September 16, 2016 – OC Weekly

Poseidon Wants its Desal Plant Bad | Street Art Gets its Closeup in Laguna Beach | ยกOye, Che! Argentine Food Rides High September 02-08, 2016 | volume 22 | number 01

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inside » 09/02-09/08 » 2016 VOLUME 22 | NUMBER 01

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OCWEEKLY.COM/SLIDESHOWS

SEPTEMBER 16–18, 2016

LATINOS FOR TRUMP GATHER AT ANAHEIM CITY HALL #OPERATIONTACOBOWL

DEL MAR (SAN DIEGO), CA

FRIDAY

SEPT. 16

SATURDAY

SEPT. 17

SUNDAY

SEPT. 18

JIMMY BUFFETT AEROSMITH

JACK JOHNSON

FALL OUT BOY THE CHAINSMOKERS

MICAH WRIGHT

THE AVETT BROTHERS

DARYL HALL & JOHN OATES

The County

06 | NEWS | Poseidon tries

STEVE AOKI

REBELUTION

DANA CARVEY + MANY MORE

up front

Feature

SARAH SILVERMAN + MANY MORE

desperately to get its desalination plant done. By Mary Carreon 07 | ¡ASK A MEXICAN! | Did the U.S. really steal half of Mexico?

By Gustavo Arellano 07 | HEY, YOU! | Cheating with your landlord’s husband—and you’re a dude! By Anonymous

09 | MUSIC | The life and times of

CHEECH & CHONG + MANY MORE

Malvina Reynolds, Long Beach’s most famous (and hated) folk singer.

By Gabriel San Román

in back

Calendar

14 | EVENTS | Things to do while

mourning JuanGa.

Food

18 | REVIEW | Stadtgarten has

AVA I L A B L E N O W AT

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great beers enjoyed in an honest-togoodness biergarten. By Edwin Goei 18 | HOLE IN THE WALL | La Farola in Tustin. By Gustavo Arellano 20 | EAT THIS NOW | Breakfast burrito at Pedro’s Tacos.

By Anne Marie Panoringan 20 | DRINK OF THE WEEK |

Hawaiian Pineapple Cosmopolitan at

Seasons 52. By Edwin Goei 22 | LONG BEACH LUNCH | Thai-

Lao grub from a house!

By Sarah Bennett

Film

24 | REVIEW | A guide to Long Beach’s film fests. By Aimee Murillo 25 | SPECIAL SCREENINGS |

Screw Netflix, and see local stuff!

By Matt Coker

Culture

26 | ART | Street knowledge reigns in Artists Republic Gallery’s “Pageant of the Vandals.” By Dave Barton 26 | TRENDZILLA | Soul Project protects your “soul places.”

By Aimee Murillo

Music

28 | PROFILE | Of Mice and Men member refuses to be defined by a deadly disorder. By Daniel Kohn 30 | RANT | White Night to hipster critics: Fuck you! By Daniel Kohn 32 | LOCALS ONLY | Furcast accentuate their live show with weirdness. By Josh Chesler

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the county»news|issues|commentary

Not So Fast, Poseidon

Will last-minute delays and political machinations save Surf City’s controversial desal project?

BY MARY CARREON THIRSTY ENOUGH

S

ept. 7 was poised to go down as one of the most important moments in Orange County’s recent environmental history.

The California Coastal Commission was expected to vote that day on the future of Banning Ranch, one of the county’s last undeveloped stretches of coastal land in Newport Beach. Two days later, the agency’s board of directors would rule on whether to give a fast-tracked permit to allow a controversial desalination plant to go forward in Huntington Beach.

Last week, however, Poseidon Water, the company hoping to build the plant, decided to postpone the hearing for 90 days. Instead of a simple yes-or-no vote by the Coastal Commission, the project must now survive a rigorous review by other two agencies: the State Lands Commission and State Water Resources Control Boards. Although Poseidon is remaining tight-lipped about the delay— the company declined several interview requests for this story—Coastal Commission board members were apparently expressing uncertainty about issuing a permit for the project.

“The three agencies need to look at this comprehensively, and that’s what the problem was before,” says Ray Hiemstra, associate director of Orange County

RUSS TANNER, AERIAL GURUS

Coastkeeper. Although Poseidon received a permit from the State Lands Commission four years ago, Hiemstra argues that the desal plant was a much different project back then. “What’s going to happen—and what everyone wants to happen—is these boards are going to look at the current desalination proposal, which is different than it was in the past.”

According to Noaki Schwartz, the Coastal Commission’s information officer, Poseidon’s postponement is the maximum allowed under the state’s Permit Streamlining Act. “The extension was meant to allow a little more time for Poseidon to decide whether it will withdraw and resubmit its coastal development permit application so that the Commission doesn’t have to act by December on a proposed project that has not yet been reviewed by the Regional Board and State Lands Commission,” Schwartz says.

“We asked Poseidon to consider withdrawing and resubmitting to allow the Commission to have the benefit of those agencies’ reviews.”

While the challenges facing Poseidon seem daunting, the company is great at one thing: political campaigning. One of the Coastal Commission’s earlier stated concerns was that people of color were being left out of the decision-making

process. Not long after that issue was expressed, the League of United Latin American Citizens (LULAC) gave its support for the desalination plant, a bizarrely timed move that immediately caused an uproar among environmentalists.

“The reality is that water isn’t about environmental justice,” says Hiemstra.

“In fact, the areas in OC with the highest Latino populations, like Santa Ana, use the least amount of water. Latinos are actually one of the groups that are the best at conserving water in the county. These cities with high Latino populations are not the places that need the most water— but if the desal plant passes, their price [for] water is going to go up along with everyone else’s.”

When asked if Hiemstra knew why LULAC supported the project, he said that members of LULAC have refused to speak with anyone at Coastkeeper about the issue. “We obviously can’t say what that means,” Hiemstra says, “but it doesn’t seem good that they won’t talk to us about it.”

In a July 15 editorial published by the Orange County Register, Dave Rodriguez, LULAC’s California state director, claimed to speak on behalf of the nearly 1 million Latinos living in OC. He called the desal project “not only a matter of environmen-

tal justice, but of civil rights as well,” noting that “Latino voices, and other voices of color, have been conspicuously absent from the dialogue over the need to build this plant and similar plants elsewhere on the California coast.”

However, Hiemstra points out the Environmental Justice Coalition for Water (EJCW) has long been voicing the exact concerns Rodriguez claimed hadn’t been raised. (LULAC is not connected to EJCW.) Longtime opponents of Poseidon hope the company’s seemingly cynical political machinations and last-minute procedural delays won’t work in its favor when the Coastal Commission finally does vote on the project. “We view this postponement as a positive step toward ensuring this project gets the appropriate environmental review it deserves consistent with current law,” says Garry Brown, executive director of Coastkeeper. “On top of all the environmental, economic and energy impacts this plant would have on Orange County, there has been no proven need for this water.”

MCARREON@OCWEEKLY.COM

aREAD MORE»ONLINE WWW.OCWEEKLY.COM/NEWS

» GUSTAVO ARELLANO DEAR MEXICAN: A young California high school boy of Latino heritage asked me why did we whities stole California from Mexico? I asked him who told him that, and he said his father. I told him we purchased California from Mexico via the treaty of Guadalupe Hidalgo. Unfortunately, I didn’t have the opportunity to discuss the history or the details of the transaction with him. Is it common for Hispanics to think California was stolen? If so, then, that makes them appear very uneducated about their so-called homeland, don’t you think?

Retired Teacher DEAR GABACHO: Hispanic? Latino? Those terms ain’t interchangeable. You mean “Mexican”—say our name, pendejo. Most important, the U.S. “purchased” California and the rest of Aztlán from Mexico the way the U.S. “purchased” Georgia from the Cherokees. It was a purchase done down the barrel of the MexicanAmerican War. And it wasn’t just us: Abraham Lincoln opposed it while a congressman, and Ulysses S. Grant described it years later as “one of the most unjust ever waged by a stronger against a weaker nation.” Even if we play your Manifest Destiny game, the Treaty of Guadalupe Hidalgo was still thievery: It didn’t respect the land rights of the conquered Mexicans, therefore allowing a bunch of Pikers to murder and pillage and rob Mexicans of their lands under the threat of marrying their daughters. “Uneducated about their so-called homeland?” That’s you and your fellow gabachos, pendejo.

DEAR MEXICAN: Why is it that mid-30s Mexican heinas let their bush go all-out? And they get mad ’cause you ain’t eatin’ them?

I Won’t Make a Pink Taco Joke, Promise

DEAR POCHO: You really think expecting women to have no pubic hair so they can resemble a prepubescent is healthy? That’s pedophile territory right there. If the mexicanas you bed are au natural, it’s because they’re in touch with Panochamama and rightfully have no shame with what God granted them. As for the second pregunta—I actually answered it a decade ago, with me reporting then that “a 2002 report by the National Center for Health Statistics showed that 74 percent of Latino men had performed cunnilingus at one point in their life.” Now comes the 2010 results from the Centers for Disease Control and Prevention’s National Health and Nutrition Examination Survey, which found that 84.6 percent of Latino males reported performing oral sex . . . but only 72 percent of MexicanAmericans did the deed. And we wonder why so many of our mujeres leave us for gabachos and Salvadorans. . . .

THE MEXICAN NEEDS AN EDITOR! Last week, I tweeted about the horrific assault on Leslie Jones’ website and tried to use the hacker’s obsession with Harambe as a punch line. People took it as me comparing the actress to an ape, which shows I really need an editor. The tweet pissed off and hurt good folks—I’ve owned up to my pendejada and will continue to do so. This column has slammed raza for our inherent anti-blackness almost from the start, and we need black and brown solidarity now more than ever in this era of Trump—and we definitely don’t need a weaksalsa satirist fucking shit up.

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Granny Red

The life and times of Malvina Reynolds, Long Beach’s most legendary (and hated) folk singer by Gabriel San Román

T

he caravan of Klansmen crept to a stop around midnight in front of the home of David and Lizzie Milder on Nov. 17, 1932. Their quaint bungalow in the Carroll Park neighborhood of Long Beach had just played host to a fund-raiser for the International Labor Defense (ILD), a group affiliated with the Communist Party USA. Members were seeking donations for the Scottsboro Boys, nine African-American teens whose convictions in the rape of two white women in Alabama had recently been overturned.

That night, Ben Isgur, boyfriend of the Milders’ youngest daughter, Eleanor, spoke eloquently about the injustice in the case—and that was just too much for the KKK. Klan members from Orange County united with their Long Beach brothers for the raid. About 50 eventually gathered outside the Milder house, armed with guns, clubs, rubber hoses and a gasolinesoaked wooden cross. The family’s very existence— Jewish, immigrant, communist, anti-racist—could not stand. They planted the cross on the Milders’ lawn and set it ablaze. Klansmen stood guard with guns drawn at the porch while others tried to break through the front door.

David, Lizzie, their son Samuel and other daughter, Malvina, were sipping coffee with Isgur when the Invisible Empire tried to barge in. The family leapt from the table and tried to keep the door from budging—but it wasn’t enough. A group of hooded men circled around to the back entrance and found a way in.

“Where are you hiding all your communist literature?” they yelled. Samuel’s wife, Miriam, pranked the raiders, pointing them to a pile of everyday newsstand magazines, which the KKK promptly tossed out the window. They then demanded every-

one take a ride in the Klan cars—but the Milders wouldn’t go quietly.

“Won’t somebody help us?” Malvina cried to neighbors. “They’re killing us!” A Klansman struck her in the jaw, gagged her with a handkerchief and dragged her outside. They beat her father down with a rubber hose and broke Samuel’s shoulder. Neighbors rushed outside to assist, but the armed Klansmen kept them at bay. The Klan finally forced the Milders and their guests into cars and prepared to speed off when the Long Beach Police Department’s “Red Squad”—tasked with monitoring left-wing activities in the city—just happened to swing by. They stopped the attempted kidnapping, but not before the Klansmen left handbills reading, “Communism will not be tolerated! The Ku Klux Klan rides again.”

The midnight raid scarred the Milders and made national headlines—but it also gave birth to a legendary troubadour. The eldest Milder daughter went on to become one of the fiercest folks singers in American history. Malvina Reynolds used the terror of the Klan raid to fuel a life and career of radical politics, organizing and writing columns and even running for the Long Beach City Council. But her most lasting legacy are her tunes of justice, songs covered by Joan Baez, Marianne Faithfull and other musical giants, most famously Pete Seeger, who popularized her “Little Boxes,” the stinging critique of suburbia more familiar to modern-day listeners as the theme song for the TV series Weeds.

As prolific and storied as Reynolds’ life was, no one has ever written a biography about her. Mentions of her life in Long Beach are rare. Nevertheless, the themes in Reynolds’ political music—economic justice, environmentalism, women’s rights and antiracism—remain all too relevant today.

» CONTINUED ON PAGE 10

ILLUSTRATION BY DUSTIN AMES

COUNTY county | CLASSIFIEDS | MUSIC | CULTURE | FILM | FOOD | CALENDAR | FEATURE | THE| the | CONTENTS | | | claSSifiedS | muSic | culture | film | food | calendar | feature | contentS

» FROM PAGE 9

M

alvina Reynolds’ musical life seemed destined to be intertwined with activism.

Two years after her birth in San Francisco on Aug. 23, 1900, her parents joined the Socialist Party.

David Milder, a Jewish immigrant from Hungary, served in the United States Navy during the Spanish-American War of 1898 and ran a naval tailor shop in the city. He soon became consumed with politics, helping to start The Revolt weekly newspaper and even running as the party’s candidate for city tax collector.

Along the way, he befriended radical labor organizer Tom Mooney, who indirectly gave Reynolds her start in music.

In 1916, Mooney was charged with setting off a suitcase bomb that had killed 10 people and injured scores more during a pro-World War I parade in San Francisco.

Milder took a teenaged Reynolds to the activist’s home so his daughter could take violin lessons from Mooney’s wife, Rena, who was teaching classes to survive after being acquitted in her husband’s trial.

Reynolds excelled beyond her teacher’s ability, but she wanted to pursue literary, not musical, ambitions in college. There was only one snag; her parents’ opposition to World War I caused her high school to deny her a diploma.

Teachers helped Reynolds enroll at the University of California at Berkeley despite being blacklisted. She majored in English while playing violin in a dance band. One day in class, a professor had students study old British ballads as poetry. Reynolds quickly realized the ballads weren’t meant to be read as poems, but sung as music. “Why don’t you sing them for us?” the professor asked when she pointed this out.

Reynolds graduated with a degree in English, but the Milders’ socialist reputation made jobs hard to come by in the Bay Area. The family moved to San Pedro in 1925, then Long Beach so David could open up a tailor shop to serve naval fleets.

Reynolds joined her family in 1931, after dropping out of graduate school. By then, the Milders had joined the Communist Party and happily hosted fund-raisers and

Schimmel with her parents in 1935

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Granny Red

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political meetings at their home.

Long Beach during the Great Depression was proudly white, Protestant and conservative—an Iowa-By-the-Sea far removed from the Milders’ Marxism. When the Long Beach Press-Telegram ran a series of articles in 1932 warning of active communist groups in the city, it easily struck fear in the hearts of its readers. It was inevitable the Klan would go after the Milders.

“I was very much frightened,” Reynolds recounted in 1977 during a KPFK-FM 90.7 radio interview with Dorothy Healey, a communist labor leader who met the musician in San Pedro three years after the raid. “These guys [were] about to load us into cars to take us away. They had lynch ropes in the car.”

The Klan thought law enforcement would let them go; to their surprise, police took 16 members for questioning. Four identified themselves as Orange County peace officers with legal permits to possess firearms. Twelve got released on the grounds the victims could not positively identify their attackers. Four stayed in jail, accused of being the masterminds; those Klansmen were eventually convicted on assault charges but only got six-month sentences and $500 fines.

Reynolds took the stand to identify her attacker, but she knew the legal system wouldn’t deliver justice. “When we came to court, there was evidence of what these guys carried on the table—[the weapons] looked like twigs!” she told Healey.

She tried moving on with life. After her first marriage dissolved, she began a relationship with Bud Reynolds, a highschool sweetheart. The two departed for Nebraska, where Bud had been assigned to unionize workers. Malvina gave birth to their only daughter, Nancy, in 1935; the new family headed to Berkeley later that year and got married. Once there, she reenrolled at UC Berkeley, earning a doctorate in romance philology in 1939.

But the same problem that originally drove her out of the Bay Area prevented Reynolds from finding steady work.

Around that time, she began writing for the Daily People’s World, the official newspaper of the Communist Party USA. Soon after, the FBI started a file on her.

The death of her father in 1944 brought Reynolds back to Long Beach to run the family shop with Bud. After Japan surrendered to the Allies, ending World War II, the two sold the business, and Reynolds left stitching sailor clothes for her true passion: writing songs of discontent. “I wrote fiction and poetry before that, but it didn’t roll until I picked up a guitar,” she wrote in her book Little Boxes and Other Handmade Songs. “What a guitar it was! A big old F-hole orange crate with a crack in the back.”

R COURTESY NANCY SCHIMMEL

eynolds began her musical career at 45, as the postWorld War II folk-music revival was getting finetuned with the return of key players. Woody Guthrie’s time as a merchant marine led to his most prolific

ALEJANDRO STUART

stretch. Seeger had done a stint entertaining the troops, and in late 1945, he helped to start People’s Songs, an organization anchoring the folk revival’s leftwing flank.

People’s Songs’ inaugural bulletin laid out its mission to “create, promote and distribute songs of labor and the American people.” They put out monthly publications and organized “hootenannies,” spreading to cities across the country, including Los Angeles. Reynolds first met Seeger at a People’s Songs shindig in LA in 1947.

“Here’s this middle-aged woman, white hair. To my male eyes, she seemed one more housewife,” Seeger recounted in a radio documentary about her life that’s on file in the Pacifica Radio Archives. “Yet, she heard me and some other singers and said, ‘I want to try writing songs, too.’”

She took guitar lessons from Earl Robinson, an influential composer blacklisted from Hollywood, during his People’s Songs classes in LA. Reynolds got her chance to sing in 1948 when People’s Songs threw its musical support behind Progressive Party presidential candidate Henry Wallace, who was vice president under Franklin Delano Roosevelt. The Independent Progressive

Reynolds singing the truth Party (IPP) formed in California to support Wallace, and Reynolds became the IPP’s chairman in Long Beach. She wrote an “Adventures of a Doorbell Ringer” column for Daily People’s World, noting interesting conversations going on in Long Beach homes.

“Tell me, granting that you don’t go with Wallace on this question, doesn’t his platform on other matters please you enough that you could pass this one up for now?” Reynolds asked after failing to sell a white worker on Wallace’s pledge to end racial discrimination.

“Ma’am,” he responded, “’I’d rather have Negroes living next door to me, eating in the same restaurants with me and riding beside me in the street car than to have monopolies ruling over me.”

The Reynolds house became a stop for like-minded musicians and activists. “Paul Robeson came to dinner once,” recalls Reynolds’ daughter, Nancy Schimmel. “It was a big dinner in his honor.” The Reynoldses loved to entertain guests, political or personal, with a witty sense of humor.

“My parents liked to throw parties—my

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Reynolds and Schimmel perform in Japan in 1970 The undertaker will get my dough, The grave will get my bones, And what is left will have to go For one of those granite stones, But this suit cost me two weeks’ pay So let it live another day, And bury me in my overalls.

Bud died of a stroke in 1971.

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s Reynolds networked with national figures, she still involved herself in local politics. In 1950, the Long Beach City Council planned to adopt an ordinance requiring Communists to register. Reynolds spoke in vain against it. Frustrated with a city hall she felt was beholden to oil barons, Reynolds decided to take them on in April 1951 by running for a council seat.

Her platform: municipally owned electricity, fair wages for city employees and expanding recreational facilities. Running under the IPP banner, Reynolds survived the primary and prepared to face

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Despite the efforts of People’s Songs and like-minded activists, Wallace’s campaign failed; he earned less than 2.4 percent of the vote, as incumbent Harry S Truman squeaked past Republican candidate Thomas E. Dewey. People’s Songs folded the following year because of financial problems, but Reynolds continued. She wrote “Magic Penny” and “Bury Me In My Overalls” during her time in Long Beach.

Of “Magic Penny,” Schimmel recalls, “I came home from [a junior high school] dance, and she had written this song about dancing the night away. That was one of her most popular songs.”

The inspiration for “Bury Me In My Overalls” came from something more ominous. Bud worked various construction sites as a union carpenter with the American Federation of Labor until political organizing caught up with his health; he suffered a heart attack from all the stress. Reynolds worried about her husband and wrote the song, taking on the fear of death with a touch of humor and working-class thrift:

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My congressman’s important, he hobnobs with big biz, He soon forgets the guys and gals who put him where he is.

I’ll just write him a letter to tell him what I need, With a hundred thousand signatures, why, even he can read.

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mother for the food and dancing and singing, my father for the chitchat,” Schimmel says. “She encouraged me to bring my friends home—and to use the dictionary!”

When Reynolds wasn’t ringing doorbells or hosting parties, she was performing at Wallace rallies. She scored her first hit in progressive circles with the roman á clef “Sing Along.” The catchy tune’s opening lines speak of a timid troubadour who gains confidence from a sing-along crowd:

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off in the general election against Third District incumbent Raymond Kealer, a petroleum engineer and chairman of the council’s oil, harbor and industries committee. She was the only woman candidate that year.

Though Reynolds held a doctorate and did political work, her ballot designation read, “housewife.” If Reynolds’ foray into politics was that of a housewife, she pledged in an open letter to Long Beach residents to clean up local politics from the stain of big business “with hot water, soap and a broom!”

A war of words soon broke out among Daily People’s World, Long Beach Press-Telegram and the Long Beach Independent over Reynolds’ campaign, a skirmish documented by the FBI and House Un-American Activities Committee. The Independent—which had covered Reynolds objectively during her primary race—struck first with the May 18, 1951, headline “Council Candidate Closely Allied to Red Front.”

The article noted that she “registered as a Communist in Alameda County [in] September 1942.” And even though she canceled the registration two years later, the story sternly noted, Reynolds remained active in organizations with communist ties such as the Daily People’s World and the Long Beach chapter of the Civil Rights Congress, an organization principally funded by Reynolds’ weekly guitar classes to suburbanites and their children.

The Daily People’s World fired back two days later, calling the Independent’s article a “Red herring smeared with oil” and offering Reynolds space to respond.

“The [Independent’s] article ‘accuses’ me of defending civil rights and working actively for world peace,” Reynolds said.

“Such activities which conform to the desires of every honest person can only be attacked with red-baiting.”

The Press-Telegram hyped the election in an editorial as “the most important council the city has ever had.”

Long Beach expected a $175 million oil boom to flow into the city’s coffers during the next term thanks to the Justice Department exempting the city from tideland litigation, with the U.S. Supreme Court expected to follow suit. Reynolds campaigned hard to have oil taxes benefit all residents of Long Beach, a message she framed in a long-lost untitled song preserved only in her daughter’s memory. “It was a song about better use of the oil taxes for civic improvement rather than for lining people’s pockets,” Schimmel says before singing the verse: We’ll have a wondrous city With boulevards and trees A play land at the water For every son and daughter Beside the bluest seas!

COURTESY NANCY SCHIMMEL

Reynolds and Schimmel in Long Beach circa 1948 A day before the election, Reynolds addressed the “Communist Question,” in the Press-Telegram while stressing her platform. “The story of registration at another time and in another climate is old news by now,” Reynolds said. “The program I propose for Long Beach is new news—and good news.” IPP members pushed hard, dropping off 40,000 leaflets at households and mailing another 20,000.

The Press-Telegram predicted a blowout despite calling Reynolds “one of the most active campaigners” in the race. And they were right: Kealer walloped Reynolds with 34,449 votes to her 5,584. The Daily People’s World tried to put a positive spin on her performance, writing that 13 percent of the vote was “impressive” in light of “a red-baiting campaign conducted against her for several weeks by [Long Beach’s] two commercial newspapers.”

But Reynolds’ time in Long Beach was about to end. The FBI kept up its surveillance of Reynolds: An August 1952 report described her as “a very active Communist in the Long Beach community.” “I have nothing to say to you,” Reynolds told an agent who approached her as she hung laundry outside her home. “Beat it off my property now.”

Had she won the election, Reynolds would’ve stayed in the city for at least the duration of her three-year term. But defeated, with her daughter enrolled at her alma mater up north and tired of the city’s right-wing politics, Reynolds moved back to Berkeley in 1953, never to return to Long Beach.

B

y her own admission, Reynolds never had a great singing voice. “She felt that the best tunes grew out of the rise and fall and tempo of the speaking voice,” says Schimmel. But despite that limitation and her late start, Reynolds found a following after leav-

when I got there, it was a great demonstration!” Reynolds told Healey. The rally left such an impression on Reynolds that it inspired one of her last hits, “Power Plant Reggae.”

Reynolds died on March 17, 1978, after pancreatitis caused her kidneys to fail. She wanted little fanfare to mark her passing—

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Schimmel returns to the site of the KKK raid

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and toured overseas well into her late 70s.

She even appeared on Sesame Street as a folk singer named “Kate.”

“I can almost hear them saying, ‘Who is this old bat?’” Reynolds told Healey.

She’d win them over with clever storytelling between songs. “In about 10 minutes, they’re singing along with me and laughing.”

While working on songs for her final album, Purely Political, a friend asked Reynolds to come to Orange County for a protest at the San Onofre Nuclear Generating Station. “I was cranky about it, but

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CLAUDIA MARROW

in “Wake for a Singer,” Reynolds wrote, “Celebrate my death, of whom it could be said/She was a working-class woman and a red.” Family and friends held a private wake at her Berkeley home, but a public memorial concert followed, with Seeger closing out a lineup that included Margie Adam and Chicago’s Steve Goodman. Two years later, Purely Political was posthumously released as Mama Lion.

Schimmel wants her mother’s story to be fully told. She asked famed folklorist Ellen Stekert to write a biography of Reynolds, but illness kept Stekert from pursuing the project. Schimmel started blogging about her mom in 2006 and even visited her grandparents’ Long Beach house, the one the Klan raided decades ago. A singer in her own right, Schimmel hopes to transform the blog into Out of the Box, a book with more of a memoir feel.

Uncle Ruthie Buell befriended Reynolds after many interviews between the two on Buell’s Halfway Down the Stairs, which has aired on KPFK since 1959. Both women shared being Jewish folk singers with People’s Songs pasts. The Children’s Music Network honored Buell for her lifetime of work in 2010 with its Magic Penny Award, named for Reynolds’ song.

“When you’re a songwriter, you don’t die,” says the 86-year-old Buell, who continues to teach Reynolds’ songs to blind children in Hollywood. “You get to live forever.”

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ing Long Beach by expressing complex truths with poetic simplicity. In 1960, at age 59, she recorded her first album with Folkways Records, Another County Heard From, which included “Sing Along.” Two years later, while driving through Daly City on the way to a gig, Reynolds told Bud to take over the wheel so she could write “Little Boxes,” a tune poking fun at the suburban conformity sprouting on Daly City’s hillsides.

Seeger covered “Little Boxes” in 1963, and it was a hit. Reynolds didn’t get a chance to commercially release her version until landing a deal with Columbia Records, resulting in the 1967 album Malvina Reynolds Sings the Truth. Since then, “Little Boxes” has lived on in an array of covers from slain Chilean folk singer Víctor Jara to a newer generation of musicians who recorded their versions to serve as the intro theme for Weeds on Showtime.

For all its drama, Reynolds never wrote about the Klan raid of her parents’ home in Long Beach. But Malvina Reynolds Sings the Truth does include “Battle of Maxton Field,” a song she penned in 1958 after Lumbee Indians ran off the Klan during a North Carolina rally. “She sat down and wrote that song that day, words and music, and sang it that night,” Schimmel says, calling the song her mom’s “revenge.”

Reynolds recorded more albums; wrote children’s music; started her own label, Cassandra Records; published songbooks;

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fri/09/02

sat/09/03

[CONVENTIONS]

[BURLESQUE]

Animation Domination

Night of the Supervixens

Anime California

ANDREW ECCLES

Grindhouse Burlesque

Anime California hopes to be one of the best anime expos this side of the Mississippi, and by the looks of what’s in store, that status is well in reach. Within three days, fans of eSports, video games, animation and Japanese culture can expect to see appearances from popular anime voice actors Mike McFarland, Jason Miller, Ezra Weisz, Chris Cason, Mela Lee, Margaret McDonald and more; an Artist Alley, with vendors slinging original works; video-gaming rooms; panel discussions with industry members and animation talent; competitions; and, of course, wonderful, diehard cosplayers dressed to impress and vying to place in the costume contest. As of press time, the full programming schedule was in progress, but get your tickets ASAP! Anime California at Long Beach Convention Center, 300 E. Ocean Blvd., Long Beach, (562) 436-3636; animecalifornia. com. 9 a.m.; also Sat.-Sun. $60-$160.

The title seems a bit redundant (isn’t a burlesque show always a “grind house”?), but Olivia Bellafontaine’s Pussy Bang Bang show is a perfect union between bad-girl movie heroines from classic Grindhouse films and saucy pinup dancers sashaying across the stage. Packed with enough references to make Tarantino raise a glass, this deliciously campy movie fest offers projections from 1960s and ’70s films such as the Pam Grier blaxploitation classic Foxy Brown, the notorious Nazi horror spectacle Ilsa She Wolf of the SS, women-in-cages flicks, the Japanese pinky violence stunner Sex and Fury, and many more, brought to life by Bellafontaine’s troupe of badass femmes.

Can’t get enough? Stick around for the “double feature” encore at 10:30 p.m.

Pussy Bang Bang: Grindhouse Burlesque at Harvelle’s Long Beach, 201 E. Broadway, Long Beach, (562) 239-3700; longbeach. harvelles.com. 9 & 10:30 p.m. $15-$25. 21+.

—AIMEE MURILLO

—AIMEE MURILLO

*

[DANCE]

CUT A RUG

Bee’s Knees Speakeasy

Swing dancing is huge here in Orange County, with multiple ballroom dance nights in different cities in skill levels ranging from square to cool cat.The monthly Bee’s Knees Speakeasy allows all of them to come support the CBZ Foundation, a nonprofit that helps young dancers with disabilities achieve their dancing dreams.

The beginners class starts at 7:30 p.m., followed by live music from jazzy bigband group GotThat Swing and an open dance floor until midnight. Hosted by personable MC Alec Marken, this grand Prohibition-themed night will have you kicking out your best jitterbug, jive and Lindy Hop moves across the spacious ballroom studio like it’s 1939. Now, make like a pendulum and swing!

Bee’s Knees Speakeasy & Swing Dance at Dance United Laguna Hills, 23461 Ridge Route Dr., Laguna Hills, (949) 3700523; www.facebook.com/swingavecalec.

7:30 p.m. $15 (cash only); children 10 and younger, free. —AIMEE MURILLO

[CONCERT]

They’re Back!

The Zombies

The Zombies were something special in a time bursting with special somethings: a U.K. pop combo who tapped into a certain kind of otherworldly intimacy with songs such as “This Will Be Our Year” that seemed as if they’d been delivered personally to you, the awestruck listener. The 40th anniversary of their 1968 classic album Odyssey & Oracle seemed to revitalize them, and now they’re just a year past 2015’s Still Got That Hunger.

It doesn’t quite have that hazy distant feel that helped to make the Zombies albums of the ’60s MORE so eternally resoONLINE nant, but original OCWEEKLY.COM singers Colin Blunstone and Rod Argent sound more committed than ever—and it has a wild, self-referential cover that places the Zombies in the world of now instead of the world of back-then.

The Zombies with Sudano at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, (949) 496-8930; thecoachhouse. com. 6 p.m. $49.50. —CHRIS ZIEGLER

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[FOOD]

Street Eats

Orange International Street Fair This three-day celebration of international food and culture with an old-timey twist has been held in Old Towne Orange each Labor Day since 1973. Featuring community displays and arts and crafts booths along with food stalls and music

stages, the fair is also surrounded by bars and restaurants that remain open for business all weekend, so arrive early, don’t even think about parking illegally, watch out for grumpy locals and get your atavistic grub on—we’re talking 16 ethnicities to choose from. The event opens at 10 a.m., with alcohol pouring freely from noon to 9 p.m.

Orange International Street Fair at Plaza Square Park, Glassell Street and Chapman Avenue, Orange; orangestreetfair.org.

10 a.m.; also Fri.-Sat. $2. —NICK SCHOU

THIS FRI SEPT 2

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The Importance of Being Earnest

Oscar Wilde’s classic farce gets a gender twist at the Long Beach Playhouse in director Phie Mura’s all-woman production. The male roles are still presented as males, apparently with the hope that just hearing women say some of the things a man might will not

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Labor Day is a time to celebrate the American worker, the backbone of this great nation, who has clawed out from under oppressive 12-hour factory shifts seven days a week, toiling alongside fellow workers, to our current 40-hour workweek. This holiday is one that should be celebrated in style—such as on a four-hour house-music booze cruise. Disco Galactic Sunset Boat Party offers music spun

by Doc Martin, DJ Lillyanne and Steve Loria to the resplendent views of the sunset on Long Beach Harbor. You’ve earned it, worker!

Disco Galactic Sunset Boat Party at Port of Long Beach, 555 Pico Ave., Berth 55, Long Beach; futurehouse.net. 3:30 p.m. $35. —AMANDA PARSONS

tue/09/06

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only engender even more comedy, but also add some poignant insights into gender stereotypes of yesteryear (and today?). A real jump would have been to make the male parts lesbians, but that’s a topic for another production. Regardless, this show certainly won’t be your standard Wilde-ian romp.

The Importance of Being Earnest at Long Beach Playhouse, 5021 E. Anaheim St., Long Beach, (562) 494-1014; www.lbplayhouse. org. 2 p.m. Through Oct. 1. $14-$24.

[HOLIDAY]

SEPT 23

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[THEATER]

CHEECH & CHONG

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The wave of women artists to emerge from the Los Angeles art scene of the 1970s is significant, partly because of the art world’s changing political tides. Curator Margaret Garcia presents a comprehensive look at these artists, including Garcia herself, Sandra Cornejo, Kikki Eder, June Edmonds, Zara Gomez, Amy Inouye and more. Come explore this showcase of women who sought to express their perspectives of the world around them, inspiring generations.

“Defining Ourselves: A Matriarchy of Artists” at the Muckenthaler, 1201 W. Malvern Ave., Fullerton, (714) 738-6595; themuck.org. 10 a.m.Through Oct. 16.

Free. —AIMEE MURILLO

*

[THEATER]

HEY, HEY, LBJ! All the Way

Young theatergoers (and voters) might be forgiven for not knowing the rest of the hostile chant, hollered at President Lyndon Baines Johnson at the height of his war on the people of Southeast Asia. However provocative, the polemical question “How many kids have you killed today?” indicted one of our most potentially admirable domestic-issue presidents for escalating that imperialist war, undermining his righteous war on poverty and institutional racism toward building the Great Society.The history of that failure makes Robert Schenkkan’s acclaimed 2012 play All the Way only more poignant, considering Johnson’s successful ends of hardball political means, portraying the bullying, committed, Machiavellian dealmaker prez achieving so much through duplicity, blackmail and other habits of highly (if scary) effective elected officials.

All the Way at South Coast Repertory, 655Town Center Dr., Costa Mesa, (714) 708-5555; www.scr.org. 7:30 p.m.

Through Oct. 2. $22-$79.

[ART]

We Hear Music . . .

THE COACH HOUSE www.thecoachhouse.com TICKETS and DINNER RESERVATIONS: 949-496-8930 9/1

‘Rhythm’

Held at the Palm Court Arts Complex in Irvine, “Rhythm” is a multimedia exhibition featuring the artistic works of some of the world’s most celebrated musicians. At the Great Park Gallery and the Great Park Artist Studios, art by IncuMORE bus front man ONLINE Brandon Boyd, OCWEEKLY.COM Moby, Joseph Arthur and Cold War Kids bassist Matt Maust will be on display. There will also be a collaborative jam session produced by SceneFour with drummers Dave Lombardo (Slayer), Chad Sexton (311), Chad Smith (Red Hot Chili Peppers) and metal god Bill Ward (Black Sabbath). Between the beats, vibrant images and loud color schemes, the different mediums will engage multiple senses.

“Rhythm” at Great Park Gallery, Orange County Great Park, 6950 Marine Way, Irvine, (866) 829-3829;www.cityofirvine.org. Noon.

Through Nov. 13. Free. —MARY CARREON

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For Nick Cave, the making of his new album, SkeletonTree, was one of the most trying of his career.The Australian rock legend dealt with personal troubles, including the death of his son, and this documentary goes behind the scenes with the singer during the making of the tumultuous album.Though SkeletonTree arrives in stores a day later, this will be the first time to hear many of the songs that encompass that effort, along with interviews and footage shot of Cave and the Bad Seeds in action. If you can’t wait to hear what’s to come on Cave’s latest studio album and want to see and hear what goes into making an album, then this documentary will provide you all the insight you’ve wanted to know about the post-punk icon.

One MoreTime With Feeling at the Frida Cinema, 305 E. Fourth St., Santa Ana, (714) 285-9422; thefridacinema.org.

8 p.m. $8-$10. —DANIEL KOHN

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9/23

DELTA RAE

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It might be hard to see the connection between ’90s cult film Super Mario Bros. and grindcore metal, but see if you can figure it out at tonight’s Raw Blow Wednesdays at Long Beach dive bar Que Sera. The film will be shown on the venue’s various television screens while bands Graf Orlock, Teeth and Hitlermademeth take the tiny but capable T H I S C O D E stage, with DJ Bitchfit TO DOWNLOAD THEFREE on the turntables in OCWEEKLY between. But if you’re IPHONE/ANDROID APP FOR MORE EVENTS OR VISIT here for the movie, ocweekly.com allow each band to add a cacophonous live score to Mario and Luigi’s quest to save the universe from the evil King Koopa and his nightmarish Goombas. Bring your fellow Goombas out and enjoy what will surely be a bizarre but fun night.

Raw Blow Wednesdays at Que Sera, 1923 E. Seventh St., Long Beach, (562) 599-6170; www.facebook.com/rawblowwednesdays.

9 p.m. Free. 21+. —AIMEE MURILLO

9/16

10/28 10/29

[FILM]

OUT OF THE CAVE

9/10 9/11

»

—ANDREW TONKOVICH

9/3 9/9

MARSHALL TUCKER BAND MARSHALL TUCKER BAND THE ZOMBIES MICK ADAMS & THE STONES FELIX CAVALIERE’S RASCALS WRIGHT RECORDS BATTLE THE BANDS II DELTA DEEP GUITAR ARMY FEAT. ROBBEN FORD, LEE ROY PARNELL, JOE ROBINSON RICHARD CHEESE

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HOLEINTHEWALL

» GUSTAVO ARELLANO

Argentine Again LA FAROLA 151 N. Tustin Ave., Tustin, (714) 8355732; lafaroladelipizza.com.

I

The Gemütlichkeit!

BRIAN FEINZIMER

Stadtgarten has great beers enjoyed in an honest-to-goodnessbiergarten

I

Theater. It has been transformed into an honest-to-goodness biergarten, which is to Germany as a pub is to Ireland.

It must be noted that Stadtgarten isn’t the first restaurant to do a beer-and-sausage concept in OC, but it may be the first to do it in a courtyard filled with communal tables and bordered by hedges and shaded by trees. All of this contributes to the whole point of a biergarten. The Germans call it “Gemütlichkeit,” or “a space of warmth, friendliness and good cheer.”

Come on a weekend evening, as I did, and you’ll see the courtyard full of twentysomethings and college co-eds standing around laughing, talking and sipping from tall, frothy glasses beneath the summer night sky. Off to the side, the glass sliding doors of an indoor mess hall with long tables are pushed open to let in the breeze.

I’ll admit that sitting outside, being surrounded by the pleasantness of the scene, made the first sip of the beer I cradled in my hands exhilarating. It was a bock beer to go with the bockwurst sandwich the menu recommended as a pairing. And it went down with hints of coffee and creamy chocolate notes—sweet, almost dessert-like. I wish I could’ve just continued to drink the beer by itself without taking a single bite of the sandwich, though. I wish I could say the beer tasted better with the sausage or vice versa. But the truth is every sip of beer I took after the bockwurst turned more and more bitter, which, in turn, dulled the flavor of the sandwich. This isn’t to say the bockwurst wasn’t good. It’s far juicier and more flavorful than the chicken-and-apple sausage I also ordered. But I spent the night

wondering what was it about the chemistry of that particular pairing that changed how my mouth perceived the beer.

Later, on a different trip, I settled on a lager that also happened to be one of the cheapest ones on tap: the Schonramer Gold, a Märzen out of Germany. And it went much better with the next three sausages I ate. Still, if it weren’t for the toppings I chose to distinguish one from another, I wouldn’t have been able to tell the bratwurst I ordered from the Nuernberger. Should I have told the staff to hold the toppings of the homemade sauerkraut, the mushy grilled onions or the leathery bacon? Should I have instead gone with the exotics such as the alligator as an andouille, the duck with bacon, or the rabbit with white wine? Should I have gone easier on the Sir Kensington’s mustard that I squirted onto the “Mountain Man Sausage” (caribou, venison, elk and bison) that ended up tasting rather, um, domesticated?

I concluded that next time I visit, the only solid food I need as beer buffer will be the good, thick Belgian fries slicked with garlic butter. I’ve decided that everything else—the sausages, the pretzel that tasted as if it came direct from a movietheater concession stand and the toughas-burlap apple tart—are distractions from the only thing that matters here: the Gemütlichkeit. Skoal!

STADTGARTEN 500 N. Harbor Blvd., Ste. D, Fullerton, (714) 441-1077; stadtgartenla.com/location/ fullerton. Open Sun.-Thurs., 11 a.m.-11 p.m.; Fri.-Sat., 11 a.m.-midnight. Dinner for two, $20-$40, food only. Beer and wine.

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f you’re a beer layman, the list of suds at Stadtgarten will be intimidating. It’s meant to be. There are about a dozen on tap and almost twice that from bottles. A great majority of them have tongue-twisting titles in German. And rather than embarrassing yourself trying to pronounce any of it, you’ll probably end up just pointing to the beer you want on the laminated menu.

That’s what I did, and immediately after reading it aloud to confirm what I chose, the cashier took the appropriate glass for it and turned it upside-down onto a pressure washer built-in underneath the taps.

I saw a geyser shoot up to rinse the glass.

This, as I found out later, wasn’t just for show. Glass rinsing is standard practice in Europe, and whether or not you believe it, its purpose is threefold. First, it’s supposed to wash away any residual soap from the glass. Second, it cools the vessel. And third and most impressive of all, wetting the inside surface is purported to reduce friction when the beer is finally poured, thus improving head retention.

Did it actually make a difference in my beer? I’m not sure. But when an average pour costs $8 and the Almanac Emperor Norton, an IPA from Belgium, retails for $16, it’s nice of them to pull out all the stops. Still, the most important thing Stadtgarten has done to enhance the enjoyment of my beer isn’t the fancy glass rinsing or even the sausage sandwiches provided for sustenance; it’s the beer-appropriate setting they’ve managed to landscape from what used to be a sad L-shaped strip mall next to downtown Fullerton’s long-deserted Fox

BY EDWIN GOEI

have a mostly cardinal rule about reviewing restaurants that occupy spaces that housed an eatery I previously covered. But I’m delighted to make an exception. Patagonia Empanadas, an awesome Argentine deli I wrote about last year, moved from its original home in a liquor store on the SanTana/Tustin border to bigger digs in Orange—hooray! Good work, gentle readers, in visiting them enough to justify the move, and suerte to them.

Now at Patagonia’s OG location is another Argentine deli, La Farola. It has the same set-up of the previous tenant: cramped quarters at the back of the store next to the beer freezers. But something must be in the wine coolers at this spot because La Farola is as good as Patagonia—and in some ways even better. Now attached to the walls are inspirational quotes featuring Mafalda, the Charlie Brown of South America. The reading material is the latest El Suplemento, Southern California’s largest Argentine monthly. A freezer carries Inka Cola and quiches to go; a small grocery aisle stocks sweets, wines and yerba mates (five types!) from la patria.

And the food! La Farola’s empanadas are buttery and flaky, from the hamand-cheese to one with ground beef sweetened by raisins and sugars. Platters of milanesa feature the breaded beef cutlet pounded to a pinky’s thickness and larger than a 45. Pizzas come in large and personal sizes, with the best being the fugazzeta, which is all about the ground pepper and olive oil so that it almost tastes like zaatar. And then we get to the sandwiches, each served on a sturdy baguette and as good as I’ve had in a while in OC, period. In addition to the aforementioned milanesa, La Farola serves cold cuts of matambre, that uniquely Argentine cut of steak studded with hard-boiled eggs and carrots. Even better, though, is the house special, lomito La Farola: rib-eye steak and ham topped with a fried egg that baptizes the whole, huge sandwich with its yolk.

Good luck, La Farola: May I write in a year that you’ve moved on to a bigger spot, che!

MO NT H X X – XX , 20 14

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reakfast on the go often means Starbucks or a doughnut for a lot of us. That’s not a bad thing.

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Starving while headed southbound one morning, I pulled off the freeway in San Clemente. I heard Pedro’s was good for fish tacos, but I took a chance on their breakfast. Going the chorizo-and-egg route— minus beans, adding cheese—was the way my stomach told me to go. Once I got some hot sauce on there, it was a done deal. My hefty meal was tightly wrapped, keeping

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PEDRO’S TACOS 550 N. El Camino Real, San Clemente, (949) 498-5908; also at 2313 S. El Camino Real, San Clemente, (949) 498-5904; pedrostacos.com.

DRINKOFTHEWEEK » EDWIN GOEI

Hawaiian Pineapple Cosmopolitan

S

outh Coast Plaza’s Seasons 52 still posts calorie counts on the menu. And because it does, it dawned on me the restaurant seems to have abandoned its self-imposed rule that all its entrées not exceed 475 calories per serving. These days, the restaurant offers more than a few dishes, such as the short rib, that are at nearly 800 calories.

But it didn’t matter much to me whether the entrées were 100 or 10,000 calories. First of all, food critics are about as apt to count calories as window washers are to keep track of how many floors they’re dangling above the ground.

Secondly, for its happy hour (which lasts from 4 to 6:30 p.m. on weekdays), all of Seasons 52’s small plates are offered for only $5 a pop, thus they’re already bite-sized. But most important, I was there to try the Hawaiian Pineapple Cos-

EDWIN GOEI

mopolitan, which sold for $8, while it costs $13 during the rest of its business hours.

THE DRINK

When you consider the drink is almost all alcohol (made with pineapple vodka and Patrón Citrónge) and that they give you the shaker in which the bartender shook the thing with shards of ice, it’s a bargain no matter how you, er, shake it. I consumed what ended up being two and a half martini glasses of the fruity elixir. And since it’s particularly potent, it lasted the whole meal.

SEASONS 52 3333 Bristol St., Ste. 2802, Costa Mesa, (714) 437-5252; www.seasons52.com.

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sparkles AQUAFINA and AQUAFINA FOR HAPPY BODIES are trademarks of PepsiCo, Inc. 21291003

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P

ike Restaurant & Bar is a neighborhood meeting place for locals and out-oftowners alike, conveniently located on 4th St. Retro Row in Long Beach, CA. e serve a full menu ‘til midnight, 7 days a week, and feature the best microbrews in the US.

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SARAH BENNETT

Noodles and a Hair Cut Tasty Food to Go mixes Laotian with Cambodian

W

hen a gregarious Cambodian of Laotian descent— who has been cutting hair out of a repurposed house on 10th Street for the past 15 years—decides he’s sick of going home for lunch, all of Long Beach benefits. Blessed be to Lam, the owner of an eponymous barber shop and beauty salon who back in February took over the adjoining unit of his businesses’ duplex and opened Tasty Food to Go. From the street view, the humbly named takeout joint gives zero hints about its 24-item menu of authentic madeto-order Thai and Lao food or the fact that Lam’s aunt is usually the one in the kitchen pok-pok-ing some crazy spice mix in her large mortar and pestle. There’s nothing about the numbered framed photographs of each dish hanging on the wall to tell you that all sorts of variables (such as spice, sweetness and meat) are entirely customizable. Nor does it state that many of them can be prepared either Thai- or Lao-style, depending on your flavor preference (or homeland). The pricing, $7.25 per order, is also subtly displayed, handscrawled on a piece of paper propped up near the register.

For most of the information about what Tasty Food to Go is all about (or for a rundown on the differences between Thai and Lao cooking), you’ll have to ask Lam, which is easy since whenever the man doesn’t have a razor or a pair of scissors in his hand, he’s usually here with an ever-present grin to check in on his family and crack jokes with whoever is waiting for an order. If Thai food is the sweet and savory Southeast Asian cuisine that won over the takeoutordering white masses with its complexyet-approachable curries and noodles, then it’s here that you’ll learn that Lao cuisine is its abrasive, DGAF, punk-rock older brother (our esteemed Edwin Goei recently made a similar comparison, saying, “If Thai food is bright and broadly appealing like a Disney flick, Lao food can be funky, dark and com-

LONGBEACHLUNCH » SARAH BENNETT

plex like a Tim Burton art-house film”). In addition to not being big fans of sugar, Lam will tell you, his people favor both intense spiciness and increased use of aromatic spices (à la Indian cuisine) more than their Thai neighbors.

While closely related to northern (Issan) Thai food, Lao versions of dishes such as papaya salad and larb differ by being a contrasting swirl of spicy, sour, salty and fishy that almost makes them more akin to Cambodian food than anything else in the region. (Lao papaya salad comes with raw crab; Thai with dried shrimp.) Mention to Lam that you’ve had Cambodian food before, and his eyes will light up as he explains how the oldest kingdom in Southeast Asia was the first to bring curries (such as the red, green and yellow kinds he sells) to the peninsula.

The nam tok, a cold beef salad, is familiar if you’ve ever had Khmer plear sach go, a lime-juice-marinated array of steak chunks, fresh herbs and vegetables that has been called “the Asian carpaccio.”

Tasty Food’s nam tok is similar (but spicier, natch) and is pitched to customers—who often stop by after shopping at Northgate across the street—as a Lao ceviche.

Lam is a proud Laotian and is always encouraging his customers to try something different, making familiar Thai dishes such as pad Thai, pad kee mao and tom kha gai seem like lures simply to get Long Beach on the Lao train. But a lure is barely needed when Tasty Food to Go is already serving up some of the best Southeast Asian takeout in Long Beach, all with heart, community, good conversation and a haircut on the side.

TASTY FOOD TO GO 2015 E. 10th St., Long Beach, (562) 599-9756.

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PROVIDED BY CAMBODIA TOWN FILM FESTIVAL

Long Beach Fall Film Festival Guide

Plus, a couple of upcoming OC film fests!

S

omehow, the universe aligned in such a way to bring three different film festivals to Long Beach on the same weekend, starting the wave of film festivals coming this fall. If you’re not sure which fest to make it out to, here’s a handy guide to the slates of films offered to help you decide and plan—plus a tiny preview of what’s to come. Let’s do this!

LONG BEACH INDIE FESTIVAL

in Horror Films”; “Understanding Why You Need Representation in Hollywood”; and “Black Male Images on the Big Screen.” Check out Alejandra Leibovich’s Hitching a Ride to Entropy, a documentary on global artist Aleloop, who culled together a flash mob of acrobats, artists, weirdos, cars and performance artists for a giant art happening at Art Basel, Miami.

For more info, visit www.longbeachindie. hollywoodpost.com. Through Sun.

1960s and ’70s psych sound revived by Cambodian Space Project, a band started by an Australian musician and a poorbut-talented village girl after a chance meeting at a karaoke bar. Also a must-see is The Gate, a suspense thriller set during the reign of the Khmer Rouge in which a French ethnologist is captured and accused of being a CIA spy.

Find more info at cambodiatownfilmfestival. com. Fri.-Sun.

SAVE THE DATE! 2016 LONG BEACH QFILM FESTIVAL

CAMBODIA TOWN FILM FESTIVAL

CTFF is four years old! The red carpet will be out at the Art Theatre (2025 E. Fourth St., Long Beach; 562-438-5435) for this showcase of narrative and short films, documentaries, and rereleases of classic Cambodian films. Authentic Cambodian culture will be displayed in performances

by Khmer Arts Academy on Sunday after The King’s Last Song, a documentary on King Norodom Sihanouk’s efforts to build Cambodian art and dance. The openingnight soiree takes place at Sophy’s Cambodian and Thai Cuisine (3240 E. Pacific Coast Hwy., Long Beach, 562-494-1763).

HIGHLIGHTS: If you enjoyed the Cambodian rock & roll doc Don’t Think I’ve Forgotten, check out Not Easy Rock n’ Roll, a documentary on the resurgence of the

tackling the issue of domestic violence in lesbian relationships; the screening is followed by a Q&A. Ingrid Jungermann’s comedy Women Who Kill focuses on two ex-girlfriends and co-hosts of a truecrime podcast who are suddenly suspicious of each other as a new relationship comes between them.

Visit www.qfilmslongbeach.com for more details. Sept. 8-11.

Located at the Art Theatre and the LGBTQ Center of Long Beach (2017 E. Fourth St., Long Beach, 562-434-4455), this year’s festival delves into incredible intersectional perspectives and voices from people throughout the LGBTQ spectrum, with proceeds going to the Center. Now in its 23rd year, expect an Open House Filmmakers Gallery, afterparties at Hamburger Mary’s, a midnight screening of the Rocky Horror Picture Show with a live shadow cast (get ready to do the “Time Warp” again!), Brunch at the Center, and more.

HIGHLIGHTS: The Queer and Trans People of Color and the Men In Briefs shorts blocks are both followed by Q&As with filmmakers and talent. Bruising for Besos is already earning plenty of buzz for

The Fifth Annual San Pedro International Film Festival is a 10-day fest merging the

worlds of film, music, art and technology, with special demos on the virtual reality technology used in cinema. Visit SPIFFest. org for more info. Oct. 6-16.

OC Film Fiesta, the annual film festival held in downtown Santa Ana, celebrates its opening night at Bowers Museum.

Already announced programming includes 1920s Bolivian silent film Wara Wara; the enthralling No Más Bebés documentary on the mass sterilization of Latina immigrant mothers during the 1960s and ’70s; and Trisha Ziff’s The Man Who Saw Too Much, about Mexican photojournalist Enrique Metinides. Check www.facebook.com/filmfiesta for more details. Oct. 13-29.

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Geared toward the next Spielberg, LBIF focuses on film, media and music. Most of the programming consists of short films, feature documentaries and fascinating panel discussions on race, diversity, gender, sexuality and representation, among other socio-cultural issues. There’s also a college and career fair, workshops, and the Long Beach Indie Definition of Independence Awards Gala. It all takes place at Cinemark at the Pike (99 S. Pine Ave., Long Beach, 562-435-5754) and Long Beach Convention Center (300 E. Ocean Blvd., Long Beach, 562-436-3636).

HIGHLIGHTS: Our interest is piqued by the titles of the panels, especially “Questioning Media/Questioning History: The Case of Mexican Social Movements, Latino Men and Malcolm X”; “Monsters, Torture Porn and Depictions of Women

BY AIMEE MURILLO

M ONT H X X– X X , 2 01 4

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BEFORE THE FALL, SCREENING AT CAMBODIA TOWN FILM FESTIVAL

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Scared of What You Represent

GIVE HAWKEYE AN ORIGIN SCRIPT!

MARVEL STUDIOS

Cult Classics, the monthly screening brought to you by the Midnight Insanity group that shadow casts the Rocky Horror Picture Show at the Art Theatre, presents the first of two consecutive John Carpenter cult classics (the other being The Thing on Oct. 7). Here, Kurt Russell is hard-boiled truck driver Jack Burton, who gets caught in a bizarre conflict in (and below) San Francisco’s Chinatown involving an ancient Chinese prince, a crime lord and a beautiful green-eyed woman who grew up to be a Sex and the City MILF. Art Theatre, (562) 438-5435. Sat., 11 p.m. $8-$11.

The Wizard of Oz. A treat of my childhood was the yearly screenings of Victor Fleming’s family classic about Dorothy (Judy Garland) and her dog Toto winding up in the wonderful world of Oz after a tornado picks up her aunt and uncle’s house on a Kansas farm.

But I dare say I never saw this on a big screen, as you kids today can twice this week. Bonus: no commercial cutting short the scene in which the Cowardly Lion dives out of a window in the Great and Powerful Oz’s Emerald City fortress.

Beachfront Cinema at Huntington Beach State Beach; beachfrontcinema.com.

Sun., 5 p.m. $11.25-$49; also at Cinépolis Luxury Cinemas Laguna Niguel, 32401 Golden Lantern St., Laguna Niguel, (949) 373-7900; and Cinépolis Luxury Cinemas Rancho Santa Margarita, 30632 Santa Margarita Pkwy., Rancho Santa Margarita, (949) 835-1888. Tues., 7 p.m. $14-$16.

Vertigo. In this 1958 Alfred Hitchcock classic, Jimmy Stewart is John “Scottie” Ferguson, a retired San Francisco police detective who suffers from acrophobia and a mean case of the

hots for his old college pal’s wife Madeleine (Kim Novak), who may be nuts, suicidal and trying to lead Scottie to high places. Directors Cut Cinema at Regency Rancho Niguel, 25471 Rancho Niguel Rd., Laguna Niguel, (949) 831-0446. Tues. Call for show time. $8.

Easy Rider. I want to say that the last time I saw the late, great Dennis Hopper’s 1969 road picture that is credited with sparking the indie wave, it was showing its age. But I still love the soundtrack. Two young hippie bikers, played by Peter Fonda and Hopper (who co-wrote together with Terry Southern), sell some dope in SoCal, stash their money in their gas tank and set off for a trip across America to find themselves, maaan. Somehow, Jack Nicholson winds up on the back of one bike, but I can’t remember how, as the Purple Microdot had kicked in by then.

Regency South Coast Village, 1561 Sunflower Ave., Santa Ana, (714) 557-5701.

Wed., 7:30 p.m. $9.

Made In Venice. Forty-plus years of skateboarding in Venice—from

the formation of the iconinc Z-Boys to the creation of the iconic Venice Skatepark—are captured in Jonathan Penson’s new documentary. Krikorian Buena Park Metroplex 18, 8290 La Palma Ave., Buena Park, (714) 8267469; also at Krikorian San Clemente Cinema 6, 641 B Camino de los Mares, San Clemente, (949) 661-SHOW. Thurs., Sept. 8. Call for show times and tickets.

One More Time with Feeling. Originally intended to be a performance-based movie, this evolved into a different kind of project when director Andrew Dominik (Chopper, The Assassination of Jesse James By the Coward Robert Ford, Killing Them Softly) delved into the tragic backdrop of the writing and recording of Nick Cave & the Bad Seeds’ 16th studio album, Skeleton Tree. Interwoven between footage of the band’s album performance are interviews, Cave’s narration and improvised rumination, all shot in color and black and white.

The Frida Cinema; thefridacinema.org.

Thurs., Sept. 8, 8 p.m. $8-$10.

MCOKER@OCWEEKLY.COM

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ebrate the stateside release of Mikkel Nørgaard’s raucous Denmark comedy Klown Forever, the Frida is playing it back-to-back with its predecessor, Klown. That picture has wannabe father figure Frank bringing his debauched friend Casper and a wideeyed 12-year-old on a hedonistic weekend canoeing trip. In Klown Forever, Frankie goes to Hollywood, with Casper by his side and real stars in cameos for what has been described as Curb Your Enthusiasm if directed by Lars von Trier. (Actually, Nørgaard directed both films.) The Frida Cinema; thefridacinema.org. Sat.-Sun. Klown, 3 & 7:30 p.m.; Klown Forever, 5 & 9:30 p.m. $8-$10.

Avengers: Age of Ultron. Try as I might, I can’t find an Emma Peel in these Marvel flicks. But I can find a Tony Stark (a.k.a. Iron Man) and a Bruce Banner (Hulk) who, try as they might, do not look half as fetching as Ms. Peel in mini-skirts. Beachfront Cinema at Huntington State Beach, Beach Boulevard and Pacific Coast Highway, Huntington Beach; beachfrontcinema. com. Sat., 5 p.m. $11.25-$49.

Barcode. Iranian comedy has two Tehran tricksters, who get their kicks messing with people, meeting their match when they pick on drug dealers. Star Bahram Radan, considered “Iran’s Brad Pitt,” is scheduled to attend this red-carpet premiere.

Starlight Cinema City, 5635 E. La Palma Ave., Anaheim, (714) 970-6700; starlightcinemas.com. Sat., 7:30 p.m. $12.

Movie screens twice daily here and at Starlight Triangle Square Cinemas in Costa Mesa. Through Sept. 15.

Big Trouble In Little China. First Friday

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Long Beach International Film Festival. Held in concert with the Long Beach Indie Film, Media & Music Conference and Expo at Long Beach Convention Center, the festival continues through Sunday with workshops, panels, presentations, an awards gala, short film programs, feature-length entries, television pilots, web series, and music videos from across the globe. Interesting titles include the documentary Uncle Gloria: One Helluva Ride (Thurs., Sept. 1, 9:15 p.m.); the animated Loren the Robot Butler: Teach Me How to Dougie (Sat., 7:15 p.m.); and narrative feature Why Can’t I Be Sushi (Sun., 2:30 p.m.). Cinemark at the Pike Theaters, 99 S. Pine Ave., Long Beach, (800) 967-1932; www.longbeachindie. hollywoodpost.com. Daily through Sun.; check website for program, show times and tickets. Long Beach Indie Definition of Independence Awards Gala at Renaissance Long Beach Hotel, 111 E. Ocean Blvd., Long Beach; www.lbi-gala. eventbrite.com. Sat., 6 p.m. $100.

Evangelion: 1.0 You Are (Not) Alone.

This week’s Friday Night Freakout features teens trying to sort out their personal problems in a postapocalyptic Japan where mankind has been overtaken by bizarre giant beings. This is the first of four films anime house Studio Khara made from director Hideaki Anno’s Neon Genesis Evangelion series of 1995-96. The Frida Cinema, 305 E. Fourth St., Santa Ana; thefridacinema.org. Fri., 11 p.m. $8-$10.

Cambodia Town Film Festival. Parties; live music; and new and rereleased shorts, documentaries and narrative features are presented “at the center of Khmer culture”: No, not Cambodia, but Long Beach! An interesting-sounding entry is the documentary Not Easy Rock N’ Roll, which is about an Australian musician hearing the extraordinary voice of a poor village girl in a Phnom Penh karaoke bar in 2009, falling in love with her (and vice versa) and with her launching the Cambodian Space Project, which honors the 1960s-’70s golden era of Cambodian rock (Sat., 6 p.m.). A narrative feature that could be worthy is The Gate, which has a French ethnologist trying to convince a young Khmer Rouge jungle prison camp leader that he is not a CIA spy (Sun., 1 p.m.). Art Theatre, 2025 E. Fourth St., Long Beach, (562) 438-5435; cambodiatownfilmfestival.com. Sat. Opening ceremony, noon; programming, 1-10 p.m.; Sun. Programming, 11 a.m.-7 p.m.; closing ceremony, 8 p.m. $5-$8 per film; $10-$25 if paired with an event or party; weekend pass, $50-$250.

Klown and Klown Forever. To cel-

BY MATT COKER

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» AIMEE MURILLO

Steal This Show

Feel the strength of street knowledge in Artists Republic Gallery’s ‘Pageant of the Vandals’

BY DAVE BARTON

G

IS THIS A PORTRAIT OF OC’S SNITCH SCANDAL?

HAIGHT STREET RAT | BANKSY, PROVIDED BY ARTISTS REPUBLIC GALLERY

mass killings in an Orlando gay nightclub, the melding of the colors and the idea of the gun as an adult plaything wipe whatever smile it created right off your face.

South African graffiti artist Jack Fox is used to working on larger surfaces, but his ink-on-paper pieces are nightmarish horror vacui tales that resemble dense woodcuts. Condensed to the size of an 8-by-10, the series appears to be about a man and a dog (d)evolving into a gory hybrid. By the fourth piece, we’ve been inundated with vivid black-and-white images of spurting oil, gouts of blood, ethereal masked creatures, weathered faces and poisoned atmospheres, with its final image the man disappearing into the beast. For U.K. artist Ellannah Sadkin’s color-drenched cartoon portraits, the artist takes well-known characters and paints their psyches: Alice’s face is a white empty space, the monstrous dandelions of Wonderland lurking in her hair like a spinster’s dogs that have discovered their dead master is now food.

Beau Stanton’s meticulous paintings are riveting, full of water and nautical themes, the steampunk influence highly observed—sea water sucks a Greek bust under its surface, as the rays of a Japanese sun explode in the background; a man in a diving helmet paddles a submarine with a bicycle—and while the pictures have no obvious narrative, their dreamy graphics take you someplace familiar. The text on Ben Eine’s four canvases are smaller

versions of the larger murals he does, but their tired irony pales when compared to the other work present, including his boisterous anti-CCTV piece in the storefront window. Zio Ziegler, best known in OC for his astonishing mural on the Tilly’s building off the 405 freeway, is represented by a canvas that feels like warmed-over Picasso, more ode than inspiration. Chad Hasegawa’s two geometric canvases are a neat contrast to his better known street work: Minus the ferocity of his bear canvases/murals, these paintings are less chaotic and easier on the eyes, their lines and subdued colors calming visual sedatives.

Kudos to the gallery for its handful of pieces from local graffiti artists Brainfarts.

I appreciated the old-school appropriation of Frank Frazetta’s Mad Max movie poster: They’ve put a can of spray paint in his hand, tagged the freeway red at his feet and changed the visored face in the original to that of a monkey, then titled the print Manksy. It’s mocking, shovel-ready art perfect for any progressive home, and they bring the show full-circle. Prints of the piece are an inexpensive $10 and celebrate the roots of the pioneering artists around it, minus their substantial price tags.

“PAGEANT OF THE VANDALS” at Artists Republic Gallery, 1175 S. Coast Hwy., Laguna Beach, (949) 988-0603; artists-republic.com. Open Wed.-Sun., noon6 p.m. Through Oct. 20. Free.

T

here’s a lot of soul to be found in Laguna Beach-based boutique the Soul Project.

You can find it in the stock of locally sourced goods made by local retailers and artisans, many of which donate a percentage of proceeds to local and global charities; within the tees, screen-printed with an environmentally friendly ink alternative; and in the garden behind the store, accessible to visitors and filled with beautiful greenery you can’t resist exploring for yourself.

Co-founders Summer and Don Meek started the Soul Project as a socially conscious activewear line catering to the sporty adventurer. The Meeks based their labor of love on the concept of a “soul place”—a location with which you’d immediately fall in love. To help protect such places, the company donates $1 from each sale of a specially designed shirt, art print or other item, all of which are made in-shop.

So far artists such as Laura Cunningham, Elliot Whalen, Ben Brough, Eric Diamond and Marisa George have created pieces to aid the Surfrider Foundation, Save the Mermaids, San Elijo Lagoon Conservancy, Boys & Girls Club Laguna Beach & Newport Beach, Henry Miller Memorial Library, and other nonprofits.

The artists are found either through word of mouth or stumbled upon, according to Summer. “We get inspired by a charity to do a collection, or we find an artist and they have a charity in mind or are passionate about,” she says. “It happens organically.”

In addition to comfortable apparel (including pants, sports bras, T-shirts, tops and flip-flops), the Soul Project offers products such as jewelry, soaps, soy candles, purses, greeting cards and hot sauce made by small local companies with their own charitable or sustainable component. Summer intends to someday expand the Soul Project east, but for now, she’s planning crafting workshops, hoping to build on the sense of community with people and, for sure, inspire more good vibes.

AMURILLO@OCWEEKLY.COM SOUL PROJECT 1516 S. COAST HWY., LAGUNA BEACH, (949) 494-0489; www.soulproject.com.

Follow it on Instagram: @thesoulproject.

THE SOUL PROJECT

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raffiti began as a way for young people to leave their mark on dilapidated buildings and worn-out subway cars, a futile attempt to beautify their ugly surroundings that has now been completely absorbed into the mainstream. Artists Republic Gallery—with the assistance of Elephants and Castles and Hexagon Gallery—has curated a small, substantial exhibition to celebrate that street art. A backhanded reference to Laguna Beach’s “Pageant of the Masters,” “Pageant of the Vandals” includes work by Banksy and others, including local hero Jeff Gillette, whose confrontational paintings of Disneyfied slums inspired Banksy’s Dismaland “bemusement park” last year.

The shiny jewel of the show is Banksy’s Haight Street Rat from art philanthropist Brian Greif, who bought the beret-wearing rodent that had been stenciled and spray painted onto the side of a San Francisco building. Greif rescued the work before it could be tagged or painted over; it now tours free around the country. It’s a beautiful piece, the large, black rat outline holding a can of spray paint, a last red blob dripping near the nozzle in his hand.

Although it’s only part of the piece—there’s text and another character that wasn’t saved—it’s still impressive, and it’s a joy any time you can see such work up close.

Banksy’s social criticism generally targets repressive conservative forces, but he’s also wholly fearless when it comes to wagging a finger at the market purchasing his work.

One in the series of pricey prints along one of the gallery’s walls features a line of hippies and punks standing at a sales booth, buying red “Destroy Capitalism” shirts.

Gillette’s wrecked Disney billboard planted in a black-and-white wasteland, juxtaposing images of a mangled Sleeping Beauty Castle and Hiroshima’s ruined Genbaku Dome in the background, is similar enough to other paintings that it feels like a bit of a rehash. What’s different, however, are the small sculptures he’s included: a shantytown made from scrap wood, each with cartoon characters on the porch or poking a head out a window.

The patchwork surfaces and rusty corrugated metal roofs held down by minuscule old tires and minute bricks are lovely, obsessive things, with the characters from our childhood seen in such a context deeply poignant.

Lucy Sparrow’s work has the same irreverence of Banksy and Gillette, with an undercurrent of menace: I have no idea when it was actually made, but it’s an emotional experience seeing her rainbowhued, felt AK-47. Following the recent

Soul Sister

MO NT H X X – XX , 20 14

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music»artists|sounds|shows CARLILE IS STRONGER THAN MARFAN

TOM BARNES

Man vs. Marfan

Of Mice and Men’s Austin Carlile refuses to be defined by his deadly disorder

F

or Austin Carlile, the day that changed everything is a harsh reminder of what could have been. Growing up in Ohio, he had his sights set on going to college and playing baseball. He’d been playing since he was a youngster, practicing and staying disciplined for the rare chance to make it to the big-time. Then his mom died.

At the time of her death, Carlile was 17 and still in high school. He found that his mother died from a rare condition called Marfan syndrome, a genetic disorder that affects the body’s connective tissue. His mother, Carlile says, was unaware she suffered from the potentially debilitating disease and went to a hospital that didn’t know what it was. Only about 1 in 5,000 people suffer from Marfan, which can affect the heart, blood vessels, bones and joints.

Five years later, Carlile was also diagnosed. The singer knew the rough road ahead of him. “They told me I couldn’t play baseball and do track and field anymore,” he says. “I couldn’t smoke anymore, which I guess is a good thing!

But I lost my mom, then I lost everything that I loved to do.”

After the diagnosis, Carlile realized why he’d hurt while playing and was plagued by nagging injuries that should have gone away faster. “For a few years, I was in denial and didn’t want to believe it,” he admits. “Then I found out things were taking a toll on my heart, and I needed heart surgery in 2010. From there on out,

BY DANIEL KOHN I started taking it really seriously and have honed in on taking care of my body the past few years. I can’t just get by like everybody else since I’m not like everybody else.”

One of the few positive things to come from this life-altering diagnosis was music. His dad had a classic-rock radio show and Carlile had dabbled with the saxophone, but he had never been in a band. In 2005, he joined Attack Attack!, then formed Of Mice and Men with bassist Jaxin Hall in 2009.

“I don’t want people to go through what I went through and lose the people that they give a shit about just because an idiot doctor didn’t read the manuscripts of what’s coming up and what’s happened in the past 10 to 15 years in genetics,” he says of raising awareness for Marfan and of his own situation. “It’s something that I’m really passionate about and something that’s real to me. That kind of thing means more to me than this band. If I had to pick being in this band or being an advocate for Marfan, I’d pick the latter.”

Though things are stable at this time, Carlile knows his condition can worsen at any point. Pointing to the pitfalls of our nation’s healthcare system, the singer realized how tough it is for people who not only have Marfan, but also other conditions that require close attention. “It takes talking to five people and four weeks to schedule an appointment in the middle of America to get trigger point injections in my back,” he says. He has had a few

heart surgeries, and last year, he suffered a tear in his dural sac, which holds brain fluids.

On the band’s latest album, Cold World, Of Mice and Men reflect not only on the hardships that have been plaguing Carlile since he was a teen, but also other incidents that helped to shape the band.

The thunderous album continues to highlight the band’s aggressive sound, which has a higher sense of urgency thanks to Carlile’s willingness to channel his own struggles into the music and lyrics. “This new record, we touch on a lot of really personal subjects for us and draw a lot of it from a lot of real places,” Carlile explains. “I used a lot of that experience and emotion and pain on there. I’ve been a victim of a bad medical system, and it was cathartic for me to talk about those things.

It was something that was so real to me that I deal with every day.”

When Of Mice and Men are on the road, the singer can’t partake in the usual activities that musicians cite as highlights while on tour. Instead, he wakes up uncomfortable. But, he says, all of the pain and treatment he has to undergo to gear up for a night’s performance is quickly forgotten once the band hits the stage. “I wouldn’t be out here if I didn’t love what I do,” he says. “Mentally and physically being out on the road and having 12 other people tell you what to do and how to run your band—I mean, with that, I literally would not be out here doing this if I

didn’t have a love for performing music. It wouldn’t be worth it.”

Carlile’s band mates don’t let him “be weak or tired,” he says. They inspire him to keep performing, saying that he doesn’t have to be in the band if he’s not up to it.

To prepare physically for 45 minutes rocking in front of fans, Carlile must take the proper vitamins and nutrients and practice stretches and exercises. Once the band’s set is finished, he will either take a nap or hide in the green room and read.

Though he has no intention of martyring himself, Carlile knows how important and influential he can be for people who are suffering from Marfan disease.

Before the release of Cold World, Of Mice and Men opened for Slipknot and Marilyn Manson, a dual lineup of hardrock legends with whom any band would be eager to perform. And though he struggles, the singer has no regrets. “This is a strain on my body, and I’m not supposed to be doing this in general,” he says of his rigorous schedule. “Of course, when I’m not supposed to do this, we end up booking one of the heaviest tours we’ve ever done. But it was all worth it.”

As much as touring is a strain on his body, it’s been the mechanism that has allowed him to survive. “I don’t have to worry about having to live till I’m 80 or 90,” Carlile quips. “I try not to think more than one day at a time; it’ll drive me nuts.

I handle each 24 hours as it comes.”

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White Night to hipster critics: Fuck you!

We play what we want!

BY DANIEL KOHN

T

hough they toiled in the local hardcore scene for a few years, Frank Agnew, Jon Rains and Mike Gonzales made a firm decision that ultimately altered their music. Seeing how hardcore was flooding Orange County, the trio chose to adapt with the times and form a pop punk band.

While this wasn’t exactly a groundbreaking decision in 2008, the trio had ulterior motives; calling themselves White Night, the band had simple goals.

“It started off as a joke,” Rains says.

“The name is a joke, too, but we wanted to get girlfriends, and pop punk stuff was in at the time. But something clicked with our songwriting and kind of drifted from pop punk into something else. We wanted to sound like everyone else before we realized we should be ourselves.”

As the band navigated the county’s punk landscape, their sound evolved, incorporating elements of surf pop and garage rock, a sound that went against what was going on in the hardcore scene at the time. After releasing a 7- and a 10-inch, White Night released their debut album, Immortal, which was slammed by Maximum Rocknroll magazine. The horrible review was humorous to the band then—and even more so now. The band used the contentious words that described their EP to promote shows on their fliers and to garner publicity, even if they agreed with the review’s general sentiment. “The person said that we weren’t the Agnews, and we were like, ‘Well, we have an Agnew in our band, jackass,’” Rains says. “It was obvious that [the writer] didn’t know what

she was talking about. But other than that, we didn’t really like that album anyway.”

Rains notes that the band served as an outlet for him to channel his internal frustrations and depression into songs that, he says, “aren’t shitty.”

“I wrote about what I was going through, and it was how I released my stress and depression,” the bassist says. “Journaling and making songs out of it allowed us to add elements to our sound and help put us in the direction we’re headed today.”

That includes adding members—a guitarist and a keyboard player—in order to help harness their growth. Over the past two years, the expanded outfit spent time recording their third album, Weird Night. Released through Burger Records, it’s their most complete effort to date, mixing aggressive punk with fuzzy, ’60s-era pop. Their initial sad lyrics are now purposely glossed over.

With distance constraints and rigorous daily schedules, the band aren’t able to tour as much as they’d like. But when they do, as with any rock band, the Fullerton natives channel the high energy demonstrated on their EP. Their sound may not be grounded in the pop punk they intended to create, but White Night keeps pushing forward in a direction they know will be challenging and exhilarating.

“We want to keep writing records and touring because we feel cooped-up otherwise with our stressful daily lives,” Rains says. “Even though this album has been out only a few months, we’re already halfway done with our next one and can’t wait to see what happens with that.”

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he LBC always likes to keep things weird, and bizarre and somewhat genre-less Furcast fit that mold perfectly.

“We’redefi nitely not following a structure or a sound on purpose,” says Johann Carbajal, the multi-instrumental head of Furcast. “We’re just telling a story, like a film. There’s an intro, and then maybe it gets in a fight, and then if we overcome the situation, we write on that. We’re scoring our time line, so there are no real hooks or choruses like you’d hear on the radio.”

That may sound like an epic undertaking— and that’s because it is. Each Furcast song is more of an experience for Carbajal and his band mates—Vincent Mazza, Gary Bramlett and Kael Sharp—than a simple piece of music. Any given Furcast song could contain a wide range of sounds and elements, from live guitars and horns to prerecorded beats and samples.

To enhance the auditory experience, Carbajal and crew mix in everything from light shows to live dancers for their performances. “We could bring actors up there and make it a play or a musical,” Carbajal says. “We could bring more dancers or a stage setting for the visuals. I know we already have ideas for the next album and visuals, which is another concept.”

But no band can rely on their live shows exclusively. Though the band’s sound has evolved between 2010’s Together EP and now, Furcast haven’t put out an official release since then. Carbajal is careful not to mention any

LOCALSONLY » JOSH CHESLER

specifics or definite dates for their long-awaited full-length, but it should be coming within the next couple of months.

Just a handful of years ago, they couldn’t get more than a few shows per year booked, Carbajal says with a laughs, but the band’s theatrics are pretty much the same in some ways.

You’ll be able to find Long Beach’s most complex quartet playing venues across the city as they work out the kinks on their new record and a dramatic stop-motion video created by Carbajal’s sister. The video’s a perfect fit for Furcast’s soundtrack-like tune—even if it had to be cut from 10 minutes to about three. While many bands prefer to be featured in their own videos, the guys in Furcast don’t really care what other bands are doing or what they’re “supposed to” do. And that attiutude is what brought them all together in the first place.

“It all goes back to that there are no limits and no title,” Bramlett says, “so you create that leeway for yourself.”

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.

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concert guide»

1 34

FRIDAY, SEPT. 2

FIGHT CLUB LBC: 9 p.m., $5. Que Sera,

1923 E. Seventh St., Long Beach, (562) 599-6170; queseralb.wix.com.

THE GAME: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

JIM FISK JAZZTET: 8 p.m., free. Portfolio Coffee House, 2300 Fourth St., Long Beach, (562) 434-2486; portfoliocoffeehouse.com.

THE MARSHALL TUCKER BAND:8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com.

NICKI I & A.D.D.: 9 p.m., $5. Mozambique, 1740 S. Coast Hwy., Laguna Beach, (949) 715-7777; mozambiqueoc.com.

OLD-SCHOOL FUNK & SOUL FESTIVAL:

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

ROCKABELLA: 9 p.m., free. The Rush Bar & Grill, 23532 El Toro Rd., Ste. 24, Lake Forest, (949) 916-0200; rushgrill.com.

SEGA GENECIDE: 10 p.m. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com.

THE SLY DIGS: 9 p.m., free. The Karman Bar, 26022 Cape Dr., Laguna Niguel, (949) 582-5909; thekarmanbar.com.

SATURDAY, SEPT. 3

ALVIN RISK, TAURUS SCOTT:10 p.m., $15. The Yost

Theater, 307 N. Spurgeon St., Santa Ana, (888) 8629573; yosttheater.com.

ANDREA MILLER: 7 p.m. Bayside Restaurant, 900 Bayside Dr., Newport Beach, (949) 721-1222; baysiderestaurant.com.

BAD COMPANY:7:30 p.m., $64-$145. Wally Parks NHRA Motorsports Museum, 1101 W. McKinley Ave., Pomona, (909) 622-2133; museum.nhra.com.

CRUCIAL: 9 p.m., $5. The Prospector, 2400 E. Seventh St., Long Beach, (562) 438-3839; prospectorlongbeach.com.

RON KOBAYASHI TRIO: 7 p.m., free. Moulin Bistro, 1000 N. Bristol St., Newport Beach, (844) 376-6243; moulinbistro.com.

SOBERFEST: 2 p.m., free. Orange County Soberfest, 23331 Moulton Pkwy., Laguna Hills, (714) 820-0753; crosslinechurch.com/events/oc-soberfest.

THE VIRUS: 8 p.m., $5. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

THE ZOMBIES: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 4968930; thecoachhouse.com.

SUNDAY, SEPT. 4

CAMILA: 7:30 p.m., $64-$145. Wally Parks NHRA

Motorsports Museum, 1101 W. McKinley Ave., Pomona, (909) 622-2133; museum.nhra.com.

5 SECONDS OF SUMMER: 7:30 p.m., $25-$79.95.

Irvine Meadows Amphitheatre, 8800 Irvine Center Dr., Irvine, (949) 855-8095; irvineamp.com.

JA RULE & ASHANTI: 8 p.m., $40. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

MAKE AMERICA ROCK AGAIN: 5 p.m. The Yost Theater, 307 N. Spurgeon St., Santa Ana, (888) 8629573; yosttheater.com.

MASSIVE MCGREGOR: 5 p.m., $5. Mozambique, 1740 S. Coast Hwy., Laguna Beach, (949) 715-7777; mozambiqueoc.com.

RADIOBLACK: 7:45 p.m. The Yost Theater, 307 N. Spurgeon St., Santa Ana, (888) 862-9573; yosttheater.com.

SLINGSHOT: 4 p.m., free. Marine Room Tavern, 214 Ocean Ave., Laguna Beach, (949) 494-3027.

SUNDAY BLUES: 4 p.m. Malarkey’s Grill & Irish Pub, 168 N. Marina Dr., Long Beach, (562) 598-9431.

MONDAY, SEPT. 5

KILL THE INTERNET WITH DJ CARDIGAN & DESIRABLE D: 8:30 p.m. Que Sera, 1923 E. Seventh

St., Long Beach, (562) 599-6170; queseralb.wix.com.

LA PICANTE: 8 p.m., free. The Lighthouse Cafe, 30 Pier

TUESDAY, SEPT. 6

BAYSIDE: 7:30 p.m. The Observatory, 3503 S. Harbor

Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

BLACKBURN COUNTRY: 9 p.m., free. The Lighthouse

Cafe, 30 Pier Ave., Hermosa Beach, (310) 376-9833; thelighthousecafe.net.

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.

MIC DANGEROUSLY:8 p.m., free. Gallagher’s Pub & Grill, 2751 E. Broadway, Long Beach, (562) 856-8000; gallagherslongbeach.com.

R3FLECT: 9 p.m. Que Sera, 1923 E. Seventh St., Long Beach, (562) 599-6170; queseralb.wix.com.

SONGWRITERS @ SUNSET: 8 p.m., $10. Schooner at Sunset, 16821 Pacific Coast Hwy., Huntington Beach, (562) 430-3495; schooneratsunset.com.

WORDOVMOUTH: 8 p.m. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com.

WEDNESDAY, SEPT. 7

BACK CATALOG:9 p.m., free. Kitsch Bar, 891 Baker

St., Ste. A10, Costa Mesa, (714) 546-8580; kitschbar.com.

DEREK BORDEAUX BAND: 7 p.m., free. Original Mike’s, 100 S. Main St., Santa Ana, (714) 550-7764; originalmikes.com.

DETOUR POSSE: 9 p.m., free. The Lighthouse Cafe, 30 Pier Ave., Hermosa Beach, (310) 376-9833; thelighthousecafe.net.

JUKE JOINT JOKERS: 7 p.m., $5. Mozambique, 1740 S. Coast Hwy., Laguna Beach, (949) 715-7777; mozambiqueoc.com.

MODERN DISCO AMBASSADORS: 10 p.m. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com.

ONE NIGHT STAND WEDNESDAYS:9 p.m., free.

Hurricanes Bar & Grill, 200 Main St., Huntington Beach, (714) 374-0500; hurricanesbargrill.com.

OPEN VINYL NIGHT: 9:30 p.m., free. Diego’s Rock-NRoll Bar & Eats, 220 E. Third St., Santa Ana, (888) 8629573; rockandrollbardtsa.com.

RAW BLOW WEDNESDAYS—METAL SHOW & MOVIE: 9 p.m. Que Sera, 1923 E. Seventh St., Long

Beach, (562) 599-6170; queseralb.wix.com.

RICK MARCEL: 7:30 p.m., $10. Spaghettini Rotisserie

& Grill, 3005 Old Ranch Pkwy., Seal Beach, (562) 5962199;spaghettini.com.

THURSDAY, SEPT. 8

ANDREW BLOOM: 7:30 p.m., $5. Mozambique,

1740 S. Coast Hwy., Laguna Beach, (949) 715-7777; mozambiqueoc.com.

CALIENTE THURSDAY WITH DJ KABOOM AND DJ ERICKSON: 10 p.m. VLVT Velvet Lounge, 416 W.

Fourth St., Santa Ana, (714) 664-0663; velvetoc.com.

DIVE CLUB: 9 p.m., free. Kitsch Bar, 891 Baker St.,

Ste. A10, Costa Mesa, (714) 546-8580; kitschbar.com.

DOUG LACY: 6 p.m., free. Ralph Brennan’s Jazz

Kitchen, 1590 S. Disneyland Dr., Anaheim, (714) 7765200; rbjazzkitchen.com.

DW3: 8 p.m., $25. Spaghettini Rotisserie & Grill, 3005 Old Ranch Pkwy., Seal Beach, (562) 596-2199; spaghettini.com.

ELEMENT THURSDAYS:9 p.m. Sutra, 1870 Harbor Blvd., Ste. 200, Costa Mesa, (949) 722-7103; sutraoc.com.

GRN+GLD: 9 p.m., $3. Que Sera, 1923 E. Seventh St., Long Beach, (562) 599-6170; queseralb.wix.com.

THRASHER THURSDAY:8 p.m., free. The Karman Bar, 26022 Cape Dr., Laguna Niguel, (949) 582-5909; thekarmanbar.com.

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

WORK DRUGS & SATCHMODE: 9 p.m.

Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com.

Client Tell I have been seeing sex workers for 30 years, and I shudder to think how shitty my life would have been without them. Some have become friends, but I’ve appreciated all of them. Negative stereotypes about guys like me are not fair, but sex work does have its problems. Some clients (including females) are difficult—difficult clients aren’t typically violent; more often they’re inconsiderate and demanding. Clients need to understand that all people have limits and feelings, and money doesn’t change that. But what can we clients do to fight stupid, regressive, repressive laws that harm sex workers?

Not A John

» DAN SAVAGE

tion of streetwalkers, brothel owners and women guilty of “[walking] quietly about the street” went on for decades.

Then a beautiful thing happened. “In the spring of 1711, a drive against ‘loose women and their male followers’ in Covent Garden was foiled when ‘the constables were dreadfully maimed, and one mortally wounded, by ruffians aided by 40 soldiers of the guards, who entered into a combination to protect the women,’” writes Dabhoiwala. “On another occasion in the East End, a crowd of over a thousand seamen mobbed the local magistrates and forcibly released a group of convicted prostitutes being sent to a house of correction.”

Male followers of loose women, soldiers of the guard, mobs of seamen—they were not altruists, but likely clients of the women they fought to defend. And thanks to their efforts and the efforts of 18th-century sex workers who lawyered up, marched into court and sued the pants off members of the Societies of Virtue, by the middle of the 18th century, women could walk the streets without being arrested or harassed—even women known to be prostitutes.

I’m not suggesting that today’s clients form mobs and attack prohibitionists, cops, prosecutors and their enablers in the media. But clients can and should be out there speaking up in defense of sex workers and themselves. Sex workers are speaking up and fighting back—on Twitter and other social-media platforms, sometimes anonymously, but increasingly under their own names—and they’re staring down the stigma, the shame and the law on their own. It’s time for their clients to join them in the fight.

I’m a 26-year-old gay male, and I like to explore my feminine side by wearing female clothes. I have a boyfriend who likes to do the same thing, but he doesn’t have the courage to tell his parents that he’s gay and explores his feminine side by wearing female clothes. I want to adopt early school-age boys and teach them they can explore their feminine side by wearing female clothes. My question has two parts. First, in regard to my boyfriend, how can I encourage him to tell his parents he’s gay and wants to explore his feminine side by wearing female clothes? Second, in regard to adopting early school-age boys, how do I teach an early schoolage boy that it’s okay for him to explore his feminine side by wearing female clothes and also teach him that he doesn’t have to be gay at the same time?

Dressing A Future Together Wear whatever you like, DAFT, but please don’t adopt any children—boys or otherwise, early school-age or newborn, not now, probably not ever. Because a father who pushes his son into a dress is just as abusive and unfit as one who forbids his son to wear a dress. You two don’t need kids, DAFT; you need a therapist who can help your boyfriend with his issues (the closet, not wearing female clothes) and help you with yours (your extremely odd and potentially damaging ideas about parenting, not wearing female clothes).

Savage Lovecast live in Chicago! Listen at savagelovecast. com. Contact Dan via email at mail@savagelove.net, and follow him on Twitter: @fakedansavage.

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Before I sign off: a big thank you to the Dan Savages who filled in for me while I was on vacation—Dan Savage, Orlando-based sportswriter; Dan Savage, Londonbased theatrical marketing executive; and Dan Savage, Brooklyn-based designer. You guys did a great job!

And here’s something clients of sex workers can do without going public: The Sex Workers Outreach Project (SWOP) is running a pilot program to help incarcerated sex workers. Send a book to an imprisoned sex worker, become a pen pal, or make a donation by going to SWOPbehindbars.org and clicking on “10 Ways to Help Incarcerated Sex Workers.” Non-clients are welcome to help, too!

YOUR ONE STOP SHOP FOR:

S ep tem ber 0 2 -0 8 , 20 16

You can speak up, NAJ. The current line from prohibitionists—people who want sex work to remain illegal—is that all women who sell sex are victims and all men who buy sex are monsters. But talk to actual sex workers, and you hear about considerate, regular clients who are kind, respectful and sometimes personally helpful in unexpected ways. (A sex worker friend had a regular client who was a dentist; he did some expensive dental work for my uninsured friend—and he did it for free, not for trade.) You also hear about clients who are threatening or violent—and how laws against sex work make it impossible for them to go to the police, making them more vulnerable to violence, exploitation and abuse, not less.

There is a large and growing sex workers’ rights movement, NAJ, which Emily Bazelon wrote about in a terrific cover story for The New York Times Magazine (“Should Prostitution Be a Crime?” May 5). Bazelon spoke with scores of sex workers active in the growing and increasingly effective decriminalization movement. Amnesty International recently called for the full decriminalization of sex work, joining Human Rights Watch, the World Health Organization, and other large, mainstream health and human rights groups.

But there’s something missing from the movement to decriminalize sex work: clients such as you, NAJ. Maggie McNeill, a sex worker, activist and writer, wrote a blistering piece on her blog (“The Honest Courtesan”) about a recent undercover police operation in Seattle. Scores of men seeking to hire sex workers—the men ranged from surgeons to bus drivers to journalists—were arrested and subjected to ritualized public humiliation designed to discourage other men from paying for sex.

“These crusades do nothing but hurt the most vulnerable individuals on both sides of the transaction,” McNeill wrote. “The only way to stop this [is for] all of you clients out there [to] get off your duffs and fight.

Regular clients outnumber full-time whores by at least 60 to 1; gentlemen, I suggest you rethink your current silence, unless you want to be the next one with your name and picture splashed across newspapers, TV screens and websites.”

The legal risks and social stigma attached to buying sex doubtless leave some clients feeling as if they can’t speak up and join the fight, and the muchtouted “Nordic Model” is upping the legal stakes for buyers of sex. (The Nordic Model makes buying sex illegal, not selling it. In theory, only clients are supposed to suffer, but in practice, the women are punished, too. Bazelon unpacks the harms of the Nordic Model in her story—please go read it.) But sex workers today, like gays and lesbians not too long ago, are coming out in ever-greater numbers to fight for their rights in the face of potentially dire legal and social consequences.

Clients need to join the fight—or perhaps I should say clients need to rejoin the fight. In The Origins of Sex: A History of the First Sexual Revolution, which I read while I was away on vacation, author Faramerz Dabhoiwala writes about “Societies of Virtue” formed all over England in the late 17th century. Adulterers, fornicators and Sabbath-breakers were persecuted by these groups, NAJ, but their campaigns against prostitutes were particularly vicious and indiscriminate; women were thrown in jail or publicly whipped for the crime of having a “lewd” appearance. The persecu-

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The personal property to be transferred generally consists of the following: First Company Air Handlers.

MODEL

Qty

19CDXQX

149

25CDXDX

129

Dated this 21st day of July 2016,

Try FREE: 714-627-2267 More Local Numbers: 1-800-926-6000

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NOTICE IS HEREBY GIVEN that LDI MECHANICAL, Inc., Transferor, Whose address is 1587 E. Bentley Drive, Suite 102, Corona CA 92879, intends to transfer the personal property described below to Westview Spectrum Apartments LLC, Transferee, whose address is 21100 Spectrum Irvine, CA 92618, on or after July 25, 2016. The personal property is currently stored and located at 1587 E. Bentley Drive, Suite 102, Corona CA 92879 and will remain at that location following transfer.

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LDI Mechanical, Inc., 1587 E Bently Drive, Suite 102, Corona, CA 92879

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Dining Out for Life OC Thursday, Sept. 15th Dine Out. Do Good.

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Employment Digital Account Executive OC Weekly is seeking an energetic and outgoing individual for a new digital sales position. In this role, you will help small, mid-sized and large businesses with an array of digital services and strategies designed to increase web and mobile presence, generate leads to expand their customer base, and deliver significant ROI & increased revenues.

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SAFE ACCESS DIRECTORY

41

1 ST LICENSED MEDICAL MARIJUANA DISPENSARY IN ORANGE COUNTY

SCSA

SOUTH COAST SAFE ACCESS

Largest Showroom & Biggest Selection in OC

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Now Hiring FULL/PART TIME 21 Years Union pay with and Over medical benefits

25% Veterans Discount

10% Disability Discount

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HOURS: Monday-Saturday 10am-8pm • Sunday 11am-7pm *Physician's Recommendation Required for Treatment of: Anxiety | Chronic Pain | Diabetes | Insomnia | Arthritis | Glaucoma

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