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KENNETH CLAIR CLOSER TO FREEDOM | 3RD-GEN VIETNAMESE FOOD IN LITTLE SAIGON | CHANNEL YOUR INNER WITCHINESS FEBRUARY 26-MARCH 03, 2016 | VOLUME 21 | NUMBER 26

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up front

The County

06 | MOXLEY CONFIDENTIAL |

Kenneth Clair is closer than ever to freedom. By R. Scott Moxley 07 | ¡ASK A MEXICAN! | What’s the Mexican version of nigger/nigga? By Gustavo Arellano 07 | HEY, YOU! | Drama queens ruin everything. By Anonymous

Feature

10 | FOOD | Where to get the best

chilaquiles in Orange County. By Gustavo Arellano

in back

Calendar

14 | EVENTS | Things to do while favoring

Lemonades over Savannah Smiles.

IMAGINE YOUR COMPANY IN FRONT OF THOUSANDS OF BUSINESS PEOPLE!

Food

20 | REVIEW | Abyssinia serves great

Ethiopian food. By Edwin Goei 20 | HOLE IN THE WALL | Katie’s

Munchies in Westminster. By Gustavo Arellano 21 | EAT THIS NOW | Burrito de birria de res at Burritos La Palma. By Gustavo Arellano

21 | DRINK OF THE WEEK | Porter’s

Fire. By Matt Coker

Film

22 | REVIEW | Triple 9: More Training Day or Car 54, Where Are You? By Alan Scherstuhl

Culture

Music

26 | LISTICLE | Ten signs you grew

up as a musician in Orange County. By Candace Hansen 29 | PREVIEW | Linda’s Doll Hut blowing up as a hip-hop joint. By Daniel Kohn 30 | LOCALS ONLY | Them Evils have rocked, will travel. By Nate Jackson

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

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the county»news|issues|commentary

Secrecy Surrounds Death-Penalty Case Hidden DNA evidence, an ignored eyewitness and closed hearings raise suspicions

aving recently arrived from the gloomy, sun-starved section of San Quentin State Prison, Kenneth Clair wore a smile when he entered Orange County’s Central Courthouse. The inmate had last visited the place when Ronald Reagan occupied the White House, the Soviet Union existed, nobody had heard of the Clintons and only a tiny portion of Americans owned cellphones. But his elation wasn’t because he was avoiding the ultimate penalcode fate for 28 years or because a CONFIDENTIAL federal court last year overturned his death-penalty punishment after a special circumstances murder conviction. He was happy to R SCOTT see family members MOXLEY and supporters attending a hearing in Superior Court Judge Thomas M. Goethals’ courtroom. Clair’s upbeat attitude masked a brutal life story. Neglected as an infant in his native Louisiana, violently abused as a youngster, sent as a 17-year-old petty thief to the nation’s most horrific adult penitentiary, where the daily norm included forcible rapes, he’d hoped to start a new life by moving to California in 1983. Within a year, however, authorities charged the then-25-year-old homeless man with the attempted rape, robbery and murder of a Santa Ana babysitter at an alleged white supremacist’s house. Though no physical evidence tied the dark-skinned AfricanAmerican to the crime scene, and an eyewitness who saw the intruder at close range insisted the killer had been Caucasian, prosecutors succeeded in sending Clair to death row. Never mind, too, that multiple other witnesses recanted their anti-Clair statements, saying law-enforcement officials offered hidden incentives to utter progovernment testimony, according to court records reviewed by the Weekly. Also that police failed to seriously probe a possible connection to the sexual assault of another nearby woman in the weeks before the killing. And that forensic scientists concluded the murderer’s clothes would have been soaked in blood, but a woman who saw Clair shortly after the crime observed nothing unusual about his appearance. And that officials supposedly lost crime-scene evidence after defense lawyers asked to study it. And that upon learning of the behind-the-

moxley

» .

scenes hanky-panky, several jurors declared they would have voted not guilty had they been fully enlightened. In a sworn declaration, one member of the citizens’ panel labeled herself disgusted she’d been hoodwinked by the Orange County district attorney’s office (OCDA). Fast forward to Feb. 19, when a sheriff’s deputy pushed a wheelchair carrying the knee-injured Clair into Goethals’ courtroom. Prison has taken its toll; he looks a decade older than his age, 56. A relative overcome with emotion asked if she could sit next to the handcuffed defendant at the defense table, but a bailiff shook his head no. For weeks, the judge understandably believed the hearing would require the mere technicality of resentencing Clair to a term of life in prison without the possibility for parole (LWOP). But this case just can’t escape controversy. In an unusually secretive ruling in March 2015, the U.S. Court of Appeals for the Ninth Circuit found that Clair’s trial attorney in 1987 provided “profoundly deficient” representation. The three-judge panel then removed the death penalty, issued a protective order on involved lawyers and published an opinion devoid of key factual references that hindered readers’ ability to tie the ruling to Clair. The matter slowly returned to Orange County, where it landed in Goethals’ court for either a penalty-phase retrial or a rubberstamp LWOP determination. What the hell was happening? The judge said, “It’s difficult to imagine what’s going on here.” The answer wasn’t forthcoming, at least for the public. Scott Simmons, a high-ranking OCDA homicide prosecutor, and Clair’s San Francisco-based appellate lawyer, John Grele, told Goethals they couldn’t speak freely about the case in open court. For 17 minutes, they huddled in chambers. When they finished, the judge announced he’d learned “a little” more about the situation, but he didn’t offer specifics. What we did discover is there’s an impasse. Simmons had hoped Grele would readily accept a non-contested downward departure from death to LWOP. But that outcome robs the penniless Clair of publicly provided legal counsel afforded to death-row inmates as he battles pending suspicious law-enforcement actions against him. Instead, to Simmons’ irritation, Grele announced he wants Goethals to remove the special circumstances finding so his client would receive a term no

JOE ROCCO

worse than 25 years to life, which could mean he’s already eligible for parole. “This is more complicated than it initially appeared,” observed the judge. Lurking as a backdrop to the dispute is a huge, unsolved mystery. OCDA officials asserted for years that DNA recovered from the murdered babysitter, Linda Faye Rodgers, belonged to Clair, who, they claimed, attempted to rape her, too. But in 2008 and with the defendant having served 21 years on death row at that point, their version of reality crumbled. Advances in forensic science made a startling discovery: The DNA doesn’t actually belong to Clair. Fair-minded observers have gasped at the twist, but District Attorney Tony Rackauckas and his surrogates, Simmons and his boss, Dan Wagner, stubbornly claim the news is irrelevant. Though the Ninth Circuit asserted there’s a possibility that Clair could be factually innocent, the prosecutors say they remain positive of his guilt. To support that stance, they point chiefly to an informant’s surreptitious recording of the defendant repeatedly proclaiming his innocence but also asking the person not to cooperate with police detectives investigating Rodgers’ death. Simmons knows the identity of the male tied to the DNA recovered from the victim’s vagina, but he refuses to reveal it, explaining the individual was too young at the time of the killing to be guilty. He also blocked Grele’s request to inspect the name under a protective order so that he could investigate if one of the person’s older, DNA-sharing male relatives is the killer. To justify that concealment, the

deputy DA declared that privacy concerns supersede Clair’s due-process rights, a position he took even when a state execution loomed. The first issue Goethals plans to tackle is whether he has jurisdiction to grant the defense motion to strike the special circumstances verdict if he eventually determines that’s the correct course. “I don’t want to engage in a meaningless exercise,” he said. Stating accuracy is more important than speed in the current scenario, the judge will study in-depth briefs from both sides. To ponder the next step in this bizarre case, he ordered the parties to return on March 18. At the hearing’s conclusion, Clair’s relatives couldn’t hide decades’ worth of emotional scars as they slowly walked down a courthouse hallway with three reporters in tow. They appreciated that C.J. Ford— an Orange County private investigator and expert in the case—accompanied them. In their minds, the OCDA cheated to steal an innocent, underprivileged man’s freedom, and they weren’t comfortable when Goethals conducted the powwow with the lawyers outside of their presence. They even lectured the court-appointed Grele, claiming he’d callously kept them in the dark about his strategy for the session. “After everything that has happened, I don’t trust any of them,” said Johnnie Mae Stokes, Clair’s sister, who was on the verge of tears. She paused, distraught about her sibling’s plight. “Why should I?” RSCOTTMOXLEY@OCWEEKLY.COM

aREAD MORE»ONLINE WWW.OCWEEKLY.COM/NEWS

»V GUSTAVO ARELLANO DEAR MEXICAN: I’ve noticed many Mexicans have pet birds, and most of the time, the birds are obviously neglected. One time, I saw a live parrot in a cage next to a cage with a dead, decaying parrot! WTF? Is this a Third World thing, an exercise in not feeling bad about another animal’s feelings in order to strengthen their minds in some idiotic and twisted way? Or is it because they have seen so many adults and babies dying of disease that they have no heart for animals? I’ve passed by a house where the family keeps a cockatiel on the front porch day and night. I have never seen these people, but I will bet you anything—anything—they are freakin’ Mexicans. I mean, it’s still alive, so obviously they keep feeding it, but why own a bird if you are not going to make it part of the family? Don’t they know that birds get more intelligent the more they are interacted with? This is something I feel strongly about, so if you know, please explain this to me. Güero Para los Pajaros DEAR GÜERO: You tilting, bruh? There’s a reason why the Spanish word for pet is mascota— that is, an animal to have around but not necessarily treat as a human. Gabachos see pets as fur- or feather-people; Mexicans see pets as animals. But it’s not a Third World thing; it’s class, pendejo—don’t forget that Americans had the same perspective on animals they owned not so long ago (cockfighting was still legal in Oklahoma, New Mexico and Louisiana as recently as the past decade). I’m not making excuses or trying to play down the severity of our treatment of birds: A 2007 study compiled by Defenders of Wildlife, a conservation nonprofit, estimated that 65,000 to 78,500 parrots were captured each

year, with about 60,000 of them dead before getting to a buyer, “making this trade terribly inhumane and wasteful.” And I can’t blame the gabachos this time, either: the same report cited United States Fish and Wildlife Service stats that showed about 86 percent to 96 percent of those captured pericos stayed in Mexico. DEAR MEXICAN: My mom is very expressive and can say some stupid things sometimes. One night, my family had a holiday gettogether, and my brother invited his Chicana friend. My mom was talking, and the word vato rolled from her lips, and the Chicana friend’s eyes opened wide and her jaw just dropped. Is that an offensive word to Mexicans? We’re black, so is it like the N-word to them? What I mean is that some people take offense to the N-word, some think it’s okay to say the word if you’re black, and others may see it as a form of saying “What’s up?” Question From a Black Man DEAR NEGRITO: You mean is there a word that can mean both “nigger” and “nigga” in Mexican Spanish? No word in our idioma is as loaded as those. The closest would be paisa, short for paisano. The full word means “countryman,” but roughly translates as “bro”—but in its paisa form, it can be used as a slur that means “hillbilly.” That said, some Mexicans proudly use paisa for themselves and reappropriate the term à la nigga. And quickly: The Chicana was offended because vato (“dude” in Chicano Spanish) is usually associated with gangs. Here’s to hoping she didn’t call your mom a mayate. . . . 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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ou were the drama queen who blew into the hospital waiting BOB AUL area and insisted the TV be turned on immediately, without any regard for anybody else’s peace of mind, just so you could have some kind of media noise going as you made short, impulsive, profanity-laced phone calls and argued with your brother for a few minutes before blowing out again—leaving the TV still running, of course. I’m glad our time sharing the same space was brief; more important, there was a lady on the program that just happened to come on right after you left who said offhandedly that Native American movie icon Iron Eyes Cody was actually Italian. Born to Sicilian immigrant parents, he got work playing Indians in early westerns. Boy, was I faked out all this time! Thanks, Drama Queen, for unintentionally adding yet another piece of evidence that the bulk of the media culture that has shaped our nation’s collective mind is rooted in wholesale fraud.

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HEYYOU!

¡ask a mexican!»

M p s

Chil v e aquiles For

! r e BRIAN FEINZIMER

How Orange County learned to love the ultimate Mexican brunch—and where to find the best

Gust o A l

his weekend, your favorite newspaper is holding its first brunch festival. Fresh Toast will happen on Saturday at the Newport Dunes Resort (the site of last year’s wildly successful Summerfest), featuring more than 40 restaurants, from 320 Main to Outpost Kitchen to Taco Maria, Clay Oven and Naugles—yes, Naugles, the legendary fast-food Mexican chain that’s back from the dead and ready to help you relive your high-school days. You can find the entire list of participants and what they’re offering in our house ad on pages 8 and 9. I love them all and expect to be wheeled out of Fresh Toast at the end, so full and fat will I be. But for this story, let’s discuss the greatest brunch item of them all, the one Orange

County has perfected above anywhere else in the world: chilaquiles. Screw breakfast tacos, breakfast sandwiches—all of breakfast, really, except chilaquiles. This is the greatest Mexican almuerzo (brunch) of them all, a deceptively simple dish that’s fiendishly difficult to master. Most places think chilaquiles give them a license to chop up some stale Guerrero corn tortillas, lightly fry them, then splash on some trashy red or green salsa, creating something softer than mush but not as tasty. No. Chilaquiles is a fugue: the interplay between the crispy edges and somewhat soft center, the sharp notes of a great salsa that doesn’t sog everything up, the crispness of the cheese tying everything together. It’s been a staple of Mexican households in

OC for generations, but enough gabachos have had it over the years to make it a thing here—not yet a favorite at the level of breakfast burritos, but getting there. And if you’ve never had chilaquiles? It’s coming your way. Late last year, I predicted it would become a national food trend. Already in 2016, The New York Times published a story praising the dish, and Rick Bayless—for better or for worse—offered a chilaquiles recipe. Better yet, hipster chefs who don’t run Mexican restaurants are highclassing it into better and tastier heights. Of our participating Fresh Toasters, only Cafe Calacas will serve chilaquiles, but mark my words: Your year will end with you eating chilaquiles. And you’ll be the better for it. Have fun at Fresh Toast, and try these spots next weekend!

ANEPALCO’S

A palco’s

| | | | |

Danny Godínez’s chilaquiles is the culinary equivalent of Dylan going electric at Newport, or the release of Guardians of the Galaxy for the younger generation: something that was ridiculed and questioned upon its debut, but proved a magnificent game-changer. It was so controversial that on Anepalco’s first day, Godínez only made $40. I was one of the original doubting Thomases because his version doesn’t resemble any chilaquiles ever made. Instead of a field of jagged tortilla strips, Godínez packs together a disk so dense it nearly looks like pâté. Rather than bathing the chilaquiles in salsa, the Anepalco’s version uses a dense, mole-like sauce. To this day, people wince at the chilaquiles when they look at the dish—until they taste it, and then they become acolytes on the level of Paul. But don’t take my word for it: Our own Dave Lieberman put it best when he wrote late last year, “Breakfast, lunch or dinner: whenever you have your first Anepalco’s chilaquiles, it’ll haunt you until you return.” DAMN STRAIGHT! 3737 Chapman Ave., Orange, (714) 456-9642. CHAPAROSA GRILL

One of the few reasons to stop in Laguna Niguel (unless you’re going to the sex dungeon of folks at the Nellie Gail Ranch), Chaparosa Grill is as good a South County Mexican restaurant as you’ll find. Its chilaquiles run toward the crispier part of the spectrum, with a light sauce—a great starter for folks who’ve never had them. 30271 Street of the Golden Lantern, Laguna Niguel, (949) 363-9888; www.chaparosa.com.

| |

AMORELIA CAFE

I’m glad this place is still around long after it became a Chowhound (see how old it is?) obsession. From my review long ago: “[The chilaquiles is] a big plate, with big portions of each—look at that fluffy, perfect mound of scrambled eggs. But the actual chips in the tortilla section achieve the impossible—a meeting between the just-hardened-and-fried pieces of my mom’s chilaquiles and the softness of Zamora’s. And the sauce—a tomato-based condiment that nevertheless sneaks up on unsuspecting sinuses— is as intricate as a harp.” 2200 Harbor Blvd., Costa Mesa, (949) 646-1422; www.mexicancafecostamesa.com.

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RESTAURANT MARY

ocWeeKLY.coM | | OCWEEKLY.COM

The most underrated Mexican restaurant in SanTana prepares better dishes than its chilaquiles, but that’s like saying Lou Gehrig was the fourth-best Yankee after Ruth, DiMaggio and Jeter. It pays great attention to the creaminess and cheesiness aspects, per its michoacano roots. 1819 S. Main St., Santa Ana, (714) 547-1744. MINI CAFE

It’s just doors down from legendary dive bar the Fling, and the smart set knows to start drinking at 6 a.m., get shit-faced,

» CONTINUED ON PAGE 12

BRIAN FEINZIMER

then sober up at the Mini. From my review after I did such a thing: “Mini Cafe’s chilaquiles is simply magnificent, even if not fully Mexican. Instead of the rice that customarily accompanies the dish, the cooks sauté potato slices until they’re a crisp golden-brown. The pinto beans have Cheddar cheese on them instead of queso fresco. But it doesn’t matter: The chilaquiles are as perfect a testament to the beauty of the genre as Les Demoiselles d’Avignon is to Cubism.” 2370 N. Tustin Ave., Ste. C, Santa Ana, (714) 648-0891. TACO MARIA

BRIAN FEINZIMER

El Ca C e

Ktchn Dtsa

Carlos Salgado is the king of Orange County chefdom right now, named a Food and Wine Best New Chefs last year and having his Taco Maria deemed the second-best restaurant in Southern California in 2015 by the Los Angeles Times and best in OC by the Orange County Register and this infernal rag (two years in a row!). And he just got nominated as a semi-finalist for the James Beard Award’s Best Chef In the West. But in the world of chilaquiles in la naranja, his awesome chilaquiles, enlivened with chicken confit and chile cascabel, only ranks in the top 10. Better luck next year, chef! 3313 Hyland Ave., Costa Mesa, (714) 538-8444; www.tacomaria.com. C4 DELI

Next to Anepalco’s, here are the most inventive chilaquiles in OC, namely because the kitchen stuff the dish into a French roll and call it a chilaquiles torta. The tater tots that accompany it are superfluous because chips-on-bread is sweet stuffiness enough. 200 N. Broadway, Santa Ana, (714) 263-1555; c4deli.com. EL CAMINO CAFE

GUSTAVO ARELLANO

T kle Box

OCWEEKLY.COM | | ocWeeKLY.coM

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Mini C e

Chilaquiles Forever! » FROM PAGE 11

Old Town Tustin has long underachieved as a place for great food, but the opening of this small bistro signaled a dramatic change. If this place ever opens for dinner, expect it to become one of the most hailed Mexican restaurants in Central County. In the meanwhile, comfort yourself with its chilaquiles. From my original review: “And then come the chilaquiles: perfect, striking the ideal balance between crunch and softness, with an egg downright gossamer in its look. Yeah, I wish the salsas were spicier, but this is down-home Mexican food for the masses—so folks should sneak in some chiles de mordida if they must.” 195 El Camino Real, Tustin, (714) 573-5898; elcaminocafe.com. KTCHN DTSA

BRIAN FEINZIMER

You can find me at this food stall at the Fourth Street Market at least once a week, so addicted am I to the chilaquiles of Felix Barrón IV. From my review (can you tell I’ve been writing about chilaquiles a lot in my career?): “And lest you think Barrón is all fancy paisa, [his chilaquiles is] already

RICK’S ATOMIC CAFE

It’s not on the menu every day, which makes this the rarest chilaquiles in la naranja. So follow Rick’s Atomic Cafe on Twitter and pray for when Richard LeBlanc decides to whip up his version: baked, tarted up with a fresh tomatillo salsa and worth the wait. Chilaquiles forever! 3100 Airway Ave., Costa Mesa, (714) 825-0570. Twitter: @ricksatomiccafe. GARELLANO@OCWEEKLY.COM

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The future of chilaquiles in OC: a nonMexican restaurant treating the dish with the reverence a previous generation

I don’t get why it puts radishes around the chilaquiles, and the portion is so big you won’t finish it, no matter what you may promise. But this pioneering Chicano restaurant makes a chingón rendition. Wash it down with whatever agua fresca it has for the day. 324 W. Fourth St., Santa Ana, (714) 662-2002; www.cafecalacas.com.

TACKLE BOX

CAFE CALACAS

Not content to dominate Southernfied meals, this classic introduced chilaquiles to its menu last year. Memphis differentiates itself from everyone else by highlighting the chilaquiles with Hatch green chiles, the Yeezys of the food world. Add in tortilla strips featuring blue corn, smoked chicken, pinto beans, queso fresco and two eggs poached hard, and it shows Memphis is as vital as ever. 2920 Bristol St., Costa Mesa, (714) 432-7685; memphiscafe.com.

Taqu ía Za ra

MEMPHIS CAFE

of Corona del Mar residents had for its yachts. Black beans, green onions, sturdy chips and a big ol’ fried egg—BOOM. 3029 E. Shore Ave., Corona del Mar, (949) 7230502; tackleboxoc.com.

My all-time favorite restaurant chilaquiles in OC: a gargantuan plate of slightly crispy masa. This is my personal office—no joke. The primos here know my order (green chilaquiles, with a goblet of freshsqueezed jugo de naranja to wash it down) and never bother giving me a menu, so committed am I to these. 3121 S. Main St., Santa Ana, (714) 557-0907.

TAQUERÍA ZAMORA

among my top five in the county: crispy, saucy, amazing. Did I mention chilaquiles is the one dish I’m most biased against, given my mom makes the best on Earth? Move over, mami; there’s a new master in town.” 201 E. Fourth St., Santa Ana, (714) 418-5010; ktchndtsa.com.

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STEVE JOBS CHIC

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Rae of Light

Liquor and Laughs

Art Simpson!

Canadian pop star Carly Rae Jepsen burst onto the pop-music landscape in 2011 with her infectious “Call Me Maybe,” but something funny happened on her way to being a star. Jepsen became the rare pop star to reel things back; instead of rolling out more hits, the methodical work that became her latest album, E•MO•TION, gave her something far more important: credibility. Though the record didn’t sell nearly as well as Kiss, the Vancouver native has an authentic voice that deftly fuses ’80s pop with a degree of complexity that critics laud as phenomenal. Following her role as Frenchy on Grease Live!, Jepsen is once again on the road and proving she’s one of the most interesting and dynamic pop stars on the planet. Carly Rae Jepsen with Cardiknox and Fairground Saints at the City National Grove of Anaheim, 2200 E. Katella Ave., Anaheim, (714) 712-2700; www. citynationalgroveofanaheim.com. 8 p.m. $25. —DANIEL KOHN

Television funnyman Dave Attell has been a fixture on Comedy Central in one way or another for years, from his turn as Squiggly Dave on Dr. Katz to commentator for the Daily Show to the reboot of ’70s variety hour The Gong Show. There’s also Attell’s long-running video travelogue Insomniac, for which he walked the streets of cities around the world and encountered all manner of strange, inebriated party people. Bustling with man-on-the-streetstyle interviews and handheld cameras, Insomniac wouldn’t have been fascinating without Attell’s manic energy and lurid sense of humor. But standup comedy is where the native New Yorker cut his teeth, and he’ll be behind the mic tonight at the Irvine Improv. Come hear Attell’s hilarious, uncensored nuggets of comic wisdom. Dave Attell at Irvine Improv, 527 Spectrum Center Dr., Irvine, (949) 854-5455; irvine.improv.com. 7 & 9:45 p.m.; also Sat. $25. 21+. —AIMEE MURILLO

What do you get when you cross the comic world of Sin City with Springfield, the cartoon home of the Simpsons? The Ink Bombers have assembled an array of artists to illustrate the answer in “Simp City.” Allusions of Frank Miller’s black-and-white comic style mesh with America’s most beloved animated family in producing deft pop-culture remixes. Homer and Ned Flanders MOREi become Raoul ONLINE Duke and Dr. OCWEEKLY.COM Gonzo from Fear and Loathing in Las Vegas in one clever piece. Thirty artists are exhibiting pieces for sale, and the first 50 people in line will get a free art print. Now make like Bart Simpson and write “I will not miss Simp City” 50 times on the chalkboard! Ink Bombers present “Simp City” at GCS Santa Ana, 206 E. Fourth St., Ste. 1018, Santa Ana, (714) 541-0300; www.gcssantaana. com. 5 p.m. Free. —GABRIEL SAN ROMÁN

Carly Rae Jepsen

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‘Simp City’

[CONVENTION]

SHINE ON Glitterfest!

Contrary to what the title suggests, Anaheim’s annual Glitterfest! isn’t the sparklecrazed spectacle you’d think it is. Imagine a full day of meeting artisans who create their own knickknacks, clothing, sculptures, dolls, paintings, collages, jewelry, accessories and more, all from reclaimed materials, beads, glass, fabric and whatever else they can get their hands on, including, well, glitter! Now in its eighth year, Glitterfest! returns to the Anaheim Business Expo with glue-gun masters, artists, enthusiasts, decorators and onlookers converging to talk shop and make this event as cozy as a hand-sewn pillow. Come to an event that’s every bit as bedazzling as that sequined sweater you’ve been waiting to wear all year—now’s your chance! Glitterfest! at Anaheim Business Expo Center, 1960 S. Anaheim Way, Anaheim, (714) 573-1025; www.glitterfest.com. 10 a.m. $7. —AIMEE MURILLO

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They Had Faces Then Silent Movies At the Museum Before she played the jaded, fading movie star Norma Desmond in Billy Wilder’s Sunset Boulevard, Gloria Swanson was actually a beloved actress on the big screen, usually as the wholesome, plucky heroine in short silent comedies. Three of her classic silent features—The Danger Girl, Teddy At the Throttle and A Hash House Fraud—will

be screened today at the Los Alamitos Museum, where, for a small donation, visitors can enjoy the campy, pre-Hays Code antics of Swanson and the Keystone Kops. Plus, a museum historian will be on hand to drop tidbits of silent-movie trivia such as the actual OC locations used in the films. Be ready for this closeup—and free popcorn! Silent Movies At the Museum at Los Alamitos Museum, 11062 Los Alamitos Blvd., Los Alamitos, (562) 431-8836; www. losalamitosmuseum.org. 2 p.m. $2 donation requested. —AIMEE MURILLO

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Digital Disco Metric

When it comes to indie pop, Metric have quickly become veterans in the genre. Six albums into a 13-year career, the Canadian group are touring behind their latest release, Pagans In Vegas. The album stays true to their synth-laden style, with influences from Depeche Mode and the Cure surfacing on the 12-track LP, and toys with

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mon/02/29 ��

Twee Trivia

Wes Anderson Trivia Night If you’re the type of hipster who enjoys viewing life through a rostrum camera lens with a foreground filled with little books and other items, then you’re likely a fan of Wes Anderson films. And if you’re a fan of Wes Anderson films, then you’re likely to know at least a little bit of trivia about the movies you hold dear. Alex’s Bar in Long Beach this week hosts its popular Brain Party Trivia with a Wes Anderson theme. Grab six of your favorite animated, quirky, film-loving friends for happy-hour drink specials all night and the chance to win a super-neat prize. Brain Party Trivia presents Wes Anderson Trivia Night at Alex’s Bar, 2913 E. Anaheim St., Long Beach, (562) 434-8292; www.alexsbar.com. 8 p.m. $5. 21+. —AMANDA PARSONS

tue/03/01 ��

Slut Rock! Chastity Belt

With a rhythmic bass line opening each track, sunny guitar melodies and backing vocal harmonies, Chastity Belt’s music has all the right elements of catchy indie pop. Yet the pro-feminist messages embedded within this all-female Washington quartet’s song lyrics are a reassuring bonus. Lines such as “To all the girls in the world/Trying to take off their shirts/Ladies, it’s okay to be slutty” (off the track “Cool Sluts”) go against their ironically Puritanical band name. And while their music lacks the feral roar of Sleater-Kinney or Bikini Kill, there’s still plenty of badass grrrl power here. Bring your slutty friends to their stint at the Continental Room tonight. Chastity Belt with Ditches at the Continental Room, 115 W. Santa Fe Ave., Fullerton, (714) 526-4529; continentalroomoc. com. 9 p.m. Free. 21+. —AIMEE MURILLO

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Louis & Keely: Live at the Sahara

Directed and co-written by Oscar winner Taylor Hackford (a.k.a. Mr. Helen Mirren), the critically acclaimed Louis & Keely: Live At the Sahara makes its way to the OC this month in a hellz-apoppin’ swinging explosion of yesteryear. Exploring the professional and personal lives of married duo Louis Prima and Keely Smith during their iconic Vegas years, Louis & Keely reminds audiences of two towering talents that shook Sin City to its knees. Produced by Hershey Felder and starring Tony winner Anthony Crivello and Vanessa Stewart (who also co-wrote), the ’50s and ’60s extravaganza features the hits “That Ol’ Black Magic” and “Hey Boy, Hey Girl,” among many other Prima and Smith signature tunes. It’s an evening not to be missed. Louis & Keely: Live at the Sahara at Laguna Playhouse, 606 Laguna Canyon Rd., Laguna Beach, (949) 494-2787; www.lagunaplayhouse.com. 7:30 p.m. Through March 27. $58-$61. —SR DAVIES ��

Come Our Way Fetty Wap

It’s impossible for any list of 2015’s infectious chart-toppers to exclude the perennial dance-floor rager “Trap Queen” by New Jersey hip-hop artist Fetty Wap. Along with his follow-up singles “679” and “My Way,” all three have helped to determine Wap’s place as a recognizable force in the hip-hop scene. And with his iconoclastic vocals, songwriting chops, and electrifying melodies and beats, Wap isn’t slowing down with his ambitions for stardom. So it’s right that Wap makes a visit down to Santa Ana’s Observatory, where he’ll surely bring the energy and party vibes to a crowd of fans and trap queens eager for him to come their way. Fetty Wap at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. 8 & 11 p.m. $45. —AIMEE MURILLO

‘The Riddle of the Universe’ It’s not hard to see the beauty in Velia de Iuliis’ paintings of animals and nature, but her artistic process adds another layer of awe. Her stunning work examines the symmetry and balance of the natural world, so before she puts paintbrush to canvas, de Iuliis first arranges the composition of the painting through geometric shapes to orient the subjects; later, she renders them in realistic detail and vibrant gouache paint. The end results are gorgeously colorful masterpieces showcasing the wild, violent, serene and enigmatic facets of the animal kingdom. The newest exhibition at Laguna Beach’s Artists Republic features de Iuliis’ art in a show fittingly titled “The Riddle of the Universe.” Come be inspired by the mysteries rendered within each frame. “The Riddle of the Universe” at Artists Republic, 1175 S. Coast Hwy., Laguna Beach, (949) 988-0603; ar4t.com. Noon. Through March 27. Free. —AIMEE MURILLO

[CONCERT]

BEST IN SHOW The Show Ponies

Their engaging website promises, “The Show Ponies are an indie-folk band with old-time and bluegrass tendencies.”This young five-person outfit know whereof they sing: by way ofTexas and Arkansas originally, then to California and three CDs in just five years. Beyond their winning self-description, the Show Ponies are a sophisticated, musically literate American roots-music ensemble, smart interpreters of Johnny and June Carter Cash, lately extending their reach to a Fleetwood Mac cover. That’s because Andi Carder and Clayton Chaney’s voices, storytelling and humor— depicted in the wry original “Run for your Life”—suggest ambitions to both meet and expand the tradition.They play Costa Mesa’s Wayfarer with openers Moonsville Collective and Ellie Mae and the Ricochets. Be there so you can brag you were before the Show Ponies made the big-time. The Show Ponies with Moonsville Collective and Ellie Mae and the Ricochets at the Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; www.wayfarercm.com. 8 p.m. $10. 21+. —ANDREW TONKOVICH

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Wot’s for Dinner?

BRIAN FEINZIMER

Abyssinia serves great Ethiopian food—but make sure it’s open before you go BY EDWIN GOEI

�

other. This was communal dining at its most communal. We were shown to a table next to a wall half-covered in thatch. Near the window, under the buzzing-neon “Open” sign, was a low-slung display of a traditional Ethiopian coffee ceremony setup that I vaguely remembered when the place was Merhaba. As half of my friends were new to Ethiopian food, I did the ordering. And it was easy. Though the menu can be impenetrable—with about 25 different items that all sound similar—I zeroed in on the Traditional Combo, which is the platter everyone orders. It’s essentially an Ethiopian-cuisine greatest-hits sampler, served in portions that serve two, three or five. Dead center was a bowl of yedoro wot—a single chicken drumstick and one hard-boiled egg simmered in a thick, brick-red stew made by boiling down sweet red peppers to silk. Orbiting it were the other dishes in small hills. There was awaze tibs, strips of beefsteak sautéed in butter with onions, green peppers, tomato and berbere—the Ethiopian spice blend equivalent to garam masala. There were two kinds of lentils, one sweet and one savory; a chopped iceberg salad with tomatoes and diced jalapeños dressed in Italian dressing; and, best of all, a homey stir-fried cabbage-and-carrot dish we could’ve eaten by the bucketful. I also ordered kitfo, the Ethiopian version of steak tartare. It was served in the same plastic molcajete Mexican chains use for salsa, along with a small bowl of crumbly ayib (Ethiopian cottage cheese). But because the staff pegged us as newbies, the meat was slightly cooked and warmed

to drive out the redness. If you’ve never experienced kitfo, having it half-cooked is a good primer, even if it ends up tasting like a tangier, spicier version of taco meat with whiffs of cardamom. But if you’re ready for the real deal, be sure to ask for it as it’s meant to be had: raw and bloody. Everything, of course, was eaten with injera, the native flatbread made from an indigenous grain called teff. Injera has the tanginess of San Francisco sourdough, the lightness of a French crepe and the acreage of an Indian dosa. But the most important property is that it has the absorptive powers of a sponge. You use it to dip, sop and grab. It’s an edible utensil as well as a napkin. When I ordered what turned out to be Abyssinia’s best dish—a spicy fish stew with onions and peppers— I used a torn piece of injera to wipe away the red oil that slicked my lips. At Abyssinia—as Merhaba before it and Tana across town—the injera is the base on which every platter is built, but it’s also rolled up in bundles that’s infinitely refillable and ultimately the thing that fills you up. They even serve it as breakfast as chechebsa, a dish that has pieces of injera cooked with niter kibbeh (Ethiopian ghee) and berbere in what I imagine is the Ethiopian version of chilaquiles—something I’ve not tried since I’ve yet to see the restaurant open in the morning. I suppose I’ll need to call ahead to let the staff know I’m coming the night before. ABYSSINIA 2801 W. Ball Rd., Ste. 5, Anaheim, (714) 8268859. Call for hours. Dinner for two, $30, food only. Beer and wine.

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fter you decide to eat at Abyssinia in Anaheim, be sure to call ahead. Not to make a reservation, but to make sure the staff know you’re coming. Otherwise, the restaurant might just close early. This was exactly what happened the first time we tried to go. We got there at about 7 on a Friday night, but the restaurant was dark. When I called Abyssinia the next day to find out if it was still in business, the woman who answered explained it closed early the night before because the staff didn’t see any customers. “What time are you closing tonight?” I asked. “Oh, I don’t know,” she said. “A lot of people are coming tonight, so we’ll be open until about 8:30.” “Okay,” I said, “I want to make a reservation for four at 7 tonight.” “Oh, I think someone already called for you,” she replied. “Um,” I said, confused, “we’re calling for the first time.” “Oh, okay. We’ll see you at 7.” And that was it. She didn’t ask for my name or number. It was enough for her that we said we’d come. And it was enough for us to know that someone would be there when we did. When we arrived, the restaurant was at near capacity. At the center of every table were round platters that could double as semi-truck hubcaps. People were digging into the shared piles of food with their fingers. They tore swatches of injera bread, using it to pick up stews and curries with one hand, while sweaty brown bottles of St. George beer rested in the

here’s nothing subtle about the food at Katie’s Munchies, and why should there be? It looks and operates as if a bunch of seniors at La Quinta High School decided to break into the cafeteria and slap their favorite things together back at someone’s pad. Hash brown pork tacos are just that: crispy hash browns topped with char siu, a secret sauce and guac, all put inside tortillas— surprisingly good. An adovada burrito combines Filipino with Mexican in a way not seen since Manny Pacquiao’s glove met the face of the legendary Marco Antonio Barrera. And udon spaghetti with meatballs is a prep dream: thick noodles slicked with chile oil and cooked with enough garlic to permanently put a hole through your nasal cartilage. Katie’s is fusion run amok, but it doesn’t aspire to the rarified tastes of Roy Choi— or even the Viet-bro stylings of Dos Chinos and the Afters guys. This is the food of third-generation Vietnamese-Americans, the kids who speak American fast food and converse in it with the Latinos and other Asians they’re still growing up with, the type who’ve already moved past Snapchat and are now into MySpace again. They seem to be the main customers, gathering in a tiny building whose patio is nearly as big as the restaurant itself, with an interior that resembles what happens when a dad tries to create a man cave but quits after smelling the Vienna sausage fried rice being cooked up. Although the owners and workers are Vietnamese, the closest you get to Vietnamese food here is chrysanthemum tea; everything else operates from a noodle/burger/taco/burrito base in which carbs are sacrificed in the name of big, tasty portions. The meals don’t always work. The meatballs in the udon spaghetti are obviously store-bought, bland and as dry as sawdust. I liked the intent of the sea saltspiked horchata, but the horchata itself had a flat flavor. And the cooks need to learn how to properly heat a tortilla in order to unlock all the flavor. But for a place where most of the dishes go for no more than $6, Katie’s does exactly what it advertises: munchies to the max. And the Spam wasabi roll? BRUHH . . .

M ON TH X X–X X , 2014

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HOLEINTHEWALL

JESUS PROBABLY ATE THIS; JESUS WAS COOL

food»reviews | listings

Zacatecas Food Comes Home Burrito de birria de res at Burritos La Palma

DRINKOFTHEWEEK »V MATT COKER

THE DRINK

The spicy heat of Porter’s Fire comes naturally from the cinnamon, so it’s not too hot, and a hint of vanilla produces the sweetness, so

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» GUSTAVO ARELLANO And when you get your burrito, don’t be disappointed. Yes, it’s as small as a spring roll, but bite into it. Luxuriate in the spicy birria de res, the buttery flour tortilla, the house salsa that’s all about savoriness. Order four or five. And take comfort in knowing that once again, OC has shown LA what’s up—BOOM. BURRITOS LA PALMA on the corner of Bristol and Tolliver streets, Santa Ana. Twitter: @burritoslapalma.

it’s not too sugary. Warning: The Cinnamon Toast Crunch taste can be dangerous if you down more Porter’s Fire than advised, which can be especially tempting in chilly, snowy Utah. But then again, dangerous is incorporated in the name of the elixir produced by Ogden’s Own Distillery. Porter refers to the flowing-haired, piercing-blueeyed bottle model, Orrin Porter Rockwell, who was a henchman for Joseph Smith and Brigham Young. By the late 1800s, gunslinger Rockwell had more than 200 slayings attributed to him by the Salt Lake City Tribune (although Mormon historians claim it was more like 50 to 100 deaths). Remember that, if you can remember anything, when you awake with a Porter’s Fire headache and require the hair of the Five Wives that bit you. Available at Hi-Time Wine Cellars, 250 Ogle St., Costa Mesa, (949) 650-8463; www.hitimewine.net.

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ere is something I discovered you don’t want to say to two Utah tourism officials sitting across from you in a Beehive State ski lodge: “I understand all alcohol served in Utah is only 4 percent alcohol by volume.” WRONG! As was quickly and meticulously explained to me, the 4 percent ABV applies to draft beer. Anything goes with what is sold or served in bottles. Some of Utah’s homegrown brewers and distillers even mock the state’s Mormon origins and uptight, teetotaler reputation. Thus, I drank a Polygamy Porter and a Five Wives Vodka cocktail, complete with the irreverent bottle artwork those names would imply. The one that really warmed my heart, though, was Porter’s Fire cinnamon whiskey liqueur.

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ast summer, Burritos La Palma sent rumbles through Southern California’s Mexican-food world when it won Best Traditional Taco at LA Weekly’s epic Tacolandia festival. It was surprising for various reasons: what it offered was a burrito, for one, and its main ingredient was one of the rarest in SoCal, birria de res, the traditional goat stew now reimagined with beef. It’s a specialty of Jerez, Zacatecas (where my family is from), that’s usually only found in Southern California during weddings held at labor halls, the Armenian hall in Montebello or the La Puente Handball Club. But the biggest shocker? While Burritos La Palma brick-and-motor is in El Monte, husband-and-wife team Alberto and Lauren Bañuelos are OC kids all the way. They’ve been making spectacular flour tortillas for years in Lake Forest, and they just started their first lonchera, which is currently parking on the corner of Bristol and Tolliver streets in SanTana in the evenings. A couple of caveats, though: Check Burritos La Palma’s Twitter feed before you visit because the Bañueloses are still trying to find the best place to park and might be somewhere else. This is regional Mexican to the core, so don’t expect carne asada or carnitas burritos that could shatter a wooden door, a truth that has already driven away short-sighted gabachos and paisas alike.

food»

Bad Cop, Worse Cop

BOB MAHONEY

Triple 9’s great cast, mean premise and killer heist all get wasted

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turn made electric in last year’s documentary The Seven Five. Instead, Hillcoat and Cook make Winslet’s haughty, brittle Eastern Euro fashion beast into a Grand Theft Auto quest hub, a cartoon who demands that a haunted Atlanta officer (Chiwetel Ejiofor) pull off R-rated Missions: Impossible. The film opens well, with one of those capers: a clockwork bank heist whose construction as a sequence is as intricate as what the characters are up to. Just like the bank robbery we’re watching Triple 9’s hooded hoods execute, the set piece always feels as if it might spin out of control and viewers must huff along to keep up. Who’s heisting what and why are never as clear as the how—Hillcoat and Cook like to catch us up as we go. That’s invigorating as that heist becomes a chase becomes a shootout, all misted over by one of the bank’s exploding dye packs. Hillcoat’s interest in step-by-step procedure is still involving during a long early scene of chaotic police work in which Casey Affleck’s Grade-A Certified Good Cop leads a SWAT team through the apartment of a drug kingpin, sweating each door, closet and corner. The thrill wears off, though, as the story becomes convoluted, motivations get hidden from us and characters languish as thumbnails. The story isn’t complex, but its telling is tangled, often willfully so. It’s the kind of movie in which one character suggests to the gang one of those ideas so crazy that it just might

work—in this case, the Triple 9 of the title. But then the scene ends with everyone mulling over the ramifications of a term the film won’t get around to actually defining for quite a while. Here’s a cheat sheet: The title has nothing to do with that bonkers Herman Cain tax plan from four years ago. It’s instead police code for an officer killed in the line of duty. The mobsters have tasked the team—featuring non-entity characters played by Ejiofor, Anthony Mackie, Norman Reedus and Clifton Collins Jr.—with thieving a Who Cares from an Impregnable Wherever. How to buy the time needed for the job? Trick a local thug into assassinating an earnest newbie cop (Affleck) who has harassed him. The logic: Every P.O. in Hotlanta will rush to that scene rather than to the heist. That’s a vicious setup worthy of Hammett: arresting and upsetting and perhaps irresponsible to throw onto movie screens across gun-mad America. It’s powered by our understanding of police tribalism, represented here by Woody Harrelson, in an Old Glory tie, as something like Winslet’s counterweight. He plays the sad old salt, woozy with drugs he’s seized off perps, convinced something big is going to hit his town soon. Too bad Triple 9 has so little time for these people. It has three hours of plot stuffed into just less than two hours, and the breath-to-breath storytelling of those early set pieces gives way to structural uncer-

tainty, and then incoherence—it’s hard to tell how much time has passed between scenes or just why, as the twists come, the characters would suddenly turn so dumb. The cast is often stranded in such familiar scenes that the filmmakers don’t bother to give us all the key beats of their arcs. Aaron Paul plays a bottomed-out junkie, skittish and unreliable—quite possibly the last thing the world ever needs to see him play again. Ejiofor proves sturdy as the not-quite-good man forced to do bad to save his family, but he never distinguishes the part. You’ve seen this before, even in at least one Fast & Furious movie. The ending is grim, which perhaps is supposed to tell us something about crime not paying. But since Triple 9 riffs on, rather than examines, our ambivalence toward police state-ism, it illuminates nothing for us today. In a couple of decades, though, it might be worth another look. One thing I expect will astonish viewers: The only black woman with a speaking part in a film set in Atlanta in the 2010s is a pantsless addict dancing on a dumpster. Several others grind topless in the strip club, of course. TRIPLE 9 was directed by John Hillcoat; written by Matt Cook; and stars Casey Affleck, Chiwetel Ejiofor, Anthony Mackie, Aaron Paul, Clifton Collins Jr., Norman Reedus, Teresa Palmer, Michael K. Williams, Gal Gadot, Woody Harrelson and Kate Winslet.

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ad cop movies—whether bad movies about cops or movies about bad cops—can be like those Arctic core samples from which scientists determine long-gone CO2 levels, only they’re measuring American anxiety about police authority. Pop on John Hillcoat’s agonized pulp thriller Triple 9 in 20 years, and you’ll at least have evidence of the current national wariness toward the militarization of that now-stouter-thanthin blue line. It’s also a précis on the personal fallibility of individual officers—and, apparently, of what happens when producers cut up a long, complex film into something they consider more accessible. This is a bad cop movie in both senses of the phrase, one thick with murderers, dope-sniffers and special-ops monsters, all prepared to put their own concerns and safety above those of the public they’ve been sworn to protect. An exemplary cast runs through the motions of shooting innocents and betraying one another, but Matt Cook’s script, while generous in its killings, is never toughminded about its antiheroes. As he leads his bad-apple crew through elaborate crimes, the best of Triple 9’s bad cops has his reasons, including a family kidnapped by the Israeli-Russian Mafia, here embodied by Kate Winslet as the delectably named Irina Vlaslov. She’s hilarious, but this material might be more engaging if it investigated why real cops turn crooked or power-mad—a heel

BY ALAN SCHERSTUHL

MO N TH X X–X X , 2 014

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“WHERE’S THE WALKING DEAD GUY?”

film»reviews|screenings

OPENING

ONGOING

EDDIE THE EAGLE The sports media

DEADPOOL Deadpool is his film’s own

PRIDE AND PREJUDICE AND ZOMBIES You’re probably right if you

think you might get a couple laughs out of a movie titled Pride and Prejudice and Zombies. You’re also right if you’ve guessed that this gung-ho but cruddylooking mashup fails from A to Z: It’s neither good Austen nor good zombie flick. But in those moments when it’s bad at both at once it can be as delirious and delicious as the opening line of the lit-prank paperback it’s based on: “It is a truth universally acknowledged that a zombie in possession of brains must be in want of more brains.” If you like that, you might relish seeing warrior-daughter Elizabeth Bennet (Lily James) underscore a point of argument by popping the buttons off Mr. Darcy’s waistcoat with a weaponized letter opener. You might cheer when Darcy (Sam Riley), now a colonel in the war against the living dead, works a feat of corresponding dexterity upon Elizabeth’s bodice—with a fireplace poker. Elizabeth and Darcy spat and spar, dance and declaim, reeling through epigrammatic Austen dialogue with diction-class poise. It’s not just cheek that gets this over. The scene has heat, danger, charm and words it’s actually worth these actors’ time to speak. Call it parody, pastiche, remix, whatever—for some 30 minutes of its running time, Pride and Prejudice and Zombies transcend its premise to become something fresh and full-blooded. Too bad it wants for more of such inspiration. Other than the gowns and the cast, there’s little here to look at. Too much of the film is a drab drag, and once it leaves Austen behind for the usual good guy/bad guy sword fights, it

sinks into just another pointlessly violent waste of everyone’s time, a no-joke slog that doesn’t make zombies better—it makes Austen worse. (PG-13) Alan Scherstuhl. Countywide. RACE There is precisely one attempted coup de cinema in the Jesse Owens biopic Race, which otherwise defaults to the backlot handsomeness of other Great Men tributes from Hollywood. In 1935, Owens (Stephan James), then a Freshman sensation on the Ohio State University track team, returns to the locker room after practice and has a run-in with members of the unintegrated football team, who pepper him with racist taunts. Owens’ enlightened coach, Larry Snyder (Jason Sudeikis), steps up and advises him to “block it out.” He does. The camera zooms forward in a mesmeric stutter and the sound drops to white noise, like a train tunneling through a mountain. This is a useful metaphor for Owens, who will win four Olympic gold metals a year later in Berlin. And it’s a useful metaphor for Race, which cuts an aerodynamic swath through the headwinds of history. In the filmmakers’ defense, the once-over-lightly approach to Owens’ story may be the only way to tell it efficiently; the ugly politics surrounding the Berlin Games are difficult to parse, to say nothing of the discrimination Owens faced back home. The screenplay, by Joe Shrapnel and Anna Waterhouse, Wiki-skims through the fascinating basics. The relationship between Owens and Snyder is central, but Race follows the pattern of so many sports biopics in which it’s white patronage that makes black triumphs possible. Race also has the surprising nerve to connect Owens’ story to that of Leni Riefenstahl, who’s shown documenting the Games for her 1938 masterpiece Olympia. She’s played with robust spirit by Carice van Houten, but a Jesse Owens biopic is an unusual place to celebrate Riefenstahl. (PG-13) Scott Tobias. Countywide. THE WITCH A laugh comes at last just before the end credits of Robert Eggers’ lit-class horror-bummer The Witch: a boastful note attesting to the documentary truthfulness of the dialogue in the movie we’ve just seen. Over 90 minutes

that prove shriekiness is no impediment to ponderousness, we’ve beheld the harrowing of a Puritan family cast out of a Plymouth-like settlement for not being precisely the right kind of pious. We’ve admired the effort put into the realization of a 1630 New England, the thatchedroof production design and the scratchy woolen shifts, and the way most shots’ stark boldness suggests 17th-century woodcuts. We’ve invested, perhaps, in the suffering of young Thomasin (Anya TaylorJoy), unjustly accused—as all bonnetwearing teens in movies must be—of witchcraft. We’ve maybe relished the occasional vision of mythic, pre-industrial terror: the hag fondling a baby, the goat whose teat spurts blood, the apple whose red has been made even more lurid with a coating of gore. And we’ve seen wholly unambiguous evidence that, in the reality of the film, there are witches in the woods, and that Satan does have nothing better to do than to dick around with pioneers’ livestock. The Witch offers the same cheapjack lesson field-trippers get when they visit tourist-trap museums in today’s Salem, Massachusetts. Eggers’ film sides with the preachers and executioners. It literalizes the fevered horrors of our God-mad ancestors—and then brags that it’s all steeped in research. It’s like if, a couple centuries from now, the latest holo-deck true-crime horror-flick is a West Memphis Three story that wraps with the boys high-fiving Lucifer. (R) Alan Scherstuhl. Countywide.

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junky, retrograde RiffTrack, cracking endlessly about balls and gayness, about burn victims and 90s bands and the conventions of superhero movies. Marvel comics’ “merc with a mouth” is a sort of shock-jock Spider-Man, with the Punisher’s arsenal, Wolverine’s healing powers, and the dialogue of one of those open-mic comedy dudes who believes its some kind of courageous truth-telling to point out that men like blowjobs. Onscreen, he can’t go a minute without a one-liner about jerking off, or calling bad guys “cock thistle” or “wheezing bag of dick tips.” In a tense moment in his precostume life, talking with his love (Morena Baccarin) over how he’ll dealt with the cancer that’s killing him, he spouts with some wistfulness, “If I had nickel for every time I spanked it to Bernadette Peters.” Between the patter, Deadpool’s about splatter, some of it memorable: Deadpool pinballs the severed head of Mook A to take out Mook B, and he cheerily loses the use of every limb, Monty Python and the Holy Grail-style, fighting the immovable Colossus (Stefan Kapi i ), on loan from the X-Men movies. It’s all too much, by design, and it’s also by design that carping about it make you feel like a killjoy. Go ahead and go nuts if your life has a void in it that can only be filled by a superhero who gets an eyeful of Gina Carano and immediately declares that she must have a “wang”—and later compares her to Rosie O’Donnell. You just can’t pretend it’s radical, on-the-edge comedy when the hero picks the same joke targets as Donald Trump. (R) Alan Scherstuhl. Countywide. THE FINEST HOURS Here’s an odd thing to say of a lavishly expensive 3D IMAX maritime disaster flick that hits theaters just a month after the last one: They don’t make them like this anymore. There’s a reason for that, of course—the parents and grandparents who like ‘em stolid and corny don’t flood the theaters opening weekend. But they’ll be in luck when The Finest Hours pops up on TBS. As if hopped up on its own heroes’ last-century can-do zeal, Craig Gillespie’s earnest, square-jawed period piece gets its familiar rescue-drama done. No obstacle will stop Gillespie’s crowd pleasing: our weariness, just weeks after In the Heart of the Sea, of the undulations of CGI tidal waves? The Finest Hours makes them a highlight in a lurching, dizzying set piece that in suspense and imaginative brio bests last year’s superhero flicks. Our American Sniper-era skepticism of simple stories in which our armed forces face down the impossible and straight-up triumph? The Finest Hours has the chutzpah to sell us Chris Pine as the runt of the 1952 Coast Guard and then have him go against regulations and the orders of a know-nothing bureaucrat (Eric Bana!) to save 32 men from a shattered oil tanker. Even the title rebukes Michael Bay’s America-loses flop 13 Hours. Gillespie wins out over a script larded with story beats so old they got parodied in the original Airplane! Just as Pine’s Bernie Webber grits his teeth and pilots his 36-foot Coast Guard boat into seas that rise up like angry gods, Gillespie steers head on into cliches. Stick with him, and you’ll be rewarded with taut sequences of desperate decision-making. (PG-13) Alan Scherstuhl. Countywide.

distractedly thumbed through Hollywood Babylon, Joel and Ethan Coen’s bustling comedy Hail, Caesar! looks back to the waning days of moviedom’s golden age: specifically, to 1951, when big-studio fixers were still tidying up the messes left by the talent. As we’d expect, the Coens’ remembrance is mordant, but it also has a certain buoyancy—a quality rarely associated with their films. The fizziness, though, proves fleeting. The central character, Eddie Mannix (Josh Brolin), is named after the outsize, real-life MGM executive who was tasked with keeping stars out of the gossip magazines. In Hail Caesar!, Mannix makes a 5 AM visit to the bungalow of a rising starlet posing for a sweaty photographer; he arrives just before the cops, called out to investigate a “possible French-postcard situation.” It’s a great line, one that shows off the filmmakers’ ear for era- and milieu-specific language, a consistent pleasure in their movies. Mannix watches rushes of Hail, Caesar! A Tale of the Christ, a biblical epic starring Baird Whitlock (George Clooney), a nitwit who is roofied on set by a pair of toga-clad extras working on behalf of a Communist cell. The movie idol is held for ransom by tweedy Red screenwriters who convince him of the nobility of their cause (“Of course I’m for the little guy!”). That provides the main storyline into which the Coens braid multiple subplots. These revolve around other Capitol titles in production, many heading toward disaster. Knocked-up aqua-musical star DeeAnna Moran (Scarlett Johansson) is having trouble fitting into her mermaid costume, her predicament made funnier by Johansson’s sharp tough-broad interpretation. But that verve is missing in too many other scenes. (PG-13) Melissa Anderson. Countywide.

fe B rua ry 26 - ma rc h 0 3, 2 0 16

found a doozy of an inspirational story in British ski jumper Michael “Eddie” Edwards, a working-class bloke with dreams of Olympic glory. Or it would have, had Edwards not finished dead last in two different events at the 1988 Games in Calgary—but whooped and flapped as if he’d won the gold. Now Edwards’ story has been packaged as Eddie the Eagle. A tacky embroidered sweater of a movie, it has the populist tone of those TV packages for the Olympics, only at 20 times the length. It tiptoes around the stickiest questions about Edwards’ (Taron Egerton) legitimacy, invents a hard-drinking American coach (Hugh Jackman) out of whole cloth and covers most of its hero’s athletic progress in a training montage set to Hall & Oates’ “You Make My Dreams Come True.” Short of outfitting Edwards with a beer helmet as he careens down the inrun, the film’s commitment to broad feel-good-isms is absolute. From director Dexter Fletcher’s perspective, there are only two types of people: those inspired by Edwards’ plucky resolve and the Finnish snobs or bureaucratic prigs who insist that he’s denigrating the sport. If there’s a reasonable position somewhere in the middle—the person who admires Edwards’ determination but respects the cruel meritocracy of athletic skill—Eddie the Eagle isn’t aware of it. The hero is a jumper-come-lately dodging a future as a plastering apprentice; the villains are Olympians who have been honing their craft since the age of 6. Unless their stories are colorful, their achievements don’t matter. That’s true of primetime Olympics broadcasts—and of Eddie the Eagle. (PG-13) Scott Tobias. Countywide. JACK OF THE RED HEARTS Few would understand the trials and tribulations of living with a special-needs child, but as the mother of a son on the autism spectrum, director Janet Grillo (Fly Away) ably and unsentimentally immerses viewers in that demanding experience in Jack of the Red Hearts. AnnaSophia Robb stars as “Jack,” a septum-pierced teenage runaway who, in a quick-cash attempt to gain custody of her younger sister, impersonates a caregiver to a family with an 11-year-old autistic daughter named Glory (Taylor Richardson). Moderately streetwise but in over her head, Jack not only manages to fool the low-functioning girl’s perpetually frazzled mother (Famke Janssen), uncomfortably numb father (Scott Cohen) and frustrated teen brother (Israel Broussard), but also forms a bond with her young charge. Aside from some hallucinatory POV shots to illustrate Glory’s sensory issues, the film has the sterile look and feel of a madefor-TV melodrama, the situation and its lived-in details far more compelling than its blandly earnest plotting. There’s an unnecessary romantic interlude between Jack and the brother, and the inevitable crumbling of the delinquent’s facade— along with a denouement of good intentions and forgiveness—plays out exactly as it would on the Lifetime network. Still, it’s rare that a drama shows such specificity to the resilience of those coping with autism, and that sensitivity goes a long way. (PG) Aaron Hillis. AMC Orange 30, Orange. TRIPLE 9 see “Bad Cop Worse Cop” page 22.

HAIL, CAESAR! A kick for those who’ve

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» AIMEE MURILLO

Frag This Musical

War is hell. So is Dogfight, no matter how well the Chance Theater produces it BY JOEL BEERS

�

JUST LIKE WHAT HAPPENED IN ’NAM

CHANCE THEATER/TRUE IMAGE STUDIO

reallllllly horny. And then there are the cringe-inducing embellishments including an awful lounge singer and the lamest Native American caricature this side of F-Troop. And let’s not even mention the acoustic guitar with the built-in EQ. . . . What’s really disturbing is all this terrific talent wasted in such a soulless trough. The 12-person cast assembled by director Matthew McCray is mostly excellent, as is the four-person band, Angeline Mirenda’s choreography is lively, and Christopher Scott Murillo does wonders with the set. But that story . . . ugh. It’s Nov. 21, 1963, and it’s the last night on American soil for a small group of Marines led by three guys with last names that start with a B: Birdlace (Andrew Puente), Boland (James McHale) and Bernstein (Jonathan Rosario). The next morning, they’ll be on a ship to Okinawa, and then on to Vietnam, but they’re not too worried, as they’re just advisers and have just finished 13 weeks of training, and they’ll train some locals to fend off the Commies and be back in five weeks. For their last night, they embark on that time-honored young-male ritual: beer and tail. They want to pop Bernstein’s cherry so he can finally be a real man, but the first mission is to find the ugliest women possible to bring as dates to a party. Bird-

lace’s target is Rose (the very talented Ashley Arlene Nelson), a shy, lonely folk singer who works at a diner whose only unattractive qualities are that she is a shy, lonely folk singer who works at a diner. But unlike every other male in this play, Birdlace has a conscience and quickly realizes that his con on Rose is cheap and heartless; he spends the rest of the evening (the entire play takes place on apparently the longest night in the history of San Francisco) trying to make amends. The play’s final scene nearly makes up for the mostly uninteresting fare that comes before. It’s powerful and emotive, and for the first time, we see clearly what one would hope this show is aiming at exploring: the sad, sobering reminder that the men and, increasingly, women who fight our wars are really nothing more than kids. Awkward, unformed and unseasoned, filled with piss and vinegar and even idealism, but who have no idea the horror they will experience and, if they return, bring back home. It’s enough to make anyone want to fight and fuck. DOGFIGHT at the Chance Theater, 5522 E. La Palma Ave., Anaheim, (714) 777-3033; www. chancetheater.com. Fri., 8 p.m.; Sat., 3 & 8 p.m.; Sun., 3 p.m. Through March 6. $40.

ipster fashion has been dipping its toes into the occult in just about every way possible, from pentagram jewelry to Ouija-themed apparel. It takes from a variety of sources—holism, mysticism, Wiccan spiritualism and more—and gives it a 1990s Goth bent. But if you want to open up that third eye and really unleash the mystic within, you gotta hit up your local apothecary. Our spot of choice is the Eye of the Cat in Long Beach. SoCal’s largest hermetic supplier since 1974 provides objects such as healing crystals, sage brushes, candles and herbs galore. Spell kits will alter your personal, business, financial or love life in your favor, or even help you win that court case. Additionally, there are classes for aspiring tarot or palm readers, as well as readings. As if it weren’t witchy enough, you’ll be greeted by a couple of black cats that dwell there. 3314 E. Broadway, Long Beach, (562) 438-3569; www.eyeofthecat.net. Local retailers are also putting brujería in your beauty regimen: Santa Ana’s Occulture Shop produces soaps that implement natural healing and the idea of ritual bathing to spiritually (and physically) cleanse the user. Its products are free of detergents or synthetic fragrances and are made from ingredients such as lime, poppy, patchouli, charcoal, rosemary, sandalwood and clay. And they’re vegan! If they’re good enough for Vogue, they’re good enough for us. 207 N. Broadway, Santa Ana, (714) 603-6244; occultureshop.com. In the world of online retailers, OC-based botanical-skin-care-maker SoapyLayne (soapylayne.etsy.com) offers mud masks, oils, bath salts, bath teas, perfumes, eye-makeup remover and lip balm, as well as special chakra oil and stone sets created from similar natural products. And keep an eye out for Magia Moderna Market (www. magiamodernamarket.com) in March, when holistic makers, hermetic vendors, psychic consultants and more will converge in SanTana to peddle blackmagic goods. AMURILLO@OCWEEKLY.COM

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mid all the macho military posturing, the singing and dancing, and the boys just wanting to have fun, there seems to be one salient point in the musical Dogfight: If the kids in the 1960s who were shipped to Vietnam, then processed into hamburger, were just a little kinder to women and less foul-mouthed, they wouldn’t have returned home with trembling hands, PTSD and people supposedly spitting on them. That’s a harsh indictment of a musical that gets such a vibrant production, but come on: This is a show saddled with a mostly forgettable score and story that seems focused on hammering one point over and over and over: Young men, especially Marines, suck. How much do they suck? They routinely stage “dogfights” before they are sent overseas to fight rich men’s wars. Those dogfights consist of ponying up cash into a pool, and then scouring the streets of San Francisco, looking for the ugliest possible women. The Marine who finds the ugliest wins the pot. These same guys, when a prostitute resists putting her battered, chapped pussy up for public auction just one more time for the evening, basically strong-arm her into a fuckyfucky sucky-sucky. It means that women are objectified and insulted, but all is forgiven because, hey, these guys are about to be shipped to a place very few Americans could even find on a map in order to keep the world safe for democracy. To the credit of Benj Pasek, Justin Paul and Peter Duchan, who based this show on the 1991 film, there is no soft-peddling of the ugliness—besides all the exuberant songs, of course. And one could argue that, in some fashion, this is a meditation on the night before America’s innocence was irrevocably lost (if one believes any nation built in large measure on the enslavement of black people, the conquering of Mexican people and the eradication of native people ever had any innocence to begin with), as the next day in Dallas, a youthful president would take a bullet to the head and his successor would soon pour tons of napalm on the fire in the jungle that the dead guy had started. One could argue that, if there were enough in Dogfight to really care about. But there isn’t. A big part of that is the insipid girl-meets-dickhead-boy-falls-forhim-is-crushed-but-learns-so-much-aboutherself-in-the-process-and-dickhead-boyisn’t-really-that-much-of-a-dickhead story. Another part is the aforementioned score, a meager collection of ballads and crotchgrabbing big numbers designed to show us that these Marines are really tough and

Your Inner Hipster Witch

M ON TH X X–X X , 2014

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TRENDZILLA

culture»art|stage|style

SLOW AND STEADY WINS THE . . . SOMETHING

O Come, All Ye Inksters

JOSH CHESLER

Lindsey Carmichael of Gold Rush Tattoo

�

UNDER THEIR SKIN »V JOSH CHESLER

GOLD RUSH TATTOO 1779 Newport Blvd., Costa Mesa, (949) 6467874; goldrushtattoo.com. Follow Carmichael on Instagram: @lindseycarmichael.

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“Pinterest tattoos” and generic walk-in traffic, but when a young lady walked into Gold Rush Tattoo in Costa Mesa wanting a bit of script on her wrist for her first tattoo, Carmichael was glad to do it. “I don’t think you’re ever too good to do any kind of tattoo,” Carmichael says. “It’s about doing the tattoo that the customer wants and making it look as good as you can. I don’t mind doing a lot of the little tattoos that some guys don’t want to do.” It’s refreshing to see someone as experienced as Carmichael make sure that even the smallest requests get done well. It’s one of the old-school traditions that Carmichael keeps alive. Unlike a lot of other veterans, Carmichael doesn’t think that tattooing is in a worse place now than it was before its popularity took off. “There are guys out there who’ve been tattooing for two years who can tattoo circles around me,” Carmichael says. “You can look on Instagram now and see amazing tattoos from people all over the world. It wasn’t like that back then.”

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early three decades ago, Lindsey Carmichael realized that tattooing was calling him. He’d already spent years admiring the craft and pondering its mysteries on punk rockers such as Henry Rollins and on the walls of shops all over Southern California. At that time, Carmichael had everything a guy in his early 20s could want: a young family, a decent place to live, and a full-time job at a grocery store to pay the bills. But he just couldn’t shake his love for tattoos, so the LA native began to search for an apprenticeship or even just any advice. Carmichael gave up the life he had to take an apprenticeship at Tattoo Magic in Garden Grove. After months of putting together a “sad” portfolio of poorly done work on family and friends, Carmichael received an unexpected introduction to Rick Spellman, one of the legendary tattooers whose punk-rock tattoos Carmichael initially admired. “My ex-wife’s uncle worked at the Los Angeles Times, and Rick Spellman worked part-time at the Times when he wasn’t tattooing,” Carmichael says. “Rick told him that he was looking for someone to work at his shop, and my [uncle-in-law] recommended me.” But it’s not only Carmichael’s tattooing skills that have made him one of the most respected tattooers in the industry, but also his friendly demeanor and willingness to do any tattoo that comes his way. Many veteran artists look down upon

culture»

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music»artists|sounds|shows

No Place Like Home

Ten signs you grew up as a local musician in Orange County BY CANDACE HANSEN

�

LOOK INTO THE LIGHT

eing a musician in Orange County can be a tough gig. Even though Orange County is home to some amazing bands, musicians and artists from multiple genres and styles, in some scenes, repping the ol’ 714 or 949 (and let’s not forget 562 or 657) can discredit your music because of the ridiculous assumptions some have about our experiences. Of course, being from here is a beautiful and misunderstood thing. Here are 10 signs you probably grew up a musician in Orange County.

1. You have sold 50 or more tickets to play a show to 15 people. Ah, the memories

of adolescence. Not a care in the world, except how the hell am I supposed to sell 50 to 100 tickets for a mixed bill on a Tuesday at 6 p.m.?! Perilous Orange County pay-to-play shows aren’t reserved for high-school metal bands; it’s a full-fledged business and reality for working bands across ages, genres and locations. From rock and country shows at South County’s Coach House to the emo and pop-punk at the Alley in Fullerton (RIP), if your band has wedged a foot on a bill with a headliner anywhere in the county in the past 15 years, you had to pay to get there.

2. You know Southern California backstreets and freeways like the back of your hand. Waze doesn’t have shit on you.

Chances are you impress (and scare) nearly anyone brave enough to fare the highways and byways of SoCal with you as captain. From hauling ass up the 5 to LA on a Friday night to navigating the treacherous 91 freeway to Mission Tobacco Lounge to getting from your grandma’s house to the Continental Room in less than 30 minutes, the OC musician has known every secret route long before Google Maps thrust a bunch of rush-hour drivers into our way. Just don’t try and put us on the 73 toll road, okay? 3. You get excited to play anywhere outside of Orange County. Often, bands and art-

ists treat being from Orange County as a dirty little secret, opting to rep SoCal or, facetiously, LA or (gasp!) Long Beach online to gain validation from out of towners. So when a band or promoter from out of town actually invites you to play anywhere outside of Orange County, it’s a moment to relish. 4. You cut your teeth on shitty weekday bar shows with a mixed bill featuring six or more bands. I’m not talking about the bars;

they are the backbone and lifeblood of any new or working band trying to get better

JOHN GILHOOLEY

and build a following. But your progrock band is wedged between two crust bands, a singer/songwriter, a dude with a seven-string guitar and a loop pedal, and a goddamn cover band that somehow managed to think Shinedown, Bob Marley and Sheryl Crow would all work in the same set. That is shitty. Chances are you have played your share of midnight sets on this lineup to the tired bartender who ran out of fucks to give, hardly letting a “cool set, bro” pass through his or her lips. 5. The police have shut down a practice or a show, even at a legit venue. There is

only one thing police in Orange County hate more than criticism, and that’s live music. Don’t underestimate their ability to sniff it out, and if they don’t find you making a ruckus on their own, one of your neighbors will gladly lend a helping hand by turning you in for practicing that last “Smells Like Teen Spirit” riff five minutes too long. House parties are basically a race against the clock, with the most coveted time slot being the earliest possible. It’s not just private residences who fall victim to this curse; the police have been known to show up to actual bars and venues and shut down entire shows, invoking noise complaints or permit restrictions. 6. You know—or have at least heard the name—Kiro. You don’t have to be a stoner

or hand-drum aficionado to be on a first-name basis with Orange County’s favorite humanitarian and African legend, Bigira Mustafa David Prince

KiroKrio, better known to Orange County musicians and fans as Kiro. Between hitting up shows; running his store, African Corner; and hosting and attending drum circles, one has to wonder how this outgoing, music-loving OC transplant has managed to know everyone and be everywhere at once. Stickers of his face grace guitar cases and band vans all over the county. 7. You’ve played a short-lived DIY or radical space and dreamed of having your own.

Cookoo’s Nest, the Wizard’s Den, AAA Electra, SolArt, Unit B, Top Acid’s physical space, Koos, Public Storage, Orbitz Studios, the Hub, the Clinic, La Bodeguita, even all those living-room shows in South County. You roll your eyes when people say, “NOTHING happens in Orange County” because you know it’s just not true. Bands are fully aware of the history of badass, short-lived (and much-needed) music and art spaces that have existed in our community and all the work it takes to make it happen. 8. Late-night Mexican food is a staple of your diet. I don’t care what anyone from

San Diego says, Orange County has some of the best Mexican food in the country. We also have Del Taco, and Del Taco is the best food in the world—period. You love all of it and have had your share of post-show Del Taco, Albertos, Alertos, El Taco, Taqueria de Anda, Tacos Mexico, Holé Mole or Albertacos. The love of latenight Mexican food is in our blood.

9. You or a close friend have been in a ska band. This seems to be a polarizing point

of either pride or embarrassment. People from outside Orange County never seem to understand our affinity for ska, which often comes through in jokes that go over the heads of musicians from out of county. At one point in your life, you probably put checkers on every flier, miniskirt, and pair of Vans, Chucks or Creepers that passed through your hands. You probably still know every line to every song on Tragic Kingdom and love to say your fave No Doubt song is “Trapped In a Box.” Extra cool points if you were a high-school-jazzband-to-ska-punk-horn-section transplant.

10. Your co-workers think you are either a rock star or sleep in your mom’s garage. You

normally don’t mix work and your real life, but your nosy co-worker has managed to find out you are in a band. Despite the glaring differences, you really like your co-workers (you really do!), but you just don’t think they would understand your music. You slipped up, you showed them the latest hot mix of your band’s demo after listening to it on your lunch break in traffic on the 405. Some believe you’re the real deal, while others remain skeptical, knowing that most musicians are broke and come a dime a dozen in these parts. They speculate about you and your band; someone even finds pictures of you playing to a rather large crowd on Facebook. Was it Photoshopped, or is it the real deal? Only time will tell. LETTERS@OCWEEKLY.COM

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Hip-Hop In the Hut

A legendary punk venue is becoming a haven for local rappers BY DANIEL KOHN

�

EXPANDING OC HIP-HOP at the Doll Hut, 107 S. Adams St., Anaheim; www.facebook.com/worldfamousdh. Every third Wed., 8 p.m. $5. 21+.

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band OC has ever produced. “[McGarvey] told me that I needed one night per month at the club that would become my next project,” Risetter says. “Instead of booking another punk show, I wanted to do something different that would be cool and have a new group of people coming through there.” Now called Expanding OC Hip-Hop, Risetter has helped to centralize the emerging scene and to foster a supportive environment for up-and-coming rappers. “Almost immediately, people who I didn’t know would hit me up and wanted to be on the show,” he says incredulously. “People saw it online and started to tag me to check out certain groups, and it introduced me to new people pretty quickly.” The Doll Hut’s stage quickly became one of the most sought-after slots in live local hip-hop, Risetter says. As an example, he points to the emergence of Scandalous, who wasn’t on the promoter’s radar before his performance but who parlayed a successful gig at Expanding OC Hip-Hop into a slot opening for Kurupt. Risetter insists that anyone interested in performing should contact him directly. “We’re starting to get a pretty good mix of genres within hip-hop now,” he says. “It’s pretty cool to see people do their first live performances, and it’s a cool, stress-free environment where anyone can come out and do whatever they want.”

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s a member of the punk-rap fusion outfit Terminally Ill, Ryan Risetter had plenty of experience playing and booking shows in Orange County. What he noticed, however, was the lack of hip-hop nights in the area. As a fan of rap and punk music in addition to his experience booking shows, Risetter saw an opening to feature underground rappers from OC who hadn’t had a specific place or forum to showcase their talents in a live setting. “I felt like there wasn’t really a community of people getting together that knew each other,” he explains. “There needed to be something that brought us all together for at least one night, even if it was for just one day per month. A lot of these guys don’t get out and are making shit in their rooms or basements and only exist on the Internet.” Risetter booked his first hip-hop show last August at the Yost Theater. Before the show, Risetter anxiously waited to see if his vision of helping to bring the OC hip-hop scene together would win over a curious audience. With Terminally Ill, C4MULA and Chucky Chuck on the bill, the melding of hip-hop and punk was well-received by the vibrant crowd, proving to Risetter there was demand for this type of show. The initial success spurred Risetter to make it a steady night. Having already established a relationship with the Doll Hut through Terminally Ill, he worked with owner Mac McGarvey to bring a hip-hop night to the club, which was legendary for virtually every important punk

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rowing up down the street from each other just outside of Las Vegas, Jordan Griffin and Jake Massanari had a mutual interest in music. But it wasn’t until Massanari’s previous band broke up that the duo finally joined forces. Once the longtime friends plugged in, they knew they were meant to play music together. Now known as Them Evils, the two began pulling together local musicians and playing throughout Las Vegas. But Griffin and Massanari hated the scene there; realizing their band mates lacked the same desire to succeed, they disbanded that outfit, packed up and moved westward. On the recommendation of a friend, Griffin and Massanari relocated to Huntington Beach, liking that it’s nestled between Los Angeles (“We don’t have to deal with the bullshit there every day”) and San Diego. “We’re close to LA,” Griffin explains. “The music scene in America is here, so we came here to play rock & roll.” Once they settled in, Them Evils had a revolving door of drummers before they met David Delaney II, just following the band’s first EP. Delaney’s addition has allowed the duo to move in a direction they not only deem to be satisfactory, but toward a goal of crafting big songs that will introduce them to a wider audience. Through a mutual friend, Griffin and Massanari also met Mike Wilson, who ended up recording the band’s first two releases. The trio attribute the effects of beach life as the reason for their creative prosperity. As soon as they’re finished with an album, Them Evils are back in Delaney’s rehearsal space, practicing and

LOCALSONLY »V NATE JACKSON

hashing out the next batch of material for several hours per week. “We jam, drink beer, eat pizza and talk shit,” Griffin says. The manic pace in which they produce material—they’ve released an album in each of the three years they’ve lived in Southern California— has allowed them to progress faster as a band than others at the same juncture of their career. “You’ve gotta strive out here; you gotta grind,” Griffin says. “When you go through hardships, it’s easier to write music. Life in Vegas was too damn easy. You gotta fuckin’ hustle here. You gotta work your ass off to pay rent, buy music shit, and there’s too much competition. You have to strive to be the best.” Them Evils’ hunger and desire to impress veterans in the local rock scene hasn’t gone unnoticed. The band are currently working on another EP, which will contain five or six new songs, and have seen their profile grow with opening slots for Mount Holly, Jared James Nichols and Mac Sabbath, as well as gigs with local favorites such as Well Hung Heart and Big Monsta. They plan to hit the road more this year, locally and beyond. “We’ve pretty much whored ourselves out across California, playing as many shows as we can, and we’re looking to play Europe this year,” Griffin says. “We’ve actually done better than I thought in a short period of time. Hopefully, people will keep wanting us to come back.” NJACKSON@OCWEEKLY.COM Hey, Orange County/Long Beach musicians & bands! Mail your music, contact info, high-res photos & impending show dates for possible review to: Locals Only, OC Weekly, 3941 S. Bristol St., Ste. 39, Santa Ana, CA 92704. Or email your link to: localsonly@ocweekly.com.

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CARLY RAE JEPSON: 8 p.m., $25-$30. City National

Grove of Anaheim, 2200 E. Katella Ave., Anaheim, (714) 712-2750; citynationalgroveofanaheim.com. DOUG C & THE BLACKLISTED: 9 p.m., free. Cirivello’s Restaurant and Sport Stop, 4115 N. Viking Way, Long Beach, (562) 420-2113; cirivellos.com. JFA, REAGAN YOUTH AND III REPUTE: 7 p.m., $10-$15. The Yost Theater, 307 N. Spurgeon St., Santa Ana, 888-862-9573; yosttheater.com. LANZO: 9 p.m., free. DTSA Underground, 220 E. Third St., Santa Ana. NICK CARTER: 7 p.m., $29.50-$50. House of Blues, 1530

S. Disneyland Dr., Anaheim, (714) 778-2583; hob.com/anaheim. OC & IE METAL SHOWCASE: 8 p.m.-2 a.m., free. Characters, 276 E. First St., Pomona, (909) 622-9070. PASSAFIRE: 11 p.m., $15. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. PAUL STANLEY’S SOUL STATION: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. RICK BERTHOD: 7 p.m., free. Macallans Public House, 330 W. Birch St., Brea. STATE CHAMPS: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. STRUNG OUT: 8 p.m., $16-$18. The Glass House, 200 W. Second St., Pomona, (909) 865-3802; theglasshouse.us.

TRIBUTES TO HARD ROCK: 7 p.m., $8-$11. Golden

Sails Hotel PCH Club, 6285 E. Pacific Coast Hwy., Long Beach, (562) 596-2332; goldensailshotel.com/pchclub.

SATURDAY, FEB. 27

A STATIC LULLABY: 8 p.m., $15-$18. The Glass House,

200 W. Second St., Pomona, (909) 865-3802; theglasshouse.us. FEEDBACK FEST: 7 p.m.-2 a.m., $5 in advance; $7 at the door. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. FLOCK OF ’80S: 2:30 p.m., free. The Swallow’s Inn, 31786 Camino Capistrano, San Juan Capistrano, (949) 493-3188; swallowsinn.com. GOLDLINK: 8 p.m., $20. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

THIS WEEK

UC Irvine Winifred Smith Hall, 4000 Mesa Rd., Irvine, (949) 494-8971. KIP MOORE: 7 p.m., $32.50-$55. House of Blues, 1530 S. Disneyland Dr., Anaheim, (714) 778-2583; hob.com/anaheim. STONEJONEZ: 9 p.m., $5. Mozambique, 1740 S. Coast Hwy., Laguna Beach, (949) 715-7777; mozambiqueoc.com. WELL HUNG HEART: 7 p.m., $5-$7. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. YOUNG DUBLINERS: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com.

SUNDAY, FEB. 28

THE DRUMS: 8 p.m., $22. The Observatory, 3503 S.

THE JACKSONS & THE FEB 27

JULIO IGLESIAS

COMMODORES

Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. GRAVESPELL: 3:30 p.m.-midnight, $5. The Karman Bar, 26022 Cape Dr., Laguna Niguel, (949) 582-5909; thekarmanbar.com. HOOLIGANZ: 8:30 p.m., $10. Mozambique, 1740 S. Coast Hwy., Laguna Beach, (949) 715-7777; mozambiqueoc.com. JUDY COLLINS: 7 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. METRIC: 7 p.m., $28.50-$51. House of Blues, 1530 S. Disneyland Dr., Anaheim, (714) 778-2583; hob.com/anaheim.

MAR 5

NELLY MAR 12

MONDAY, FEB. 29

ANATOMY: 8 p.m.-2 a.m., $5. Blacklight District Lounge,

2500 E. Anaheim St., Long Beach.

DJ RESISTANCE: 10 p.m., free. The Pike Bar & Fish

1 32

HIP-HOP CONCERT WITH RAS_G & THE AFRIKAN SPACE PROGRAM WITH EAGLE NEBULA AND KAHILL SADIQ: 7:30-10 p.m., free.

NATALIA LAFOURCADE

MAR 18

SMOKEY ROBINSON

MAR 19

OLIVIA NEWTON-JOHN LOS LONELY BOYS & LOS LOBOS

SEE WEBSITE FOR FULL LINEUP

the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. BLACKBURN COUNTRY: 9 p.m., free. The Lighthouse Cafe, 30 Pier Ave., Hermosa Beach, (310) 376-9833; thelighthousecafe.net. STARTING AT

$139 (PER NIGHT)

IL VOLO APR 2

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In the Palm Springs Valley ■ 90-min Drive from Orange County

WEDNESDAY, MARCH 2

AJ CROCE: 8 p.m. The Coach House, 33157 Camino

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THURSDAY, MARCH 3

FROM INDIAN LAKES: 9 p.m., $12. Constellation

18-HOLE CHAMPIONSHIP GOLF COURSE – 40 TABLE GAMES – 2,000 OF THE HOTTEST SLOTS – 250-ROOM HOTEL – SIX RESTAURANTS – IMPROV

Hotel prices are per night plus resort fee. Snowbird Package valid Mon. - Thurs. through 4/30/16. Blackout dates may apply. Management reserves the right to cancel or modify promotions at any time.

FANT-48051 OCW 022216.indd 1

TUESDAY, MARCH 1

ARMY OF BONES: 9 p.m., $20. Constellation Room at

MAR 26

APR 1

800.827.2946

Grill, 1836 E. Fourth St., Long Beach, (562) 437-4453; pikelongbeach.com. LA PICANTE: 8 p.m., free. The Lighthouse Cafe, 30 Pier Ave., Hermosa Beach, (310) 376-9833; thelighthousecafe.net. TYGA: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

2/22/16 9:19 AM

Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. JAY ROCK: 8 p.m., $25-$75. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. JOE SATRIANI: 7 p.m., $37.50-$99. Fox Performing Arts Center, 3801 Mission Inn Ave., Riverside. KING’S X: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 4968930; thecoachhouse.com. KITTEN: 8 p.m., $15. The Federal Bar, 102 Pine Ave., Long Beach, (562) 435-2000; thefederalbar.com. THE SHOW PONIES: 8 p.m., $10. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com.

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Behavioral Research Specialists, LLC is currently conducting studies in the Los Angeles area and is always looking for Volunteers. Some studies may provide compensation for travel and time. Sleep/ Diabetes/Pain/Psychiatry/ Depression//Schizophrenia/ Bipolar/Anxiety/ADHD (Adolescent)/Alzheimer’s If you or some you know would like to participate, contact BRS at (888) 255-5798

Concerned about Schizophrenia? If so, Apostle Clinical Trials is currently enrolling volunteers for a clinical research study using an investigational product that may help reduce the symptoms. Qualified participants may receive: Study-related medical exams and study medication at no cost and compensation for time and travel. (562)437-4780 Apostleclinicaltrials. com

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EMPLOYMENT * ASTROLOGERS, PSYCHICS, TAROT READERS NEEDED! P/T F/T $12-$36 per hour. tambien en Espanol. 954-524-9029

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Employment Graphic Designer. email resume to lrichman@lrdinc.com Leon Richman Design Inc., Santa Ana CA 92705

Employment Market Research Analyst (Santa Ana, CA) Perform market research analysis for scrap metal company. Bachelor's in Business or related. Resume to: Integrity Metals Inc. 926 S Lyon St, Santa Ana, CA 92705

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