April 14, 2016 – OC Weekly

INFLUENTIAL MILK STRIKES | VALIANT’S PERFECT CRAFT BEER | SANS-ACID ACID ART APRIL 15-21, 2016 | VOLUME 21 | NUMBER 33

FUR FLIES AT NBFF ’16

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Feature

09 | NEWPORT BEACH FILM FESTIVAL | The fur flies at 2016

Newport Beach Film Festival! Plus, what to watch. By Matt Coker 12 | NEWPORT BEACH FILM FESTIVAL | Breaking down the best

films in each genre. By Aimee Murillo

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14 | EVENTS | Things to do while

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By Aimee Murillo 21 | SPECIAL SCREENINGS |

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24 | PROFILE | Anaheim’s Movie Town is OC’s last great video store.

By Gabriel San Román 26 | PREVIEW | The Juice squeezes new life into OC hip-hop.

By Josh Chesler 27 | LOCALS ONLY | Sega Genecide plays covers and shit.

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EDITOR Gustavo Arellano MANAGING EDITOR Nick Schou ASSOCIATE EDITOR Patrice Marsters SENIOR EDITOR, NEWS & INVESTIGATIONS R. Scott Moxley STAFF WRITERS Mary Carreon, Matt Coker MUSIC EDITOR Nate Jackson WEB EDITOR Taylor Hamby CALENDAR EDITOR Aimee Murillo CLUBS EDITOR Denise De La Cruz PROOFREADER Lisa Black CONTRIBUTING WRITERS Reyan Ali, Dave Barton, Joel Beers, Sarah Bennett, Lilledeshan Bose, Kyle Cavaness, Josh Chesler, Heidi Darby, Alex Distefano, Edwin Goei, Michael Goldstein, Courtney Hamilton, LP Hastings, Daniel Kohn, Dave Lieberman, Alejandra Loera, Adam Lovinus, Todd Mathews, Patrick Montes, Katrina Nattress, Nick Nuk’em, Anne Marie Panoringan, Amanda Parsons, Ryan Ritchie, Gabriel San Román, Andrew Tonkovich, Chris Ziegler

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Dairy Mean

How a 1933 milk strike set the stage for OC’s eternal war against radicals

BY GUSTAVO ARELLANO

T

his June marks the 80th anniversary of the 1936 Citrus War, one of the most crucial—and unknown—events in OC history. For a full month, a veritable civil war occurred in the county’s groves between thousands of Mexican orange pickers who wanted to form a union and the lords of Orange County: police, the sheriff’s department, the district attorney’s office, California Highway Patrol, farmers, captains of industry—all of them. They so brutally crushed the strike, illegally arresting hundreds and letting vigilantes loose on local barrios, that legendary progressive historian Carey McWilliams described law enforcement’s treatment of naranjeros as “fascism in practice.”

The Citrus War set back labor in Orange County for generations and forever cemented OC’s distrust of Mexicans.

But lost to moldering microfilm reels is the story of how and why county government and business was so thoroughly prepped to put down the unrest. Just two years earlier, an attempted strike by a handful of dairy workers whipped up the powers that be into a frenzy and got law enforcement, farmers and the press together to craft an attack plan that ensured pesky workers would face their full, collective wrath next time. The mastermind: Sheriff Logan Jackson, who was to the office in 1930. He’s mostly forgotten in the annals of local law enforcement— there’s no jail named after him, there was no crippling scandal during his terms, there isn’t even a plaque somewhere honoring him. But Jackson proved a pioneer in a favorite Orange County sport: using made-up threats to justify an expansion of government power to suppress dissent.

A man who publicly portrayed himself as pious to the point that he’d take out ads in local newspapers urging people to attend church, Jackson originally ran on an anti-alcohol platform during the last days of Prohibition. But he quickly realized that what constituents feared most wasn’t boozehounds, but rather the specter of workers demanding better pay. And in the early years of the Great Depression, strikes across the country led to the formation of unions, improved working conditions and strengthened poor people—all anathema to Orange County. Local businessmen demanded that elected officials not only respond to any demonstrations, but also stop leftist thoughts from ever spreading here.

Jackson obliged. In 1931, he created a strike force that would be on call at all times—all a farmer had to do was complain to them about grumbling employees,

GUSTAVO ARELLANO

and the sheriff would visit the worksite himself, accompanied by dozens of deputies. Jackson’s squad put down movements in San Juan Capistrano and Stanton, as well as among berry pickers and citrus fumigators, encountering few problems.

But in 1933, an unlikely new front emerged: dairies. Throughout the year, cow farmers nationwide went on strike demanding higher prices for their milk, with riots and even deaths as a result.

The Jackson-friendly Santa Ana Register breathlessly reported on the milk troubles, with headlines such as “Why the Strikes,” “Farmers Dump Milk and Halt Livestock Shipment,” and “One Man Killed in Farm Strike.” It even ran a photo of bat-wielding strikers at blockades—journalistic cues warning OC of the violence bound to happen if local radicals had their way.

Orange County had a relatively small dairy industry, but the fear campaign worked. In July of that year, the Board of Supervisors made it a misdemeanor to picket based on Jackson’s assertion that “striking Mexicans” shot at a white rancher during another tussle. Jackson also announced he was deputizing members of the American Legion, in case any troubles reached here.

At the beginning of 1934, a strike finally hit OC’s dairy farms: A grand total of 21 milkers walked off their jobs in Los Alamitos, Costa Mesa and Santa Ana, demanding increases in wages from $40 to $90. About the most radical thing organizers did was leaving pamphlets in cow pens that classified their struggle as a “class fight” against “capitalists” and hanging signs that stated, “This dairy on strike; do not scab.”

It didn’t matter: Jackson went into overdrive. At the Raitt Dairy Ranch in Santa Ana, armed deputies transported

milk from Riverside County to the plant, lest strikers attack them. The Orange County Farm Bureau and multiple chambers of commerce organized milkers to work as scabs at dairy farms in Los Angeles. Jackson sent 14 deputies to confront two strikers and had a deputy stationed outside his home around the clock, claiming he had received threatening notes.

“Sheriff Jackson,” the Register reported, “said he is determined to protect life and property in Orange County and is making active preparations to meet any emergency which might arise.”

Four men were eventually arrested for picketing, one of them shotgunned by a dairy farmer; after getting treated at the hospital for injuries to his hand and legs, the striker went to jail, while the farmer wasn’t charged. Summoned before a judge during a hearing on a writ of habeas corpus against the arrested strikers, Jackson was unapologetic. “The county could not afford to let the milk strikers gain a foothold,” he was quoted as saying, “because enthused with any success in that attempt, they might spread to the citrus industry and other trades.”

A judge gave the four workers suspended sentences, and that was the extent of the milk strike. But the tiny action so spooked Orange County that Jackson was able to solidify his anti-leftist tactics.

Two weeks later, the Board of Supervisors heard from Santa Ana constable Jess Elliott—a former Ku Klux Klan member who succeeded Jackson as sheriff—on a plan to organize peace officers countywide in the event of a future strike.

Included in the plan was for “newspaper publicity to inform agitators that the police are ready to handle the emergency” (as though a seal barking its approval, the Register followed with an editorial urging

prospective strikers to be content with their low wages, saying, “There must be an infinitely greater satisfaction in working, even for less money, to produce and to carry on the natural orderly processes of useful work”).

Months later, Jackson, while announcing his re-election campaign, boasted that “attempts to include labor troubles [in Orange County], such as the milk strike, were promptly stamped out before they could gain headway.” In ads, the Logan Jackson Club boasted that its man “was ready for the agitator here and he didn’t get in. He was nipped and nipped hard.”

Another ad was composed of nothing but press clippings from OC’s many small dailies, all praising Jackson’s handling of the milk strike.

Jackson won re-election in November and was given free reign to further his power. In June 1934, the Orange County Peace Officers Association, under the watch of the sheriff, sponsored a weapons event in which gas grenades and shells, along with a Tommy gun, were set off at sunset on the beach at San Clemente; the Register reported, “These are available in case of need in any part of the county.”

The arsenal would be used to intimidate striking orange pickers during the Citrus War, with tear gas being tossed into buildings and strikers being marched into court by marshals hawking Tommy guns. Again, we go to McWilliams, who described the sheriff and DA “ordering Mexicans around as though they were prisoners in a Nazi concentration camp.”

The more things change . . .

GARELLANO@OCWEEKLY.COM

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» GUSTAVO ARELLANO DEAR MEXICAN: I’ve always wondered during my travels in Mexico why Mexicans paint the bark of their trees white. I’ve heard that it helps with controlling pests and that it helps to protect young trees from sunburn. Can you please tell me the correct reason why this practice is followed? Trees are much more attractive when you leave them in their natural state and natural color.

Go Green DEAR GABACHA: What you heard is right. Also?

Trees are much more attractive when they’re alive instead of dead.

DEAR MEXICAN: Why do white guys still think it’s cute to call a Latina “spicy”?

Serene Serena DEAR POCHA: The term hasn’t just been applied to mexicanas; I’ve found newspaper clippings from 1866 hailing the virtues of a “spicy woman.” But referring to the better sex by her hotness is almost universally applied nowadays to Mexican mujeres.

The answer is obvious: It has been ingrained in the American consciousness ever since gabachos discovered our women and chiles and decided they wanted chiles in their mouths and our women on their puny chiles. In that light, it’s easy to understand why gaba men still use such antiquated, sexist, racist language: They’re gabachos. It’s like asking why a dog eats its own caca. And now, a quick etymological lesson: The earliest mention I could find of referring to a woman as a “hot tamale” is in a 1909 Philadelphia Star article; the earliest example of the old saw “spicy señorita” happened in a 1919 advertisement in The Seattle Star for a vaudeville show called The Spanish Vamp that promised “A Spicy Dish of Senoritas”; the term “spicy señorita” appears again in a

1940 St. Louis Post-Dispatch ad for Down Argentine Way, a Betty Grable/Don Ameche/Carmen Miranda musical that offered “Spicy Senoritas . . .

Sultry Songs . . . in the South American Way!” And, sí, in the latter two shows, there is no tilde over “senorita” because tildes weren’t invented for the English language until 1978.

DEAR MEXICAN: Why are all Mexicans so hardheaded? I was working a promotion last fall at Reliant Stadium for the Fiestas Patrias, and in the process of the event, I came to realize that Mexican people just won’t understand the meaning of “I can’t” or “No.” These people wouldn’t understand I couldn’t give them a shirt from the Mexican soccer team, that it was only for people who would activate a phone. They also kept begging us to give them backpacks after we had run out of them. I would tell them “Wey, ya no tenemos, en serio,” and that Mexican would repeat “Sí, wey, sí tienes. Ándale, dame una para mi hijo.

Tu puedes.” At that point, I came to think, “What the fuck is wrong with us? Why can’t we understand?” Explain to me why!

I’ve Done Half the Fifth Ward DEAR POCHO: And you know the dad wanted the backpack for himself, amiright? But I’m also noticing another Mexi tendency here: our knowledge that everyone’s always on the take, that all you need to know to get what you want are the right palabras or have the right amount of cash, and you can get most anything. And we learned that from the best source imaginable: American electoral politics, which makes Mexico’s PRI oligarchy resemble Jimmy Stewart’s character in Mr. Smith Goes to Washington.

ASK THE MEXICAN at themexican@askamexican.net, be his fan on Facebook, follow him on Twitter, or ask him a video question at youtube.com/askamexicano!

» ANONYMOUS Wrong Slip

W

BOB AUL

to get bombed in the VIP tent. Exiting, your wife commented on what a great job you did getting such a great parking spot. I noticed your car had a yacht-club decal on the back.

Here’s hoping your boat sinks.

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

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hile working a second job parking cars, I was designated to the handicap lot. Of course, everyone with a blue placard was pointing it at me as they approached, making sure they are in the elite status category.

You and your son decided to ignore my signal and park yourself in a wheelchair spot I was saving for the woman who had a 90-year-old mother who was dying of cancer.

You made some remarks and proceeded

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Fur Flies At NBFF 2016

Fursonas takes on the secretive world of furries—and the movement’s furrious fuhrer

By matt coker

not get marching orders from the masters of the website FurAffinity.net or FA).

Rodriguez is not apologetic about how things turned out. “Ignoring the story right in front of me would be worse than making one up,” he reasons.

Those who go to see Fursonas at the Newport Beach Film Festival (or anywhere else) may wonder after the first 20 minutes what he’s talking about. The movie starts out so earnest. “It was important,” he explains, “to get to know who all [the furries] are as people.”

They have names for their furry personae such as Quad, Diezel and Boomer the dog. Actually, the latter becomes, to this viewer at least, the hero of the film, as he is the one interviewee who most embodies the furry philosophy, which is pretty much the same as Dr. Frank-N-Furter’s: Don’t dream it, be it.

“He’s a remarkable individual,” Rodriguez says of the fellow who took his name from the title character of the 1980-82 NBC show Here’s Boomer. “He is the only person I have ever met who 100 percent doesn’t give a shit. But he’s not a dick about it; he is just totally who he is.”

That’s much to the chagrin of official

» CONTINUED ON PAGE 2

| ocweekly.com |

reason he was down with filming furries.

“I’d been interested in furry stuff for a really long time, secretly,” he says. He is speaking from Chicago, where Fursonas is showing at an Arclight theater. “I used this as an excuse to get into that subculture. I was in it, but I did not go to conventions, and I had no suit. I did not know the social scene. It was like I was half in and half out. This seemed like a pretty good place to start.”

Despite Rodriguez’s own furry fandom, he intended to tell the truth—whatever that turned out to be.

“I wanted the whole thing to feel real,” he says. “I did not want it to be a PSA, but I also did not want something exploitative. It was all about finding that middle ground.”

Pulling an actual story out of that middle ground proved difficult, however.

“For a while, there was not a plot, just portraits. It was really boring. . . . I didn’t want to create a story where there isn’t one. However, after working on it a long enough time, all the stuff started adding up to a pretty amazing story, I thought.”

The story he found . . . well, let’s just say it’s a warts-and-all portrait of the “official” furry community and how it is run with an iron paw by Uncle Kage (who may or may

mAont h 15-21 x x–xx 20 14 pr il , 2 ,016

Newport Beach Film Festival, Dominic Rodriguez hopes to move the national conversation beyond furries as freaks, sexual or otherwise. But what the filmmaker discovered two years into the project was even more fascinating than that.

Right at the center of it is Conway, who is known by his furry followers as Uncle Kage (pronounced kah-gay).

Fursonas truly could have wound up an entirely different film. As a filmmaking major at Point Park University in downtown Pittsburgh, Pennsylvania, Rodriguez needed a project for his senior thesis.

So did classmate Olivia Vaughn, whom Rodriguez had worked with on student films before. They got on so well they decided to team up for their senior theses on a documentary about autism or mental health, but that fell through.

They were scrambling for a new subject around the time Anthrocon was headed back to Pittsburgh. Neither filmmaker had been to the convention before, so director Rodriguez and producer Vaughn decided to bring a camera to the Three Rivers City’s Westin Convention Center Hotel.

The rest is furry movie history.

But Rodriguez confided to the Weekly that completing studies was not the only

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ou really can’t blame Dr. Samuel Conway for being so overprotective of furries.

The community of folks who draw, identify with and get together in animal costumes has taken its lumps in the media over the years, according to the organic chemist who leads Anthrocon, the largest furry convention in the world. In a 2001 Vanity Fair article, author George Gurley proclaimed, “This is no hobby.

It’s sex; it’s religion; it’s a whole new way of life.” The following year, furries were branded sexual deviants on MTV’s Sex2K/True Life. A 2003 episode of CSI: Crime Scene Investigation (called “Fur and Loathing”) began with a dead body in a raccoon suit before moving on to the usual furred suspects. On Entourage, a bunny suit-wearing Drama fucked a woman in a dog suit—appropriately enough—doggiestyle after Turtle refused to wear the bunny costume. Perhaps most famously/ notoriously was a 2009 episode of The Tyra Banks Show that featured a couple in bed talking about their costumed sex play as the hostess and soccer moms in the audience looked back with mouths agape.

With the documentary Fursonas, which rolls during the April 21-28 run of the

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Coker’s NBFF 2016 Watch List Dirty Old Wedge. Producer/director Tim Burnham’s Kickstarter campaign resulted in this documentary on Newport Beach’s world-famous surf break. Producer/D.P./Chapman University alum Jeff McCoy captured stunning footage of the wall of water Burnham has plied for a decade.

Po. The amazing backstory to this drama about a single dad caring for his autistic son is that director John Asher told Burt Bacharach about his project on a plane, and the legendary composer offered to write the music. The kicker: Asher did not know who Bacharach is. The six-time Grammy winner receives a Legends award from the festival on April 23.

Remember Me. Veteran actress Rita Moreno will be another Legends honoree. She stars as a grandmother on her way to being put in a home when her meds start wearing off; she snaps back to reality, and her self-involved boys are forced to deal with her.

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Orange Sunshine. Former Newport Beach resident William A. Kirkley’s documentary on the Brotherhood of Eternal Love—the hippie LSD dealers based in Laguna Canyon back in the day— is the same title and subject matter of Weekly managing editor Nick Schou’s 2010 book, which is being spun into a cable-TV series.

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Showing Roots. Set during the 1977 airing of Roots, Maggie Grace (Taken) stars as a young woman who cannot break into a small Southern town’s white-beauty-salon business. Then another young woman played by Uzo Aduba (Orange Is the New Black) helps her get established on the African-American side of the tracks.

My Name Is Emily. A young girl runs away from a foster home to find her visionary father, who is locked up in an Irish mental institution. A “making of” documentary may be even better than this drama. Determined to helm his first feature despite being unable to speak and confined to a wheelchair due to motor neuron disease, Dublin writer/director Simon Fitzmaurice interacted with his cast and crew via retinal-recognition software that enables a wide range of communication only with one’s eyes.

The Phone. Say the words “thriller” and “South Korea,” and I’m there. Kim Bong-ju’s debut is about a man who is able to speak to his late wife—and try to go back in time to prevent her death—through a mysterious phenomenon.

La Tradition. The foodies at Grub Tribe serve a most worthy subject for a documentary: Orange County’s longtime, colorful chef Pascal Olhats.

Tear Me Apart. NBFF Features Director Max Naylor described it as “a pseudo love triangle with a sous of cannibalism.” How can I pass up that?

VR Lounge. It’s not a film; it’s the festival’s first room in which viewers can strap in and see virtualreality footage. A new media seminar is also on this year’s bill.

—MATT COKER

For dates, times, more titles, tickets and more, visit www.newportbeachfilmfest.com.

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furry fandom, whose leadership scoffs at the practitioner’s paper costume and unsuccessful attempt to legally change his name to “Boomer” (and species to canine).

“Now, furries who have seen the film are saying they feel bad about things they have said about him [in the past],” Rodriguez says. “That’s cool. He has been in this scene forever. A lot of people were not even furries when he started. He is very self-aware and smart and knows exactly what he is doing. He gave me so much insight. He’s the zen master. I told him, ‘I aspire to be a 10th as cool as you are.’”

Boomer embodies the tug-of-war between living freely as a furry and the fierce protection of the community’s image. “That took a really long time,” Rodriguez says of nailing down the film’s main story. “I knew going in furries were kind of protective of their image. I did not know to what extent.”

Unprecedented access—as well as footage that may prove embarrassing to Uncle Kage—produced the most telling moments in the film. “I didn’t find the Uncle Kage videos until later,” Rodriguez says. “The revelations happened after working on the film for two years. It changed a lot over time, but the change was organic.

“My friend said it best: ‘He gives himself enough microphone cord to hang himself.’ Nothing was sneaked to us. It’s all on the Internet. It’s from panels he’s hosted all over the U.S.” Conway is so protective of the furry image that even after back-and-forth emails with an unabashed enthusiast such as Rodriguez, the two could not agree to terms for an on-camera interview. “He was always very polite about it,” the director says of Uncle Kage.

Fursonas includes a card onscreen that explains Conway demanded the right to preview and edit whatever Rodriguez shot.

When the movie was set to premiere at Slamdance in January, festival organizers received an email from Anthrocon stating that showing the documentary would amount to a breach of copyright, according to Rodriguez. “Our lawyer sent back an email stating not showing it would be a breach of our civil liberties,” Rodriguez says.

“They haven’t said anything since then.”

He believes the organization’s leader is simply behind the times. “Uncle Kage represents that furries are totally normal and a force of good,” he says. “That’s a ridiculously unrealistic expectation to set.

I think they should be taken seriously, but it’s also funny, and you are free to laugh at it. Look at any other community: Is the gay community good or bad? Or is the Christian community good or bad? They just are. They are just a huge group of people.”

As with everything else in this uptight country of ours, it all comes down to sex— and, in Uncle Kage’s view, whether the general public should know how large a roll it plays in furry fandom.

“It definitely feels like a big part of it online, with the [furry] porn,” Rodriguez says. “It keeps coming back to that. There are many kinds of perversions.”

Why would the sexual proclivities of participants be such a big deal in a community that obviously does not otherwise care what people think of them?

“I’m biased because I believe ‘just do what you do and let the chips fall where they may,’” Rodriguez says. “But other people have more reasons to feel the way they do. My parents are amazing and supersupportive, so it’s easy for me to say, ‘Just

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express yourself.’ Other people have never told their parents. So if they say cartoon fans who give to charity are all they are, I understand why they are saying that.”

F

olks interviewed in Fursonas suggest furries came out of the closet, so to speak, thanks to Disney. The 1994 release of The Lion King, which applied human characteristics to ferocious felines, seems to have done the trick. The rising Internet culture allowed furries to find one another.

Anthrocon debuted in Albany, New York, in 1997.

But there’s a local thread to furry history that dates back even farther. Anthropomorphic fandom and MUCK (MultiUser Chat/Created/Computer/Character/Carnal Kingdom) combined for the high-speed role-playing FurryMUCK at North Carolina State University from early 1990 through mid-1991, when it was forced to move to UC Irvine. FurryMUCK stayed in Orange County through November 1991, when it moved to Carnegie-Mellon University, then on to the University of Toronto and St. Norbert College, where it remained until 1999, when it was finally relocated to a dedicated server.

Many local enthusiasts belong to SoCal Furs (socalfurs.com), which began as a Yahoo Group on April 28, 2000. “No matter what your species, all are welcome here,” read the intro for the adult-only community that shared information on upcoming events and news. Members were advised, “Keep all subject matter friendly (i.e. . . . no flaming, no drama).”

When it’s mentioned what psychologists have written about furries—that most are males, most of those males are gay or bisexual, most of the females are heterosexual, most of all of them were into cartoons more than non-furries, and most have long identified with animals or animal traits—Rodriguez tends to agree . . . to a point. “The reason I hesitate on taking a stand is because there has never been a conclusive, thorough study,” he says. “It’s true in my experience, but for every example, there are a million counterexamples.

“I agree that there is more openness to the LGBT spectrum in the community for sure, but there is more openness to everything,” he continues. “Part of our film’s takeaway is there is something different in the community for everyone involved.

You can’t say how much [of the psychological profiles] are for sure unless you get to know each individual.”

Rodriguez sees parallels between the furry community and the transgender community, which has also been nudged

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Best Genre Flicks at NBFF

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into the mainstream by recent moving pictures (Transparent and Orange Is the New Black). “It’s starting a conversation.

It’s great. You do not even have to like it. The fact that this isn’t something that is talked about makes it interesting. Me, I’m more interested in the furry side of things, so I stand to gain more from it. But other people will find it relatable. Someone with a documentary about a little religious group told me, ‘I have the exact same struggles getting my film made.’

They have their own Uncle Kage.”

Rodriguez believes the furry fandom “is at a transitional point right now. The timing of this movie is really lucky. Some furries are fed up with how their image is being controlled. Others are really passionate about this.

Maybe there was a time the Uncle Kage approach was needed, when you had to whitewash things and cast people out for the greater good. But you can argue that time is ending, or maybe it’s over now and it’s time to move forward and be more progressive.”

MCOKER@OCWEEKLY.COM FURSONAS screens during the Newport Beach Film Festival; www.newportbeachfilmfest.com. At the Triangle, 1870 Harbor Blvd., Costa Mesa, April 23, 3:30 p.m.; and at Island Cinema, 999 Newport Center Dr., Newport Beach,

Lace Crater is a film written and directed

by Harrison Atkins, in which a twentysomething woman named Ruth spends a weekend in the Hamptons with some friends for some drunken debauchery.

After a pill-popping episode, Ruth finds herself alone in the supposedly-haunted carriage house and meets “Michael,” the ghost rumored to be living there, dressed completely in burlap sacks. They have intellectual conversations and end up having sex, but by the morning, he has completely vanished. Things go awry from there: Ruth starts to feel horrible physical effects, from vomiting violently to memory loss to shedding her skin. Her doctor tells her she has an STD that he can’t seem to identify—because, unfortunately, medical science hasn’t advanced far enough to diagnose paranormal STDs. Not for the easily disgusted, this film will make you feel better about your own love life.

Other notable horror flick mentions include Curve, which features Julianne Hough as the lead heroine, Mallory, putting her post-Dancing With the Stars gams in danger when she gives a hitchhiker a ride after he helps her with her car trouble.

That hitchhiker (played with demented gusto by Teddy Sears) turns out to be psychotic, so when Mallory sees he’s not wearing a seatbelt, she tries to kill him by driving into a guardrail overlooking a cliff, but the crash only leaves her leg stuck in the vehicle while the car teeters over the edge of the cliff. Will Mallory escape to safety from the car and her homicidal passenger?

SCI-FI

The premise of French science-fiction thriller House of Time focuses on Robert, who moves into a castle and discovers its time-traveling powers, enabling him to travel back to the World War II German occupation of France and study secret scientific documents belonging to Nazis.

Robert’s friends don’t believe any of this, so he invites them over for a weekend stay. As the night moves forward, each friend encounters Nazis, spies and strange characters. For the average person, this might be enough to convince them they’re in 1944, but these friends still firmly deny the time warp. They have the potential to change history, but will they? Would you?

Another must-see for sci-fi junkies is U.K. short film FlySpy, and it’s a doozy.

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Best Genre Flicks at NBFF » FROM PAGE 4 An eccentric, obsessive inventor named Greg builds a tiny drone camera in the shape of a fly to spy on his ex-girlfriend, Haley. Greg can now view every intimate move she makes, as well as that Haley has a

new abusive boyfriend. Rather than offering help, Greg offers a deal: If Haley sleeps with him one more night, he’ll get rid of her toxic beau for good (because he wasn’t already creepy enough). FlySpy screens as part of the Horror Shorts series.

SHORTS

Speaking of shorts, the Short, Sweet &

to transform public spaces and creating physical yarn installations for an incredible new art medium.

Continuing in the street-art vein, Los Angeles-based street artists Chaz Bojorquez, Defer and Big Sleeps are among the names profiled in Dark Progressivism, which profiles former gang members who went from committing crimes to painting murals and, eventually, landing in art galleries. The style, called Dark Progressivism, refers to the way artists aim to channel their angst of inner-city violence and drug use into an artistic movement, rising above their grim circumstances and influencing others just like them—and, in the case of Bojorquez, becoming legendary.

Harry Benson: Shoot First details the Scottish culture photographer who was at the center of many roving hipster and youthquake movements of the 1960s and captured the Beatles during their 1964 tour through America. This film aims its lens at Benson, who discusses the intimate background stories about some of the most iconic moments he’s photographed with Muhammad Ali, Michael Jackson, Martin Luther King Jr., Ray Charles and Elizabeth Taylor. It’s paired with the short documentary Cindy Sherman: Untitled Film Stills, which features another famous photographer who changed the game for photography as art during the 1970s.

AMURILLO@OCWEEKLY.COM

For dates, times, more titles, tickets and more, visit www.newportbeachfilmfest.com.

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Queer series promises great documentaries on trans and gay youth, including Lexi and Pink Boy. For the second year in a row, the Made In California short series and juried competition will screen multiple films made in or about California, with an official recognition from the state of California given to the director of the winning film. And new program Down Her Shorts features films focused on female, um, masturbation and sexual discovery.

(While there’s no rating system for every film, the programmers point out this series is more appropriate for mature audiences, so maybe take your kiddies to see the 35thanniversary screening of The Fox and the Hound instead.)

The much-celebrated Art, Architecture and Design series continues, including an Orange County Musueam of Art-hosted screening of Eva Hesse, a documentary on the pioneering Jewish-German sculptor and artist, as part of NBFF and OCMA’s ongoing Cinema Orange series. Tyrus is a documentary on the life of Tyrus Wong, a Chinese painter who contributed heavily to animated films for Warner Brothers and Disney studios as a storyboard artist, inspiring the look and design of the 1942 Disney film Bambi.

Icelandic import Yarn spins a documentary on the traditional craft of knitting, crochet and other wool-based arts. Often considered skills saved for the domestic sphere, modern artists all over the world have applied them to their street art, namely in the form of yarn bombing

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[film]

Motor Madness

Queen of Hearts

We’ve all fantasized about peeling out on city streets, pedal to the floor, without a care for traffic lights. But the possible sound of police sirens and handcuffs stops us from making the sound of screeching tires and engines roaring a reality. This weekend, the Toyota Grand Prix of Long Beach allows drivers to make that forbidden dream come true in the streets of downtown near Shoreline Village. Sure, the course is closed off and the drivers are professionals, but you can still see the joy of possibility on the faces of the drivers and spectators alike. Especially because the spectators are allowed to drink beer. Live vicariously through one of your favorite drivers and make some legal memories at the 42nd annual Long Beach Grand Prix.

Toyota Grand Prix of Long Beach in downtown Long Beach, 300 E. Ocean Blvd., Long Beach, (562) 981-2600; gplb.com. 8 a.m.; also Sat.-Sun. $30-$142.

Last year, the Frida Cinema held a screening of the beloved Gregory Nava-directed, Jennifer Lopez-starring biopic Selena to honor what would have been Selena Quintanilla’s 44th birthday. Fans still can’t believe how long it has been since the loss of the Queen of Tejana music, so once again, the Frida Cinema will host the same event that made such a splash last year.

Presented by DeColores Queer Orange County, the screening will feature themed cocktails for the 21-and-older crowd, drag performances, bustier contests, Selena merchandise and more. Come to what’s sure to be another sold-out event and wish this larger-than-life talent and beloved music figure a big happy birthday—because “anything for Salinaasss!”

Selena: 45th Birthday Celebration Screening at the Frida Cinema, 305 E. Fourth St., Santa Ana, (714) 285-9422; thefridacinema.org. 8:30 p.m. $15-$35.

—AMANDA PARSONS

—AIMEE MURILLO

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‘Happy Happy Joy Joy’

Assembled in partnership with Nickelodeon, “Happy Happy Joy Joy” focuses on the first wave of original animation on the channel in the 1990s and honors creator-driven animation and the resulting wave of cheerful insanity that included Ren & Stimpy, Rocko’s Modern Life, SpongeBob SquarePants, and more.

Besides production ephemera and artifacts, there are also some giant installations and a creator’s talk with SpongeBob’s Stephen Hillenburg, Doug’s Jim Jinkins, Vanessa Coffey and more.

‘Happy Happy Joy Joy: Art and Artifacts From 25Years of Creator-Driven Animation” at Cal State Fullerton’s Begovich Gallery, 800 N. State College Blvd., Fullerton; www.fullerton.edu/arts. Creators’ panel, 2 p.m.; reception; 4 p.m. Exhibit runs through May 22. Free; tickets for panel are free with RSVP. —CHRIS ZIEGLER

[food & drink]

Wine ’Em, Dine ’Em California Wine Festival

No one can turn day drinking in a park into a classy affair quite like South County can—as evidenced by the return of the California Wine Festival, held at Dana Point’s scenic Lantern Bay Park. Come for a weekend of civilized bacchanalia, with about 50 different wineries offering tastings of our state’s finest vintages. Pair that with gourmet more appetizer samples, online live music, dancOCWEEKLY.COM ing and more, and you’ve got a celebration worth paying for Uber’s surge pricing. However, with hundreds of different wines to try, we strongly recommend eating a big ol’ breakfast before you go.

California Wine Festival at Lantern Bay Park, 25111 Park Lantern, Dana Point, (949) 248-3530; www.californiawinefestival. com. VIP ticket holders, noon; general admission, 1 p.m. $69-$125. 21+.

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[comedy]

Sunday Shpritzing

‘Great Jewish Americans 101: The Comedians’ When I was a kid, I watched a talk show on which Alan King was asked if all comedians are Jewish. “No,” he answered. “But the funny ones?” He and Groucho Marx, Jack Carter, Dick Shawn, Buddy Hackett, Rodney Dangerfield, Shecky Greene, Don Rickles, Jan Murray, Phil Silvers, Jackie Mason,

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Soupy Sales, Jack Benny, George Burns, Mel Brooks, Joan Rivers and Henny Youngman shaped this young gentile’s sense of humor.

Kliph Nesteroff, author of the much-lauded The Comedians: Drunks, Thieves, Scoundrels and the History of American Comedy, is here to enlighten us on their contributions to pop culture in a discussion and clip show with Dana Sussan.

“Great Jewish Americans 101: The Comedians” at Merage Jewish Community Center, 1 Federation Way, Irvine, (714) 4454950; www.jccoc.org. 4 p.m. $10-$50.

—MATT COKER

[family]

Leaders of Tomorrow OC Fair Imaginology

The OC Fair Imaginology is an annual fun fest focused on building youth interest in math, science, technology, arts and community service. It returns for its 36th year with three full days of exciting programs and learning activities for every interest under the sun. Today wields a hefty schedule including goat-milking demonstrations; craft workshops; a rubber duckie race;

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Homegrown talent Anesha Rose is a staple in South County’s music scene, electrifying audiences from dive bars to fine dining establishments with her powerhouse vocals and dynamic stage presence. Her flexible range allows her to cover a multitude of genres—among them blues, pop, folk and rock—and she easily commands attention in both solo and group settings. Catch her tonight at the Marine Room Tavern, where she’ll transform yet another Monday night into a rip-roaring good time, aided by some musical friends and plenty of whiskey on deck.

Anesha Rose & Friends at Marine Room Tavern, 214 Ocean Blvd., Laguna Beach, (949) 494-3027; www.anesharose.com.

8 p.m. Free. 21+. —AIMEE MURILLO

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educational exhibits; LEGO building demonstrations; science, engineering and medicine shows; musical performances; food; contests; and more. Recommended for children ages 2 to 100, admission is completely free and students from kindergarten to 12th grade are invited to showcase their projects and compete for statewide recognition. Full STEAM ahead!

OC Fair Imaginology at OC Fair & Event Center, 88 Fair Dr., Costa Mesa, (714) 7081500; www.ocfair.com/steam. 10 a.m. Free.

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[concert]

Back for the Kill The Kills

As Alison Mosshart and Jamie Hince have been putting the finishing touches on Ash & Ice, the band’s fifth studio album, due in June, Mosshart rejoined her Dead Weather band mates—including Jack White on drums—to create another strong effort in Dodge & Burn.

If Ash & Ice’s first single, “Doing It to Death,” is an indication of what’s to come, then fans who have been waiting five years for a new Kills record will be quite pleased. Despite multiple surgeries to repair Hince’s hand and his relearning how to play the guitar, the band’s smattering of their trademark bluespunk underneath a melodic synth proves that chemistry and a killer sound will overcome any physical ailments and obstacles that come in the way of killer grooves.

The Kills with the Big Pink at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. 8 p.m. $35. —DANIEL KOHN

[theater]

Good Habits

THE COACH HOUSE www.thecoachhouse.com TICKETS and DINNER RESERVATIONS: 949-496-8930 4/15 4/16 4/17 4/21 4/22 4/23

Sister Act

wed/04/20 [art]

Like a Rainbow ‘Portals’

Charmaine Olivia’s paintings could easily be described as trippy, in that wonderful, colorful sense in which part of your brain is triggered by its otherworldly beauty. Working in psychedelic portraiture, Olivia takes figures and faces out of the mundane and uses bright splashes of color, loose brush strokes and other imagery to make her dreamy art layered with vibrant complexity. Her latest show at DAX Gallery, “Portals,” transports the viewer into her mind, where a world of sensual sirens bathed in pastel blues, pinks and yellows await in repose. While Olivia revels in depicting beauties at their calmest moments, her paintings also showcase the tenacity within every woman.

Charmaine Olivia’s “Portals” at DAX Gallery, 2951 Randolph Ave., Costa Mesa, (714) 957-1706; daxgallery.com.

11 a.m. Through April 30. Free.

Based on the 1992 Whoopi Goldberg film in which nightclub singer Deloris Van Cartier enters the witness-protection program disguised as a nun and subsequently brings good music and high attendance to a struggling convent, this Tony-nominated hit by composer Alan Menken was a family favorite on Broadway. The book, by Cheers writers Cheri and Bill Steinkellner, was praised as “strong, funny and touching” by The Telegraph writing on the West End debut, with The New York Times and Variety offering less favorable reviews, but conceding that Broadway audiences responded enthusiastically to the disco beats. Perhaps they were expecting Hamlet instead of just ham, which is complete nunsense, of course.

Musical Theater West presents Sister Act at Carpenter Performing Arts Center, 6200 Atherton St., Long Beach, (562) 856-1999, ext. 4; www.musical.org. 8 p.m.

Through April 24. $22-$75. —SR DAVIES

4/16

Y&T

4/24 4/28 4/29 4/30

4/21

THE ANN WILSON THING

4/29

DEANA CARTER

5/1

THE SMITHEREENS

—AIMEE MURILLO

Old New ROse The damned

Leading Lady Julieta Venegas

The Latin Alternative music scene is rich with compelling front women these days, but if it hadn’t been for Julieta Venegas, that might not have been the case. The Mexican singer/songwriter helped to pave the way for female vocalists when she arrived on the scene as a solo artist almost 20 years ago. Sporting the most stylish Mexi eyebrows since Frida Kahlo, she dazzled critics with Bueninvento in 2000 and reached mainstream success six years later with Limón y Sal. Though both landmark albums held distinctive sounds, her trusty accordion remained a consistent companion throughout her career. Venegas returns with her seventh studio album, Algo Sucede, a new wave-, ranchera- and piano ballad-infused collection of songs.

Julieta Venegas at House of Blues, 1530 S. Disneyland Dr., Anaheim, (714) 778-2583; www.houseofblues.com/anaheim. 8 p.m. $42.50-$75. —GABRIEL SAN ROMÁN

5/26 & 6/2 LEON RUSSELL

6/2 6/3 6/4 6/5 6/8 6/10 6/11 6/16 6/18 6/19 6/22

UPCOMING SHOWS 7/1 7/2 7/6 7/8 7/9 7/10 7/17 7/22 7/23

DAVE ALVIN & PHIL ALVIN W/THE GUILTY ONES HINDER TED NUGENT CASH’D OUT WILD CHILD THE FABULOUS THUNDERBIRDS VONDA SHEPARD JOHN WAITE THE YARDBIRDS

7/31 8/6 9/15

THE WAILERS DESPERADO GUITAR ARMY FEAT. ROBBEN FORD, LEE ROY PARNELL, JOE ROBINSON 9/16 RICHARD CHEESE 9/17 DICK DALE 10/15 PETTY VS EAGLES 10/29 OINGO BOINGO DANCE PARTY 11/4 DON MCLEAN

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The Damned have enjoyed massive success over the decades, with the release of the biographical documentary Don’t You Wish That We Were Dead reinvigorating mass interest in the group in recent months. On the cusp of their 40th anniversary, it’s easy to see how the forefathers of Goth punk have stood the test of time since inspiring snotty teen boys to don black eyeliner in the 1970s with their brooding, raucous jams, as delivered by charismatic guitarist Captain Sensible and singer Dave Vanian, who are still performing and releasing music with fervor. Come to the Glass House tonight, or feel the pain of missing these punk pioneers play as if it’s 1976.

The Damned with 45 Grave and the Flamethrowers at the Glass House, 200 W. Second St., Pomona, (909) 865-3802; www.theglasshouse.us. 8 p.m. $27.50.

—AIMEE MURILLO

[concert]

5/25 LOS LONELY BOYS

5/8 5/10 5/11 5/12 5/13 5/14 5/20 5/21 5/22 5/25 5/26 5/27 5/28 5/29

A PR IL 1 5- 2 1, 201 6

*

[CONCERT]

5/1 5/5 5/6 5/7

THE TUBES Y&T ROD PIAZZA THE ANN WILSON THING AL STEWART ROGER CLYNE AND 5/27 THE PEACEMAKERS FUEL BILLY JOE SHAVER AUGIE MEYERS DEANA CARTER MICK ADAMS & THE STONES THE SMITHEREENS 6/4 PUDDLE OF CRYSTAL BOWERSOX MUDD L.A. GUNS OC’S FUNNIEST HOUSEWIVES TOMMY EMMANUEL JAMES MCCARTNEY JAVIER COLON 6/5 ANDY MCKEE TRASHCAN IRON BUTTERFLY SINATRAS VENICE WAYWARD SONS WHICH ONE’S PINK? STRUNZ & FARAH LOS LONELY BOYS LEON RUSSELL 6/16 FUEL ISRAEL GUN BOAT KINGS VIBRATIONS JUICE NEWTON ACOUSTIC TRIO LEON RUSSELL JONNY LANG PUDDLE OF MUDD 7/1 TRASHCAN SINATRAS DAVE ALVIN MORGAN HERITAGE PHIL ALVIN JUSTIN HAYWARD w/The Guilty Ones QUEEN NATION ISRAEL VIBRATIONS FLEETWOOD MAC VS HEART W/MIRAGE AND DOG N BUTTERFLY AL DI MEOLA 7/10 DONAVON THE FABULOUS THUNDERBIRDS FRANKENREITER

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HOLEINTHEWALL

» GUSTAVO ARELLANO

Pizza By the Sea TJ’S WOODFIRE PIZZA 641 Camino de los Mares, Ste. C100, San Clemente, (949) 243-6433; www.tjwoodfirepizza.com.

I

Chaat Room

NATALIE BURKE

The new Wok N Tandoor in Orange does chaat like no one in OC has ever done before

BY EDWIN GOEI

H

N Tandoor in Artesia would be as incongruous as eating a dirty-water hot dog at Marche Moderne.

And it’s the chaat that you should try here. There are about a dozen in all.

Along with dahi puri, there’s the more basic pani puri, which is the DIY version.

You’re given half a dozen of the hollow pastry puffs, bits of boiled potatoes mixed with onion, a tangy chutney, and a bowl of spicy mint water called pani. With your finger or a spoon, you punch a hole through the top of your puri, tuck in some of the potato mixture, dribble in some chutney, and then either fill it with the water or submerge it in the bowl to soak slightly before putting the entire thing in your mouth.

If you want something even crunchier, there are two variations on bhel puri, both consisting of fried noodles tossed in tangy sauces. The Chinese bhel—since it’s as spicy as it is sweet and sour—tastes like Thai mee krob adulterated with Tapatío.

The masala fries and the Szechuan fries (which actually resides on another part of the menu with the rest of the IndoChinese stir-fries) aren’t traditional. But if they only loosely fit the definition of chaat, they’re also what the non-Indians gravitate toward. One order is enough for two, and the Szechuan version of the fries can pass as a meatless main course.

It’s wok-tossed to coat each crisp crinklecut potato with a sticky, not-inauthentic sweet-and-spicy Chinese glaze.

You’ll also encounter good pokadas, gram flour fritters embedded with bits of vegetable matter, and samosas, which can

be had plain or served on top of more of that garbanzo-bean stew. And then there’s the pav bhaji, a plate of what appears to be spiced mashed eggplant cooked to silk that’s served with two lightly toasted dinner rolls. I asked an Indian friend if I was supposed to make little Sloppy Joes out of it like I did. He laughed and said, “I tear the bread and use it to pick up the gravy, but there’s no wrong way to eat it.”

Most of the customers who’ve already discovered Wok N Tandoor ignore the chaat. They instead hone into parts of the menu with which they’re familiar. I saw a Caucasian family eating slices of pizza, which are huge, engulfed in cheese and slathered by a tomato sauce with whispers of garam masala. Meanwhile, an Asian mom and dad ordered the Hakka stir-fried noodles to eat with their two small kids.

Both parties, of course, also ordered bowls of chicken tikka masala.

Though I wouldn’t deny anyone the tikka masala, I would argue the murg malai kabab—slightly charred chunks of juicy breast meat draped in a tangy white cream sauce—is just slightly better. And if you’re still hanging on to your tried-andtrue, how about a kati roll, a warm wrap filled with either cheese, lamb or chicken that they’ve somehow managed to fuse a fried egg onto the outside. It’s like an inside-out breakfast burrito. And you like breakfast burritos, don’t you?

WOK N TANDOOR 1948 N. Tustin St., Orange, (714) 782-7770; wokntandoor.com. Open Tues.-Sun., 11 a.m.9 p.m. Dinner for two, $20-$30. No alcohol.

GARELLANO@OCWEEKLY.COM

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ave you ever taken the last few broken pieces of tortilla chips from the bag, put them into a bowl, dribbled some salsa on them, and then ate them with a spoon? If you’re wondering what I’m babbling about, that was my attempt to equate the closest thing we Americans eat to the Indian concept of chaat. But I’m grossly oversimplifying. Chaat is much more complex than my lame example. Indian street food isn’t quite a meal, and it’s not quite a snack. At its most fundamental, chaat can be just crispy noodles topped with some diced tomatoes, onions and chutney. It can also be as intricate as fancy French hors d’oeuvres. Such is the case with dahi puri: hollow puffs of fried dough carefully stuffed with chickpeas, dusted with spices, injected with yogurt, then showered with crispy chickpea noodles called sev, cilantro leaves and diced onion. Chaat can also be hot and filling. Tiki chaat—a fried potato patty drowned in a spiced garbanzo-bean stew as sweet as fruit punch—is as substantial as chili fries.

Orange County has its share of Indian restaurants and markets at which you may have encountered a chaat dish. But at the new Wok N Tandoor in Orange, you can revel in an entire galaxy of chaat. And since it’s a food made to be eaten casually, often on the street, it’s appropriate this restaurant is its first true ambassador to OC. The place took up the space of a taquería and didn’t do much to the layout except add a new coat of paint. Ordering chaat at a fancier venue such as, say, white-tablecloth sister restaurant Wok

t made complete sense when TJ’s Woodfire Pizza slated its first brickand-motor for San Clemente. Over the years, the Spanish Village By the Sea has emerged as OC’s most pizza-crazed city, a place where traditions such as New York (La Rocco’s), old-school (Sonny’s), deep-dish (Selma’s), artisanal (Brick Pizzeria), pizza-with-beer (Pizza Port) and so many more stand on seemingly every block, each happy to get a slice of the action. Why San Clemente?

I’d argue that Italian pies are a metaphor for the city’s soul: laid-back, not too pretentious, always ready to party and make pals.

TJ’s has already seemlessly entered this scene—and brought with it a whole new game. It first earned raves in 2011, when owner Tim Gonzales brought out a brick pizza oven on a trailer and set up shop each weekend at the Great Park’s farmers’ market.

The lines quickly started, people from across Southern California enticed by a miraculous crust that was simultaneously crispy and chewy, with cheese melted into rivulets of love, and sauce with actual herb and tomato flavors. It was a simple premise, but it worked— yet fans clamored for more.

Gonzales has rewarded them with a full menu. The pizzas are as fabulous as ever, but now eaters can gorge on puffy burrata, grilled broccolini and tart salads. You can ask for your pizza to be made in a Neapolitan, New York, Sicilian or cracker thin style, depending on your mood. The pasta is fresh; the calzones, bruising. Whatever you order, eat it with one of the 16 beers on tap, everything from a Stone IPA to a Ballast Point Sculpin to a fabulous Anthem Cider.

My only complaint: the hours! While it’s open seven days a week, TJ’s doesn’t open on weekdays until 4 p.m. But Gonzales knows what he’s doing; his spot is right next to a Krikorian theater, guaranteeing eaters during peak movie hours.

Already, teens are sneaking in slices because two hours without a TJ’s slice is two hours too many.

MO NT H XX–X X, 2 0 14

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FANCY STREET FOOD

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MORE, PLEASE

EDWIN GOEI

Poke, Poke, Poke!

Poke bowl at H2O Poke & Grill

I

think we can all agree that once you’ve eaten at one of these newfangled build-your-own-bowl poke shops, you’ve eaten at all of them.

Sure, there will be slight differences in saucing, but there will always be something in ponzu and something else that’s going to be spiked with Sriracha. With that said, wherever you go, you’re still likely going to be pretty happy with what you eat. These poke-bowl shops are a great idea—the best way to get a sushi dinner without paying sushi prices. Still, some shops are better than others. And what makes the difference for me is usually three things: the price (whether or not you’re nickle-and-dimed essentials), the turnover (more customers equals fresher fish) and the variety of toppings.

What I like about the new H2O Poke & Grill is all of the above. There’s one set price ($8.99) for a standard bowl with

DRINKOFTHEWEEK » ROBERT FLORES

F

» EDWIN GOEI

three scoops of fish. There’s a constant queue of people, ensuring the fish is constantly cycled out. And there’s the fresh array of free toppings, most of which actually add flavor to seafood and include Mandarin oranges and mango. As far as poke toppings go, H2O’s choices certainly work better than crumbled Hot Cheetos, which I’ve actually seen offered at other shops that are desperate to distinguish themselves from the pack. Who could blame them for trying? Once you’ve been to one poke shop, you’ve been to ’em all.

H20 POKE & GRILL 13262 Jamboree Rd., Irvine, (714) 544-0066; h2opokegrill.com.

percent ABV, it was smooth, unlike some IPAs high in ABV. The Alpha Drive: Centennial/ Simcoe/Amarillo Double IPA, with an 8.8 percent ABV, had a citrusy upfront with the hoppiness at the back. Imperial Coconut Brown Ale ROBERT FLORES (7.6 percent ABV) has a strong, but not overpowering, coconut flavor.

A big trend in beerdom right now is pineapple IPAs. I’ve had a few local ones, but I wasn’t really impressed with the genre until Valiant’s Alpha Colada: Pineapple/Coconut Double IPA (7.6 percent ABV). It’s the equivalent of a Mike Trout grand slam! Valiant blended these two flavors perfectly: just enough pineapple, a touch of coconut and a double IPA—the perfect OC craft beer.

THE DRINK

The trend at Valiant seems to be smooth and enjoyable—quality qualities! The Acurum: Trappist Style Ale is a full-flavored dark ale, with notes of plums and raisins. Even at 10.5

VALIANT BREWERY 2294 N. Batavia, Ste. C, Orange, (714) 204-0080; www.valiantbrewing.com.

FREAKY

FAST SANDWICHES

SERIOUS DELIVERY!

TM

1835 NEWPORT BLVD. ~ 949.646.2541 ©2014 JIMMY JOHN’S FRANCHISE, LLC ALL RIGHTS RESERVED.

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inding Valiant Brewery is a little tricky.

There’s no signage off Batavia, so you’ll just have to use GPS or play pick-a-driveway. But once you find it, you’ll be rewarded with a menu of great Belgian- and American-style beers.

Food trucks are scheduled for the weekends.

The tasting room is comfortable, with three big-screen TVs. A very friendly and knowledgeable staff helps you choose your poison if you’re not familiar with Belgian beers. Valiant doesn’t just brew the occasional Belgian; it has made a point to brew some of the best Belgian-style beers outside of monasteries.

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

A pr il 15- 2 1, 2 016

Alpha Colada at Valiant Brewery

EATTHISNOW

3316 E 7TH ST, LONG BEACH, CA 90804 @thegoodbarlongbeach

P

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Girl Meets Ghost Gets Twisted

CORY RANSOME

NBFF’s Lace Crater is a subtle, intimate horror show

BY AIMEE MURILLO

I

until her doctor runs tests and discovers the cause is a mysterious STD that Ruth begins to put two and two together.

Lace Crater’s humor and horror moments are subtle, held in modest, intimate conversations reserved for a mumblecore film. So it’s right that Atkins chose to give the film an icky atmosphere of uneasiness to drum up anxieties such as the consequences for raging libidos.

This is aided by shaky handheld cameras, jump cuts, closeups and a cold, sterile color palette. Right into the film’s cold open, you’re thrust into a feverish series of jump cuts of Ruth and her friends on the road, talking shit and conversing as normal, letting you in on this tight-knit group’s world. As the film goes on, edits and angles become more surreal. Prior to working on this film, Atkins was a cinematographer and editor, so the dude is adept at disorienting the viewer to visually echo Ruth’s experiences.

This film is rife with relatable issues on dating, intimacy and sexual tensions, and on a sardonic level, it works as a cautionary tale against sex with paranormal beings. But it’s hard to tell whether this film would be seen as slut shaming its female heroine. As women in horror movies are brutally killed off for having sex, a

woman getting an STD also seems like a condemnation (wouldn’t Laura Mulvey agree?). On the other hand, Ruth endures the worst behavior from the men around her while retaining her giggly, personable conviction. In one scene, Ruth agrees to meet with an ex-boyfriend whom she assumes wants her back, only to have him explain that he wants to let her know he’s seeing someone else; the pang of disappointment on her face is visible, even if it lasts a millisecond.

Indeed, Ruth’s character is a noteworthy portrait of modern loneliness, used and abused by the people around her. In the group drug-trip scene, Ruth’s bolder, more outgoing friend Claudette (Jennifer Kim) makes a move on a guy friend while a dejected Ruth glumly looks on. Claudette and Ruth are also both interested in the same manbun-sporting hipster friend—and although he makes passes at both women, Ruth plays off her feelings for him only because she doesn’t want to compete with her best friend. The only person truly sympathetic toward Ruth is Michael, and without getting too spoiler-y, he ends up being the only character who treats her decently.

For a horror film that delves into physical, gross-out horror territory,

Atkins could have pushed that factor even further to really get under our skin; at the moment, even the most disgusting vomiting scenes seem tame enough for viewers with weak constitutions to sit through. Despite this, it’s good to see Lace Crater continuing the tradition of the body-horror genre made famous by the early films of maestros David Cronenberg, Peter Jackson and Shin’ya Tsukamoto.

Those directors set out to subvert social and political mores regarding sexuality, taboos and societal standards of their time with Shivers, Dead Alive and Tetsuo the Iron Man, respectively. With its original storyline and contemporary aesthetic and vision, Lace Crater could be an addition to that collection, easily making Atkins the next creepy film director to keep an eye on in the years to come.

AMURILLO@OCWEEKLY.COM LACE CRATER was written and directed by Harrison Atkins; and stars Lindsay Burdge, Peter Vack and Jennifer Kim. The film screens as part of the Newport Beach Film Festival at Regency South Coast Village, 1561 W. Sunflower Blvd., Santa Ana; www. newportbeachfilmfestival.com.

April 23, 9 p.m. $15.

| OCWEEKLY.COM |

n the indie horror/comedy Lace Crater, writer/director Harrison Atkins has created a film bizarrely removed from the usual “boy meets girl” formula. Here, girl meets ghost; girl has one-night stand with ghost; girl contracts a sexually transmitted disease from ghost; and girl experiences such horrific side effects as waking up in viscous fluids, vomiting and erratic visions. It’s not exactly the kind of film suitable for “Netflix and chill.”

The girl in question is Ruth (Lindsay Burdge), a mousey twentysomething whose doomed tryst happens after a weekend visit to a friend’s house in the Hamptons for an ol’ fashioned drug kickback—as twentysomethings in horror films are wont to do. After a jumpcut-laden scene of Jacuzzis, pill popping and beer guzzling, Ruth heads to her room for the night, where a burlapsack-bedecked ghost named Michael (Peter Vack) appears with a casual “hi.”

After some intellectual conversations and queries, the two have sex in another jump-cut montage. The next day, Ruth immediately begins experiencing sinister body changes, from throwing up strange black liquids to skin peeling off her hands to her mental clarity diminishing. It isn’t

MO NT H XX–X X, 2 0 14

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The New York Times

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Special Screenings

BY MATT COKER

don cheadle ewan mcgregor

MILES AHEAD WWW.MILESDAVIS.COM WWW.SONYCLASSICS.COM

IRVINE University Town Center 6 NOW Edwards(844) 462-7342 #143 • 5:00 • 7:30 • 10:05 PLAYING Daily: 12:00 • 2:30

Too Much Good Stuff

VIEW THE TRAILER AT WWW.MILESAHEAD-MOVIE.COM

(949) 824-6117; latinamericanfilmfest. blogspot.com. Sat., 5 p.m. Free.

–Laura Blum, thalo.com

YOU’LL LOVE ”IT INSTANTLY.

“

- Colin Covert, Minneapolis Star Tribune

”You can bastardize everything else in your life, but

IF YOU COMPROMISE WITH YOUR ART,

WHY BE AN ARTIST? - ROBERT CENEDELLA, ARTIST

OPENS FRI 5/20 IN NEW YORK

ANGELIKA FILM CENTER CORNER OF HOUSTON & MERCER STREET 800-FANDANGO #2707 ANGELIKAFILMCENTER.COM/NYC

LINCOLN PLAZA CINEMAS

BROADWAY BET 62ND & 63RD STREET FOR TKTS - LINCOLNPLAZACINEMA.COM MORE INFO CALL (212) 757-2280

OPENS FRI 6/3 IN LOS ANGELES

LAEMMLE MONICA FILM CENTER 1332 2ND ST. SANTA MONICA, CA 90401

EDWARDS UNIVERSITY TOWN CENTER 6 4245 CAMPUS DRIVE, IRVINE, CA 92612

COMING SOON TO SELECT CITIES. CHECK ARTBASTARD.COM FOR DETAILS

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EXPOSES THE SCARS OF NOT BELONGING.”

1 5- 2 1, 201 6

TICKET WINDOW Mystery Science Theater 3000 Reunion.

RiffTrax, the in-theater experience that sprang from MST3K, celebrates its 10th anniversary by bringing together the entire principal cast, including creator and original host Joel Hodgson. Tickets go on sale Friday for the June 28 show that will be broadcast live to theaters nationwide.

RiffTrax.com/MST3KReunion.

OC WEEKLY GORGEOUSLY THUR 4/14 2X2 COMPLEX ,

“

A pri l

Graduate Thesis Film Screenings.

See Berserk; Blue Eyes; Faceless, But Remembered; Mountain Stream; and Rocket. Dodge College of Film and Media Arts, Folino Theater; chapman.edu/dodge.

Sat., 7 p.m. Free.

Selena. DeColores Queer OC and Frida celebrate late singer Selena QuintanillaPérez’s 45th birthday with the 1997 biopic and, if you are 21 or older, special Selenathemed cocktails. The Frida Cinema; thefridacinema.org. Sat., 8:30 p.m. VIP wristband (includes many extras), $35; $15.

Rude Boy. Director Gabriel L. Zavala Jr.’s tale is about a Mexican-American teen who is out of sorts in 1984 Orange County until he discovers ska and Vespas. This screening is dedicated to John Fackeldey (“Big John” in the movie), who died Feb. 5. The Frida Cinema; thefridacinema.org.

Sat., 8:30 p.m. $10.

Jurassic Park. It’s the 1993 Steven Spielberg epic that launched yet another one of his popcorn-movie franchises. The Frida Cinema; thefridacinema.org. Sun., 11 a.m. $1-$5.

Around the Campus In 60 Seconds: Celebrating Student Films About UCI. Film and Media Studies professor Peter Krapp shows how student filmmakers have depicted the university. UC Irvine, A311 Student Center, Viewpoint Gallery; sites.uci.edu/pereira/gallery-talks. Wed., noon. Free; RSVP requested.

A dios momo (Goodbye Momo). UCI’s Latin American Film Festival presents this 2006 documentary on Uruguay’s youth, dreams and crushing poverty. School of Humanities, McCormick Screening Room, (949) 824-6117; latinamericanfilmfest. blogspot.com. Wed., 5 p.m. Free.

Moving Across the Diaspora: Black

Visual Storytelling. The Latin American Film Festival closes with clips and a discussion with directors and performers Kumi Akuma, Jalise Beaman and Storyboard P. School of Humanities, McCormick Screening Room, (949) 8246117; latinamericanfilmfest.blogspot.com.

Thurs., April 21, 5 p.m. Free.

Blue Velvet. See the new master print of David Lynch’s creepy masterpiece, eat hors d’oeuvres by chef Richard Espinachio, hear a live musical tribute to Lynch performed and curated by Alyssandra Nighswonger, and take home a 30th anniversary Blue Velvet poster—all to raise funds for new Frida screens. The Frida Cinema; thefridacinema.org/event/ blue-velvet-30th-anniversary-fundraiser/.

Thurs., April 21, 7 p.m. $25.

Popstar: Never Stop Never Stopping.

Sneak peek of the Lonely Island comedy about singer/rapper Conner4Real (Andy Samberg), who’s facing a crisis after his sophomore album flops. Dodge College of Film and Media Arts, Folino Theater, (714) 997-6765. Thurs., April 21, 7 p.m. Free.

Newport Beach Film Festival. See the articles in our Feature and Film sections.

Various locations in Santa Ana, Costa Mesa and Newport Beach; newportbeachfilmfest.com. April 21-28.

|

Student Documentaries. Undergrads from Chapman University’s Wildlife and Environmental Filmmaking as well as New York and Washington, D.C., classes share their footage. Chapman University’s Dodge College of Film and Media Arts, Cloobeck Screening Room, 283 N. Cypress St., Orange, (714) 997-6765. Thurs., April 14, 7 p.m. Free.

Divorzio all’Italiana (Divorce Italian Style). Santiago Canyon College’s Languages Department kicks off its International Film Festival on three consecutive Fridays with Pietro Germi’s 1962 romantic dramedy. Santiago Canyon College, Bldg.

D, Room 101, 8045 E. Chapman Ave., Orange, (714) 628-4938; sccollege.edu/ internationalfilmfestival. Fri., 6 p.m. Free.

Eva Hesse. The Orange County Museum of Art and the Newport Beach Film Festival’s Cinema Orange present a documentary on one of America’s foremost postwar artists. Orange County Museum of Art, 850 San Clemente Dr., Newport Beach, (949) 759-1122. Fri., 7 p.m. Free.

Senior Thesis Film Screenings. The lineup includes Alchemy, Ambulance, Any Elsewhere and The Ups. Dodge College of Film and Media Arts, Folino Theater; chapman.edu/dodge. Fri., 7 p.m. Free.

Hausu (House). OC Weekly’s Friday Night Freakout is director Nobuhiko Obayashi’s gonzo 1977 Japanese horror classic. The Frida Cinema, 305 Fourth St., Santa Ana; thefridacinema.org. Fri., 11 p.m. $8-$10.

A Midsummer Night’s Dream. Frida’s Shakespeare At 400 series presents this very-accessible 1971 adaptation. The Frida Cinema; thefridacinema.org. Sat., 1:30 p.m. Free.

Diana Montero Shorts. See the Cuban director’s short films, then ask her questions at this Latin American Film Festival presentation. UC Irvine’s School of Humanities, McCormick Screening Room, West Peltason and Campus drives, Irvine,

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Life: The Art Show

» AIMEE MURILLO

‘Valerie’s Family Secrets’ has an alluring ambiguity to its tale of a woman’s life

BY DAVE BARTON

M

SIP UP

DAVE BARTON

is any idea of a thoughtful present (Blue Christmas); a bottle of Valium resting against a background that looks like a fresh gout of blood (Mother’s Little Helper.

PT.1); two photos of a man that have been ripped in half and placed together so he resembles Two-Face (Some Gave All); there’s an orange extension cord innocently plugged into a wall, snaking through a house, leading to a door that’s slightly ajar in an otherwise-dim basement (Beneath).

Gore’s a remarkable storyteller first and a show-off painter second, so his technique is unlikely to knock you out at first glance. The straight lines are nonexistent and operate more like an askew Hitchcock camera angle: it’s uneven, unsettling and the perspective awkward, but you never care because his stark imagery works every time. Canvases are rarely cinematic—they’re different modes of expression, after all—but Gore is also somehow able to unite the two, especially adept at creating mood. And because what’s on display allows for individual interpretation, each viewer will lock on to different images (or moods) that provide their idiosyncratic lynchpin. One part of the story can be seen as suicide by drinking bleach (Afternoon Tea’s red can, bleach

written on it, a white bendy straw perched in the opening), another seen as an act of domestic violence (the bullet casing in the ring box in Forever) and the attempts to destroy evidence (Wandering’s diary entries floating into a river that winds through a marsh like the electric cords through the house). It’s also possible to see the exhibition in entirely more positive ways—a woman moves on with her life after experiencing trauma, as the story of a survivor—but much of that depends on the depressive/expressive baggage you carry with you.

The experience of the visual arts is often a passive one, as artists provide the images, and then tell you what to think about them. Not here: Gore is comfortable enough that he can hand the reins over and let you do the work.

“VALERIE’S FAMILY SECRETS” at Max Bloom’s Café Noir, 220 N. Malden Ave., Fullerton, (714) 871-2600; www. maxbloomscafenoir.com. Open Mon.-Fri., 10 a.m. -10 p.m.; Sat., 4-10 p.m. Free, but you should consider buying a cup o’ joe. Through April 25. The show transfers to the top floor of Santora Arts Building, 207 N. Broadway, Santa Ana, for a one-night viewing.

May 7, 7-10 p.m.

S

urreal seems too weak a word to describe the work of Beverly Salas.

The Anaheim-born, Santa Ana-based painter and illustrator entrances fans and fellow artists with her phantasmagorical imagery, including floating heads, sad-girl faces, melting shapes, droopy flower petals, and giant eyes that would put Margaret Keane to shame. While her work has gone viral many times, Salas is still amazed at its popularity; her Instagram account, @ beverlysalas, has more than 32,000 followers. “People have told me that they can relate to a lot of the things I make, and that means a lot to me,” Salas says. “A lot of my family members are a little ‘creepedout’ by my excessive use of eyes, though.”

Salas’ high-school film teacher described her work as “emotional abstract art,” and that’s about right: It has a distinctively spacey feel, pulsating with vibrant life forms that are beautiful and terrifying at the same time. Its psychedelic nature seems akin to spur of the moment, stream-of-consciousness creativity. “[Music] inspires me a lot,” says Salas, who cites Daniel Johnston, Gustav Klimt, Egon Schiele and Frida Kahlo among her artistic inspirations.“It’s amazing to listen to something and want to draw something out because it’s influenced the way you felt in the moment.”

As a member of Santa Ana art collective Konsept, you can usually find Salas hawking her stuff at the monthly Downtown Santa Ana art walk or exhibiting at an OC art show; you can also find her work online at www.facebook.com/ artbybeverly. Salas is highly sought after for painting commissions, but also makes fun packs filled with hand-painted buttons, small prints, stickers and sometimes zines.

And her visual art has adorned many a show flier. She says she’ll continue to push her vibrant style to other mediums such as enamel pins, sculpture and T-shirt designs. “I find it crazy that people are willing to spend their hard-earned money on something I’ve made,” Salas says. “It feels like they’re taking little pieces of me with [them].”

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ore than 20 paintings comprise Richard Day Gore’s solo show at Max Bloom’s Café Noir, but “Valerie’s Family Secrets” begins with a jaundiced yellow light coming out of an otherwiseblack, forlorn tenement (A Tiny Cry In the Night). The building more resembles a place where Kitty Genovese could’ve been murdered than where someone would birth a baby. The exhibition ends with a close-up of a doll’s face, cracked, chipped and broken, missing an eye and half its hair (Rachel: Coda), suggesting the natural fade accompanying aging or the intentional systematic breaking down of someone once beautiful and vibrant.

That duality in every painting—innocent and malevolent—gives us a complex narrative, leaving potential clues that can be interpreted in various ways. Curator Bax Baxter doesn’t provide any more information than the initial inspiration for the work: The artist helped his mother condense a long life into shipping cartons after she grew too old to care for herself.

While that leaves things open in a way that can be frustratingly noncommittal on the part of less talented artists, the ambiguity here has purpose; it’s worth going along for the ride.

The deceptively simple conceit— painted moments of the character’s life—allows for both arc and a cumulative tension as we head toward a narrative climax. (It’s set up chronologically and works well that way, but if you prefer your story Irréversible-style, sans the confrontational sex and violence, viewing “Valerie” in reverse also has its merits, making the tale feel more tragic than just inevitable.) There are a few brief suggestions of happiness—the destroyed doll in the last painting is pictured fresh at its purchase, painted in black and white as if from an old photo (My Doll, Rachel); there’s a heart carved into a birch tree (Ray and I); a moment on a beach with a couple and a small child (Our Day At the Beach, Just Us Three)—all of which can be read differently. The doll has a hand up as if it’s warding off danger; the mottled sky in the background is a choking blue, brown and green miasma hovering about the defaced tree; in the latter, a scene from Nevil Shute’s dystopian novel, On the Beach, comes to mind, the sky and sand resembling yolky yellow leftovers from a nuclear disaster.

Other paintings include a gaily colored vacuum cleaner wrapped up with holly sprigs and a red bow, the background a garish green holiday wrapping paper, as if a gift that keeps someone in their place

Acid-Trip Art Sans Acid

MO N TH X X–X X , 2 014

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READY TO TAKE ON SAN PEDRO

Ace of Hearts

JOSH CHESLER

Alex Holiday of Channel Street Tattoo Parlor

A

UNDER THEIR SKIN » JOSH CHESLER

CHANNEL STREET TATTOO PARLOR 639 W. Channel St., San Pedro, (310) 684-1400. Follow Holiday on Instagram: @alex_holiday.

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new location. Channel Street will soon become a sister shop of Ace of Hearts Tattoo, and the change in personnel and name is giving Holiday time to reflect on the past two years at the South Bay shop. “It all goes back to staying humble,” Holiday says. “I still keep a journal that I write in any time something happens, whether it’s good or bad. I mark the date and time, so I can look back on it and remember everything that’s happened.

It’s a warming feeling.”

As for the future, Holiday is looking forward to establishing himself on a bigger scale. “Last year was just about getting my foot in a shop,” says Holiday, who has a growing Instagram following. “This year, it’s about the transition to Long Beach, but also meeting new people and doing conventions and guest spots. I’m looking forward to doing what I love and getting to travel with it, as well. Every time I open a door, it seems like there’s another hallway of doors. I just want to see where it all goes.”

It’s been a few years since Holiday and his muse have seen each other. “It’s almost ironic now how the roles have changed, and she’s too busy with nursing school and working in a hospital while taking care of her family,” Holiday says. “A lot of guys make fun of me for it and tell me to move on, but I just can’t. If it weren’t for her, I wouldn’t have even gotten into tattooing.”

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lex Holiday has his ex-girlfriend to thank for tattooing, and he has tattooing to thank for ending that relationship.

Five years ago, he had no tattoos, a suspended license because of a DUI, and little direction beyond his part-time job working with kindergarteners in the Los Angeles Unified School District. But after the Lynwood native fell into an apprenticeship in Whittier through some accidental networking at punk shows, Holiday was so busy that his then-girlfriend decided they both needed to focus on their own lives. The heartbroken artist knew he needed to succeed as a tattoo artist to make it worth losing such a special relationship.

“One of the first tattoos I got was the Joy Division cover of ‘Love Will Tear Us Apart’ to mark when my girlfriend broke up with me,” Holiday says. “She got me back into art while I was doing bad in school and didn’t know where I was going.

When she dumped me after that, I knew that I had to take tattooing seriously.”

Following a dispute with management after two years as an apprentice and without a shop to call home, the young tattooer became one of the resident artists for the East LA punk scene. For more than a year, Holiday honed his craft with an endless stream of band logos, album covers and other music-related tattoos.

“I was always waiting for the weekend to go to punk shows,” Holiday says. “Some people literally just get nothing but band logos because they think it looks cool, and some people get tattoos like they’re marking a territory. My old mentor used to get a tattoo every time his band would go somewhere new—like, this is the life of the road tattoos.”

Holiday is currently in a managerial role at Channel Street Tattoo Parlor in San Pedro, but he’ll soon move to a

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music»artists|sounds|shows BE KIND, REWIND!

Rent Flicks and Chill

GABRIEL SAN ROMÁN

Anaheim’s Movie Town is OC’s last great video-rental store

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ou don’t need a hot tub time machine or DeLorean to dial back the years; just step through the doors of Movie Town in Anaheim. Customers roam the aisles on a Saturday night in search of their weekend entertainment while the Smashing Pumpkins’ “Bullet With Butterfly Wings” plays overhead. Kit Kat chocolate bars, Sour Punch candy and Popz microwave popcorn await at the checkout counter. It’s as if you’ve been transported to a time before Netflix, but wait—the posters framed by neon lights on the store’s front windows are for newer releases: The Hunger Games: Mockingjay Part 2 and The Hateful Eight.

A cardboard cutout of the Minions greets people making their way through the shelves, on which there’s only a handful of copies of Star Wars: The Force Awakens left.

It’s still 2016 after all. There’s a handful of hole-in-the-wall businesses like it, but Movie Town, which opened in 1993 and continues to stock a selection that would rival Blockbuster’s in its heyday, is the last of the great video-rental stores in OC. The world around Movie Town has definitely changed in recent years. Chains such as Hollywood Video and Blockbuster shuttered stores across the United States after going belly-up; on-demand streaming services now allow people to rent the latest movies at the push of a button from the comfort of their own homes.

BY GABRIEL SAN ROMÁN On a recent Wednesday afternoon, Movie Town owner Steve Park carries boxes of new movies from the trunk of his car into the store. It’s the only day of the week the Anaheim businessman drops by, so Park spends some time in his office before heading out on his next errand. “A friend of mine had a video store,” Park says. “I got into the business . . . with Movie Town, and it started with a bang.”

He counts the Brookhurst Street corridor in Anaheim where the store makes its home a key to its longevity. It’s been the neighbor of various supermarket chains and a very busy In-N-Out Burger, which has provided the store with good foot traffic for decades.

“The golden age was back in the early 2000s,” Park says. Back then, VHS cassettes were being phased out and DVDs started filling shelves. Movie Town had established itself as an independent store for nearly a decade, but technological advances at the time proved to be helpful in cutting costs. “VHS cassettes were about $70, whereas DVDs came in around $20 or so,” Park recalls. “It was much cheaper, so we could get more copies to offer to our customers for rentals.”

A few years later, technological innovations continued, shifting industry practices. A newcomer to the scene, Netflix, started to gain traction with its innovative business model of delivering DVDs by mail in little, red envelopes for a monthly subscription rate. By 2007, the company

was mailing out 1 billion DVDs per year.

But the rise of Netflix didn’t close Movie Town down. Rather, it was a fire in June 2005 that burned the store and the shopping center around it to the ground.

“Movie Town was closed for a year and a half,” Park says. When the store reopened, business picked back up, but it was never quite as successful as before.

Park is no martyr for the cause of video rental stores against the surge of on-demand streaming services; he doesn’t have to be, as Movie Town still carries its own weight. “We do okay because we still have loyal customers,” he says. Movie Town has been around so long that it even has a multigenerational appeal, with kids who grew up going there starting families of their own and continuing the rental tradition. He also credits a number of longtime employees who have helped to create an inviting atmosphere that no on-demand service can mimic.

Mark Dressen started working at Movie Town in 1995 and now manages the store. He’s seen the shelves shift from holding VHS cassettes to Blu-ray discs.

Rental fees there haven’t changed much, slightly ticking up from $1.99 to $2.50 for new releases. And the hours continue to be 10 a.m. to midnight daily. “We’re open every day of the year, even on Christmas,” he says. “Weekends are really busy. Families come in, rent movies, buy some popcorn and go home.”

Now that places such as Movie Town have become a rarity in OC, Dressen has noticed a change in the customer base. “We get a lot of people coming in from Irvine, Fullerton and Whittier,” he says. “They’ll drive a ways just to come and rent.”

And the store’s regulars don’t plan on changing their ways. Cherie Collins has been renting from Movie Town for the past 17 years, enjoying a laugh or two with Dressen while checking out some flicks.

“Everybody knows me, pretty much,” Collins says. “My family says I’m oldschool, but it’s cheaper!”

She usually drops by after visiting the Stater Bros. grocery store next door. That store hosts a Redbox movie rental kiosk, but Park’s not worried. “Actually, a lot of people like to look at the back of the DVDs,” he says.” It’s not the same when you’re at a little machine and you’re trying to flip through.”

The only endangered part of the business is the store’s adults-only red curtain section, a true relic of the past. Aside from that, the Movie Town legacy is the very thing that keeps it alive, a point underscored by the closing of its smaller, family-owned competitors nearby.

“We’re the only one left, right?” Parks says with a smile. “I’m going to keep Movie Town going as long as I can!”

MOVIE TOWN 618 S. Brookhurst St., Anaheim, (714) 778-2121.

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Artopia is OC Weekly’s annual event celebrating the vibrant art scene across Orange County. From visual and performing to fashion and film, art is featured in many forms throughout the venue and paired alongside inventive food and drink sampling booths. 10 local artists who were chosen by the public during The Creatives contest, will exhibit and sell their work in an interactive gallery experience.

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The Juice looks to bring new life to OC hip-hop

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LIVE BAND FRIDAY SATURDAY 9:00 PM 117 Main St. Huntington Beach (Across from HB Pier)

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new weekly series of shows is bringing some juice to downtown Santa Ana’s hip-hop scene. Since April 7, handfuls of the most prominent names in SoCal underground rap music are banding together every Thursday night to host the Juice at Underground DTSA. But rather than creating the same experience week in and week out, each promotion company involved showcases its own music and art talents once every two months.

From Santa Ana’s own Konsept Art Collective and Forever Living As Winners to Long Beach’s Tall Robot and LA’s FaShogun, the Juice offers everything from hip-hop showcases to rap battles to creative networking events. “I wanted to get the hottest people doing things in OC—and some of the people doing things in LA, IE and Long Beach—to do a series of different hip-hop events,” says Tyson Pruong, founder of Konsept. “We’re not just going to have local people involved. There’s going to be big headliners, music seminars, launch parties, beat nights—everything is going to be a little bit different.”

As Pruong sees it, the Juice will be bigger and more organized than a random bill put together for a local bar, but it won’t cost the artists any money (unlike opening a big show at a larger venue).

While Santa Ana may be hard-pressed to find solid local rap shows, areas of LA are saturated with them. Bringing in Los Angeles-based partners such as FaShogun gives the hip-hop-heads of OC a taste of what the city to the north has without having to leave their hometown. The possibility of seeing the next Kendrick is a whole lot more appealing without the hour-long drive. “It’s about bringing people in and providing the opportunities for people to enjoy themselves,” says Rathana Sar, head of FaShogun. “There’s a lot of

BY JOSH CHESLER talent in Southern California, so I want to bring people from LA and Long Beach and all over to give people in Santa Ana the opportunity to hear new artists. It’s a night for artists and fans to get to know one another.”

The Juice isn’t just for the fans and artists performing that night. There are multiple nights planned in which the performances will merely be a part of everything going on. On May 19, Long Beachbased promotion company Tall Robot will push industry folks from all backgrounds and locations to communicate with one another. “Long Beach is like a border town between OC and LA, so we want to bring people from both sides together,” says Rene Francois, founder of Tall Robot.

“Tall Robot is all about showcasing artists, but also providing a space dedicated for creatives to network with each other.

Whether you need a photographer or a videographer or a bassist for your band, it’s an event where you can find all of that.

We’re all trying to bring back that kind of buzz down here.”

It’s that diversity of events that the Juice’s founders hope keeps people interested. As the head of OC’s battle-rap league the Riot, Kevin “Westside Kev” Parx knows Santa Ana hip-hop as well as anyone. He’ll host the launch party for his brand-new, all-encompassing Forever Living As Winners project on May 5.

“There’s so much talent in [Santa Ana’s] hip-hop community, but there’s not too much organization,” Parx says. “Nobody in Santa Ana has written the book on how to do it in this city because it’s all still happening. I’m just glad to be a part of it.”

THE JUICE at Underground DTSA, 220 E. Third St., Santa Ana, (714) 997-1380; www. underground-dtsa.com. Every Thurs., 8:30 p.m. Free. 21+.

SEGA GENECIDE IN GROMBLE MODE

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SEGA GENECIDE perform at the Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; www. wayfarercm.com. Sat., 10 p.m. Free before 9 p.m.; $5 after. 21+.

W

LocaLsonLy » Daniel Kohn

HIATUS BADFISH HA*ASH CLUB COSPLAY ELI YOUNG BAND MOTION CITY SOUNDTRACK

5/13 TOTALLY 80’S LIVE W/ MISSING PERSONS, BOW WOW WOW & MORE! 5/15 FLOETRY 5/18-20 INTOCABLE 5/23 ENRIQUE BUNBURY 5/27 LIT

Shows are all ages and standing room only unless otherwise noted. Show dates and times are subject to change.

Tickets subject to all applicable facility fees and service charges. Applicable fees and charges apply to all ticket sales.

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1530 S . D I S N E Y L A N D D R . I N T H E D O W N T O W N D I S N E Y ® D I S T R I C T FOR INFO & TIX 714.778.BLUE HOUSEOFBLUES.COM/ANAHEIM

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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.

COMING SOON 4/14 4/15 4/19 4/29 5/5 5/11

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dates coming up, and we needed some gear and figured that we could make some money playing these ’90s tunes.”

In order to make each gig a success, Askin says Sega Genecide morph into heel mode, with band members behaving far more raunchy than they do as the Gromble. They play songs ranging from rappers such as Eminem and DMX to rockers such as Nirvana and New Radicals and pop such as Alanis Morissette and Smash Mouth. Some of the band’s favorite songs to perform aren’t of the rock variety; instead, Askin says, Des’ree’s “You Gotta Be” and Bloodhound Gang’s “Bad Touch” are hits. “People love the saxophone in person,” he says.

Even when they’re onstage as the Gromble, though, they sometimes find themselves recognized. At a Gromble gig in Newport Beach, Dennis Rodman famously joined the band, rockin’ out to “Give Up the Funk” by Parliament and Sublime’s “Pawn Shop.”

The Sega Genecide gigs are only on weekends, which allows for the quartet to enjoy being onstage as much as the fans like kicking back with a few beers and hearing hits from two decades ago.

“It’s nice to be able to get onstage and be a total kind of piece of shit as a joke,” the singer says. “People have fun, and it’s a party, that’s for sure. . . . Hopefully, people are having fun, but not shitting on the floor.”

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hen the Gromble started their spinoff band Sega Genecide in 2010, they figured it would be a fun way to knock out some ’90s tunes on a Friday night—nothing more. After only a few gigs, they’d already built a following.

By the time New Year’s Eve 2011 rolled around, that following was rabid. And their sardine-packed show at the Royal Hawaiian in Laguna Beach cemented their status as one of the wildest cover bands in town.

While onstage, a friend of theirs who was working at the bar reported on how crazy things got beyond Sega Genecide’s sightline. “She said this guy at the bar pulled out his dick and started pissing on the bar,” Spencer Askin says in disbelief.

“She then told us he left his credit card, and [she] gave herself a big tip. It turned out it was a guy we knew that we didn’t even know was there.”

The next morning, when the band went to pick up their check, the manager told them that a guy was dancing on shattered glass and there was blood everywhere, as well as that a woman passed out on the floor in her own feces.

Nothing will top the sheer madness of that show, but Sega Genecide have allowed the Gromble to enjoy themselves in a less serious fashion. The band, whose name is an obvious play on 1990s gaming system Sega Genesis, play the music they grew up on, cornering the market in the local tribute-band scene. “A big impetus for us starting the band was that at the time [late 2010], there weren’t any other ’90s tributes in Orange County,” Askin says. “It started as a way for the Gromble to get paid, as we had some recording

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Covers and Shit

DANIEL KOHN

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concert guide» THIS WEEK FRIDAY, APRIL 15

BONE THUGS-N-HARMONY: 8 p.m., $25. Fox Theater

Pomona, 301 S. Garey Ave., Pomona, (877) 283-6976; foxpomona.com.

ILIAS VRETTOS WITH DJ SVERK: 10 p.m., $35.

Harvelle’s Long Beach, 201 E. Broadway, Long Beach, (562) 239-3700; longbeach.harvelles.com.

INOVATIV EVENTS PRESENTS—INOVA: 6 p.m., $15-$20. Yost Theater, 307 N. Spurgeon St., Santa Ana. KILL FRENZY: 9 p.m., $13. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com.

LEVITATION ROOM: 9 p.m., $8. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com.

METALACHI: 7 p.m., $10. Totally 80s Bar & Grille, 2512 W. Orangethorpe Ave., Fullerton, (714) 879-0108; totally80sbar.com.

SOTO: 8 p.m., $10. Original Mike’s, 100 S. Main St., Santa Ana, (714) 550-7764; originalmikes.com.

TRACII GUNS/LA GUNS: 7 p.m., $18. Tiki Bar, 1700 Placentia Ave., Costa Mesa, (949) 270-6262; tikibaroc.com.

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

WINDS OF PLAGUE: 7 p.m., $15-$17. Chain Reaction, 1652 W. Lincoln Ave., Anaheim, (714) 635-6067; allages.com.

SATURDAY, APRIL 16

ALAN JACKSON: 7:30 p.m., $59.95-$79.95. Honda

Center, 2695 E. Katella Ave., Anaheim, (714) 704-2400; hondacenter.com.

BRAHMS THIRD RACKET: 7 p.m. Tiki Bar, 1700 Placentia Ave., Costa Mesa, (949) 270-6262; tikibaroc.com.

SUNDAY, APRIL 17

WEDNESDAY, APRIL 20 THE DAMNED: 8 p.m., $27. The Glass House,

free. Diego’s Rock-n-Roll Bar & Eats, 220 E. Third St., Santa Ana, (888) 862-9573.

EPX: 8 p.m., $15-$20. Sutra, 1870 Harbor Blvd., Ste. 200, Costa Mesa, (949) 722-7103; sutraoc.com.

THE GITAS: 8 p.m., $18-$25. Soka Performing Arts Center, 1 University Dr., Aliso Viejo, (949) 480-4278; performingarts.soka.edu.

IMPLANTS: 6 p.m.-2 a.m., $10. The Karman Bar, 26022 Cape Dr., Laguna Niguel, (949) 582-5909; thekarmanbar.com.

JUSTIN CREDIBLE: free with RSVP. Mansion OC, 841 Baker St., Costa Mesa, (714) 751-6428; sharkclub.com.

THE LIONS: 9 p.m., $10. Alex’s Bar, 2913 E. Anaheim St., Long Beach, (562) 434-8292; alexsbar.com.

LONGEVITY: 9 p.m., free. Characters, 276 E. First St., Pomona, (909) 622-9070.

Dr., Newport Beach, (949) 261-6270; campusjacks.com.

IT’S A 45 PARTY!: 8 p.m., free. Diego’s Rock-n-Roll Bar & Eats, 220 E. Third St., Santa Ana, (888) 862-9573.

JU PERCUSSION GROUP: 6:30 p.m., $25. Renee and Henry Segerstrom Concert Hall, 615 Town Center Dr., Costa Mesa, (714) 556-2787; scfta.org.

LOCAL BREWS LOCAL GROOVES: noon, $12.

House of Blues, 1530 S. Disneyland Dr., Anaheim, (714) 778-2583; hob.com/anaheim.

NEVER LET THIS GO: 7 p.m., $10. Chain Reaction, 1652 W. Lincoln Ave., Anaheim, (714) 635-6067; allages.com.

PART TIME: 9 p.m., $3. Que Sera, 1923 E. Seventh St., Long Beach, (562) 599-6170; thequesera.com.

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

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I’m a 49-year-old gay man. I’ve become friends with a 21-year-old straight guy. He’s really hot.

He’s had to drop out of college and return home.

I know he needs money, as he hasn’t found a job yet and has resorted to selling off old music equipment. I would love to have some sweaty clothes of his, namely his underwear, but I’d settle for a sweaty tank top. Is it legal to buy someone’s underwear? He’s a sweet guy, and I don’t want to freak him out by asking something so personal. How do I broach the subject?

Lustfully Obsessed Stink Seeker

me coming in different positions, and I’ve managed now and again, but he doesn’t know why I’m set in my ways. We’ve been together for 10 years, but I have never shared this. Should I tell him? Part of me is afraid that he will think I’m weird. But more than likely, he’ll just want to watch me do it. Still, it’s kind of nice having this one thing that belongs only to me.

Secret Masturbator Obligated Over Spanking Hotness?

It’s perfectly legal to buy and sell used underwear, LOSS, so there’s no legal risk. But you risk losing this guy as a friend if you broach the subject. You can approach it indirectly by saying something such as “So sorry to hear you’re selling off your music equipment. You’re young and hot—you could probably make more money selling used underwear or sweaty tanks.” Then follow his lead: If he’s disgusted by the suggestion, drop it. If he’s into the idea, offer to be his first customer.

I’m a 52-year-old straight guy from Australia, 29 years married. About eight years ago, I met a lady through work, and we became friends, with our friendship continuing after she moved on to a different job. We meet up for coffee occasionally, and we share a love of cycling and kayaking, which we also do together on occasion.

Both of us are in long-term, committed monogamous relationships. Our friendship is strictly platonic, sharing our love of riding and paddling.

Neither of our partners shares our interest in these outdoor pursuits. My friend does not feel safe doing these activities alone, so she often depends on my company for safety as well.

The problem is that my wife gets jealous of the time we spend together and wants me to cut off contact with my friend. My wife does not trust my friend to not “take advantage” of our friendship. My relationship with my wife is the most important one in my life, so I am prepared to say goodbye to my friend. How do I say goodbye in a respectful, caring, loving way? If she asks why we cannot be friends, I don’t want to tell her “Because my wife doesn’t trust you to not try to get inside my pants (or cycling shorts),” as that would be hurtful. I don’t want to lie, but telling the truth would be damaging to my friend.

Paddling And Riding Terminates Your friend is going to waste a lot of time wondering what she did wrong, PART, if you don’t tell her the real reason you can’t hang out with her anymore. And guess what? This not knowing will cause her more hurt than the truth could. So tell your friend the real reason she’s out of your life: You’re terminating your friendship because your wife is an insecure bag of slop who regards her as a threat. Your friend has a right to know she’s as blameless as you are spineless. Forgive me for being harsh, PART, but I think standing up to your wife, not dropping your friend, is the best approach to this situation.

Before I got married, I asked husband repeatedly about fantasies and kinks, so we had full disclosure going in. It led to some fun stuff in the bedroom, but we’re both pretty low-grade kinksters. Now I realize that I do something that I have never told him about: It’s the way I masturbate. I started when I was 5 or 6 because it felt good. Got chided by parents and teachers for doing it in public and learned to keep it hidden. So ever since, it’s been my secret thing.

I think it has helped me orgasm in that I knew how early on, but it has also made it more difficult to come in positions that don’t mimic the masturbating position. Husband likes the idea of

» DAN SAVAGE

You could hold this back, SMOOSH, and keep it all for yourself. But I don’t see why you would want to.

As sexy secrets go, “There’s one particular position I like to masturbate in” is pretty boring. Unless you need to be positioned on top of a cadaver or under your dad or beside a life-size Ted Cruz sex doll to get off when you masturbate, there’s really no reason to keep this secret.

I am totally with your German friend, who wouldn’t do Nazi role-play “in 6 million years.”

I’ve been in a similar position—not quite Holocaust level, but not far off. I’m a white British guy. A while back, while living in the U.K., I was dating a woman from Bangalore. She revealed—after her face lit up when I dressed in a way that made me “look like a colonialist” (her words)—that her deepest fantasy was to be an Indian slave girl raped by an English imperialist. And then, living in the U.S. a few years later, I was dating a black woman. We got to talking about the kinks of exes. I told her about this one, and she revealed that her own fantasy was to be the slave on a 19th-century plantation, raped by her white owner. How about some advice for the human fetish objects in these scenarios, Dan? I didn’t want to stigmatize these women for their sexual desires, and I wanted to be GGG, but it was, frankly, hard (or not, as it were). Being asked to act out roles I feel guilty about and to use the kind of racial epithets I make every effort to avoid . . . the guilt is a boner-killer. Any tips on how a GGG partner can get past this kind of mental block and at least act the role enthusiastically enough to fulfill the fantasy? Or was a subsequent girlfriend’s outrage about my willingness to indulge such socially regressive fantasies justified?

I Might Play Every Role I’m Asked Less Ideologically-Scrupulous Motives Actors play Nazis in hit movies, British colonialists for prestigious BBC miniseries and serial killers on long-running television shows. I don’t see why playing monsters in entertainments devised for millions wins Oscars (Christoph Waltz for playing a Nazi in Inglourious Basterds), BAFTAs (Tim PigottSmith for playing a brutal colonialist in The Jewel In the Crown) and Golden Globes (Michael C. Hall for playing a sociopathic serial killer in Dexter), but playing a monster for an audience of one should outrage “subsequent girlfriends” or anyone else.

My advice for people asked to play monsters in the bedroom mirrors my advice to a gay guy attracted to degrading “antigay” gay porn: “A person can safely explore degrading fantasies—even fantasies rooted in ‘hate ideologies’—so long as he/she is capable of compartmentalizing this stuff.

Basically, you have to build a fire wall between your fantasies and your self-esteem. (And between your fantasies and your politics.)”

If you can build a fire wall between their fantasies and your politics and beliefs, IMPERIALISM, go for it. If you can’t, don’t.

On the Lovecast, Dan chats with writer Peggy Orenstein; go to savagelovecast.com. Contact Dan via email at mail@savagelove.net, and follow him on Twitter: @fakedansavage.

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TO: ALL PERSONS WHO PERFORMED AS DANCERS AT PARADISE SHOWGIRLS AT ANY TIME DURING THE PERIOD MAY 17, 2006 THRU MAY 26, 2015 The purpose of this notice is to inform you of a proposed settlement (the “Settlement”) of a class action lawsuit (the “Action”) against Defendant Todd & Katie, Inc., aka Paradise Showgirls and/or Paradise 2000, (“Paradise”) located at 14310 Valley Boulevard, City of Industry, California, 91746, on behalf of all persons who performed one or more Dancer Days as a dancer at Paradise at any time during the period from May 17, 2006 through May 26, 2015. The Action is currently pending in the Superior Court of the State of California, Los Angeles County, (the “Court”), Case No. BC437919. The Action includes claims of unlawful wage deduction and tip collection, denied rest periods and reimbursement for uniforms, and not providing itemized wage statements. A judgment was obtained on behalf of the class against the Defendant after trial.

On February 10, 2016, the Court issued an Order which, among other things, granted preliminary approval of the Settlement and established procedures for notice, final approval of the Settlement and other related matters. A hearing will be held before the Honorable Michele Rosenblatt in Department 40 of the Stanley Mosk Courthouse, located at 111 North Hill Street, Los Angeles, California 90012, on September 21 at 8:30 a.m. to consider whether the Settlement is fair, reasonable and adequate to the members of the Class.

If you believe you are a member of the Class and want to make a Claim, you must submit a Claim form. You may do this by mail, facsimile, or email; however, the mailing or other transmission must be postmarked or otherwise have date confirmation by August 8, 2016. You may be asked to submit a Settlement Questionnaire in order to assist in determining your qualification as a Class member and your entitlement under the Settlement. You can receive a copy of the Notice, Settlement Questionnaire and/or Claim Form by contacting the Claims Administration office.

The completed Claim Form should be sent to the Claims Administrator at: In Re: Paradise Showgirls Claim Administrator. c/o ILYM Group, Inc. P.O. Box 2031 Telephone: (888) 250-6810 Tustin, CA 92781 Fax (888) 845-6185 Email: Claims@ilymgroupclassaction.com Website: www.paradiseshowgirlssettlement.com For further information you may also contact Class Counsel at: K.L. Myles KNAPP, PETERSEN & CLARKE 550 North Brand Boulevard, Suite 1500 Glendale, California 91203-1922 Telephone: (818) 547-5250

email: ParadiseClass@kpclegal.com

If you are a Class Member and do not wish to remain in the Settlement Class, you may exclude yourself (or “opt out.”) If you wish to exclude yourself from the Settlement Class, you must file and mail a written request for exclusion, which must contain your full name, any stage name(s) utilized while you performed as a dancer at Paradise, the specific dates, if known, or date range(s), month(s), year(s) you performed as a dancer at Paradise, and your current address. Your request for exclusion must also contain generally the statement “I want to be excluded from the PARADISE SHOWGIRLS class action settlement described in the Notice dated March 11, 2016. I understand that by requesting exclusion, I will not be eligible to receive any payment or other benefit from the settlement but will be free to pursue my claims individually”, and your signature. You must mail, fax, or email your request to the Settlement Administrator at the address set forth above postmarked or delivery receipt marked no later than July 9, 2016.

To object to the settlement, you must follow the procedures as set forth in the full Notice of Proposed Class Action settlement.

You can receive a copy of the full notice by contacting the Settlement Administrator at the address and numbers set forth above.

Any objection to the settlement must be filed with the Court by June 9, 2016.

IF THE SETTLEMENT IS APPROVED, AND IF YOU ARE AND REMAIN A MEMBER OF THE SETTLEMENT CLASS, AND IF YOU DO NOT SUBMIT A CLAIM BY August 8, 2016, YOU WILL NOT RECEIVE ANY MONEY BUT WILL STILL BE DEEMED TO HAVE RELEASED YOUR CLAIMS.

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To qualify for an adjustment, any error must be reported within 15 days of publication date. Credit for errors is limited to first insertion. Drawings, artwork and articles for reproduction are accepted only at the advertiser’s risk and should be clearly marked to facilitate their return. The OC Weekly reserves the right to revise its advertising rates at any time. Announcements of an increase shall be made four weeks in advance to contract advertisers. No verbal agreement altering the rates and/or the terms of this rate card shall be recognized.

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