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06 | NEWS | Whatever happened to

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24 | REVIEW | Fifty Years of the Battle of Algiers: Past as Prologue examines the influence of the legendary war movie. By Gabriel San Román 25 | SPECIAL SCREENINGS |

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Whatever Happened to the Orange County Quarterback?

Long Beach Poly’s head coach tells the world the truth: Our much-heralded prep passers don’t amount to much BY GUSTAVO ARELLANO

espite all the crap we’ve hurled at them over the years, there’s one part of the Orange County Register that the Weekly has consistently praised: the sports pages. It’s no surprise that current Reg head honcho Todd Harmonson came from the section: Sports coverage has historically been the strongest part of the daily, with a mix of veterans (investigative reporter Scott Reid, funny columnist Jeff Miller) and newbies who drill deep and write sharp. I’ve enjoyed its stable of reporters since stealing copies from driveways on the way to Sycamore Junior High in the early 1990s. And the undisputed star of Register sports has always been OC Varsity, devoted to detailing high-school sports in one of the most fertile areas for young athletes in America. I had to laugh over the summer, however, when I read something by Register reporter Dan Albano that I’ve heard all my life but that’s just not true anymore. It was on Aug. 17, when ranking OC’s top 10 prep QBs, that Albano wrote the following: “But whichever explanation one picks, there is no doubt Orange County produces blue-chip high-school quarterbacks seemingly every year. The county has built a reputation for success at football’s glamour position by turning out future Heisman Trophy winners and top NFL picks.” Man, that truism has been floating around ever since I was a fifth-grader swiping old copies of Sports Illustrated from the Orange Drive-In swap meet and found a mid-1980s college-football issue that declared OC “quarterback heaven.” And it was true for a good 50 years, ever since John Huarte parlayed a Mater Dei High career into the Heisman Trophy at Notre Dame in 1964. From Steve Beuerlein to the Johnson family (brothers Rob and Brett, as well as their father, über-coach Bob), from Mark Sanchez and Todd Marinovich to current NFL players Carson Palmer and Matt Barkley, we manufactured quarterbacks the way San Pedro once did canned tuna. The legend of the big, tall, OC dropback passer is such that in the 2000 Disney gridiron classic Remember the Titans, the protagonist South Carolina squad doesn’t start gelling in earnest until they get a guy from Huntington Beach (Ronnie “Sunshine” Bass, who actually attended Marina High). That era is done; the Orange County quarterback is dead—and never amounts to much once he leaves our friendly confines. I don’t follow high-school sports as much anymore, but I know the college

USC’S SAM DARNOLD: LET’S HOPE HE’S NOT ANOTHER BARKLEY

COURTESY OF USC ATHLETICS

game enough to recognize that the reputation of our gunslingers has taken a severe beating ever since Barkley flamed out at USC and Sanchez caused a fumble with his butt while with the New York Jets. Albano’s story reminded me of my thesis, so I tried to convince former Weekly staffer Steve Lowery—who started as a sportswriter at the Los Angeles Times, part of a rookie crop that included future columnist legends Scott Ostler and Rick Reilly—to weigh in with a cover story on the subject. Lowery took a pass on my idea because Lowery is Lowery. So I was all schaudenfreude on Sept. 29, when Lowery wrote me an email with the subject “Damn!”—as in, “Damn! I should’ve paid attention to your tip!” That was after, on the ESPN Radio show Russillo and Kanell, network NFL analyst Antonio Pierce said exactly what I had argued to Lowery, except far more ruthlessly. The ostensible topic was Blake Barnett, a former star at Santiago High in Corona who recently announced he was transferring from the University of Alabama to USC. The Southern press had ridiculed the redshirt freshman for not being able to hang with the defending national champions, even getting accused by Crimson Tide coach Nick Saban of “quitting.” Pierce felt the same—but in talking to show hosts Ryen Russillo and Danny Kanell, he attributed Barnett’s softness not as an individual matter, but as something endemic to Orange County

QBs once they face “adversity.” “These golden quarterbacks of Carson Palmer, Mark Sanchez, Matt Barkley, Matt Leinert—these guys have been silver-spooned,” Pierce said. “They’ve gone through a robotic system of how to play quarterback. . . . Mom and Dad get the best trainers.” He went on to ridicule such athletes—whom he said had “all the tools, playing with some of the best athletes in the world”—for wilting under real competition, joking they “need . . . to stay along that coastline . . . [because] when the bright lights came on, you get out of Dodge. And that’s what you saw in high school; you see that now in the NFL.” Pierce is no yapping contrarian à la Skip Bayless. He played at Paramount High during the mid-1990s, at a time when Orange County quarterbacks ruled Southern California, before embarking on a nine-year NFL career. He has been an ESPN analyst since retiring in 2010, and he’s also the head coach at Long Beach Poly, where his Jackrabbits perennially get to face off against OC teams come California Interscholastic Federation playoff time. Pierce didn’t specifically target Orange County by name, saying instead “Southern California,” but he didn’t have to: All the examples he gave were OC boys, and the coddled environment he mocked sounds akin to a training camp in Mission Viejo come summertime. There’s always hope, of course, for Orange County. Sam Darnold (San Cle-

mente High) just took over the reigns at USC and led the Trojans to a 41-20 smackdown of the previously undefeated Arizona State Sun Devils. Devon Modster (Tesoro High) and KJ Costello (Santa Margarita High) ride the bench at UCLA and Stanford, respectively, waiting for a shot. But then you have someone like Oregon quarterback Travis Jonsen, who lit up opponents at Servite High when he went by Travis Waller. A redshirt freshman, Oregon media thought he’d be a contender for the Ducks opening-day position—but now, he’s the fourth-stringer, reduced to running the squad team for a weakerthan-usual squad. Another Orange County juggernaught, tamed by the real world. The Orange County quarterback hero will never fade from our landscape, of course: Prep football is too big of an industry here. But as with the orange groves of the past that civic leaders still evoke to sell a paradise that never really existed, our gridiron giants been more hype that reality. Really, the best one of them all, Palmer, has only won one playoff game and probably won’t make it into the NFL Hall of Fame. Saying we’re quarterback central despite their eventual flops is like saying Arte Moreno is a great owner— boosterism at its most delusional. GARELLANO@OCWEEKLY.COM

aREAD MORE»ONLINE WWW.OCWEEKLY.COM/NEWS

» GUSTAVO ARELLANO DEAR MEXICAN: Help a pocha out—what can I do to reclaim my heritage? I grew up in Orange County with my white mother and halfbrothers and -sisters who used to tease me that I needed a green card to get home after trips to Rosarito Beach. I now live in my Mexican father’s home (he grew up in Rock Town, Duarte) since inheriting it after he passed in 2010. My father never taught me to speak español, which haunts me. . . . Help! For instance, I try to practice my Spanish when I order at the local taco truck. Sometimes, I feel as if it’s not well-received because I get answered back in English. I don’t want to come off as condescending. It’s not that I assume they don’t know how to speak English; I’m just trying to see if someone other than my boyfriend can understand me (he’s half-Dominican and shares some of my same cultural dilemmas). I try to particpate in my neighborhood’s various events, and I’m learning my aunt’s tamale recipes and such. Any other things this half-Mexican should try? Mexican in SGV DEAR POCHO: Primeramente, you need to get it out of your cabeza that you need to speak Spanish to be a proper Mexican. Cuauhtémoc didn’t, and they still built a statue of him in Tijuana. And take a chill pastilla: If your local taquero responds to you en inglés when you try out your Spanish, it’s probably because he has pity on you and is trying to make you feel comfortable, so don’t take it as an insult. I’m glad you’re learning your tía’s tamale recipes, and I’d actually focus on that to reclaim your heritage—food is the great transmitter and keeper of culture, and symbolic ethnicity is how fifth-gen Irish-Americans can still claim they’re from County Cork despite having as much in common with a shantytown Irish as a Trump piñata does with the Santo Niño de Atocha. The most important thing is that you’re proud of your mexicanidad, and you’re

most likely better off than your asshole halfhermanos—stay classy, Orange County! DEAR MEXICAN: I’ve heard a style of Mexican music that intrigues me, yet I cannot find the name of it. It’s similar to mariachi, as it usually has a small group, upright bass, guitar, etc. The vocal harmonies are very, very good—almost sounds like the Beatles with jazzy overtones. I have heard songs such as “Triana Moreno” and “La Bamba.” I did an internet search, and the closest thing I could find is son jarocho; however, pictures show bands from Veracruz using harps and other different instruments. The style I am trying to find has conventional instruments. There was a band that played this style a few years back at Acapulco, the restaurant in Orange on Katella Avenue near a big movie theater. I also recall that my mom had a record back in the early 1960s called Los Pinguinos at El Shrimp Bucket. This is the recording I loved as a child. The vocal harmonies were extremely good. The music is obviously not mariachi, as there are no horns or violins. I would appreciate you pointing me in the right direction! Living in Seizure World

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DEAR VIEJITO GABACHO: Since when has a harp not been “conventional”? I found your album on eBay, but no way am I spending $35 on it. I did look at the tracks, however, and the mix of Mexican classics and the songs you mentioned peg Los Pinguinos’ style as trio. Oh, and there’s the whole thing of YouTube having tracks of Los Pinguinos—you do know about YouTube, right? Next time you have a question for the Mexican, make it a true headscratcher, like what happened to los 43 students of Ayotzinapa or why Mexicans root for Chivas when a fourth-division German team would send them to la chingada. 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!

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GOODBYE, IRVINE MEADOWS

Staffers, bands, fans and others remember the iconic venue before it gets destroyed by Daniel Kohn

or 35 years, sweltering, bumper-to-bumper traffic

stop, playing there 15 times, most famously in 1989 in what police

off the 405 exit for Irvine Center Drive come sunset

labeled as a “near riot” when approximately 500 fans without

has been as beloved an OC summer ritual as hitting

tickets reportedly threw rocks and bottles at authorities and lit

the beach or bitching about another lost Angels sea-

bonfires when they couldn’t enter the venue. Though the mood

son. And it was no different this past July, as police waved hoards

was much calmer 27 years later, excitement still surged through

holding beer cans and sporting tie-dyed T-shirts across Bake

the crowd full of aging hippies in cargo shorts.

Parkway. Dead and Company was in town, the last gasp of the

On the arduous walk from the gate to the amphitheater,

Grateful Dead, and the parking lot of Irvine Meadows bustled with

fans whispered about John Mayer’s inclusion in the group and

Deadheads. True to tradition, wherever they go, they create a

whether the group is still credible without Phil Lesh. But the big-

makeshift vendor area crammed with campers and tents dubbed

gest topic was whether this was the final time they’d ever catch a

Shakedown Street, after the famous Dead song and album.

show at Irvine Meadows.

Fans started filing into the sold-out venue as the sun dropped over Irvine Meadows’ picturesque hillside setting, creating another majestic view on this clear summer night. Before Jerry Garcia’s death in 1995, the Dead made Irvine Meadows a regular

“I can’t believe it’s actually closing,” one middle-aged attendee said to another as he lit up a joint. “Yeah, it’s been like this for a while,” his balding friend said. “Sad to see the place go.”

CONTINUED ON PAGE 10

» CONTINUED ON PAGE 9

OctOb er 07-13, 20 1 6

| OCWEEKLY.COM | | ocweekly.com | 10 10

MICAH WRIGHT

GOODBYE, IRVINE MEADOWS

» FROM PAGE 9

In September 2012, the Irvine Co. confirmed what had been rumored for nearly a decade: It would shut down the venue that hosted some of the biggest concerts in Orange County history. The old shell will be demolished, replaced by another expansion of Irvine’s Los Olivos neighborhood, which also washed away Wild Rivers waterpark. Another part of Orange County history will be erased wholesale for shitty, overpriced apartments. But on this July night, thoughts of Irvine Meadows’ impending death quickly gave way to the music. Following a thrilling first set that saw the headband-wearing Mayer and eternally shaggy original Dead member Bob Weir trade guitar licks like longtime band mates, Brad Locker was roaming around the venue, answering questions and ushering photographers in and out of the photo pit. Tall, with long curly hair and glasses, Locker has worked at Irvine Meadows since 1995; his first show was Oingo Boingo.

In the middle of the set break, the vice president of marketing at Live Nation SoCal calmly relaxed on a couch in the backstage trailer. In his 22 seasons at Irvine Meadows, he has experienced the best and worst of the amphitheater. Seeing his work paying off means secretly watching as fans cheer, sing along and scream to their favorite bands. In recent months, despite Irvine Meadows’ long goodbye, the highs have been more pronounced. “My favorite moment at every show is we turn around right when the first note hits and we look at the fans and say we brought them here,” he says. “None of those people stayed home and watched reruns of Two and a Half Men, so we did something right.” In this final season, Locker has been extra-attentive to fans, even if they don’t realize he’s taking an informal survey of their concert experience. “Whether it’s informational interviews I’ve conducted after a show as an exit interview from a customer-marketing perspective, what was good and what was bad, this year, the answer has been consistent,” Locker continues. “The ‘What was bad tonight?’

answer has morphed into ‘This is my last time I’m going to come here, and I saw Depeche Mode here in 1988, and it’s sad.’”

ince 1981, when Canadian singer Anne Murray inaugurated the venue, the 16,000-plus-capacity Irvine Meadows has been an essential stop on many nationwide tours. Artists came not just for the bucolic settings, but also for its strategic location between Los Angeles, Riverside, San Bernardino and San Diego counties and a crisp sound that’s hard to replicate at similarly sized outdoor amphitheaters. Ozzy Osbourne recorded a live album there in 1982. Michael Jackson’s Bad tour stopped there in 1988. Prince and the New Power Generation played the venue during 1997’s Jam of the Year Tour. The Eagles performed three shows as part of their Hell Freezes Over tour in Irvine. Those were the one-offs. Events such as Lollapalooza, Lilith Fair, Area Two Epicenter Festival, HORDE, even Funny or Die’s Oddball Comedy and Curiosity traveling show came to Irvine Meadows yearly. Even more popular were the local renters:

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n August, the Stetson set was in full force for Jason Aldean’s seemingly annual tour stop in Irvine. Country music’s hold over Orange County is long gone, but Aldean brought out a scene that recalled the Red River Shootout. RVs and Winnebagos lined the parking lot.

WHERE EXCITEMENT STARTS!

before they could even imagine it. It’s particularly satisfying to Gadhia that Young the Giant were asked to open for Gwen Stefani during her goodbye to the place on Oct. 29 and 30. “Irvine Meadows was the portal to the greater world—the coolest musicians played there, and I remember always trying to scrounge up enough money to get into those shows,” he says. “It represented a gateway to another consciousness, and I only felt aware of its electricity there. Now that it’s gone, I hope there is another portal that takes its place as a venue to inspire all the young musicians out there. For me, it won’t be the same.” And that was the other wonderful thing about Irvine Meadows. Unlike other similarly scaled concert arenas, it hosted many local bands, either as openers or headliners or part of legendary bills. One such group was Sublime, which first performed in 1994, when Bradley Nowell was still alive. Bassist Eric Wilson—whose Sublime With Rome performs Oct. 15—remembers sneaking into Irvine Meadows by hopping over the fence by the late, great Lion Country Safari, wildlife be damned. “We caused all sorts of trouble backstage,” he says with a chuckle, remembering when Sublime played the 1995 Weenie Roast. “We made fake passes and replaced other bands’ with those, and they were trying to figure it out. The same day we were causing all that havoc, Gavin Rossdale and Gwen Stefani were hanging out backstage.”

KROQ’s Weenie Roast (every year except one since 1993), Christian-music fete FishFest (since 2002), and the Pacific Symphony Orchestra summer residency, wowing the plebes since 1987. Running down the list of what Locker calls the “5-plus club,” referring to artists that have played the venue on more than five occasions, Locker rattles off names such as KISS, Dave Matthews Band, Jimmy Buffett, Def Leppard, Slightly Stoopid and Fleetwood Mac. In recent years, the venue ushered in hip-hop superstars who became magnets for sold-out crowds. Snoop Dogg has headlined a slew of shows, and the venue has seen tours including How the West Was Won, Drake v. Lil Wayne, the Endless Summer Tour, Wiz Khalifa and the Ice-T-led Art of Rap. “Irvine Meadows has been home to so many KROQ shows it’s not going to feel right to do the Weenie Roast anywhere else,” said Kevin Ryder of Kevin & Bean fame earlier this year. “I really can’t imagine where it’s going to be next summer, and it’s really making us sad. It’s one of the best venues in Southern California.” Avalon Attractions was the longtime promoter of the venue from its inception until being sold to S.F.X. in the late 1990s, before Clear Channel Entertainment purchased the promotional wing and subsequently spun it off as Live Nation. But even with the flurry of corporate activity over the years, many of the longtime employees at Irvine Meadows remained. If not for Irvine Meadows, many young, up-and-coming musicians wouldn’t have been able to check out some of their favorite bands in an outdoor setting without having to drive to LA, San Bernardino or Chula Vista. “The first show I went to [at Irvine Meadows] was Coldplay during the X&Y tour,” recalls Sameer Gadhia, lead singer of Young the Giant. “I remember snagging last-minute seats, and 16-year-old me was extremely pumped. I think a lot of the guys were at that show, actually. I realized how much responsibility a band has to slay it on a platform like that. They did.” Having an amphitheater close to the band’s base inspired Gadhia and his band mates to get a glimpse of the big time, years

Who is a class member?

You are a class member if you are a natural person who: (1) during the period December 12, 2012 through February 18, 2014, inclusive, placed a call while physically located in California to one of Cabela’s toll free telephone numbers and spoke with a representative of Cabela’s; and (2) was either a California resident at the time such call was made or used a phone number with a California area code to place such call regardless of your residency. This settlement covers those calls.

What are my legal rights?

This notice is only a summary. You may obtain more complete information by visiting www.CabelasRecordingSettlement.com and viewing the full class notice, by writing to the address at the bottom of this notice, or by calling the Claims Administrator at 1-844-528-0183. To receive a settlement payment, eligible class members must submit a timely claim. It is expected that eligible class members who submit a timely and valid Claim Form will receive approximately $100 per qualified call but not more than $5,000 per call. The amount of each individual settlement payment will depend on the total number of claims filed. Unless you take steps to exclude yourself from the settlement, you will be bound by all of the Court’s orders if the Court approves the settlement, whether or not you submit a claim. This means you will not be able to make any claim that is covered by the settlement against Cabela’s or other Released Parties in the future. If you wish to submit a claim, visit www.CabelasRecordingSettlement.com or contact the Claims Administrator at 1-844-528-0183 to get a claim form. The deadline to submit claims is December 21, 2016. If you do not wish to be a member of the settlement class, you must submit a letter to the Claims Administrator at the address below postmarked by December 21, 2016. If you opt-out you cannot submit a claim form. Visit the settlement website for more information. If you wish to object to the settlement, you must do so by submitting your objection to the Claims Administrator at the address below postmarked by December 21, 2016. Visit the settlement website for more information. A final hearing will be held on Tuesday, January 31, 2017 at 1:30 p.m. in Department 305, San Francisco Superior Court, 400 McAllister Street, San Francisco, CA 94102. The Court will decide whether the settlement is fair, reasonable, and adequate. The Court will also determine attorneys’ fees and costs and plaintiffs’ service awards. The motion for attorneys’ fees and costs and plaintiffs’ service awards will be posted on the settlement website after it is filed. You may attend the hearing, but you do not have to. This is only a summary regarding the settlement. For detailed information including, the full text of the Amended Settlement Agreement, the Class Notice and the Claim Form, visit www.CabelasRecordingSettlement.com, call 1-844-528-0183, or write to: Saunders v. Cabela’s Settlement, c/o Heffler Claims Group, P.O. Box 59239, Philadelphia, PA 19102-9239.

1-844-528-0183 www.CabelasRecordingSettlement.com

JOHN GILHOOLEY

GOODBYE, IRVINE MEADOWS

» FROM PAGE 11

Beer pong and corn hole were actively and competitively played in the hours before the country singer and his band took the stage. Just as with the fans who lined Shakedown Street a month earlier, fans expressed shock and disbelief that the venue was in its last months—but there was a concert going on, so—oh, well, huh? As people fold up their assorted grills, tables, chairs and coolers, two women stand with their Jeep Liberty’s hatch wide open, knocking back a final beer as they salute Irvine Meadows. “The first time I came here was the Weenie Roast back in 1996,” says Holly Jones, of Long Beach. “I’ve been to a bunch of those—country concerts and a comedy show. Where else am I going to go now? I don’t want to drive up all the way to San Manuel, and I’m not going to LA. It’s sad.” Hanging out with a rambunctious crew who claimed to have seen bands such as the Talking Heads, Boy George and Iron Maiden, Chuck Norrib has driven down the 405 from Norwalk for the better part of the past 14 years. His first show was working at the venue for 2002 Weenie Roast, which he recalls as “Rob Zombie driving in his golf cart right past me.” As a patron, he has also seen numerous shows over the years. “The past six years, country has taken off here,” Norrib says in between swigs as he stands in front of his Winnebago. “We’ve been coming here for the past five or six years for this, and it’s been a blast. I’ve made so many friends in this parking lot over the years that I’m sad that I won’t be able to come hang out down here anymore.” At the entrance of the VIP parking area, Debby Engelbart waves in some stragglers while keeping her eyes open for people trying to slip past her. Entering without a permit means you’ll incur Engelbart’s wrath. As with Locker, Engelbart is a longtime Irvine Meadows employee. She started in 1996 as a security guard for Weenie Roast, but her first show at the amphitheater was Bon Jovi’s Slippery When Wet tour in 1987. The outdoor amphitheater was where she met her

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A proposed $3,850,000 class action settlement has been reached in the lawsuit Saunders, et al. v. Cabela’s Wholesale, Inc., San Francisco County Superior Court Case No. CGC-14-537095. The lawsuit claims that Cabela’s Wholesale, Inc. recorded telephone calls of persons calling its toll free customer-service lines without telling callers that the calls may be recorded, allegedly in violation of California law. Defendant has denied the claims. Nonetheless, Defendant and the Class Representatives have agreed to settle the dispute to avoid the uncertainty and costs of further litigation and trial.

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San Francisco County Superior Court

daughter’s father (at a Janet Jackson show during her first season), and she headed there just after giving birth. “[Her daughter’s] first show was seeing Metallica when she was just days old,” she says calmly, wryly smiling for a beat. “I had to pick up tickets for my sister, so I brought my daughter in, who was literally almost born here, since I worked a show the day before that, and she kind of got kidnapped backstage! The three heads of Avalon took off with her backstage, and I had to hunt her down. They figured since I was there that I could still work, and I definitely couldn’t! But she had her first two years here, since I was working.” Being behind the scenes afforded Engelbart the chance to know nearly every person associated with the venue over the past 20 years. She has seen her co-workers’ kids getting gigs alongside them, helping to keep the amphitheater’s original spirit alive. Even though Engelbart stopped working on-site in 2000 after a car accident, getting one last season to work and hang out with old friends was enough of a reason to return. “This is a family,” Engelbart says of the staff. “You’re breaking up a family here. These are people who have worked with each other for 10, 15, 20 years. Great friends, great experiences, great shows. I’ll be very, very sad when it closes. It’s like losing your parents’ home.”

solution to move Irvine Meadows to another location isn’t imminent, but ideas are floating around that will bring another large-scale music venue sooner than later. Locker is optimistic about the prospect of another amphitheater nearby, most likely at the Orange County Great Park. “We’ve tried to move the ball in the right direction,” he says. “We think that the City Council is

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and old scream along to the band’s signature anthem. Then as fans scamper out of the amphitheater in the hopes of beating traffic, thrilled after a great concert, the song’s chorus echoes in everyone’s minds: “But everybody’s gone/And I’ve been here for too long/To face this on my own/ Well, I guess this is growing up/Well, I guess this is growing up.”

Neptune’sLagoons

A Day to Remember

S P O I L S O M E O N E S P E C I A L AT. . .

signs urges fans to sign a petition to save live music in Irvine and a big whiteboard encourages people to share their stories about the venue. Between A Day to Remember’s and Blink’s sets, people introduce themselves and grab their neighbors an adult beverage or two. By the time Blink hit the stage, new friends embrace as “Feeling This” and “What’s My Age Again?” kick off the set. “Two thousand sixteen, Irvine Meadows, you can say I was there before they bulldozed this place,” bassist Mark Hoppus says before zipping through “Happy Holidays, You Bastard.” By the time the set reaches its conclusion with an exhilarating version of “Dammit,” mothers and daughters, fathers and sons, boyfriends and girlfriends, and friends new

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n late September, Blink-182 returned for a two-night residency that concludes on Friday. Night One brings out a crowd of older punks, millennials, families and surf bros. As they head into the venue, an assortment of

side of a few special projects he worked on with Live Nation, Curto retired from his position in 2010. Coming back in tandem with current general manager Jerry Gray was something that felt right. “It’s always been a fun way to pass the evening,” he says of his time at the venue. “Working with the artists—not so much directly, but you’re working with the fans and the guests who come to the amphitheater, and it’s always different. I’m very grateful to Live Nation for asking me to come back this year.” Though he’d known about the Irvine Co.’s plans for a long time, it doesn’t make the decision any easier to accept. “I think it’s just losing an iconic venue,” Curto says. “The other night, Perry Ferrell and Jane’s Addiction made comments at their show how this is one of their favorite venues. Luke Bryan said how this was one of his favorite venues to play and credited Irvine as the fastest-selling date on the tour. So that says something about the amphitheater itself.” “We’ve been hearing about it closing every time we’ve been here the past few years, but I can’t believe it’s finally happening,” Wilson says. “I can’t believe it’s for real this time, just to put some houses there.”

moving in a positive direction in terms of understanding how important live music is to the residents of Irvine. We feel like they’re going to hear more from the residents, especially during an election cycle. There’s a role that [Live Nation] can play, [and] there’s a role that the council can play where we can ensure that people can go see live music in the long term.” The Irvine City Council has so far indicated it’s on board with continuing the music. “The Great Park Board has four priorities for the future, 248-acre Cultural Terrace, which is part of the Orange County Great Park land: amphitheater, library, lake and museums,” says Craig Reem, Irvine’s director of public affairs and communications. So far, developer FivePoint has committed $2 million toward the research and planning for a future venue, but there’s currently nothing concrete. Questions remain over such critical details as the size of the venue, who’ll pay for the new amphitheater, and—since this is Irvine—how traffic and noise will affect residents. In the meanwhile, the 2016 season— one of the most vibrant in recent years— continues. Irvine Meadows hosted 40 shows, got back its original name after being known as Verizon Wireless Amphitheatre because of a branding deal, and is seeing many longtime employees such as Engelbart return to see their spot close right. One of them is longtime general manager Matt Curto. He started in 1985 as an assistant executive director, becoming general manager within a few years. Out-

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[ART]

[CONCERT]

Get Weird

Soul On Top

‘Congress of the Weird!’ Kick off the season of All Hallow’s Eve right while indulging the darkest parts of your psyche at the opening night of “Congress of the Weird!,” a freak-show-themed art exhibit at the Magoski Arts Colony’s charmingly MORE bizarre Violet Hour ONLINE Gallery, which is OCWEEKLY.COM probably the only place in OC where you can find a giant pink bunny’s head casually displayed inside a golf cart. Celebrate a love for the weird, demented and deranged as you browse through local artists’ paintings paying homage to the forgotten sideshow and its classic banners, all in the style of lowbrow pop surrealism and fine art. Also, at least one maniacal sculpture will come to life when you least expect it, so don’t say we didn’t warn you! “Congress of the Weird!” at the Violet Hour Gallery at Magoski Arts Colony, 225 W. Santa Fe Ave., Fullerton; www.magoskiartscolony. com. 6 p.m. Free. —DENISE DE LA CRUZ

COURTESY THE17THDOOR.COM

Charles Bradley & His Extraordinaires Soul singer Charles Bradley’s well-documented life was (and sometimes still is) a hard one, with episodes of horror and tragedy that almost hurt just to read about. Yes, his performances make people cry, but his interviews can, too; that’s the power of Charles Bradley’s voice, which can sound broken and beaten and hopeful and triumphant all at once, even when he’s just talking. (Think of Lee Moses, who could do the same thing.) With a topflight Daptone band behind him, the result is extraordinary, with none of the over-rehearsed and over-reverent feel you sometimes get when contemporary musicians delve into the old ways—really, who else would dare to cover Black Sabbath as a deep soul ballad? If you’re still looking for it, this is the real deal. Charles Bradley & His Extraordinaires and the Budos Band at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; www. observatoryoc.com. 8 p.m. $25. —CHRIS ZIEGLER

[CONCERT]

SIMPLY EPIC

Kamasi Washington

The fantastic The Epic album allowed jazz saxophonist Kamasi Washington to surge into the mainstream, not as a pop star, but as a well-respected musician. He has performed at major festivals, appeared on Marc Maron’s WTF podcast and, more important, continued to win the praise of his peers.The 35-year-old is signed to Flying Lotus’ Brainfeeder label and has lent his talents to albums from luminaries such asThundercat and Kendrick Lamar. It takes a lot for a saxophonist to turn up on music listeners’ radars, but if The Epic has proven anything, it’s that there’s always an appetite for great jazz, and a talented composer like Washington will always be in the spotlight if he continues to produce thrilling music. Kamasi Washington at Segerstrom Concert Hall, 600Town Center Dr., Costa Mesa, (714) 556-2787; www.scfta.org. 8 p.m. $39-$79. —DANIEL KOHN

[FUN-RAISER]

See Us Rollin’

KUCI Roller Rink Night The OC’s finest radio station is throwing its first fundraiser of the year, so if you’re one of those blokes whose sanity is constantly rescued by non-commercial, noncorporate radio, come show these magical music spinners the love. Unlike some college stations, KUCI isn’t supported by the administration, so the only way to keep their eclectic mix of music and personalities on the air is through the support of listeners. Instead of yammering on and on at you, however, they’re throwing a roller rink party instead! Strap on some quads (rental included with admission), and glide and groove across the floor to tuneage from your favorite KUCI DJs. And don’t forget to bring your mom; KUCI thinks your mom is bomb. KUCI Roller Rink Night at the Rinks Irvine, 3150 Barranca Pkwy., Irvine, (949) 559-9949; www.facebook.com/ kuci88.9. 7 p.m. $10. —SR DAVIES

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sun/10/09 Don’t Fret

Ukulele Festival Intelligent, graceful, charming, upbeat and witty, the easy elegance of the well-played ukulele has found us in a long-running and ongoing jumping-flea renaissance, with superstars and amateurs assembling at concerts and festivals such as as the one hosted today by the Muckenthaler. Once again, local favorite 1920s popular Vaudeville revivalist Janet Klein

Keepin’ It Greasy The Greasy Strangler

There couldn’t be a more apt title for this grossout, depraved-slasher flick, played up with such campy gusto by Michael St. Michaels and Sky Elobar. The film centers on father and son Ronnie and Brayden, who run a Disco Walking tour (already hilariously absurd) and meet Janet, a seductive young woman who sets off an aggressive competition between them for

her love. Meanwhile, the eponymous villain enacts a campaign of violence and terror by killing people off with his greasy, slimy inhuman hands and is frightfully much closer to Ronnie and Brayden than they think. As the feature-film debut from Jim Hosking, this still under-the-radar horror comedy will surely find its cult audience in the years to come. In the meantime, enjoy it in all its uproariously sleazy glory at today’s final screening. The Greasy Strangler at the Frida Cinema, 305 E. Fourth St., Santa Ana, (714) 285-9422; thefridacinema.org. 8 p.m. $8-$10. —AIMEE MURILLO

mon/10/10 [CONCERT]

THIS SAT - OCT 8

Howl In the Night Ghost Wolves

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Drawing comparisons to another bluesy punk group the Cramps, the Ghost Wolves duo from Texas are a little more reminiscent of recent bands of the foot-stomping blues variety. But on their own, Carley and Jonny have shaped their own fun, energetic, garage-punk vibe that seems more trashy— or, as others would put it, authentic. They’ve applied their Austin blues sensibilities into frenetic, raucous performances that perfectly sync their dual personalities into one musical force. Watch them blow your mind tonight. Ghost Wolves and Mother Echo at the Continental Room, 115 W. Santa Fe Ave., Fullerton, (714) 526-4529; www. continentalroomoc.com. 9 p.m. Free. 21+. —AIMEE MURILLO

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and Her Parlor Boys (featuring the legendary musicologist Ian Whitcomb on uke) will headline the Ukelele Festival, alongside members of OC’s KOLOHE Ukulele Club and more. Virtuosi and novice strummers alike can show up, show off, learn or otherwise celebrate this versatile instrument’s enduring and satisfying role in all varieties of cultural and musical milieu, Hawaii to Tin Pan Alley to Fullerton. Ukulele Festival at the Muckenthaler Center, 1201 W. Malvern Ave., Fullerton, (714) 738-6595; www.themuck.org. Noon. $12.50. —ANDREW TONKOVICH

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Since the Wizarding World of Harry Potter at Universal Studios is a little too far a visit on a Tuesday evening, you can stop by Bottle Logic Brewing in Anaheim today. The Triwizard Trivia Tournament will be going down alongside a wide variety of Potterthemed brews, so bring along your wisest muggle friends and brush up on the movies and books. Regardless of your Pottermore house and Patronus, every team competing in the trivia event needs to register ahead of time, but you can always bust out your house colors to cheer on your team and pound some beers. Triwizard Trivia Tournament 2016 at Bottle Logic Brewing, 1072 N. Armando St., Anaheim, (714) 660-2537; www.bottlelogic. com. 4 p.m. Free. 21+. —JOSH CHESLER

[ART]

GONE BUT NOT FORGOTTEN

Dia de los Muertos Exhibition

It’s not too early to celebrate one of the oldest cultural traditions honoring past loved ones. Start out your month-long tribute to the afterlife with the Museum of Latin American Art’s Dia de los Muertos exhibition, which features a wide array of altars and artworks paying homage to fallen family, friends and the rich history of the holiday itself. Not to be taken as a glum reminder of death, but instead as a celebration of life, with altars decorated to the nines with photographs, flowers, candles, jewels, streamers, food, blankets and the occasional vice (cigarettes, 40-ounce bottles of the departed’s booze of choice, et al), and then of course, sugar skulls and Catrina costumes. While this holiday season ends in early November, you’ll have the chance to visit this marvelous exhibition until December. Dia de los Muertos Exhibition at Museum of Latin American Art, 628 Alamitos Ave., Long Beach, (562) 4371689; www.molaa.org. 11 a.m.Through Dec. 2. $7-$10. —AIMEE MURILLO [CONCERT]

Straight Outta Portland

The Helio Sequence

[ART]

Let’s Get Visual

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‘The Visual Story, Entertainment and Beyond’ You’ve probably never heard the name Michael Humphries, but you undoubtedly know his work: As a onetime background artist for Walt Disney Animation Studios, he has illustrated such films as The Lion King, The Hunchback of Notre Dame, Who Framed Roger Rabbit?, and The Princess and the Frog; eventually working as artistic director on Fantasia T H I S CO D E 2000; and production TO DOWNLOAD THE FREE OCWEEKLY designer for the Sony IPHONE/ANDROID APP Pictures release Open FOR MORE EVENTS OR VISIT Season. The Laguna ocweekly.com College of Art and Design alum receives his own career retrospective called “The Visual Story, Entertainment and Beyond,” exhibiting the colorful, rich background work of Humphries, showcasing his mastery for brilliant composition and lighting, which are just as essential to visual storytelling as character and plot. No word on whether you’ll be able to find any hidden Mickeys, though. . . . ‘Michael Humphries: The Visual Story, Entertainment and Beyond’ at LCAD Gallery, 374 Ocean Ave., Laguna Beach; www.lcad. edu. 11 a.m. Through Oct. 20. —AIMEE MURILLO

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11/19 JOHN MAYALL

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12/11 JACKIE GREENE

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This horror spectacle ain’t for the weak or faint of heart. Basing its name on the 17 rooms in which visitors witness frightening scenes of depravity (each one lasting up to about 90 minutes, thank God), the 17th Door Haunted Experience sends waves of shock and terror to its visitors with immersive interactions between you and each monstrous character. The story goes: a college sophomore summons up the will to begin a new year of medical school after a freshman year made hellish with trauma and pain at the hands of her classmates— here depicted with pig faces and sporting visible lines of villainy and evil. Only 1 year old, this SoCal attraction in the middle of Tustin Market Place has already become a popular fright fest for horror lovers all over; see if you can withstand its intensity. The 17th Door Haunted Experience at Tustin Market Place, 2856 El Camino Real, Tustin; www.the17thdoor.com. 7 p.m. Through Oct. 31. $22-$35. —AIMEE MURILLO

(NEIL DIAMOND TRIBUTE)

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How does a musician walk away from being in one of the hottest bands in the country? For Benjamin Weikel, being in the alt-rock group he started with Brandon Summers called the Helio Sequence was enough reason, allowing him the creative freedom and satisfaction to be able to end his stint MORE playing with ONLINE platinum-sellers OCWEEKLY.COM Modest Mouse. But the Helio Sequence have been successful in their own right, releasing three albums on Sub Pop records and effectively expanding their fan base outside of their native Portland. Now credited for shepherding the transition of Portland’s music scene from grunge to indie rock, the Helio Sequence have entranced crowds with their energetic dream pop/shoegaze material that has only gained more love in recent years. The Helio Sequence with Genders at the Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; www.wayfarercm.com. 8 p.m. $15. 21+. —AIMEE MURILLO

thu/10/13

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HOLEINTHEWALL

» GUSTAVO ARELLANO

Custard of the Sea MAI THAI RESTAURANT 17938 Magnolia St., Fountain Valley, (714) 963-4929; www.maithaifountainvalley.com.

The Best of the Wurst

BRIAN FEINZIMER

Wursthaus bears some similarities to LA’s Wurstküche—and that ain’t bad BY EDWIN GOEI

pretzel; I could’ve eaten it alone with some mustard while watching a ballgame. And then there were the toppings: The sauerkraut was crisp and fresh; the caramelized IPA onions had sweetness akin to French onion soup. And every sautéed veggie—be it onion, bell pepper or jalapeño —still possessed that fresh-from-thewok crunch of a proper Chinese stir-fry. Of course, where Wursthaus truly excels is in its sausages. And no matter which one I had, each tasted exactly as advertised. The chicken Florentine had the tang of feta; embedded in it were visible bits of sun-dried tomato and spinach that I actually felt the need to check the mirror to make sure none got stuck in my teeth. And though the Santa Fe-style buffalo sausage contained trace amounts of pork, green chile and cilantro, it had the coarse grind of a meaty burger and thus felt particularly satisfying in its gobbling: a carnivorous two-for-one, if you will. Perhaps the best sausage is the standard-bearing bratwurst. It’s burnished with just touch of char, causing the casing to crackle and snap audibly as I bit into it. It is, by far, the sausage sandwich that’s predisposed to go well with any excellent beer Wursthaus pours from its taps, but especially the Batik, the Hoegaarden and the Paulaner—the three beers that join the brat during happy hour. Sunday, I’ve discovered, is the best time to come. This isn’t only because the happy hour prices are offered throughout the day, but also because parking in DTSA is free and the restaurant is almost always empty— perfect for those of us who like the spoils of Oktoberfest but aren’t necessarily keen on sharing the communal tables or the squirt

bottles of gourmet mustard with drunken hipsters on a Saturday night. Also discounted are the Belgian fries, which didn’t have the uniform golden sheen of the frites I’ve had in Brussels, but instead possessed the skin-on and caramel-brown edges of a stereotypical natural-cut French fry. Still, even if they can only be called “Belgian” because of their thickness and the paper cones, it must be noted that Wurstküche does its potatoes in the same way. Both sausage joints, by the way, also serve the fries with a complimentary thimble of housemade sauce. Wursthaus offers a jalapeño ranch and a Sriracha cream, as current culinary trends dictate, but its bacon blue sauce had chunks of cheese so big I employed two fries as chopsticks. Wursthaus’ honey mustard, however, is the one sauce to rule them all. It elevated not only potato and sausage, but also my pretzel roll. And the best part was that I didn’t have to waste the complimentary choice of fry sauce asking for it: It’s bottled along with the other mustards at the table. Perhaps the one important thing Wursthaus can say it has that sets it apart from Wurstküche is the option of topping its fries with a Thousand Island-esque house Andalouse sauce, caramelized onions and any sausage. Our server described it as a version of animal-style fries, but for Wursthaus’ sake, don’t tell In-N-Out. WURSTHAUS 305 E. Fourth St., Ste. 106, Santa Ana, (714) 760-4333; wursthausdtsa.com. Open Sun.-Tues., 11 a.m.-midnight; Wed.-Thurs., 11 a.m.-1 a.m.; Fri.-Sat., 11 a.m.-2 a.m. Dinner for two, $15-$30, food only. Beer and wine.

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henever a new sausage and beer-hall concept is reviewed, comparisons to LA’s Wurstküche—which arguably created the blueprint for all sausage-and-beer joints that followed it in Southern California and beyond—must be made. So let’s get it out of the way: Yes, Wursthaus in downtown SanTana does have some very obvious similarities. First, there are the sausages themselves. Just as at Wurstküche, they start out uncooked and stacked like logs behind a clear, refrigerated display case in species both domestic and exotic. Then there’s the long hallway that links where you order your sausage sandwiches to the backroom dining room where you eat them. In this mess hall, Wursthaus also boasts similar communal picnic tables, squirt bottles of five gourmet mustards and one ketchup, and a recessed beer bar. But so what if Wursthaus is the “Blurred Lines” to Wurstküche’s “Got to Give It Up”? If imitation isn’t the sincerest form of flattery, it is, at the very least, a validation that the original idea was a great one. And since nearly everyone I’ve talked to about Wursthaus recognized Wurstküche as its inspiration, I’d argue that Wursthaus isn’t a Wurstküche copycat; it’s actually its tubed-meat apostle. And as far as the Gospel of Sausage goes, Wursthaus might just be its St. Paul. Apart from the strangely alien texture of the vegan apple and sage, which I should’ve known not to order, I haven’t had better sausage sandwiches anywhere in OC. The buns were good and hearty, especially the pretzel roll, which had the shiny brown and sturdy crust of an actual

ertain dishes will always defy translation, no matter how multicultural our country gets. Americans, for instance, can’t possibly appreciate the Mexican love for putting chile powder on sweets; durian will forever remain a Southeast Asian obsession as the rest of the world retches. And while most people don’t blink at eating lamb or veal, the thought of eating duck embryos à la the Filipino balut makes non-Asians scream. And then we get to the Thai hor mok talay. It’s basically seafood custard in a coconut—no, seriously. Throw together an ecosystem of fishes, crustaceans and mollusks, steam them in curry-spiked coconut milk, add a couple of vegetables, and pour the results into a coconut, adding in an egg so everything gels together. There’s a parallel in Mexican cuisine—the Sinaloan mariscoco—but whereas that one is served chilled and spicy, hor mok talay is all about savoriness: not too sweet, not too spicy, tangy with the treasures of the sea, but reduced to, well, custard. It’ll never get Instagram famous, and that’s why you don’t see it at many OC Thai restaurants. But this seafood custard one of the specialties at Mai Thai Restaurant, a gem in a forgettable Fountain Valley shopping plaza. Outside its doors, you see drabness; inside, it’s dark, with well-kept tables, a wine case, bar and flat-screens turned to the best things airing during the day (lunch, courtroom TV; dinner, sports). Mai Thai lists the hor mok as the last special, knowing only Thais will order it; last time I got it, the waitress paused for a second, then smiled, almost as if she wanted to warn me about it but decided I knew what I was doing. And I did: The hor mok is delicious, and you have dessert at the end by scraping the coconut meat that absorbed all the curry and seafood juices—that’s good eatin’! Everything else at Mai Thai is just as great, if a bit more common: zippy green papaya salad, slurp-worthy pad Thai and so on. And that’s okay; this is Fountain Valley, after all, not Thai Town.

MO N TH X X–X X , 2 014

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here is hummus, and then there’s the dish at Ishtar Mediterranean Grill—one of Little Arabia’s newer restaurants—called msabaha. It has hummus, yes, but topping it is cooked chickpeas. And yogurt. And parsley. And lemon. All surrounded by a sea of olive oil. You’ll never eat plain hummus again: Msabaha is creamy and tingly and technically meant to share—but if you don’t eat one huge

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It, too, was surprisingly well-done. The main components were a Japanese whiskey called Iwai and Laird’s, an all-American apple brandy. There was also Indian chai in it and an orange peel, but they were in the background. Instead, the first sip numbed my tongue as though it were covered in fur—a testament to the drink’s potency. And the ice was shaped into a ball to delay dilution! WOKCANO 3015 El Camino Real, Tustin, (714) 5084411; www.wokcanorestaurant.com.

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approached the new Wokcano in Tustin as I do all restaurants that operate under the catch-all description of “Asian”—with tempered expectations. But to my surprise, everything I happened to sample on my first visit was nearly flawless. I ate a briskly chilled, creamy scallop carpaccio sluiced with ponzu and a salmon-skin roll that was so tightly packed with the crunchy shards of skin you could hear me chewing on it from across the room. Most surprisingly of all were the xiao long baos. Although overpriced, these delicate bursting sacks of pork and soup might be the best juicy pork dumplings in OC—that is, if Din Tai Fung didn’t already take that crown. Feeling buoyed by what I saw and tasted, I ordered a drink that I would’ve never considered in a place like this: an Old Fashioned, the kind of cocktail you sip with one elbow propped up on a leather chair while calling your secretary “doll” on the office intercom.

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Morning Legend Broadway Donuts lets you put 75 different creamers in your coffee

haven’t really been in town enough during the day lately to hit up all the must-do lunch spots on my list, so I’ve been skipping around, covering drinks, local events, where to get dinner, etc. And I thought I’d dive into this newly expanded Long Beach dining beat with something I haven’t been able to cover under previous lunch-only restrictions. Broadway Donuts is a place you might blow off as just another basic doughnut shop based on exterior appearances alone. But if you live in the Gayborhood (or have watched an episode of Dexter that was filmed there), you know it’s so much more. As the story is often told, the majority of California’s 1,500-plus strip-mall doughnut shops are owned by Cambodians, who fled the brutality of the Khmer Rouge and found a decent living making fried dough rings for the locals at independent shops across the state. With the largest Cambodian population in the country, Long Beach is where this microeconomy first flourished and it can be seen in action every day at dozens of places that offer exactly the same things as Broadway Donuts: cheap cups of coffee; 20-plus kinds of sugary pastries, all made fresh throughout the day; handmade West Coast-style bagels; fresh breakfast sandwiches; and a fridge full of bottled sodas, teas and juices. I’ve never asked the owners of Broadway if they are actually Khmer, but I do know they make a mean glazed twist, they speak fluent Spanish to their many working-class regulars, and they have made their little corner spot into a neighborhood institution. And what really sets Broadway Donuts apart from all the other doughnut shops in Long Beach (or, hell, any actual coffee shop) is its insane, intense, no-joke java bar, which stares you right in the face the second you walk inside. Where other doughnut shop owners might have placed tables and chairs (there are none inside), Broadway’s decided

LONGBEACHLUNCH » SARAH BENNETT

instead to make one entire wall an overwhelming display of self-serve coffee options. Once you pick your cup (Styrofoam or biodegradable, each in three sizes), you can choose from 25 different pump pots of Gevalia coffee to fill it with (think blueberry, double French roast, 100 percent organic Mexico, Havana espresso, etc.). Then, the real decision-making begins. Broadway Donuts purchases every flavor of creamer produced by Coffee-mate, which at your supermarket might not seem like a lot, but on the wholesale end apparently adds up to no less than 75 bottles, from Almond Joy to All-Natural Vanilla to Bailey’s Mudslide, all of which are stacked next to one another in a chorus line of milky options. As with the city’s craft beer and cider bars, Broadway is the only place at which you’ll find some of these weirder creamer flavors (Thin Mints from the official Girl Scouts cookie line, salted caramel chocolate), and I like to use the opportunity to try something new each time I’m there (for the brave, try it “suicide”-style, in which you mix and match different ones!). These days, you can get a dozen decent doughnuts in a bright pink box from almost anywhere (even at ol’ bulletproofglass Cherry Donuts). But only at Broadway do doughnuts (and jalapeño-andham croissants) come with a 30-foot-long, build-your-own coffee bar that lets you walk out with a $1.75 cup of liquid that’s anything but the burnt diner-grade crap served at most shops. And luckily for me, this Long Beach legend is close to home. BROADWAY DONUTS 1200 E. Broadway, Long Beach, (562) 432-6595.

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Fifty Years of The Battle of Algiers: Past as Prologue examines the influence of the legendary war movie BY GABRIEL SAN ROMÁN

f The Battle of Algiers premiered in today’s War on Terror world—with its unsparing scenes of café bombings, checkpoints and home raids—Sean Hannity would probably reach out of your TV screen, Poltergeist-like, and punch you in the face for sedition. But back in 1966, Italian filmmaker Gillo Pontecorvo’s epic depiction of the Algerian War (1954-1962) against the French mastered the political realism that came to define the Third Cinema movement, and audiences identified with the Arab Muslim resistance it captured, making it a masterpiece of world cinema that hasn’t been replicated since. So for UC Irvine professor Sohail Daulatzai, watching The Battle of Algiers and declaring, “Je suis Ali La Pionte,” (“I am Ali La Pionte,” the legendary Algerian rebel leader who’s portrayed in the film in all his smoldering essence) becomes a modern-day act of rebellion. In his latest book, Fifty Years of The Battle of Algiers: Past as Prologue, Daulatzai doesn’t simply celebrate the film’s milestone, but rather he explores its many political meanings throughout history. For him, the classic is not only “a relic of the past,” but also a “prescient and telling testament to the present.” The Battle of Algiers is very much a product of its time, when the world bristled with rebellion against colonial rule. In 1966, Namibian nationalists launched a guerrilla war for independence against the apartheid government of South Africa, which banned the movie. That same year, in Latin America, Che Guevara sough to export guerrilla warfare from the mountains of Cuba to Bolivia’s highlands. In the United States, militants founded the Black Panthers in Oakland and identified their popular struggle with Third

MAGNA

making the film, Pontecorvo was aware of Fanon’s work, and in many ways, the film is a cinematic blueprint for The Wretched of the Earth. Pressing questions of armed struggle, torture and life after independence all figured prominently in Fanon’s work and the film. The poignant rooftop scene in which FLN leader Ben H’midi talks about all the hardships of revolution to La Pointe, telling him, “It’s only afterward, once we’ve won, that the real difficulties begin,” runs parallel with Fanon’s own cautionary tales. Fanon’s writings on political violence are also echoed in The Battle of Algiers’ depictions of urban guerrilla warfare and terror tactics. The most suspenseful moment of the film famously comes when three Muslim women adopt a Western look in order to pass through Arab Casbah checkpoints on their way to discard purse bombs at civilian sites in the French quarter of Algeria. When H’midi is later captured by French paratroopers, he’s paraded

THE BATTLE OF ALGIERS was directed by Gillo Pontecorvo; written by Franco Solinas; and stars Brahim Hadjadj, Jean Martin and Yacef Saadi. Opens at the Nuart Theatre, 11272 Santa Monica Blvd., Los Angeles, (310) 473-8530; www.landmarktheatres.com/ los-angeles/nuart-theatre. Fri. Call for show times and ticket prices. FIFTY YEARS OF THE BATTLE OF ALGIERS: PAST AS PROLOGUE by Sohail Daulatzai; University of Minnesota Press. Paperback, 104 pages, $7.95.

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World liberation movements, even opening its sole international office in Algeria. Much like the iconic image of Che could be found throughout the Third World, The Battle of Algiers became an artistic triumph with international appeal wherever unrest unfolded. But as Daulatzai’s book shows, it was psychiatrist and author Frantz Fanon, not Che, whose deep imprint is felt in the film without his ever being explicitly mentioned. Fanon lived as a colonial subject in Martinique before fighting with the French in World War II. The racism he experienced in France eventually led him to Algeria, where he joined the National Liberation Front (better known by its French acronym, FLN). He wrote his masterpiece, The Wretched of the Earth, in 1961, a work not lost on the film’s director nor on FLN leader Saadi Yacef, whose own memoirs formed the basis of the film. “Yacef knew Fanon, and they worked together,” Daulatzai says. “When it came to

in front of Western reporters, one of whom presses him on the FLN’s tactics. “Let us have your bombers, and you can have our women’s baskets,” H’midi calmly replies. Before the bombing, Algerians are shown pulling dead bodies from concrete rubble. An impromptu march heads toward the French quarter, but FLN members stop it, promising that the deaths at the hands of the French would be avenged. “The tension between documentary and fiction is what’s really gripping about the film,” Daulatzai says. “The viewer isn’t ever sure what they are watching is real or not.” The professor’s young students at UCI who watch the film in his classes are products of their time. “The post-9/11 context has sought to rewrite the past,” he says. For example, the Setif and Paris Massacre of Algerians by the French in 1945 and 1961 don’t factor in the public consciousness of the West. “I don’t think the film does enough to show how systemic French colonial violence was whether during the war with Algeria or the 130 years they were colonizing them,” Daulatzai adds. His book also touches on how the Pentagon infamously screened The Battle of Algiers months after the U.S. invasion and occupation of Iraq in 2003. “It became no longer a film about how people resist oppressive forces, but one on how to crush them,” Daulatzai says. There are also passages documenting its use as a teaching tool for counterinsurgents in places such as South America, where dirty wars raged against leftists in the 1970s. But the ultimate lesson of The Battle of Algiers comes in the form of its continued relevancy despite naysayer retrospectives that describe the film’s continued popularity as a mere exercise in leftist nostalgia. Though the world has changed much since it debuted, the folly of the French remains true. Daulatzai’s tome drops at the same time Pontecorvo’s film gets a limited release and when Washington is telling the world ISIS is on the run and the Syrian government has been contained. But as the movie’s legendary ending shows, The Battle of Algiers will always resonate so long as the wretched of the world remain wretched.

M ONT H X X–XX , 20 14

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A Boy’s Best Friend Is His Mother IT’S CLEAN, BUT THE SHOWERS CAN BE DEADLY

SHAMLEY PRODUCTIONS

Ana; www.thefridacinema.org. Fri., 11 p.m. $8-$10. The Way We Talk. Cal State Fullerton’s National Student Speech Language Hearing Association hosts a screening of the award-winning documentary about stuttering and how hard it is to say what’s in your heart. The event, which supports the on-campus Center for Children Who Stutter clinic, includes an audience Q&A with director Michael Turner, who is a stutterer. Cal State Fullerton, TSU Pavilion C, 1900 Associated Rd., Fullerton. Mon., 7 p.m. Free, but you must RSVP for tickets, which are limited, by emailing csufnsslha@gmail.com. Psycho. Master of suspense Alfred Hitchcock may not have made a more influential film than this 1960 slasher thriller about the uncomfortably close relationship between motel manager Norman Bates (Anthony Perkins) and his rocking chair-bound mother. Skip the remakes and rip-offs and head directly to the excellent A&E Network series Bates Motel, on which, going into its fifth season, Freddie Highmore is every bit as creepy as Perkins was (I swear the Brit is channeling the Yank), and Vera Farmiga is finally in

Humanities Gateway, First Floor, Irvine, (949) 824-6117. Wed., 6 p.m. Free. Paper Tigers. The Guidance Center, which joined Long Beach Unified School District (LBUSD) this year in launching a Trauma-Informed Movement in Education at Beach High School, presents a screening of a documentary about a similar program. The film follows six students over the course of a school year in Walla Walla, Washington, as Lincoln High School’s staff tries a new approach to discipline based on understanding and treatment rather than judgment and suspen-

sion. The screening begins with a brief message from Steve Graner, Neurosequential Model in Education project director for The ChildTrauma Academy, and is followed by a panel discussion that includes Graner, Tiffany Brown, assistant superintendent of School Support Services at LBUSD, and Nathan Swaringen, a clinical therapist with the Guidance Center, who is leading the program at Beach High. Art Theatre, 2025 E. Fourth St., Long Beach; www.tgclb.org. Wed., 7 p.m. Free (reserve tickets at bit.ly/ PaperTigersRSVP). MCOKER@OCWEEKLY.COM

O ctOb er 07-13, 20 16

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Intrepido. This Italian Movie Night presentation is Gianni Amelio’s 2013 comedy about a middle-aged man in modern-day Milan taking every job he can to achieve self-respect. When Antonio realizes he must do something more concrete in his life, he devotes his time to his young musician son, who often fears performing in concert. Regency San Juan Capistrano, 26762 Verdugo St., San Juan Capistrano, (949) 661-3456. Thurs., Oct. 6, 7 p.m. $11. Don’t Blink–Robert Frank. Cinema Orange, the partnership between the Orange County Museum of Art and the Newport Beach Film Festival, presents this look at the reclusive and revolutionary 91-year-old photographer and documentary filmmaker. He documented the Beats, Welsh coal miners, Peruvian Indians, the Rolling Stones and London bankers. But the Swiss-born artist’s most notable work was the book The Americans, which was published in 1958 and earned him comparisons to a modern-day de Tocqueville for his outsider’s view of American society. His movies include Pull My Daisy, Cocksucker Blues and Me and My Brother. Orange County Museum of Art, 850 San Clemente Dr., Newport Beach, (949) 759-1122. Fri., 7 p.m. Free (as is museum admission). I Drink Your Blood. For this week’s OC Weekly Friday Night Freakout, I drink your blood. Yes, I’ve been feeling a bit parched and automobile coolant isn’t quite doing the trick, so let me grab my straight razor and . . . uh . . . check that. What’s up is David E. Durston’s 1971 porn-o-plasma about an LSD-addicted hippie cult consuming rabies-infected meat pies (stock up on ’em at Costco) before going on a vicious rampage. The original pic, which was heavily edited upon its Manson Family-era release, has been restored to its full gory, er, glory by Grindhouse Classics. The Frida Cinema, 305 E. Fourth St., Santa

that rocking chair. Directors Cut Cinema at Regency Rancho Niguel, 25471 Rancho Niguel Rd., Laguna Niguel, (949) 831-0446. Tues. Call theater for show time. $8. Three Short Movies and Q&A with Filmmaker Sabereh Kashi. UC Irvine’s Jordan Center for Persian Studies and Culture presents Sabereh Kashi’s short films Home Yet Faraway, Poems of Winter and Cigarettes, and Lalezar Street, followed by an audience Q&A with her. The movies are presented in Persian with English subtitles, and the Q&A is presented in Persian and English. UC Irvine, McCormick Hall,

BY MATT COKER

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Five-Fecta

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Jamie Brooks Fine Art brings together LA artists with different styles BY DAVE BARTON

THROUGH A DOORWAY, CLEARLY

DADDY DAUGHTER DATE BY REBECCA CAMPBELL

with a gun at his head (Fuck It); the Pink Power Ranger changes the channel on her TV set and smokes a fag, beer cans, bottles of booze and prescription meds nearby (Power TV). The most telling is Princess Homebody, with its catatonic yet sparkly, crowned woman sitting on a pink couch, rigid and transfixed. It’s a painful backhand to every female fantasy life beset by the reality of spilled Big Gulps and screaming children. Rebecca Campbell’s naturalism is full of a narrative complexity that has you scouring every inch for hidden details. Her oil-on-canvas Daddy Daughter Date, with its well-dressed father sitting in the cathode glow of a television screen, the carpet looking as if it’s made of blue squirming maggots, feels menacing. His daughter, dressed in a Lolita-esque outfit of white fabric, red ribbons and heels, stands tentatively framed in the doorway, unsure whether to enter. There’s an implied peril in Charlie In Forest, as well, with its small boy, clad only in underwear and socks, gazing at something glowing in his hands. There aren’t any adults present amid the copse, just a multicolored pennant string high above him. Whether the image portrays a child’s vulnerability, his isolation or his curiosity is unclear; as with every picture of hers present, it’s beautifully

painted and unsettling. Even her most realistic painting, Great to Say Hello, feels as if it’s the moment just before something bad is about to happen, its background beginning to flare out and blur around an unsuspecting young man. The faces are friendly and approachable on Turner’s grid of six oil portraits on glass—titled Blondes, Brunettes, and Balds—his brush lines smooth and assured, the thick paint accentuating the wrinkles of a face or a wave of hair in a way that demands your engagement. Turner’s easy ability to command attention is at its most obvious in his second grid of six on display: Good Man Bad Man, Red, Orange. Hung next to a 36-by-36 oil slick of a portrait of British painter Francis Bacon (36 BACON), each of the 12-by-12 faces is smeared, blurry, in movement, raw and bloody, mute, obscured. In a show celebrating the body, it’s a subversive insight for curator Brooks to let the last thing you see as you exit be these mini masks of misanthropy, the panicked, fearful eyes their only distinguishable feature. “FUTURE RECOLLECTIONS” at Jamie Brooks Fine Art, 2967 Randolph Ave., Ste. C, Costa Mesa, (949) 929-4143; www.jamiebrooksfineart.com. Open Tues.Sat., 10 a.m.-6 p.m. Through Oct. 18. Free.

f you’ve ever driven down Bristol Street in Santa Ana between Warner and Edinger, you’ve likely noticed the subtle pink building called Rental Bootique. Customers have come to this tiny store since 1985 for authentic-looking outfits that resemble something borrowed from an Cecil B. DeMille spectacular. The large inventory of period costumes is impressive: Viking armor, zoot suits, beaded flapper dresses, Victorian, Pink Lady, mariachi, even Aztec warrior. There are variations of every type of look, so no two Cleopatra costumes will be the same. Owner Vicky Gaon has run the shop since 1992, after her parents, the original owners, left it in her care. Formerly renting out dress gowns, evening wear and costumes, Gaon decided to deal only in costumes and changed the spelling from Boutique to Bootique. But while Halloween is obviously the busiest time of the year, people come in regularly looking for suitable attire for conventions, themed parties, school projects, even student films. Each costume is handmade from scratch or repurposed from old clothes Gaon finds at yard sales, thrift stores, donations, etc. Bringing new life to an old piece of clothing is what Gaon takes pleasure in the most “because you’re recycling and bringing something back that was going bye-bye or filling a landfill,” she says. “People don’t want it or see the potential, and you do, so you bring it back to life and give it a second chance.” So if you’re hunting for that Marie Antoinette gown, or you’ve always wanted to be a Renaissance maiden for Halloween, Rental Bootique is for you— and it carries accessories and costumes altered for free at your convenience, too. For a complete and updated glance at what’s available, check out its online catalog or stop by in person. AMURILLO@OCWEEKLY.COM RENTAL BOOTIQUE 2227 S. Bristol St., Santa Ana, (714) 2410907; www.rentalbootique.com

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urator Jamie Brooks has gathered together five of LA’s best figurative artists in “Future Recollections,” one of those rare gallery shows in which the artists—who have nothing in common stylistically, aside from the fact that they paint portraits— work perfectly in synch with one another. The head of the pack is Grand Master Don Bachardy and his bracing portraits of friends and celebrities. Painting from life, he’s unsparing in giving us the flushed broken capillaries of pink skin, the jowly bulldog-faced close-up, the jaundice of a spray-on tan, the questionable fashion sense of people unused to picking out their own clothes. The features feel exaggerated, thinner than humanly possible, even caricatured, but there’s nothing cartoonish or ridiculing coming off the paintbrush. Bachardy is just painting what he sees, and that acrylic honesty is something to be cherished. Bradford J. Salamon also paints what he sees, but sees things darker, more visually complex and more realistic than Bachardy, his colors skillfully uniting background, foreground and subject. Thin, gray lines at the sides of a picture link to the wispy gray of his model’s eyebrows and beard (Jan Taylor); the pink of a woman’s hair (Lillian Batts) also graces her lips and cheeks, slashes of brown supporting her head as well as highlighting her hair. At other times, the often-miasmic background threatens to overtake the subject: In his portrait of fellow artist Ray Turner, Salamon’s mottled color seeps into his subject’s skin, dissolving the top of his head. In larger portraits, with two or more figures present, the cramped surroundings are often more interesting than the people he’s painting: In The Letter, the accumulated detritus of suburbia—shabby furnishings, bland painted walls and the pretense of coffee-table books—is more riveting than any narrative he’s providing. Likewise, the couple in Pink Purse pale in comparison to the hip movie-poster collection hanging on the walls behind them. In White Rabbit, three generations of women and a pet go about their business or pose as if they’re aware he’s there, but for the most part, they don’t care. It’s impossible not to love former cartoonist William Wray’s droll dismantling of comic and pop-culture icons via mundane situations, with each picture drawing on our childhood associations, and then wickedly pitching them into the shitter: Superman gets mail from his apartment mailbox as a chain-smoking Batman glowers from behind a screen door (Roomates); Batman sits in an alley

Costume Palace

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Homegrown Gear

The 15 best mom-and-pop music stores in Orange County BY ISABELLA CANO AND NATE JACKSON

ocal music shops are the backbone of any good music scene. Few successful bands to come out of OC would be where they are if they didn’t have a neighborhood place to buy and try new equipment. Whether it’s a freshly minted Les Paul or a reasonably worn-in drum kit, mom-and-pop shops around OC have the knowledge, pricing and no-bullshit customer service that can be harder to find at the big-box stores. Here’s a list of the 15 best local shops where you can buy the tools to become OC’s next big rock star. PEPPERLAND MUSIC

Formerly an exclusively Beatles shop, Pepperland decided to branch into a general music store, where you can find almost anything involving music: records (99.9 percent of which are classic rock), stickers, retro memorabilia, T-shirts, artwork, movies and instruments. Pepperland also acts as a venue for live performances every so often. (Isabella Cano) 850 N. Tustin St., Orange, (714) 639-0909; www.pepperlandmusic.com. TIM’S OC MUSIC

There are a few places to grab an acoustic guitar or some strings in South County, but Tim’s is a place where you can get both of those and an extra helping of hometown charm. As a leading local provider of music lessons and instrument rentals in South Orange County, the familyowned shop focuses most of its energy on offering some of the best teachers and school instrument rentals in the area since August of 2012. (Nate Jackson) 28971 St. of the Golden Lantern, Laguna Niguel, (949) 363-0155; www.timsocmusic.com.

FOUNTAIN VALLEY MUSIC CENTER

The first thing you notice about Fountain Valley Music Center is the window painting of a keyboard stretching across the building, then it’s the sign at the shopping center’s entrance: “Caution: Musicians in Training.” Mostly a music school, it carries a wide selection of guitars and ukuleles. (NJ) 8740 Warner Av.e, Fountain Valley, (714) 963-2010; www.fvmusic.com. IRVINE ART AND MUSIC

This is one of the few solid music stores in Irvine that carries large instruments from such brand names as Yamaha, Jupiter, Casio, Gibson, Gretsch, Ibanez, Fender and Roland, among others. It even offers instructors who teach you how to play East Asian instruments—you won’t find that class at Guitar Center! (NJ) 15315 Culver Dr., Ste. 150, Irvine, (949) 559-3069; irvineartandmusic.com. PETE’S MUSIC

Pete’s Music makes it a priority to pass on knowledge to its patrons rather than just getting rid of inventory; the staff received NAMM’s award for 35 Years of Excellent Service in 2012. Pete’s specializes in new and used guitars, and for a small shop, it has an impressive collection of amps as well. (IC) 2060 Euclid St., Anaheim, (714) 534-7383; www.petesmusic.com. TUSTIN MUSIC CENTER

SQUID MUSIC

Though its instrument selection is rather small, you’ll find a broad variety of bass, guitars, amps and drums to choose from at this “buy, sell, trade” music store. And Squid Music’s aisles are made up of amps! (IC) 10742 Beach Blvd., Stanton, (714) 8264000; squidmusic.net.

Tustin Music Center has more than 20 music instructors with bachelor’s, master’s and even some doctorate degrees—all of whom see more than 300 students per week. Their goal is to teach life skills through music. Plus, the center presents regular concerts to showcase the progression of its pupils. (IC) 13721 Newport Ave, Tustin, (714) 730-1766; tustinmusic.net.

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THE MUSIC LAB

This hidden gem in Old Towne Yorba Linda has always been a hub for music lessons with quality instructors. Most of them have been there for decades; shout out to Jay and Ross, who taught this writer how to slappa da bass! The minute you enter, it reminds you a bit of a dim, relaxed recording studio, with its wood-paneled walls adorned with glamor shots of such legends as Stevie Ray Vaughn and Michael Angelo Batio.

BANJOS, TOO!

The Music Lab prides itself on its jamband program, which puts top students of various instruments together, often giving them their first taste of what it’s like to be in a group. (NJ) 4805 Main St., Yorba Linda, (714) 970-8282; www.themusiclabyl.com.

BEATNIK BANDITO MUSIC EMPORIUM

In addition to its shelves full of punk rock, rockabilly, psych rock and Latin vinyl, this downtown store also has a limited stock of vintage guitars and amps worth checking out. As a lifestyle store driven by old California outlaw culture, it’s only right you purchase an axe to complete your bad boy (or girl) image here. (NJ) 417 N. Broadway, Santa Ana, (714) 835-3313; www.beatnikbandito.com.

RICHARD JOHNSON

CONSTELLATION MUSICAL INSTRUMENTS

BEACH CITY PAWN AND DISCOUNT GUITAR

Located in Santa Ana, Constellation specializes in instruments that are endeared in Mexican culture: the bajo sexto, bajo quinto, the tololoche and more. But you can also find basic acoustic and electric guitars, some violins and violas, keyboards, and music lessons. (IC) 3701 W. McFadden Ave., Santa Ana, (714) 418-0186; www.constellationmusical.com.

This gigantic music store has two levels: The bottom is dedicated to music and instruments, while the top contains everything pawn shop. The “buy, sell, trade” store also offers new gear from brands such as Takamine, Dean, Fender and Epiphone, as well as free lessons every Saturday at 11 a.m. Beach City is proud to be one of the best-reviewed music stores on Yelp! (IC) 17827 Beach Blvd., Huntington Beach, (714) 848-6600.

KENNY’S MUSIC

Because of its tiny space, Kenny’s Music doesn’t keep much on display. You can, however, order equipment here; Kenny’s has won the NAMM’s Top 100 Dealers award for more than five consecutive years. The place is so cool, it’s even a Pokémon GO stop! Cherie Currie of the Runaways carved a statue of a mermaid playing guitar that sits in front of the store as a monument dedicated to Sandy West, the band’s drummer, who passed away from lung cancer. (IC) 24731 La Plaza, Dana Point, (949) 661-3984; kennysmusicstore.com. 13TH STREET GUITARS

This Huntington Beach shop owned by Hugh Thomas has become a well-known destination for punk legends including Steve Soto and Noodles of the Offspring. Over the years, it has served thousands of locals who’ve come in for guitar set-ups, fret work and other electronic modifications. The store also carries a decent selection of very pretty guitars for you to purchase; there’s nothing like going into a guitar shop with one axe and walking out with two. (NJ) 7391 Warner Ave., Huntington Beach, (714) 596-5050; www.13thstreetguitars.com.

MO’S FULLERTON MUSIC

There’s a pack-rat feel to this store as you explore some of the rare instruments within such as melodicas, harmonicas, harps and Djembes in addition to the standard music-store fare. Mo’s carries sheet music like downtown Fullerton nightlife carries drunk college co-eds (i.e., that’s a lot of sheet music). (NJ) 121 N. Harbor Blvd., Fullerton, (714) 871-1805; www.mosfullertonmusic.com. JIM’S MUSIC CENTER

Smart musicians know the first place to check out instruments is Jim’s Music. With mom-and-pop service and competitive pricing that outdoes the big-box stores, Jim’s is definitely our jam when it comes to buying new or used gear. The store feels a lot like a NAMM showroom, especially with the warm, immaculate, acoustic-guitar room designed by Taylor guitars. It’s also where most school band musicians can go to get great deals and professional lessons. For the sonic perfection you seek, chances are you’ll find it here. (NJ) 14061 Newport Ave., Tustin, (800) 644-6874; jimsmusic.com.

PAGING NUCKY THOMPSON . . .

Nothing But a Gangster Party

©DAVINI PHOTOGRAPHY

Envy’s 1920s-mob theme replaces Ten Nightclub BY SCOTT FEINBLATT

ENVY LOUNGE 4647 MacArthur Blvd., Newport Beach, (949) 287-8270; www.envyloungeoc.

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music is spun by guest DJs. The theme continues with the lounge’s menu of designer drinks. “A lot of it is John Dillinger-focused,” Lakhany says. “We have one called the Jackrabbit; that was Dillinger’s nickname because he was in and out of banks so fast. We’ve got Bonnie and Clyde, [and another one called] 1205— December fifth is when Prohibition ended.” There is an uncommonly high degree of cooperation surrounding Envy. Lakhany and Hojat are currently working with neighboring restaurant Ten Asian Bistro to create a signature menu of high-end bar snacks, and Hootan & Associates, the firm that designed the nearby Bosscat, created the design for Envy. “It’s one big, happy family here,” Lakhany says. “Each of us owner/operators has a different skill set, and I defer to them sometimes if we’re trying to think through a situation and we would like some extra insight.” Lakhany stresses that this is not a typical community of businesses. If one bar runs out of a drink ingredient, it will borrow some from a neighbor, for example; or if one establishment is an employee short for a night, another might loan it one. The drinks aren’t even priced competitively. “We don’t step on each other’s toes,” Lakhany says. “What they do, we let them do; what we do, they let us do. If we want their input, we ask for it, and we get it.”

O ctOb er 0 7- 1 3, 2 016

hen the opportunity came for enVus Motorsports owners Sammy Lakhany and Ali Hojat to open a lounge in the space previously occupied by Ten Nightclub, they accepted the challenge of turning the place into a 1920s gangster-themed establishment. “Part of our original game plan with enVus Motorsports was to open a huge showroom that had a VIP-memberservice-type lounge, where [our clients would] be given after-hours access to a private lounge that had beautiful cars underneath,” Lakhany says. Lakhany previously had his eyes on Ten Nightclub and had talked with Hojat, who was the VIP manager for that club, about how the space could be put to better use. So when Ten was on its last legs earlier this year, Hojat arranged a meeting between the owners and Lakhany. “At that time, I was looking at throttling down,” Lakhany says. “I’d been on a long run of doing business. My girlfriend was pregnant at the time [he now has a 3-monthold]. I’d just built enVus Motorsports, and I had other business interests. [However,] it was one of those opportunities I couldn’t pass up, so we did it.” Envy Lounge’s gangster theme started with an aesthetic. “I’ve always enjoyed the rustic brick and the luxury era of the ’20s,” Lakhany explains. “You know, like the velvet and the velour and the tufted leather—that type of feel always felt good in a lounge space.” Beyond the décor, jazz

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SYMBOLS

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as Carl Jung and Joseph Campbell. He says his dream collaboration would be with electronic recording artist Burial or director David Lynch because of his extensive use of symbolism. Reading dozens of psychology books sparked a desire to go to school for it, but Richards knew that wasn’t the path he was meant to take. “I’m taking what I’m learning and creating art with it,” he says. Since the release of his first self-titled album in 2013, Richards has acquired some prerecording rituals, which, he says, have helped him get the most out of his studio time. Prior to every session, he washes his hands, representing a cleansing of the body, and drinks a glass of water, representing a cleansing of the mind. He then meditates for an hour and may even listen to theta waves videos. Theta brainwaves bring relaxation and can be the dominant waves in not only hypnosis and deep meditation, but sleep as well, he says; doing so could instill a dream state that allows him to connect with his subconscious. “That’s what gave birth to the album,” Richards says. His dreams would be filled with melodies or chord progressions that he would wake up remembering, or he would get a burst of inspiration simply from a general feeling he had. “My hope is that with this album, that message will translate to other people, and they will work on their inner self,” Richards says. “I truly believe that’s how we’re going to get any effective change in this world.”

ou could find Barrett Richards, a.k.a. musical visionary Kastle, rummaging through timeless, dusty antiques and vintage records in swap meets throughout Orange County. He’s found a handful of items that he absolutely treasures, including a figure of a frog, a blackand-white optical-art-patterned Rubik’s Cube, and a pyramid reflecting light in front of a mirror. Among his most intense items is a figurine of a man on a horse slaying a dragon, which, he says, represents psychologically slaying your demons. These items will be featured on the cover of his album Reflections, due out Oct. 14. The artwork is much like his music—mysterious, colorful and abstract. “I really want the album to reach people on a deeper subconscious level, [where] they could see a reflection of themselves through not only the music, but also through the artwork,” Richards says while sipping on a drip coffee from Coffeebar Byul in Irvine. Hailing from Sharpsville, a small town an hour north of Pittsburgh, Richards was itching for a fresh perspective and a new taste of scenery and diversity. After discovering a love for electronic music, he began playing gigs at 17 years old. In 2010, he moved to San Francisco out of curiosity and found the cultural diversity he was looking for. He later moved to Los Angeles, and a year ago, he made his way to Irvine—as well as plenty of Japanese food just across the street from his new home. “I moved down to Orange County for a little bit of quiet and meditation to match my zen outlook on life a bit more. . . . I love the fresh air, less concrete and [being] much closer to nice beaches,” Richards says. “Also, the food options down here are incredible.” Instead of Electronic Dance Music, Richards considers his music to be “Existential Dance Music,” as it’s informed by intellectuals such

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CHARLES BRADLEY & HIS EXTRAORDINAIRES: 8 p.m. The Observatory,

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DISCHARGE WITH EYEHATEGOD AND TOXIC HOLOCAUST: 9 p.m. Constellation Room at the

Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. FLORIDA GEORGIA LINE: 3:30 p.m., $30.50-$79.75. Irvine Meadows Amphitheatre, 8800 Irvine Center Dr., Irvine, (949) 855-8095; irvineamp.com. HEART TO HEART: tribute to Heart with Tricia Freeman, 6:30-9:15 p.m., $15-$20. The Strawberry Bowl Amphitheater, 12762 Main St., Garden Grove, (714) 9283894; thestrawberrybowl.com. HIP-HOP HOORAY: 9 p.m., free. Kitsch Bar, 891 Baker St., Ste. A10, Costa Mesa, (714) 546-8580; kitschbar.com. HOLOKAUST: 7 p.m., $5. Blacklight District Lounge, 2500 E. Anaheim St., Long Beach. HOUSE OF LIGHT: 8 p.m., free. Casa Costa Mesa, 820 W. 19th St., Costa Mesa, (949) 877-4011; casacostamesa.com. MADEINTYO WITH SALMA SLIMS; MYNAMEISPHIN; NOAH WOOD$: 11 p.m. The

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MAURO CALDERÓN—MUSIC OF THE VIRGEN DE GUADALUPE: 2 p.m., free. Bowers Museum,

2002 N. Main St., Santa Ana, (714) 567-3600; bowers.org. ST. LUCIA: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. SUPER DIAMOND: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. THESE HANDSOME DEVILS: tribute to Morrissey and the Smiths, 9 p.m., $10. Gaslamp Restaurant & Bar, 6251 E. Pacific Coast Hwy., Long Beach, (562) 5964718; thegaslamprestaurant.com.

SUNDAY, OCT. 9

THE CASUALTIES; 8 KALACAS; JFA; THE VOIDS; STARVING WOLVES; RIVER RATT:

7 p.m., $15. The Yost Theater, 307 N. Spurgeon St., Santa Ana, (888) 862-9573; yosttheater.com. FULLY FULLWOOD REGGAE SUNDAYS: 3 p.m., $5. Don the Beachcomber, 16278 Pacific Coast Hwy., Huntington Beach, (562) 592-1321; donthebeachcomber.com. HOUSE OF RABBITS (GROTESQUE REQUORDS): 8 p.m., free. Blacklight District Lounge,

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THRICE: with special guests, 7:30 p.m. The Observatory,

3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. UKULELE FESTIVAL: noon, $12.50 -$25. Muckenthaler Cultural Center, 1201 W. Malvern Ave., Fullerton, (714) 738-6595; themuck.org.

MONDAY, OCT. 10

CHRIS TRAVIS & XAVIER WULF: 8 p.m., $15. The

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COUNTRY DANCIN’ WITH DJ PATRICK:

6:30 p.m., free. The Swallow’s Inn, 31786 Camino Capistrano, San Juan Capistrano, (949) 493-3188; swallowsinn.com. JOE BLANCHARD: 10 p.m., free. Auld Dubliner, 71 S. Pine Ave., Long Beach, (562) 437-8300; aulddubliner.com. METAL X: 8 p.m., free. Blacklight District Lounge, 2500 E. Anaheim St., Long Beach.

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BEARTOOTH: 8 p.m. The Observatory, 3503 S. Harbor

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THE SHAKES: 7 p.m., $8. Constellation Room at the

Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. SLEAZY T’S SHIT SHOW: 9 p.m. Que Sera, 1923 E. Seventh St., Long Beach, (562) 599-6170; queseralb.wix.com.

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St., Ste. A10, Costa Mesa, (714) 546-8580; kitschbar.com. THE BIG DRAW: DJ Abeltron, 8 p.m., free. The Copper Door, 225 1/2 N. Broadway, Santa Ana, (714) 543-3813; thecopperdoorbar.com. BLUES WEDNESDAYS: 7:30 p.m., $5. Mozambique, 1740 S. Coast Hwy., Laguna Beach, (949) 715-7777; mozambiqueoc.com. CRYSTAL FIGHTERS: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. DEREK BORDEAUX BAND: 7 p.m., free. Original Mike’s, 100 S. Main St., Santa Ana, (714) 550-7764; originalmikes.com. FEED ME: 9 p.m., $20-$30. The Yost Theater, 307 N. Spurgeon St., Santa Ana, (888) 862-9573; yosttheater.com. GREG ADAMS & EAST BAY SOUL: 6 p.m., $25-$75. Montage Laguna Beach, 30801 S. Coast Hwy., Laguna Beach, (866) 271-6953; montagelagunabeach.com. HIP-HOP WEDNESDAY: 9 p.m., free. The Karman Bar, 26022 Cape Dr., Laguna Niguel, (949) 582-5909; thekarmanbar.com. MODERN DISCO AMBASSADORS: 10 p.m. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com. RICK MARCEL: 7:30 p.m., $10. Spaghettini Rotisserie & Grill, 3005 Old Ranch Pkwy., Seal Beach, (562) 5962199; spaghettini.com.

THURSDAY, OCT. 13

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BEACH FOSSILS: 8 p.m. The Observatory,

3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. BLOCKHEAD; LUSINE; YPPAH: 9 p.m., $15. The Federal Bar, 102 Pine Ave., Long Beach, (562) 435-2000; lb.thefederalbar.com. DIVE CLUB: 9 p.m., free. Kitsch Bar, 891 Baker St., Ste. A10, Costa Mesa, (714) 546-8580; kitschbar.com. ERIC HUTCHINSON: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. GRN+GLD: 9 p.m., $3. Que Sera, 1923 E. Seventh St., Long Beach, (562) 599-6170; queseralb.wix.com. HAVOC THURSDAYS FEATURING: HEROBUST:

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A question on your favorite topic, Dan. Just kidding: It’s a question about my vagina. I’m having a problem with the microbiome of my vulva and vagina. I’ve been going to my gyno for the past six months for recurrent bacterial vaginosis and yeast infections. She shrugs, gives me a prescription, the symptoms go away for a week or so, then they come back. I understand the infections are likely due to an imbalance in my vaginal pH, but I don’t know what to do to fix this. I’ve used probiotic suppositories to boost the amount of lactobacillus, and these help more than anything else, but the problem remains. I also wear cotton, loose-fitting undies and practice good hygiene and never douche or use anything scented. The problem started when I stopped using condoms with my partner, but it’s not an STI. We’ve both been tested. There are tons of sites online talking about this problem, but no one has a solution that I’ve found. How the hell can women with this problem fix their pH?! Thanks a ton if you read this far, and thanks a million tons if you or one of your experts has any ideas to help. Vexed Und Lacking Vaginal Answers “I love that she used the word ‘vulva,’” said Dr. Debby Herbenick, a research scientist at Indiana University, a sexual-health educator at the Kinsey Institute, and the author of Read My Lips: A Complete Guide to the Vagina and Vulva and numerous other books. “Most people have no idea what that even is!” I know what that is! (Full disclosure: I know what that is now. I didn’t know what that was when I started writing this column.) The vulva is (the vulva are?) the external genitalia of the female—the labia, the clit, the vaginal opening, some other bits and pieces. (Fun fact: Vulva is Latin for wrapper.) The vagina, a.k.a. “the muscular tube,” runs from the vulva to the uterus. (Fun fact: Vagina is Latin for the sheath of a sword.) People tend to use “vagina” when referring to a woman’s junk generally, and while meaning follows use and I’m inclined to give it a pass, saying “vagina” when you mean “vulva” makes scientists such as Dr. Herbenick rather teste. (Sad fact: Teste is not the singular form of testes.) Now back to your vulva and vagina, VULVA. . . . Dr. Herbenick recommends seeing a “true vulvovaginal health expert” (TVHE) about your problem, VULVA, and your gynecologist presumably qualifies as a TVHE . . . right? “Not necessarily,” said Dr. Herbenick. “Gynecologists know far more about vaginal and vulvar health issues than most health-care providers, but many gynecologists haven’t received deep-dive—pun not intended—specialized training in difficult-to-treat vulvovaginal health conditions. And if they have, it was likely when they were in med school—so years ago. They might not be up to date in the latest research, since not all doctors go to vulvovaginal-specific conferences.” Is there a fix for that problem? “Yes! If everyone lobbied for their doctors to go to events like the annual conference of the International Society for the Study of Vulvovaginal Disease [ISSVD],” said Dr. Herbenick, “we would live in a country with millions more happy, healthy, sex-interested women and others with vaginas and vulvas, too, like trans men.” As for your particular problem—a tough case of bacterial vaginosis—Dr. Herbenick, who isn’t a medical doctor but qualifies as a TVHE, had some thoughts. “There are many different forms of bacterial vaginosis [BV] and different kinds of yeast infections,” said Dr. Herbenick. “These different kinds respond well to different kinds of treatment, which is one reason home yeast meds don’t work well for many women. And all too often, health-care providers don’t have sufficient training to make fine-tuned diagnoses and end up treating the wrong thing. But if VULVA’s recurrences are frequent, I think it’s a wise idea for her to see a true specialist.” A TVHE is likelier to pinpoint the problem. Even so, Dr. Herbenick warns that it may take more than one visit

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with a TVHE to solve the problem. “I don’t want to overpromise, since BV remains a challenging diagnosis and often does come back at some point,” said Dr. Herbenick. “There’s no one-sizefits-all approach to BV, which is also why I think VULVA is best off meeting with a health-care provider who lives and breathes vaginal-health issues. The ISSVD is full of health-care providers like that—they’re the Sherlock Holmes of vaginas and vulvas, none of this ‘shrug and here’s a script’ business. VULVA can check out ISSVD. org for more information.” I have a question about biking and female genitalia. I’m a woman in my forties, and I love biking! My husband and I often go for long rides on the weekend. Unfortunately, this makes various parts of my crotch sore, especially the clitoris. Certain bike seats are better, but none eliminate the soreness. Two years ago, we had a baby, which not only made my crotch more prone to soreness, but also makes it a lot less likely that we’ll have sex except on weekends, often after biking. The sore clit makes sex more painful, but it also increases sensitivity, so the whole thing can be an alternating experience of “Ow!” and “Wow!” Am I causing my clit any permanent damage by the biking and/or the post-bike poking? Any suggestions for decreasing crotch soreness? Bike Related Injury To Clit; Help Ease Soreness “I love biking, I love vulvas, and I love babies—mine, and I’m sure I would adore BRITCHES’s baby, too!” said Dr. Herbenick. “So I appreciate being asked to chime in on this question. That said, there’s not a ton of research on female genital health in connection with cycling.” There’s far more research on men and cycling because of the risks of bike-seat-related erectile dysfunction, specifically, and our society’s tendency to prioritize boners generally. “The few studies that have been conducted on women and cycling—generally cisgender women, as far as I can tell—found that cutout seats are linked with a higher risk of genital symptoms, as are handlebars that are lower than the saddle,” said Dr. Herbenick. “So broader saddles and higher handlebars may be the way to go. Some of the research notes higher rates of genital symptoms among people who go on longer rides, spending hours in the saddle.” To decrease your risk of un-fun genital symptoms, BRITCHES, Dr. Herbenick recommends mixing it up. “Go biking some weekends and try other activities on other weekends—maybe hiking or swimming? You might also take Dan’s ‘fuck first’ Valentine’s Day advice and apply it to your weekend rides. And if you’re prone to post-intercourse semen leakage (and, really, who isn’t?), use a condom or have him come elsewhere pre-ride so you don’t have the semen-seepage issue to contend with on a long ride. I hope this helps!” Follow Dr. Debby Herbenick on Twitter: @debbyherbenick. YOU CAN HELP: Wherever you fall on the debate about sex work—it should be decriminalized; it shouldn’t be decriminalized—everyone agrees that women who engage in sex work shouldn’t be punished. Yet thousands of women are incarcerated for prostitution or prostitution-related crimes. The Sex Workers Outreach Project (SWOP) has launched a pilot program to help these women. Go to swopbehindbars.org to send a book to an incarcerated sex worker (books are in great demand), become a pen pal, or donate a book to a prison library. Since everyone agrees sex workers shouldn’t be punished, everyone should be able to get behind SWOP Behind Bars. I donated a book to an incarcerated sex worker today—it was easy!—and you can, too. On the Lovecast (savagelovecast.com), Dan talks guns and spit with the “Liberal Redneck” Trae Crowder. Contact Dan via email at mail@savagelove.net, and follow him on Twitter: @fakedansavage.

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