an area famous for their Grenache-and this bottle shows you why!

ROBERT PARKER 91 POINTS

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naan; plus some unexpected plates, such as whole fried pomfret (a South Asian pescado frito!) and lamb shank biryani. The daily specials are always imaginative, everything from snacks such as masala fries to potentially new entrées such as spicy egg curry. But the dish that has become almost a ritual for downtown diners is the sampler-style three-way chicken kebab platter. In a twist that brings to mind the “wat lady” meme every time the cashier says it, Fresh Kabobs’ most popular dish is not, in fact, kebabs at all. Instead of little chunks of chicken with holes in the middle from being skewered, the same amount of meat has been pounded into three hearty breast cutlets, each with a different marinade (traditional, herb and cream) placed atop cardamom-and-cinnamon rice. Whatever you get, make sure to douse your meal liberally with one or more of the house sauces, found in squeeze bottles in the fridge next to the soda fountain. With a cult following all their own, the spicy mango, cooling mint and garlic condiments distill the most crucial flavors from Indian cuisine into easy-to-love sauce form. Beyond its fast-casual appeal, it’s this kind of creativity that most differentiates Fresh Kabobs from Kabob Curry. And yet, if these two restaurants were pitted against each other in a duel for my love, both would share the crown: a quickie three-way at Fresh Kabobs for the perfect solo power lunch, then a chilled-out, family-style spread of curries and vegetables (with a side of Hindi-pop) at Kabob Curry for dinner. Namaste!

S EP TE MB ER 1 6- 22 , 20 16

hen it comes to sitting and getting proper table service for a full meal of Northern Indian curries or meaty Pakistani specialties, there’s no better place in downtown Long Beach than Kabob Curry. But when you don’t have time to dawdle in Kabob Curry’s soothing wall-to-wall Himalayan sea salt dining room or you’d just rather have a quick $7 chicken karahi bowl (or a parathawrapped lamb burrito) without the hassle of a server, Fresh Kabobs saves the day. Though the Indian restaurants are mere blocks from each other in the heart of downtown’s Office Worker Potential Lunch Zone, it’s hard to call them competitors. Kabob Curry’s $8 lunch combos and speedy service never wiped it out of the lunch game entirely, but with a weekend buffet and a playlist of catchy Hindi-pop songs, it’s always best enjoyed when you can relax and linger with good company. Fresh Kabobs, on the other hand, is built for speed and efficiency for solo flyers and small groups. And it does so without sacrificing integrity or class. A counter-service eatery in the doomed City Place Shopping Center (between an authentic New York-style pizzeria and a mediocre Japanese takeout spot), Fresh Kabobs specializes in platters of grilled meat and curry bowls, all of which can be made to order in a matter of minutes. Somehow, it manages to do these rapid-fire preparations—even during the brutal lunch rush—without any preheated slop. Everything I’ve had tastes just as good in a to-go container as it does on a ceramic plate. These days, the menu includes the standard vegetarian curry bowls of channa and dal and saag paneer, each smothering a two-meal-sized pile of aromatic 10-spice Indian rice. Then there are the protein bowls, featuring your choice among four kinds of chicken masala; handheld wraps, with meat rolled up in either crispy paratha flatbread or doughy

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They Followed the Sun

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Ron Howard’s first documentary offers a fresh take on the Fab Four’s early years

themselves over the roar of the audience.) These iconic images, as Howard reminds us, didn’t exactly jibe with the broader social reality circa 1964. President Kennedy had been assassinated less than six months earlier, race riots and the civilrights movement embroiled the nation, nuclear testing obliterated Pacific atolls, and the Vietnam War hadn’t really started yet. In some ways, the band represented all that was still innocent in the world. “Quite literally, this society is dominated by teenagers,” says author Malcolm Gladwell in the film. “In 1964, if you’re 14 years old, you’re not going to look to your parents as role models. You’re looking up to the Beatles.” Actress Whoopi Goldberg, for one, watched the Beatles on Ed Sullivan and recalls being enraptured by their stage presence, a moment that opened her world to white rock & roll musicians. Historian Dr. Kitty Oliver likewise remembers going to the Beatles’ concert at the Gator Bowl in Jacksonville, Florida, the first integrated concert in the state; the band were anti-segregation, which was remarkably progressive at the time—and perhaps a sign of their future activism.

Plucked from obscurity by future manager Brian Epstein, the four lads from Liverpool were clearly brimming with optimism and cheekiness in those days. But as the film explains, touring around the world began to take a toll on each member. Miami journalist Larry Kane, who traveled with the Beatles throughout their U.S. tour, documented his experiences extensively for his Florida news station; of the group, it seems the pressures of fame especially wore down John and George, who wanted to be regarded more as serious musicians than pop stars. Tabloids, lame photo shoots, grueling concert schedules, drug use and the angry backlash after Lennon’s “bigger than Jesus” boast (or so it was interpreted) jaded the band’s relationship with the public. Riots and unruly crowds led to the Beatles performing in sports stadiums, the only venues that could contain the number of fans who came to see them live. Unfortunately, technology couldn’t keep up; the PA system at New York’s Shea Stadium was pitiful, and combined with the fans’ screaming, Starr recalls, he had to watch the other members’ positions on their instruments to know where

they were in the songs. In 1966, the group abruptly retired from global touring to focus on studio albums and produced a string of highly acclaimed works. In Howard’s film, the origin story behind that unprecedented explosion of creativity unfolds in a tight narrative that gives new perspective on one of the most documented groups in the world. Photographs come alive, archived interviews with Harrison and Lennon are informative, and sound production by Giles Martin (son of legendary Beatles producer George Martin) gives the songs a new auditory luster. In his documentary-film debut, Howard is exceptionally adept at shaping something magical out of his research, and the Beatles’ brotherly love for one another is felt throughout the film. “The one thing that pulled us through those years was faith,” McCartney says. “All these people . . . had to have had faith in us, and we had to have faith in each other. Otherwise, it would have never worked.” AMURILLO@OCWEEKLY.COM THE BEATLES: EIGHT DAYS A WEEK— THE TOURING YEARS was directed by Ron Howard.

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t’s hard to believe there’s anything new to be learned about the Fab Four. There have been hundreds of books, television documentaries and numerous feature film depictions already recounting the history of the Beatles and their numerous collaborators and muses. But Ron Howard’s new documentary, The Beatles: Eight Days a Week—The Touring Years nonetheless manages to tell a fresh story by combining candid first-person interviews with previously unseen archival material obtained by a team of researchers who sent out open calls through social media for original Beatles memorabilia. You can picture the start of this film: It’s February 1964, and all of the familiar visual cues of Beatlemania are there—landing in John F. Kennedy airport for their first U.S. tour, welcomed by hordes of hysterical, apoplectically distressed teenage girls; their momentous performance on the Ed Sullivan Show; and John Lennon, Paul McCartney, Ringo Starr and George Harrison’s adorable, mop-topped baby faces singing into microphones. (More like screaming: Both Harrison and Starr quipped in separate accounts that wherever they played, they struggled to hear

BY AIMEE MURILLO

MO N TH X X–X X , 2 014

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WHEN THEY WERE FAB

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BY MATT COKER

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PRIDE OF THE CENTRAL VALLEY

WALT DISNEY PICTURES

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Caesar in which nobleman Cassius says to Brutus, “The fault, dear Brutus, is not in our stars, /But in ourselves, that we are underlings.” In director Josh Boone’s 2014 rom-dram, Shailene Woodley plays Hazel Grace Lancaster, a 16-year-old cancer patient who is forced by her parents to attend a support group, where she subsequently meets and falls in love with Augustus Waters, another cancer patient, played by Ansel Elgort. Fullerton Main Library, Teen Area, 353 W. Commonwealth Ave., Fullerton, (714) 738-6334. Wed., 4 p.m. Free. 2016 Leo Freedman Foundation First Cut Screening. Chapman University’s Dodge College film school presents these annual Hollywood screenings of the top films from the previous school year, as determined by a panel of distinguished alumni and industry representatives. All are welcome to rub shoulders with college admission representatives, industry and faculty guests, alumni, and current and prospective students. Directors Guild of America Theater Complex, 7920 Sunset Blvd., Los Angeles; www. chapman.edu/firstcut. Wed., 7 p.m. Free, but RSVP required.

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presentation (in Italian with English subtitles) follows two working-class brothers in Italy in the 1960s. The older sibling is drawn into left-wing politics, while his hotheaded younger brother is taken under the wing of a market trader and the influence of the Fascist Party. The 2007 film won four David di Donatello awards. Bowers Museum of Cultural Art, Kershaw Auditorium, 2002 N. Main St., Santa Ana, (714) 567-3600. Sun., 5:30 p.m. $12; with dinner, $45$60; members, free. Willy Wonka & the Chocolate Factory. See one of the late, great Gene Wilder’s best performances, as the recluse who gives five lucky people a chance to win a lifetime supply of Wonka candy, tour his chocolate factory and learn his secrets. Check back to this column for double feature of Wilder comedies coming to the Frida Cinema. Directors Cut Cinema at Regency Rancho Niguel, 25471 Rancho Niguel Rd., Laguna Niguel, (949) 831-0446. Tues. Call for show time. $8. The Fault In Our Stars. Teen Book to Movie Club presents screenwriters Scott Neustadter and Michael H. Weber’s adaptation of John Green’s 2012 novel whose title is inspired by the line in Shakespeare’s play Julius

S e pte mbe r

based on Peter George’s thriller novel Red Alert, about an unhinged U.S. Air Force general (George C. Scott) ordering the first nuclear attack on the Soviet Union. The President of the United States (Peter Sellers), his advisers, the Joint Chiefs of Staff and a Royal Air Force officer (also Sellers) try to recall the bombers to prevent a nuclear apocalypse. Great comic performances are also turned in by Slim Pickens, as the leader of a B-52 bomber trying to deliver its payload, and Sellers (again!) as the title character. In 1989, the United States Library of Congress included Strangelove in the first group of films selected for preservation in the National Film Registry, and it was No. 3 on AFI’s 100 Years . . . 100 Laughs list. AMC Orange 30, (714) 769-4288; also at Cinemark Century 20 Huntington Beach, (714) 373-4573; Century Stadium 25 Orange, (714) 532-9558; Edwards Aliso Viejo Stadium 20, (844) 462-7342; Edwards Irvine Spectrum 21, (844) 462-7342; and Edwards Long Beach Stadium 26, (844) 462-7342. Sun. & Wed., 2 & 7 p.m. $12.50. Mio Fratello è Figlio Unico (My Brother Is an Only Child). Bowers Museum’s latest Cinema Italiano

tional Justice Mission, A21, Spiritual and Religious Alliance for Hope, and others who will participate in an audience Q&A. Regency South Coast Village, 1561 Sunflower Ave., Santa Ana, (714) 557-5701. Thurs., Sept. 15, 7:30 p.m. $9. McFarland, USA. Hey, I remember the trailer to this week’s Calle Cuatro Sunday matinee! Newly arrived (and aptly named) track coach Jim White (Kevin Costner) learns about his predominantly Latino high school team members, and they learn about him. An incredible work ethic and commitment to team turns the novice runners from California’s Central Valley into—spoiler alert!—champions. The Frida Cinema, 305 E. Fourth St., Santa Ana; thefridacinema.org. Sun., 11 a.m. $1-$5. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Last week’s Stanley Kubrick lovin’ carries over to this week with his hilarious and influential twisting of the Cold War knife into the psyches of cinema lovers. Can a knife be twisted into a psyche? That’s not important; what is is Fathom Events and Turner Classic Movies present this 1964 political satire black comedy, loosely

Sonic Sea. Presented by EarthShare California, the documentary posits that oceans are a sonic symphony and their sounds are essential to the survival and prosperity of marine life. But as the footage shows, man-made ocean noise threatens this fragile world. Produced by the Natural Resources Defense Council and Imaginary Forces, in association with the International Fund for Animal Welfare and Diamond Docs, the film is narrated by actress Rachel McAdams, features music by Sting, and includes as talking heads Dr. Sylvia Earle, Dr. Paul Spong, Dr. Christopher Clark and Jean-Michel Cousteau. The Guidance Center Long Beach, 1301 Pine Ave., Long Beach, (562) 595-1159; www.sonicsea.org. Thurs., Sept. 15, 6 p.m. $10. Digimon Adventure tri-Chapter 1: Reunion. Fathom Events presents the U.S. premiere of the English-dubbed anime, as well as an extended sneak peek of the English-subbed third chapter and bonus content for viewers. It has been six years since that summer adventure when Tai (now in high school) and the rest of the “DigiDestined” crossed over to the Digital World, nearly three years since the frenzied final battles between warring factions. With the gate to the Digital World closed, time continues to pass until the adventure “digi-volves” once again. AMC Downtown Disney, 1565 Disneyland Dr., Anaheim, (714) 7762355; also at AMC Orange 30, 20 City Blvd. W., Orange, (714) 769-4288; AMC Tustin Legacy at the District, 2457 Park Ave., Tustin, (714) 258-7036; Cinemark Century 20 Huntington Beach, 7777 Edinger Ave., Huntington Beach, (714) 373-4573; Century Stadium 25, 1701 W. Katella Ave., Orange, (714) 532-9558; Edwards Aliso Viejo Stadium 20, 26701 Aliso Creek Rd., Aliso Viejo, (844) 4627342; Edwards Irvine Spectrum 21, 65 Fortune Dr., Irvine, (844) 462-7342; and Edwards Long Beach Stadium 26, 7501 E. Carson, Long Beach, (844) 462-7342. Thurs., Sept. 15, 7 p.m. $15. Sold. Based on the international bestselling novel by Patricia McCormick and inspired by true accounts, the film tells the story of a 13-year-old girl who is trafficked from her peaceful, rural village in Nepal to work in a brothel called Happiness House in Kolkata, India. Sold is a call to action, as you’ll discover from members of the production team, advocates from the Interna-

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You Can’t Fight in Here! This Is the War Room

TRENDZILLA » AIMEE MURILLO

Purses With a Purpose

Femme Not

STILL FROM CARMEN AGOTE’S EVERYTHING IS IN ITS PLACE, BUT EVERYTHING IS EVERYWHERE

Chapman U’s Guggenheim Gallery hosts women-centric exhibit that’s patronizing when it’s not boring

progress,” in between comments about her cat, her favorite music and her vagina, as her phone number drifts slowly across the screen. It will make anyone searching for the right man or woman shudder and chuckle at its familiarity. Lila De Magalhaes’ To call my own is a chaotically edited series of scenes: balloons floating in a pool or resting on the floor of a garage; slushy pink drinks in large glasses; a creepy man wearing pink makeup and nylons, trying to sell the person holding the camera on the garage space as an artist’s studio. It could be an ode to Virginia Woolf’s room of one’s own, the tribulations of trying to find work space, or it could be a sloppily put together treatise on harassment, but there’s no payoff. Lynda Benglis’ 1973 video of two women kissing and tonguing each other’s bodies, Female Sensibility, had to have been pretty provocative at its debut. It’s still startling for its candor, and its collaged soundtrack of sexist talk radio, country music and religious programming juxtaposes what we’re hearing with what we’re seeing to powerful effect, but any mood it creates evaporates amid the volume blast from De Magalhaes’ inane film next door. Young Joon Kwak’s HD video Makeup Play trades off some of the same provocation as Benglis, taking the application of makeup and turning it into a mud-wrestling match/make-out session between two women, but it’s a sloshing peep show in comparison, more likely to appeal to fetishists than to more experimental lesbian audiences. In the other room, Carmen Argote’s video and papier-mâché installation features four tiny, handmade theater stages, each with a red curtain, and two TV screens. Each theater is blandly made, painted a muddy beige—save one using corrugated materials that resemble hon-

eycomb—all of them draped with the accouterments of traditional femininity: necklaces, perfume boxes, deodorant, hand lotion, wigs, makeup and pictures of male movie stars, all mixed with a hoarder’s paradise of junk looted from her sister’s collection. The theme of familial display is a feature of Argote’s past work, continuing here with a video, Everything is in its place, but everything is everywhere. The film follows her sibling around a cluttered room as she listens to music, tries on masks and sorts through junk, but gets distracted and doesn’t finish. Its 30 minutes make its point in 10. Her other video, Arranging the Alex Theatre, superimposes different angles of her sister placing necklaces and jewelry on a theater installation not included in the show. It has the same effect as the halfhour video, despite any insight into process. Get thee to an editing room, please. Herse throws everything at the wall, hoping something will stick, and as you wander from space to space, video to video, nothing really does. The curator doesn’t label any of the works, didn’t have press photos a couple of weeks after the opening, and neglects to provide much context for the work aside from his press release. Considering he has been responsible for putting together at least two previous shows on feminist concerns that were impeccable, it feels as though he’s going through the motions or simply doesn’t give a shit. And if he doesn’t care, why should we? “MY SKIN IS MY KRUSTLE (PINK MARBLE)” at Chapman University’s Guggenheim Gallery, 1 University Dr., Orange, (714) 997-6729; guggenheimgallery.org. Open Mon.-Fri., noon-5 p.m.; Sat., 11 a.m.4 p.m. Through Sept. 25. Free.

AMURILLO@OCWEEKLY.COM

Marloe Makes Purses With a Purpose

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he title of Guggenheim Gallery’s exhibition “My Skin Is My Krustle (Pink Marble)” pays homage to the toughness of women, equating rock with soft flesh (I think, since I couldn’t find the word krustle online anywhere but as a misspelled derivation of a Pokémon character). The narrative thread of the pretentious “women’s art” here speaks less to empowerment than to stereotypical feminine concerns such as makeup, dating and buying stuff, most pieces failing as feminist statements or as art. Blame the artists, but a bigger finger needs to be pointed at the lazy curation by gallery director Marcus Herse, who I can only assume chose the work without having seen any of it. Blocked off into five areas, the exhibition space is video-centric, each viewing area featuring more than one chair or floor pillow, allowing for multiple viewers, though Herse hasn’t bothered to supply more than one set of headphones per monitor. The shortest video logs in at four minutes, while others go on as long as half an hour, so it’s reasonable to assume that not too many people are going to wait around to share one pair of headphones. Factor in that the volume on one of the projected pieces is loud enough to overpower the sound on all of the pieces featuring headphones—which are all barely audible, anyway—and after those three strikes, there’s no real reason to bother. Jennifer Sullivan’s Soliloguy features her alone at a waterfront, reading a book and wearing sunglasses, resembling a fashion model on holiday. Overlaid into the video is a shot of her wearing a wedding veil and reading what sounds like an OkCupid ad. It’s funny and more than a little sad when she says, “I have been in therapy for over 12 years now, and I feel like I’m making

BY DAVE BARTON

hen it comes to figuring out your personal style, purses can be an afterthought; their sole purpose is just to hold your things, right? But LA-based designer Analisa Jimenez created the Marloe leather goods line to showcase sleek, minimalist bags. With their geometric shapes and monotone color design, the purses are miles removed from Betsey Johnson’s sugary, candy-colored fantasies or Louis Vuitton’s logo-emblazoned carryons, but they exude crisp, editorial cool and are bound to remain in vogue over time. Established in 2014, Marloe’s aesthetic retains a high-fashion modernity without the astronomical fashion price tag, ranging instead from $28 to $268. Among the larger leather purses is the Martina, which comes in a soft nude or black tone and can be worn as a backpack or strapped over your shoulder. The Leena bucket crossbody purse is perfect for travel, while the Layover tote bag is a slouchier alternative for your larger keepsakes; both come in either black or cognac-brown shades. If you’re feeling handsy, Marloe produces plum-colored clutches, cosmetic pouches to hold your makeup, and small, fine leather wallets and passport holders for your convenience. All products are made to order and might include some of the leather hide’s natural scarring—so no two items are exactly alike. Everything in the collection is locally crafted and ethically sourced. All the designs are cut, prepped and hand-stitched by a team of local artisans working inside a studio in Long Beach, and it’s all manufactured in small batches while working to avoid wasting any leather. Whatever scraps do remain, Jimenez saves for participants of her DIY workshops, so they can make their own leather, hanging plant holders. Keep tabs on Jimenez’s Instagram (@_ marloe), where she announces workshops, pop-up shops and sales. And you can shop directly at www.shopmarloe.com.

M ON TH X X–X X , 2014

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NO PHALLIC SYMBOLOGY HERE

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One of a Kind

Erika Records brings specialty vinyl to the masses BY NATE JACKSON

rom the time Erika Records cut its first record, nothing about the company fit the mold of a typical vinyl-pressing plant—especially not its founder. Determined to enter the business on her own in 1981, Liz Dunster— a 27-year-old, bleached-blond mother of two—found most plant owners and manufacturing executives didn’t quite know what to make of her. Sheer gumption and the knowledge culled from working 11 years in her parents’ record business compelled her to start her own tiny heavy-metal record label in 1980. She bought limited runs of vinyl for her bands, who split the stock with her 50/50 to sell on their own while keeping the rights to their music. (She sold her share out of the trunk of her sandy-colored Pinto.) But Dunster knew she wanted to have more control over the quality of the product she put out. So she saved money for two years to buy a machine shop in Signal Hill, where she could make the records herself. “I started pounding on doors in the industry and had a lot of them slammed in my face,” Dunster says. “They’d be like, ‘Sorry, babe’—just because I was a female. They weren’t rude, but they probably thought, ‘Oh, what does she know?’” Turns out she knew a lot more than they thought. This year, Erika Records celebrates its 35th anniversary, having grown from a record label into the only female-owned pressing plant in the U.S. Dunster’s company churns out about 20 to 40 new releases and 100,000 records per week for bands ranging from Orange County unknowns to major-leaguers such as Metallica, Bon Iver and Jack White. Since starting in Signal Hill with six presses, the plant has migrated to Downey and, as of nine years ago, Buena Park, with more than 40 record presses— and 10 more on the way. But it’s not only huge volume or massive names on the roster that has kept Erika Records in business so long; it’s also Dunster’s commitment to running her shop with a grassroots mentality, a woman’s touch and an inventor’s spirit. “I’m very blunt,” she says, smiling sweetly. “No one comes in here feeling that I’m pretending. And no one comes in here with a big head either because I’ll deflate it—because you’re no better than we are. . . . Everyone’s equal.” Everything in her office, including her Shih Tzu named Elvis, is a shrine to the King. Among the memorabilia are rare porcelain collectibles, photos and a life-sized cardboard cutout. Her pride and joy is an Elvis Presley-shaped picture disc dubbed “Windows of the Soul,” with a recording of a rare 1956 Presley interview. Specializing in custom vinyl that’s shaped, pressed, and

HOT OFF THE PRESSES

etched with photos or other artwork is what has earned Erika Records its rep. Despite its unremarkable industrial surroundings, any audiophile walking inside Erika’s 36,000-square-foot complex instantly feels as if he or she is paying a visit to the Willy Wonka of records. Vinyl covers the walls of the main office, drenched in a kaleidoscopic splatter of color or cut into shapes such as hearts and rocket ships, even mini records not much bigger than a silver dollar. If it can be done, chances are that Dunster can have it made for you. “I’m one of these people who can’t sleep at night, and I’ve always got to be the first one to come up with something,” she says. “I go to bed thinking, ‘What can’t we do? Why can’t we do it?’ And we’ll go back and do different samples.” Over the years, she has experimented with such novelties as scented records, glow-in-the-dark albums, and clear vinyl embedded with love notes, yarn, peacock feathers—almost everything the FDA will allow. “I had someone request to have maggots in their record,” Dunster says. “I’ve had people who want us to put real blood in it, which we won’t do.” Whether it’s the concept for a new project or building her own presses, the Anaheim resident makes it a point to get her hands dirty, and she expects the same from her office staff, many of whom have been with her for at least a decade, including her family members. Her daughter, Erika (whom she named the company after), works in accounting. Her son, John, works in production, as does her husband, Chuck. “I even have my dad come in here and twiddle around with the machines

from time to time,” she says. Turnaround time for most vinyl orders is around 18 weeks, with big and small orders constantly coming in, typically through word of mouth since the company doesn’t really advertise. “Yes, we do have majors here, and we appreciate the [local bands] because they’ve helped it grow quite a bit,” Dunster says. “[But even] without any majors around, we have enough indie artists, garage bands and independent labels come to our doors and want to get something pressed.” All 72 employees work on physically making the products the company sells. “We’ve all taken turns in the warehouse,” says Ma Nerriza Dela Cerna, a project manager who specializes in dealing with customers. “We work double shifts, and that started because of the uptick.” Dunster is grateful for the resurgence of vinyl in the mid-2000s. Before that, CDs nearly killed the record business, forcing her to let go of some employees, whom Dunster was able to hire back once things picked up again. On a recent Thursday morning, Dunster walks through the plant as the hiss of pressurized steam, whirring blades and clattering machinery echo through the warehouse. Once a record is fully equalized and mastered by Erika’s in-house engineer, Richard Simpson, the project goes into production. From 9 a.m. to 2 p.m., workers place globs of candy-colored PVC into manual and semi-automatic presses fitted with molds that create the unique platters of sound, as well as standard black vinyl. The hot, nearly finished records are then set onto a rotating turntable that cuts off the excess PVC,

DUNSTER

PHOTO BY

RICHARD JOHNSON

which gets discarded like waxy, overgrown licorice whips into giant bins. As she checks in on her operation, Dunster stops to dig her fingers into drums filled with granulated PVC, which come in a variety of colors. Erika is the only vinyl-pressing plant in the country that uses 100 percent non-lead material to produce its records, something its owner has been very vocal and passionate about. “I think a lot of it is being a woman and a mother,” she says. “I’d hate to have [made] a record that had lead, and then a child starts gnawing on it.” That kind of attention to detail is key for customers who appreciate her ability to make their music stand out. But it’s Dunster’s leadership and vision that truly make Erika Records a gem in OC’s music industry. “I always try to come up with something new,” Dunster says. “The passion is there for me. Money is important, too, but first is the passion. If you cut my veins, PVC will come out. I don’t think blood will come out—just red PVC.” NJACKSON@OCWEEKLY.COM

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When Death Comes Calling

Santa Ana native Terrance Zdunich brings his latest morbid act to SoCal BY SCOTT FEINBLATT

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anta Ana’s Artists Village frequently hosts gatherings of folks geared up to participate in an interactive theater experience, such as a shadowcast screening of The Rocky Horror Picture Show or Repo! The Genetic Opera at the Frida Cinema. But the city didn’t SCOTT FEINBLATT always have an artistic community to inspire creativity through immersive theatrical experiences. Terrance Zdunich recalls prostitutes walking the pregentrified area when he was a kid, while artists such as him sat in their rooms and drew pictures. The SanTana native wishes there had been places in his hometown at that time that screened film such as The Devil’s Carnival series, but then, perhaps he would never have gotten around to making those films. On Oct. 6, Zdunich sets out on a 30-stop tour to bring his latest macabre musical project, American Murder Song, to cities throughout the U.S. Artists and folks interested in a different kind of theatrical experience are already anticipating the show’s arrival in their towns. Zdunich’s journey from isolated Santa Ana artist to creator of cult films and musical projects began with his attending Otis College of Art and Design in Los Angeles. After honing his skills there, he worked on illustrations and storyboards for film. However, while working in corporate offices such as Sony’s animation department—his artistry relegated to a cubicle, Post-It notes and a time clock—he became frustrated with the reality of his dream job and began developing the concept of Repo! The Genetic Opera. Co-written by Newport Beach resident Darren Smith, this highly stylized, futuristic story features a character who repossesses donor organs. Inspired by rock operas such as The Who’s Tommy, film scores and theatrical metal bands, Repo started very small. “It was just the two of us playing these weird, little, operatic, short-form stories put to music at coffee houses and such,” Zdunich recalls. “[I also] created sketch books full of doodles of what this world could look like if it were to be imagined in a bigger way— what the characters would look like, the fashion, even the bizarre kind of surgical garb and instruments we were imagining.”

ZDUNICH (LEFT) AND HENDELMAN

The project bloomed into a full-length black-box theater production in LA. Darren Bousman directed the full-length Repo play as well as the subsequent short film, which caught the interest of Lionsgate Films. Bousman moved on to direct several films in the Saw franchise before reteaming with Zdunich and Smith for the full-length, multimillion-dollar Repo film, which was released in 2008 and stars Paul Sorvino, Sarah Brightman, Alexa PenaVega, Paris Hilton, Bill Moseley and Kevin “ohGr” Ogilvie. Pianist/vocalist Saar Hendelman performed on many of Repo’s tracks, and when Zdunich and Bousman came together for two independently produced Devil’s Carnival films, Hendelman became Zdunich’s music writing partner. The two musicians are currently working together for American Murder Song, through which—in addition to their upcoming tour—they have recently released a third EP of murder ballads. Originating in Europe, these narrative songs relate historical and legendary tales of carnage. Zdunich’s research revealed such a vast wealth of material and inspiration that he and Hendelman limited their murder ballads to 1816 America. “[We wanted to] mine the lurid and hopefully poetic subject matter of murder and also make it kind of a metaphor for the birth of our country,” Zdunich says. Among the songs on the album are “Edward,” inpired by a Cain and Abel type story, and one that tells of Lavinia Fisher, America’s first serial killer. Through the upcoming American Murder Song tour, Zdunich hopes his immersive theater/film/rock band hybrid will inspire folks to either experience something new or put on their best 1816 attire and join the “wake.” For information on the American Murder Song project and touring schedule, visit Americanmurdersong.com.

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Whatevr Works SUPER WHATEVR perform at the Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764 0039; www. wayfarercm.com. Every Mon., 8 p.m. Through Sept. 26. Free.

s a musician in NorCal’s hardcore and punk scene, Super Whatevr guitarist Skyler McKee quickly found that wasn’t where he wanted to be long-term. “I was raised in a hardcore scene, and my last project I was in was, like, strictly pop music,” McKee says. “When I wrote these songs, I actually got made fun of by the local punk community in Northern California. When I moved to Hollywood, no one wanted to hear me because they were doing their own thing. But when I moved to Orange County—specifically Huntington Beach—there’s actually a pretty big scene of people trying to write more alternative music.” It was in Surf City that the singer, guitarist and driving force behind Super Whatevr was encouraged to channel what McKee really wanted to write about. He teamed up with guitarist Robert Rutan, bassist Thomas Waale and drummer Luke Mensink to form the poppy indie quartet Super Whatevr. Although you might not initially notice the hardcore and pop elements of Super Whatevr’s upbeat vibe, further listens reveal the kind of dark, memorable lyrics you’d expect out of the punk and hardcore scenes. Even the cover art for their recent EP, Good Luck, matches the group’s combination of emotions, with its surrealistic, line drawing of a cityscape splashed with color and grotesque creatures. “I reached out to my favorite artist, who goes by the name Kazland, and asked him if he’d be willing to do some concept art for a random band from Orange County,”

SUPER WHATEVR

LOCALSONLY » JOSH CHESLER

McKee says. “He listened to the EP and said he really liked the music, so he was onboard. I told him to paint whatever he was feeling when he listened to the music, and that’s what we got.” The songs on the album were mostly written while McKee was in his previous band. “The lead singer [in that band] said the new drummer was going to contribute more to the songwriting, so I wrote the songs . . . out of jealousy,” he says. “We were working with Big Sean’s producer and HelloGoodbye’s manager, so I had a ton of pop influence. It was kind of a melding of my upbringing and my past few years of learning how to write a more formatted song.” McKee isn’t too concerned with fitting into a specific scene or whether other bands think his music is “cool.” He’s just happy to get his words out into the open for others to hear. “It’s been really therapeutic because I wrote these songs in a time when I was struggling, and they helped me cope with what I was going through,” McKee says. “Now that I’m past all of that, it feels really good because if people listen to what I’m trying to say, they’ll be able to help people going through similar situations.” Hey, Orange County/Long Beach musicians & bands! Mail your music, contact info, high-res photos & impending show dates for possible review to: Locals Only, OC Weekly, 18475 Bandilier Cir., Fountain Valley, CA, 92708. Or email your link to: localsonly@ocweekly.com.

FRIDAY, SEPT. 16

BUTCH WALKER: 9 p.m., $20. Constellation Room at

the Observatory, 3503 S. Harbor Blvd., Santa Ana, ( 714) 957-0600; constellationroom.com. CLAMS CASINO/LIL B: 11 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. THE GOOD FOOT!: 9 p.m., $5-$7. Alex’s Bar, 2913 E. Anaheim St., Long Beach, (562) 434-8292; alexsbar.com. M.D.A. PRESENTS JOSH BUTLER: 9 p.m., $12. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com. MEXICO INDEPENDENCE DAY FEST: 8 p.m., $20. Underground DTSA, 220 E. Third St., Santa Ana, (888) 862-9573; underground-dtsa.com. PORKCHOPS AND APPLESAUCE: 7 p.m., $5. Doll Hut, 107 S. Adams St., Anaheim, (714) 533-1286. POUR HABIT: 8 p.m., free. The Slidebar Rock-N-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com. RICHARD CHEESE: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. RITUAL: 9 p.m., free. Kitsch Bar, 891 Baker St., Ste. A10, Costa Mesa, (714) 546-8580; kitschbar.com. SUBHUMANS: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. TROPICAL BROTHEL: 8 p.m. 4th Street Vine, 2142 E. Fourth St., Long Beach, (562) 343-5463; 4thstreetvine.com. VANILLA ICE: 7:30 p.m., $54-$125. Wally Parks NHRA Motorsports Museum, 1101 W. McKinley Ave., Pomona, (909) 622-2133; museum.nhra.com.

SATURDAY, SEPT. 17

ALIVE & WELL: 8 p.m., free. The Slidebar Rock-N-Roll

Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com. ART OF DYING: 6 p.m., $15. Malone’s, 604 E. Dyer Rd., Santa Ana, (714) 979-6000; facebook.com/MalonesConcertVenue.

CHAIN FEST WITH COHEED AND CAMBRIA; CIRCA SURVIVE; UNDEROATH; PORTUGAL:

ANDY MINEO: 8:30 p.m., $22.50-$75. The Glass House,

200 W. Second St., Pomona, (909) 865-3802; theglasshouse.us. DROPKICK MICKEYS: 7 p.m., free. Macallans Public House, 330 W. Birch St., Brea, (714) 529-1224; macallanspubbrea.com.

HUNTINGTON BEACH SYMPHONY ORCHESTRA: 3:30 p.m., $22-$30; students and

seniors, $18-$25. Huntington Beach High School Theater, 1905 Main St., Huntington Beach.

INTERACTIVE MUSICAL PERFORMANCE WITH NATHALIA: 1:30 p.m., $8. Bowers Museum, 2002 N.

Main St., Santa Ana, (714) 567-3600; bowers.org.

NELSON: 7 p.m. The Coach House, 33157 Camino

Capistrano, Ste. C, San Juan Capistrano, (949) 4968930; thecoachhouse.com. PLAY DATE; JELLY OF THE MONTH: 3:30 p.m. The Yost Theater, 307 N. Spurgeon St., Santa Ana, (888) 862-9573; yosttheater.com. PSYCHO REALM: 8 p.m., $20-$25. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. SERATONES: 9 p.m., $10. Acerogami at the Glass House, 228 W. Second St., Pomona, (909) 865-0979. SUN DOWN FESTIVAL: $75-$199. Huntington State Beach, Beach Blvd. and Pacific Coast Hwy., Huntington Beach.

MONDAY, SEPT. 19

JACK GARRATT: 8 p.m. The Observatory, 3503 S. Harbor

Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. SUPER WHATEVR: 8:30 p.m., free. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. YG WITH RJ, KAMAIYAH & SAD BOY: 8 p.m., $46. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

TUESDAY, SEPT. 20

BIBI BOURELLY: 9 p.m. Constellation Room at the

Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. DOWN TUESDAYS: 8:30 p.m., free. Underground DTSA, 220 E. Third St., Santa Ana, (888) 862-9573; underground-dtsa.com. JAZZ NIGHTS AT ENVY LOUNGE: 8:30 p.m., $10. Envy Lounge, 4647 MacArthur Blvd, Newport Beach, (949) 287-8270; envyloungeoc.com. LIIMA: 7 p.m., free with RSVP. Fingerprints, 420 E. Fourth St., Long Beach, (562) 433-4996; fingerprintsmusic.com.

WEDNESDAY, SEPT. 21

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ANIMAL COLLECTIVE: 8 p.m. The Observatory,

3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. IAMX: 9 p.m., $25. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. TOUCHÉ AMORÉ: 7 p.m., free with RSVP. Fingerprints, 420 E. Fourth St., Long Beach, (562) 433-4996; fingerprintsmusic.com. TRAVESURA: 9 p.m., $5. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com.

THURSDAY, SEPT. 22

AUDIO PUSH: 8 p.m., $9-$100. The Glass House, 200 W.

Second St., Pomona, (909) 865-3802; theglasshouse.us.

BAND WARS: 7 p.m., $10. Malones Concert Venue,

604 E Dyer Rd, Santa Ana, (714) 979-6000.

CRYSTAL CASTLES: 8 p.m., $25. The Observatory,

3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. DEF LEPPARD: 7 p.m., $17-$117. Irvine Meadows Amphitheatre, 8800 Irvine Center Dr., Irvine, (949) 8558095; irvineamp.com. LEE GALLAGHER AND THE HALLELUJAH: 9 p.m., $5. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. MARIAN HILL: 9 p.m. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. RAMON AYALA Y SUS BRAVOS DEL NORTE:

7:30 p.m., $49-$95. Wally Parks NHRA Motorsports Museum, 1101 W. McKinley Ave., Pomona, (909) 6222133; museum.nhra.com.

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SUNDAY, SEPT. 18

Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. THE GARTH BROOKS WORLD TOUR: 7:30 p.m., $68.73. Honda Center, 2695 E. Katella Ave., Anaheim, (714) 704-2400; hondacenter.com.

S eptem b er 16-22 , 2 016

12:30 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. CHNNL 81: 10 p.m., free. Underground DTSA, 220 E. Third St., Santa Ana, (888) 862-9573; underground-dtsa.com. THE COMO LA FLOR BAND: tribute to Selena, 9 p.m. Gaslamp Restaurant & Bar, 6251 E. Pacific Coast Hwy., Long Beach, (562) 596-4718; thegaslamprestaurant.com. DICK DALE: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 4968930; thecoachhouse.com. THE FAB FOUR: Beatles tribute, 7 p.m., $17-$21. Pearson Park Amphitheatre, 401 N. Lemon St., Anaheim, (714) 956-3586; anaheim.net. THE GARTH BROOKS WORLD TOUR: 7 p.m., $68.73. Honda Center, 2695 E. Katella Ave., Anaheim, (714) 704-2400; hondacenter.com. LONG BEACH FOLK REVIVAL FESTIVAL: 11 a.m., $35-$70. Rainbow Lagoon, 400 E. Shoreline Village Dr., Long Beach, (562) 570-6555; longbeachfestival.homestead.com. RELEASE ME: 9 p.m., $20. The Yost Theater, 307 N. Spurgeon St., Santa Ana, (888) 862-9573; yosttheater.com. SIRIUSXM’S HAIR NATION FESTIVAL: 2 p.m., $10-$89.50. Irvine Meadows Amphitheatre, 8800 Irvine Center Dr., Irvine, (949) 855-8095; irvineamp.com. SUN DOWN FESTIVAL: $75-$199. Huntington State Beach, Beach Blvd. and Pacific Coast Hwy., Huntington Beach. SUPER WHATEVR: 7:30 p.m., $7. OC DIY, 22651 Lambert St., Ste. 109, Lake Forest; orangecountydiy.org. THUNDER GUT: 8 p.m., $5-$7. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com.

FURY + MIZERY WITH FREEDOM; FORCED ORDER; DISCREPANCY: 7 p.m. Constellation

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No On 60 I’m a woman who watches porn—we do exist— and I have a mad crush on a male porn star named Small Hands. Unfortunately, his videos focus less on his handsome face and more on some girl’s ass. Do! Not! Want! Is there a way to ask a porn star to please make a few movies in a certain way? I would like to see some movies that feature less of her and more of him! Salivating About Male Performer’s Lovely Exterior

» DAN SAVAGE

in California, please encourage your friends and relatives living in California to vote no on 60. And if you’re an editor at the Chronicle, please retire the term “porn-addled stalkers.” (While some porn stars have indeed been stalked, porn doesn’t cause an otherwise healthy, non-abusive, sane person to become a stalker.) Before I let Small Hands get off the phone, I had to ask him about his nom de porn. How did “Small Hands” become his porn name? “I have tiny hands for a grown-ass man,” said Small Hands, “and Joanna makes fun of me for it. I wrote it down on the forms when I made my first films. It’s kind of a dumb name, but you won’t forget it.” Any advice for any, say, orange fascists out there who might be insecure about having tiny hands? “Never be ashamed about having smaller-thanaverage hands,” said Small Hands. “He should own it. And perspective is your friend, Donald. Put those tiny hands down next to your dick, and your dick is going to look bigger!” Follow Small Hands on Twitter (@thesmallhands_), and check out burningangel.com, “the premier tattoo punk rock porno site in the world,” to see him and Joanna in action. A woman I follow on Instagram—whose account is open for all to follow—shares highly sexualized images of herself daily, e.g., pictures of her at the beach, pictures of her when she’s just waking up, pictures of her in a towel after a shower. Via direct message, I politely inquired about purchasing a pair of her used panties. She sent me a very rude note in response, then blocked me. I find this hypocritical, considering the highly sexualized nature of the photos she posts. She reads your column, something I know because she posted a photo of one, and I am writing to you in hopes that you will scold this woman for being so hypocritically prudish and also ask her to unblock me. Personally Hurt Over This Occurrence She may be a reader, PHOTO, but you’re clearly not. Because I’m on her side, not yours, which any regular reader could have predicted. Someone sharing photos of themselves at the beach, in bed, out of the shower, etc., doesn’t entitle you to their panties any more than someone sharing photos from their colonoscopy entitles you to their turds. There’s no shortage of women online selling their panties, PHOTO; direct your inquiries to them. I think you got things wrong with CUCKS, the man whose husband got upset when he reacted with excitement when his husband shared a fantasy about sleeping with another man. I think CUCKS’s husband got upset because he only wanted more attention from his husband. Maybe CUCKS’s husband fantasizes about cheating because he wants someone to want him intensely and he doesn’t feel his partner wants him intensely enough. Telling his partner about his fantasy may have just been an attempt to get his partner to show some emotional intensity. Tuesday Morning Advice Columning

On the Lovecast (savagelovecast.com), Dan chats with his brother, Professor Bill Savage, about our nation’s historical fear of immigrants. Contact Dan via email at mail@savagelove.net, and follow him on Twitter: @fakedansavage.

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If you’re correct, TMAC, I would advise CUCKS to dump his husband—because who wants to be with someone who plays those kinds of mind games? A person who lies about having a particular fantasy, and then shames or guilts their partner for having the wrong reaction isn’t a person worth sharing fantasies with, much less a life.

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“I work with anyone I get hired to work with. I don’t have just one co-star,” said Small Hands, porn star, filmmaker and composer. But the ass you’re referring to, SAMPLE, the ass Small Hands has been seen with most, is the one that belongs to his fiancée, Joanna Angel, the porn star/director/producer who pioneered the “alt-porn” genre. “I got into porn because I started dating her,” Small Hands told me after I read him your question. “I’ve been performing for three years, and my GF has been in the game for 12 years. She really put alt-porn on the map—she was the first girl with tattoos to appear on the cover of Hustler magazine.” (Please note: “Alt-porn” has nothing to do with “altright.” The alt-right is about racism, anti-Semitism and orange fascists—and alt-porn is about tattoos, piercings and sexy fuckers.) Regardless of whose ass it is, SAMPLE, you want to see less girl ass and more Small Hands face. Could he make that happen for you? “Plenty of performers have clips-for-sale stores on their websites, and some make custom video clips for fans,” Small Hands said. “But I can’t provide special clips for this fan—as much as I would love to—because running our company and editing the films and composing music for them doesn’t leave us much time for anything else.” If you want to watch porn that focuses more on guys, Small Hands recommends “porn for women” or “porn for couples.” “I strongly dislike these terms,” said Small Hands, “as I feel they are outdated, sexist and stereotypical. No one—man or woman—should tell a woman which kind of porn is for her and which kind isn’t. Any pornographic film that a woman finds arousing or entertaining is ‘porn for women.’ But these films do tend to give the guys a little more screen time. Also, there’s always gay porn, which focuses 100 percent on men, so no worry about seeing a lady butt in those movies.” While we’re on the subject of porn: If you look at Small Hands’ Twitter account—or the Twitter account of any porn performer working today—you’ll notice that most have “NO ON 60” as their avatar. Proposition 60 is a ballot measure in California that is ostensibly about protecting porn performers by requiring them to use condoms and mandates penalties for companies and performers that don’t. “It’s really meant to drive the porn industry out of California under the guise of performer safety,” said Small Hands. “Among the other problems with this thing is that it could make performers’ private information public. So it’s not really about our safety at all.” In a recent editorial, the San Francisco Chronicle urged its readers to vote no on 60. “The initiative, however well-intended, does not fully reflect the realities of the industry,” the editors wrote, citing industry-standard STI screenings, the growing number of people who self-produce porn, and the emergence of drugs regimens (PrEP) that provide more protection against HIV infection than condoms. But the biggest problem with Proposition 60 is how it could endanger porn performers. “The measure gives private parties the right to sue a porn producer if state health officials don’t take action, a proviso that invites legal bounty hunting,” the Chronicle continues. “Also, performers, who often use screen names, could have their identities and addresses made public, a feature that invades privacy and could lead to harm from porn-addled stalkers.” If you’re a reader who lives in California, please vote no on 60. If you’re a reader who doesn’t live

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Info@southcoastsafeaccess.com

10% Senior Discount FTP 7 Gram 1/8th

1900 Warner Ave. Ste. A, Santa Ana 92705 (Conveniently Located Off the 55 Freeway) 949.474.7272 • Hours: Mon-Sat 10am-8pm Sun 11am-7pm