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06 | MOXLEY CONFIDENTIAL |

MMA star Jason “Mayhem” Miller says he ain’t a woman beater. By R. Scott Moxley 07 | ¡ASK A MEXICAN! | Is the term “Chicano” endangered? By Gustavo Arellano 07 | HEY, YOU! | Yet another antiTrump edition—keep ’em coming! By Anonymous

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‘We Shouldn’t Live In Fear of the Police’ MMA Star Jason ‘Mayhem’ Miller defends himself against domestic-abuse charges in exclusive interview

ason “Mayhem” Miller’s reputation rested easy in 2012. He captured Internet attention around the globe as a mixed martial arts (MMA) superstar, MTV show host and willing subject for provocative photographs. But the past four years have brought Miller a flood of negative publicity, stemming from allegations of domestic violence, resisting arrest, vandalism, assaults and DUI. There’s no denying the stories are sensational enough to grab TMZ’s attention, prompt local prosecutors to hail him “a danger to the community” and cause the Orange County Register to, without CONFIDENTIAL attribution, call him “notorious” in the first sentence of a news article. In reaction to the hype, an outraged Register reader R SCOTT commented, “Is MOXLEY there a judge who is strong enough to put him away?” Another wrote, “Sentence him on some of his pending felonies.” A third observed, “Is it only in OC that we play these games with people like this?” Given such angry fervor, you might guess Miller’s rap sheet is loaded with proven victims and guilty verdicts. It isn’t. While he has been convicted in the court of public opinion, the government has yet to win any of five pending cases against him. “I understand human nature,” Miller told the Weekly just 13 hours after a fiveday stint in the Orange County Jail for a vandalism arrest that has so far cost him $200,000 in bail to win his freedom on March 20. “If you read the newspapers, you probably think I’m just an idiot and that I’m some kind of evil person because all you get is this one-sided story from the cops.” There’s little doubt a straight-laced prosecutor would recoil in fear at the sight of Miller, who is unquestionably rebellious. During our meeting, he sported a pink Mohawk, khaki shorts, a lime-green T-shirt, black fingernail polish, un-matching George H.W. Bush-style striped socks, a thick gold neck chain and jumbo-sized Air Jordans. His tender side is definitely there, but Miller can instantaneously produce menacing facial expressions or howl as if he’s a state mental-hospital patient. Perhaps most intensely, his aura screams of a rare, selfmade man who is genuinely fearless. He is the antithesis of a politically correct conformist, which, so far, hasn’t been banned by the ever-swelling California Penal Code.

moxley

» .

If public opinion presently dictates he’s an airhead, a casual conversation quickly undermines the assumption. He speaks coherently, laughs easily—especially at himself—and tackles questions without pausing to ponder calculated answers. His biggest concern is being falsely labeled a “wife beater.” In August 2013, Miller’s girlfriend, a gym enthusiast herself, told authorities he assaulted her. He says she threatened him and he merely took defensive steps to disarm her, claiming, “I had to wrestle a knife out of this woman’s hand.” Cameron Talley, Miller’s defense lawyer and, until recently, a high-ranking Orange County prosecutor, doesn’t accept the woman’s story. Talley has predicted a courthouse victory, noting the ex-girlfriend waited 10 days to complain—and did so only after his client refused to rekindle their relationship. Whatever the truth, Miller sees the episode as the beginning of a nightmare that has cops hounding him because he’s considered the region’s poster boy for domestic-violence offenders. He recalled that another MMA fighter, Jonathan Paul Koppenhaver (a.k.a. War Machine), is facing charges for beating his then-girlfriend, Christy Mack, a porn star. Mack suffered 18 fractured bones, a lacerated liver and two broken teeth in the 2014 attack in Las Vegas. (Miller made a memorable appearance during an HBO Real Sports With Bryant Gumbel segment on the case.) “My ex is saying I did those same type of strikes to her that Christy Mack had done to her,” says a frustrated Miller, who lives in Mission Viejo. In contrast to Mack’s wounds, Talley says, the purported victim’s injuries “were virtually nonexistent—a slight scratch over her eye and some bruises on her legs—but who knows when or how they happened?” Miller believes the lack of trauma supports his innocence. “You have to understand I’m an expert at hurting people,” he says. “There’s nicer ways of saying it: I’m a martial artist. I’ve shattered men’s faces many times [during MMA matches]. I’ve knocked teeth out. I’ve seriously hurt people.” An Orange County Superior Court judge tentatively scheduled an April 11 trial, but the three-year delay has, Miller says, already “totally wrecked” his career: “[No fight promoters] want to sign a guy to a contract [who] has domestic violence as a hot button issue.” He also says the mess turned powerful individuals against him. “If there’s a public perception that you’re a bad guy, it snowballs,” he explains. “Suddenly, you’re always fighting the cops

MILLER DURING AN INTERVIEW WITH THE WEEKLY

JOHN GILHOOLEY

off you. You’re getting stalked by the police. They’re waiting outside your house. I’m not kidding. . . . Every time they run into me they find a reason to charge me with some kind of crime. . . . It’s ridiculous.” He says it’s time “for a truce” with law enforcement, but only after they stop trampling his constitutional rights. “I’m not afraid of the cops,” Miller declares. “My dad fought for the values of this country and my mom was also in the Army. The Millers have been fighting for this country since before it was America. I know my history, and I know my rights. So every time the cops come and harass me, I just tell them in no uncertain terms go fuck yourselves. And they don’t like that. I don’t like to live in a society where everybody comes up to me and says, ‘Oh, you should be thankful they didn’t shoot you.’ That’s fundamentally wrong. We shouldn’t be living in fear of the police.” As evidence officials are targeting Miller, Talley points primarily to two incidents: First, a massive 2015 sheriff’s department SWAT raid on his client’s house for failing to appear at one pretrial hearing. The raid included the detonation of his front door when he refused to exit. “All they needed to do was send him a simple letter telling him to appear back in court, and he would have,” says Talley. “Except for that one time when he was home sick, he’d always appeared. But no, they had to do this big production.” Why didn’t he quickly surrender?

“They had sharpshooters on roofs, armored personnel vehicles, a helicopter and machine guns,” says the lean 6-foot-1, 215-pound Miller. “All I had was martial arts. I thought they were going to kill me. It was like I was Osama bin Laden.” Second, Talley says, authorities overreacted after his client allegedly spray-painted anti-police graffiti on an exterior wall of a Lake Forest tattoo shop. The damage was minimal, but prosecutors demanded a $1 million bail, an amount almost always reserved for accused murderers, serial rapists and organized-crime bosses. “What did they think he defaced?” asks Talley. “A Picasso?” The Tustin-based lawyer—himself a colorful, poetry-quoting character with a boxing background—talked the bail down to $200,000. Relieved to have his freedom, a healthy Miller is busy training for a May 21 fight in Milan, Italy, against 6-foot-6 Luke Barnatt, a 27-year-old Englishman. If his plan works, the event will relaunch his career. But the 35-year-old North Carolina native also has court on his mind. “The justice system isn’t perfect, especially where there’s the element of celebrity,” he says. “But I want a fair trial. If I don’t get one, it’s a gross miscarriage of justice.” RSCOTTMOXLEY@OCWEEKLY.COM

aREAD MORE»ONLINE WWW.OCWEEKLY.COM/NEWS

» GUSTAVO ARELLANO DEAR MEXICAN: As one of a small number of white American soccer fans, I’d like to know: why won’t cable providers sell channels showing south-of-the-border sports to bars? A proprietor of a soccer-oriented sports bar in my area said that it was because they feared Mexicans wouldn’t subscribe, choosing instead to crowd into bars and watch without buying drinks. Is this really the reason? If so, is it because they’re being realistic or racist? Fútbol Fan DEAR GABACHO: There’s a saying in Mexico: if it’s on television somewhere in the world, there’s a primo who knows the Filipino website from which you can stream it. DEAR MEXICAN: A friend of mine says nobody calls themselves Chicanos anymore—que dice, Mexican? ¿Cierto? Is it just a term for us old-timers, like hippies or beatniks? Saludotes de Tulsa Town DEAR POCHA: I’ve always maintained that one learns they’re Chicano, usually in Chicano Studies classes in which the term is placed in its proper historical context. And the fact is that “Chicano” as an identity was endangered by the 1980s, under assault from the Right by vendidos who preferred “Hispanic” and by Mexican immigrants who taught their children they were mexicanos, not pocho-ass Chicanos. But then the 1990s happened, and the many anti-immigrant laws passed around the country galvanized a new generation of activists who looked back to the Chicano movement of the 1960s for inspiration. Then the 2000s happened, and the mega-anti-immigration laws of that decade brought more children of Mexican immigrants into the Chicano fold, with some calling themselves “Xicanos” as a chinga tu madre against the Castilian imperialism inherent

in “ch.” And this decade? The super-mega-antiimmigrant rhetoric spewed by the likes of Donald Trump, Ted Cruz and others is so nasty that an even newer identity is emerging: Xicanx. Chicano identity has a far brighter future than the Republican party—and so do Chicano grammarians. . . . DEAR MEXICAN: I am a second-generation Mexican who works as an erotic dancer in various nightclubs up and down the West Coast. In my work, I’ve noticed that black clients treat their black “sister” dancers well by tipping them larger amounts and buying them drinks and giving favors. The same goes for any of the other ethnic groups. But as a mexicana, why do I get the short end of the stick when it comes to ethnic favoritism? My Mexican counterparts, be they immigrants looking for a night of fun or the millionaire owner of a chain restaurant, don’t give me a cent. They treat me very badly, asking for blowjobs or “escort service” (a.k.a. prostitution). Then, they proceed to go to my gabacha co-workers and blow a hundred bucks on a lap dance while I am left hanging. Is it so hard to blow a few extra bucks on a fellow Mexican working hard at being sexy? It’s getting to the point I won’t admit my heritage because, to put it simply, I am treated poorly when they find out I am Chicana. ¿Por que? Sexy Mexican on Five-Inch Stilettos DEAR POCHA: Easy answer: Madonna-whore complex. They’re so disgusted by seeing a Mexican woman as a stripper that if you won’t conform to their butt-slut archetype, they simply won’t acknowledge you. My advice? Tell them you’re Persian—or, better yet, knee them in the huevos and let the club’s Samoan bodyguard show that cheap wab who’s the real chavala. 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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The High Church

BRIAN FEINZIMER

The bush in the landscaping strip provides the only option, but it’s as hard as cement, perhaps from droughtrelated underwatering. Graves is dressed in a long, un-hemmed white robe, its jagged ends evoking an animal hide, and marijuana leaf-adorned socks tucked into leather moccasins. She is unable to pry any dirt loose with her fingers, so she scrapes at the dirt with her ceremonial abalone shell. “I’m not really supposed to do this,” Graves says, “but it’s the only way.” Unlike traditional Native American churches that use peyote in tightly controlled ceremonies on tribal land, ONAC is open not only to members of federally recognized tribes, but also to prospective members of all races and creeds. In fact,

pretty much the only requirement to join ONAC is that you make a $200 donation. (Actual tribal members only have to pay $30.) There’s a plastic banner hanging above the tinted windows of the former dispensary, marking it as a branch of ONAC, and the organizers of this private ceremony say it will be open for business—i.e., selling cannabis to members—in just a matter of days. Back inside the dispensary, Graves spreads her ceremonial kit—pheasant feathers, a rattle, a hand broom and a bundle of sage—atop an empty marijuana display case next to a poster of Mona Lisa smoking a joint. Also present in the room are David and Marla James, a prominent pair of marijuana-legalization activists in Orange County and brand-

new members of ONAC, and Pat McNeal, an ONAC member and lawyer who is working with ONAC’s chief counsel, Matthew Pappas, to build the church. (McNeal suffers from leukemia.) Marla, whom the Weekly profiled in its 2015 People issue, is a legally blind, wheelchair-bound amputee whose disability was insulted by a Santa Ana police officer during a May 2015 pot-club raid that was caught on videotape. (Security footage also showed the officers stealing what appear to be marijuana edibles, throwing darts at a wall and joking about feeling “light-headed”; three officers now face charges of petty theft and vandalism from the incident.) Having worked to build the medical-

» CONTINUED ON PAGE 10

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he sacred blessing ceremony of Orange County’s first cannabis-friendly Native American church is being held up by Mother Nature. It’s late in the morning of Feb. 24, and Joy Graves squats before a bush on the side of a mini-mall parking lot along Huntington Beach’s heavily trafficked Beach Boulevard. A medicine woman with the Oklevueha Native American Church (ONAC), which celebrates peyote and cannabis as religious sacraments, Graves has traveled south today to rid the former High Tide marijuana dispensary of bad vibes and evil spirits. But first she must obtain a handful of mother earth to use in the blessing ceremony, and actual dirt, at least in this area of Orange County, is in short supply.

BY NICK SCHOU

Ma rc hX 25-3 6 M ON TH X–X1,X2, 01 2014

Will an inventive legal strategy succeed in turning OC marijuana dispensaries into cannabis-friendly churches?

CHANGE IN MANAGEMENT!

A HANDFUL OF MOTHER EARTH FOR THE BLESSING CEREMONY IS HARD TO COME BY IN THESE DROUGHT-FUL TIMES

The High Church » FROM PAGE 9

JOY GRAVES LIGHTS A BUNDLE OF SAGE OUTSIDE THE FORMER HIGH TIDE DISPENSARY

marijuana movement in Orange County for the past two decades, only to see every city with the exceptions of Santa Ana and Laguna Woods ban cannabis collectives and carry out countless raids to shut down dispensaries, the Jameses see ONAC as the last chance to protect patients who, for medical or economic reasons, can’t drive to Santa Ana to obtain their medicine. With legal help from Pappas, ONAC hopes to convert as many shuttered dispensaries as possible in Orange County into churches that can legally dispense marijuana to members under federal religious law. It’s an ambitious, untested strategy— desperate measures for desperate times— but Marla is willing to give it a shot. “If this is what we have to do,” she says, “then this is what we’ll do.”

he story of how the High Tide medical-marijuana dispensary became a Native American church starts not in Orange County, but in Utah with a charismatic and controversial Native American church leader named James “Flaming Eagle” Mooney, the great-grandson of the Smithsonian ethnologist of the same name. In an interview, Mooney said that although he had fuzzy childhood memories involving his grandparents in Missouri putting him in a sweat lodge and “dedicating” him as a medicine man, he had no connection to his Native American heritage until much later in life. In 1987, after a long career as a busi-

ALL BY BRIAN FEINZIMER

nessman, Mooney was a practicing Mormon, living in Utah with a wife and seven children. Things weren’t going as well as they should have. “I developed a bipolar manic depression and was taking 1800 milligrams of lithium a day,” he explains. “Then my wife died of cancer, and I lost custody of all my children because my wife’s family thought I was going crazy. I was devastated, non-functioning.” That’s when Mooney says he received a telephone call that changed his life. “Is this James Mooney?” the voice asked. When Mooney affirmed his identity, the voice on the other end of the line replied, “Welcome home. We have found you.” The caller, Mooney says, was none other than Chief Little Dove of the Oklevueha Band of Seminole Indians in Orange Springs, Florida. “They had been searching for me for 20 years because of my heritage,” Mooney says, adding that he is a direct descendant of Osceola, a renowned Seminole leader of mixed-race background who led resistance efforts against U.S. troops in Florida until his capture and imprisonment in the 1830s. “They needed someone other than the chief who was a direct descendant of Osceola and wanted to get recognized as a tribe.” He told Chief Little Dove about his depression, and at her direction, he began researching the healing powers of peyote, ultimately seeking out a healer in Utah named Clifford Jake, whom Mooney says cured him of his condition via a rigorous series of peyote rituals. Mooney says he was so amazed by peyote’s power that he tried to convince Jake to train non-Native Americans in its usage. “I went to him and said, ‘You cured something that is afflict-

ing our entire culture; you’ve got to take it to the white man,’” Mooney recalls. “He said, ‘I don’t like them. They deserve to wallow in their misery. I can’t do it, but I will train you.’” Mooney also traveled to Mexico, where, along with fellow peyote worshiper Robert Boyll, he met with Huichol leaders who agreed to provide them with peyote. Boyll ended up being indicted for importing peyote. However, in a 1990 ruling, a panel of federal judges in New Mexico dismissed the case. As a result of that ruling, any member of a Native American church that celebrates peyote as a religious sacrament is allowed to use the drug, regardless of whether or not the person is actually Native American. “Membership in the Native American Church derives from the sincerity of one’s beliefs and participation in its ceremonies,” the ruling states. “Historically, the church has been hospitable to and, in fact, has proselytized non-Indians. The vast majority of Native American Church congregations, like most conventional congregations, maintains an ‘open door’ policy and does not exclude persons on the basis of their race.” In 1997, Mooney formally registered the Oklevueha Native American Church as a nonprofit church in Benjamin, Utah. He also got a job counseling inmates with the Utah Department of Corrections. Three years later, on Oct. 10, 2000, a squad of sheriff’s deputies raided the church, confiscating 12,000 peyote buttons that had been sent to Mooney by a DEA-registered supplier in Texas. After confiscating another package of peyote containing 8,000 buttons, authorities

» CONTINUED ON PAGE 12

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

The High Church » FROM PAGE 10 IN ASSOCIATION WITH THE ACADEMY OF MAGICAL ARTS, AND THEIR WORLD FAMOUS CLUBHOUSE THE MAGIC CASTLE

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charged Mooney and his wife, Linda, with 10 felony counts of possessing peyote with the intent to distribute, charges that could have easily put him behind bars for the rest of his life. After a brief stint in jail, however, Mooney made bail and fought the charges. In 2001, he won a $50,000 settlement from the Utah Department of Corrections, claiming his post-arrest firing was a product of religious discrimination, and in 2004, the Utah State Supreme Court ruled that Mooney couldn’t be prosecuted in a state court, agreeing that it was a violation of his religious liberties. “The bona-fide religious use of peyote cannot serve as the basis for persecuting members of the Native American Church under state law,” Justice Jill Parrish wrote in the ruling. Although the feds indicted Mooney in 2005, they dropped the case a year later, one day after the U.S. Supreme Court upheld another Native American church’s right to use a psychoactive substance, called hoasca. Federal prosecutors knew it would be a losing battle, not only because of that case, but also because of two laws that were upheld by the U.S. Supreme Court: the Religious Land Use and Institutionalized Persons Act and the Religious Freedom Restoration Act, both of which severely curtail the government’s ability to restrict religious freedoms. There are numerous examples of this newly enhanced federal protection of religious freedom, but none is more illuminating than the case of the Church of the Flying Spaghetti Monster. Also known as “Pastafarianism,” this comedy-centric church worships what looks like an octopus made of spaghetti and its members like to walk around with colanders on their heads. In November 2015, a Massachusetts resident named Lindsay Miller won the right to wear such a strainer on her head in her driver’s-license photograph. Buoyed by his legal victory, Mooney set about building his church, expanding it into other states and expanding its sacraments to include cannabis. This is how Mooney came to meet Graves, who wears literally dozens of plastic bracelets from various marijuana expos on both forearms. At the High Tide dispensary shortly before the blessing ceremony begins, Graves explains that after moving to Oregon from Santa Ana in 1985, she became a pot activist and confidante of the legendary cannabis and hemp activist Jack Herer, author of the 1985 marijuana manifesto, The Emperor Wears No Clothes, which has sold 600,000 copies. “I had a heat stroke, and he took care of me,” Graves recalls of the day she met Herer. “And I owed him, apparently for the rest of my life, to get people medicine because that’s how Jack works.” Graves was with Herer in September 2009 when he suffered a heart attack during the Hempstalk Festival in Eugene, Oregon. After he died the following year, Graves

says she made it her mission to spread the word of his unfinished book, The Most High, in which, Graves claims, Herer argued that the original Christian sacrament administered by Jesus to his disciples was not wine, but psychedelic mushrooms. “He spent 20 years decoding the bible,” Graves says in a whisper as other members of the church arrive for the blessing ceremony. “He told me that when the corporations take over cannabis, the first thing they are going to do is throw the patients to the wolves. I said, ‘What are we supposed to do?’ And he said religion is the only way.” This revelation led Graves on a path of religious discovery, one that, in 2013, took her to Seattle, where she met Mooney, who, she says, blessed her and asked for her help in creating an ONAC branch in Oregon. “I’ve been trying to figure out for months how the church can help protect the sacrament,” Graves says Mooney told her, adding that he needed someone like her with more experience with cannabis to help make that happen. Mooney instructed Graves to go to the tribe of her great-grandmother, the Narragansett, to get its blessing. Although the tribe was reluctant at first, Graves says, she got the blessing and returned to Oregon, where marijuana is now legal, to help ONAC spread the “sacrament” of cannabis. On Dec. 10, 2015, Graves tried to mail a package of cannabis to a terminally ill ONAC member in Ohio who has since died. After the package was seized, ONAC filed a lawsuit seeking the return of the marijuana. The lawsuit, filed on Jan. 15, 2016, in Portland’s U.S. District Courthouse, alleges “The sacramental cannabis included in the package was, in part, sent for healing purposes as part of the church’s healing sacraments for a woman suffering from esophageal cancer. Each day the sacrament is delayed, the healing process provided through the church is denied to its member suffering from esophageal cancer as well as is denied for other of church’s spiritual healing rituals, practices and ceremonies.” The lawsuit, which drew national attention, quickly raised the ire of ONAC’s critics in the mainstream Native American church community. To them, providing peyote to non-Native Americans was bad enough; calling cannabis a sacrament and selling it under the guise of a Native American church was sacrilege. Vi Waln, a nationally published Lakota Sioux journalist, argued that Mooney is “dangerous” and called ONAC a “bogus” church. “He puts our right to use and possess the sacred peyote at risk with his attempt to include the use of marijuana,” she wrote. “Our medicine people fought hard to guarantee our freedom to attend our sacred [Native American Church] ceremonies and use peyote as a sacrament. Mooney, as well as countless non-Indians like him, are a threat to that freedom.” The lawyer who filed the lawsuit is Orange County’s most controversial medical-marijuana attorney, Pappas. By the

meet with him but didn’t know why. As soon as he returned to the U.S., he flew to Salt Lake City, where it was snowing. “It was really weird,” he says. “In the dream, I knew that there was some issue he was dealing with, but I didn’t know until I met with him that it involved cannabis being sent from Portland to a woman in Ohio who had esophageal cancer. I had this epiphany, and since that time, I have had a greater strength in dealing with these cases, especially the ONAC cases.” Mooney believes that Pappas has found a legal end-run around the federal ban on marijuana and that it is ONAC’s mission to carry it out and make cannabis available to anyone who shares the church’s New Age beliefs: People must love and respect the Earth, which in return can provide all our natural and sacramental needs. “Matt and I got together through my desire to help out the cannabis people,” Mooney says. “Matt is tough as nails. He is like a pit bull, plus he’s crazy. He fits right along with me.”

| | |

he handful of brand-new members of ONAC’s first Orange County chapter have arrived at the defunct High Tide dispensary. Graves, the medicine

» CONTINUED ON PAGE 14

time Mooney heard about him, Pappas, a relentless legal activist who has appeared in numerous Weekly articles over the past several years, had already made a name for himself by taking on Southern California cities that were busy banning marijuana dispensaries. In September 2015, after joining ONAC, Pappas met with Mooney in the desert near Las Vegas to take peyote. The pair hiked up a canyon; Mooney put a blanket on the ground, and they sat down. “At first, I was a bit fearful of it,” Pappas recalls. “There was a slight, warm wind blowing, and as we sat down, it stopped. Everything was silent. I was very at ease. I took the peyote during the ceremony, and after that, for almost a day, I was in a very peaceful mode. It was very peaceful. I think, for me, the experience put into me this belief that there is something to this [religion].” A month later, Pappas was visiting his son in Germany when he had an unusual dream, one that he believes foretold the filing of his lawsuit on behalf of Mooney and Graves. “It was about being in the snow with James Mooney and some issue he was dealing with,” he recalls. “The moment I woke up, I called James, and he picked up the phone.” Pappas told Mooney that he had to LEUKEMIA PATIENT PAT MCNEAL AT THE BLESSING CEREMONY

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The High Church » FROM PAGE 13 woman, is ready to bless the building. This will be accomplished by sending everyone out of the facility while she uses her pheasant feathers to waft the cleansing fumes of a burning sage bundle around the interior. Her assistant, McNeal, explains what’s happening. “The blessing process is to really take out the evil spirits and bad karma, and there is a symbolic blessing as you come back in.” Thus, McNeal continues, the ceremony converts the ex-dispensary into a “protected” place. “If you can all go outside for a moment,” he asks. There must have been a lot of bad karma inside the building because that “moment” McNeal referred to lasts more like 20 or 30 minutes. The group of ONAC members, along with a security guard, a journalist and photographer who is constantly snapping photographs makes for an odd scene, drawing the attention of onlookers. Then, to everyone’s great relief, McNeal opens the door, and Graves comes outside with her burning sage bundle. One by one, we walk to the door and stand still so Graves can bless us before entering the building. When it’s my turn, I try to not cough as the fumes waft over me. It seems to be taking Graves forever to wash away my evil spirits. Why is this taking so long? I wonder. “He isn’t cooperating,” someone says

behind me, as if reading my mind. I turn around and realize that Graves, who hasn’t said a word the entire time, is bent over with her sage bundle and waiting for me to lift my feet so she

BRIAN FEINZIMER

can blow smoke under the soles of my shoes. Once everyone is safely back inside, McNeal addresses the room. “Before this church opens up to the public, there will be a circle of fire ceremony, but it only involves members of the church, and we don’t have enough members to do that yet,” he announces. “There is going to be a blessing cer-

emony that includes all the people that will be members of the church and the people staffing it and those meetings are traditionally private to the members of the church. This basically concludes

GRAVES USING PHEASANT FEATHERS

the blessing of the facility.” Flash forward three weeks. By press time, Huntington Beach officials have yet to do anything to stop the ONAC church from operating. “They haven’t said or done anything one way or the other,” Pappas says, adding that he is currently in negotiations with landlords in both Costa Mesa and Anaheim to open two more

branch locations in Orange County. Whether Pappas’s inventive legal strategy—converting dispensaries into churches that claim cannabis as a religious sacrament—will ultimately work is unclear, but it is applauded by legalization backers such as Kandice Hawes, president of OC NORML. “Under the current circumstances, where cities are suing their policing powers to zone out and ban collective locations, I believe Mr. Pappas is trying a new, clever tactic to protect patients’ ability to receive safe access,” Hawes says. “I think it’s a great idea in essence,” agrees Christopher Glew, an attorney with years of experience representing medicalmarijuana collectives in Orange County. “But I am afraid that the length of time it will take to litigate this issue will vastly exceed the amount of time it will take to legalize marijuana. It will be fully legal by the time this issue is resolved.” Pappas concedes that this may be more of a stalling tactic than a legal revolution. “Let’s say the cities come in and attack,” he says. “Even if the cities sue us, during that time, our members will have access to their sacrament. For people who have used medical cannabis for whatever ailment they have, when you don’t have it available, when every city in Orange County with the exception of Santa Ana and Laguna Woods is banning what can help them, that’s a big problem. The church is a way to make it available.” NSCHOU@OCWEEKLY.COM

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fri/03/25

[ART]

IT’S AWL GOOD

‘Master Craft: The Art of Woodworking’

[CONCERT]

Tonight’s Gospel

Reverend Horton Heat

FAT SATURDAY!

Long Beach Carnevale

Come celebrate Mardi Gras of the West, as Carnevale returns to the Aquarium of the Pacific for a day of music, mystery and masquerade. Modeled on the carnival of Venice, Italy, this historic celebration offers participants the chance to express their creativity and enthusiasm, MORE donning fanONLINE OCWEEKLY.COM ciful masks and costumes and frolicking together in dance and song. Originally a time to indulge in rich foods and wild revelry before the fasting of Lent, modern masqueraders see it as a time for nourishing the arts and exalting le joie de vivre. So prepare for a day of delicious debauchery: Dust off your feathered headdress and shine up your baubles, bangles and beads! Long Beach Carnevale outside the Aquarium of the Pacific, 100 Aquarium Way, Long Beach; longbeachcarnevale. com. 1 p.m. Free. —SR DAVIES

[SPORTS]

Welcome to the Danger Zone Kiss This

It’s a battle royale this weekend as the Outlaw Renegade Rollergirls of OC clash with the formidable Renegade Sisters at the Kiss This post-St. Pat’s roller derby event. The Renegade Rollergirls family started out in Arizona after several skaters from different leagues grew tired of the so-called “rules” and “safety precautions.” ReferT H I S CO D E ees? Pfft. Held at the Holi- TO DOWNLOAD THE FREE OCWEEKLY day Skate Center in Orange, IPHONE/ANDROID APP this match allows players to FOR MORE EVENTS OR VISIT bust out moves otherwise ocweekly.com deemed illegal, and with no penalties enforced, who’s going to stop them? Not us. Come cheer the girls on as they crash, slide, check and do plenty of other moves generally badass in nature. Roll on! Outlaw Renegade Rollergirls present Kiss This at Holiday Skate Center, 175 N. Wayfield St., Orange, (714) 997-5283; www. facebook.com/OutlawRRG. 10:15 p.m. $6-$12; kids 4 and younger, free. —ERIN DEWITT

SCAN

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If anyone had to write a bucket list of essential things to do while living in OC (between eating a milky bun at Afters Ice Cream and getting sloshed on mai tais at Don the Beachcomber), it would have to include seeing the Reverend Horton Heat in concert because—simply put—Jim Heath and his band of Texan rockabilly misfits have been sermonizing their country/punkabilly music here on a steady basis for years. But we’re not complaining; on the contrary, the Reverend Horton Heat consistently fire up whatever crowd they’re performing for with an electric vigor unseen in plenty of bands today, chalked up to Heat’s old-school showmanship and Jimbo Wallace’s bass-in-your-face rabble rousery. They’ll supply the bolo ties and flame-decorated guitars at tonight’s show at the Coach House, so get ready for some rock & roll salvation. Reverend Horton Heat with Unknown Hinson, Cadillac Tramps and Viernes 13 at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. 8 p.m. $25. —AIMEE MURILLO

[FESTIVALS]

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Count on the smart, engaged programmers at Muzeo, Anaheim’s huge, userfriendly cultural-arts center and museum complex, to make a place in its casa for a throwback crafts movement to complement the current rage for bespoke couture, homegrown food, artisanal cheese and microbreweries. “Master Craft: The Art of Woodworking” celebrates the enduring and beautiful utility, tactile and visual, of handcrafted wooden objects often produced with self-made tools. Objects and antique tools are on display, utilitarian and decorative and both.There will be workshops and demonstrations, featuring contemporary practitioners and local woodworkers whose work you probably wouldn’t have known about otherwise. Bring the kids, who can learn to carve in soap—create something fine, and go home clean, too. “Master Craft:The Art of Woodworking” at Muzeo, 241 S. Anaheim Blvd., Anaheim, (714) 956-8936; muzeo.org. 10 a.m. Through May 21. $5-$7. —ANDREW TONKOVICH

sat/03/26

calendar *

tuesday›

| [THEATER]

Dreamin’ Big Dreamgirls

Not every diva gets lucky enough to capture the spotlight, no matter how hard we try. But at least we have our friends to absorb our diva meltdowns. Dreamgirls brings us the tale of a singing trio from Chicago who get their big break only to find their friendship can’t withstand all the crooked men and fame whoring that occurs after they

are bathed in the spotlight. Watch this Tony Award-winning musical at the La Mirada Theatre for Performing Arts and become thankful again that the biggest problems in your sad life are that you cry when you run out of ice cream and sometimes you wake yourself up when you fart in your sleep. We can’t all be Beyoncé, okay? Dreamgirls at La Mirada Theatre for Performing Arts, 14900 La Mirada Blvd., La Mirada, (562) 944-9801; www. lamiradatheatre.com. 2 p.m. Through April 17. $20-$70. —AMANDA PARSONS

[NIGHTLIFE]

Beers and Beats Like.Minded Sundays

We get it: Sundays just aren’t the most ideal nights to go out to a late show, what with the long workweek ahead. Why not put off your regular responsibilities and make time for an evening of rousing experimental music— specifically in the vein of the weekly event at Kitsch Bar known as Like.Minded Sundays. Resident DJs Matt Hill, Borbi and Anderson

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M. are joined by a crew of guest DJs every week, all of whom seek to instill their brand of mind-bending electronic sounds to willing and, well, like-minded listeners and producers. Tonight’s guest performers are Modern Disco Ambassador resident Wet Hand Dan and Crass, sure to light the embers of musical innovation for low-key audiences. Like.Minded Sundays with Wet Hand Dan and Crass at Kitsch Bar, 891 Baker St., Costa Mesa, (714) 546-8580; kitschbar.com. 9 p.m. Free. —AIMEE MURILLO

mon/03/28 [CONCERT]

Back to Back Blues Professor Colombo

Mondays this month belong to the Wayfarer’s March resident band Professor Colombo, a bluesy rock & roll duo from Huntington Beach that add just a touch of psychedelic flavor to their retro sound. Composed of Andrew Willingham and Eric Roebuck, the two dudes will let their rockin’ hair down for the very last time at today’s show. They’ll be joined by OC Music Award winners Big Monsta and Them Evils, who bring their own sleazy take on the revived rock & roll sound. Professor Colombo with Big Monsta and Them Evils at the Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; www. wayfarercm.com. 8 p.m. Free. 21+. —AIMEE MURILLO

tue/03/29

[EXHIBITS]

WRAP STARS! ‘Mummies of the World’

Mummies are making a comeback!Take the “Mummies of the World” exhibit at Bowers Museum, the largest collection of its kind.The display of the dead and their ancient artifacts comes to museum goers by way of Egypt, Europe and South America. Some of the mummies date back 4,500 years!The exhibit also dabbles in the present, using multimedia to educate folks on how mummification works and how science can help unravel what mummies tell us about our past. All mummies, whether naturally or intentionally preserved, are presented with “respect and dignity.” Don’t miss out on the most fun since las momias de Guanajuato! “Mummies of the World:The Exhibition” at Bowers Museum, 2002 N. Main St., Santa Ana, (714) 567-3600; www. bowers.org. 10 a.m.Through Sept. 5. $10-$27. —GABRIEL SAN ROMÁN

[FILM]

Gunslingers Galore

The Good, the Bad and the Ugly The Good, the Bad and the Ugly is arguably the purest expression of the spaghetti western aesthetic, as well as of a certain fundamental philosophical state. That gigantic pitiless landscape and those gigantic pitiless faces in severe close-up, those grayand-grayer moralities in ever-more-complex conflict, and that endless trek through what the band Can might have called a soul desert—isn’t that all too recognizable? Aren’t we all beset by vigorously conniving false partners while in obsessive pursuit of gold and/or the grave? Aren’t we all some aspect of goodness, badness MORE and ugliness? ONLINE Don’t we all OCWEEKLY.COM enter the screen from nowhere, and won’t we eventually depart (after a few bursts of ecstasy and agony) back to same? No? Just me? Well, trust me: Camus pulled The Stranger from a James M. Cain noir, and this Sergio Leone masterpiece delivers similar existential revelation—and with a better soundtrack, too! The Good, the Bad and the Ugly at Regency South Coast Village, 1561 W. Sunflower Ave., Santa Ana, (714) 557-5701; regencymovies. com. 7:30 p.m. $8. —CHRIS ZIEGLER

[CONCERT]

PORCH AT THE PIKE

Pregnant

3/25

Father John Misty

Before becoming the artist known as Father John Misty, JoshTillman performed on drums and guitar for more than 12 indie folk-rock acts, including Jefferson Nile, Fleet Foxes, Har Mar Superstar and the Lashes—not bad for a guy who grew up in a Christian family that forbade rock music in the house.Yet, his early religious indoctrination comes through in his music; as Father John Misty,Tillman delivers soulful yet somber folk melodies and harmonies evocative of a gospel singer,Tim Buckley and early 1970s George Harrison, while at the same time presenting a cultleader-like figure promising love and hallucinogens on a great spiritual quest/drug bender. With acoustic guitar in tow and sporting a lustrous beard that exudes Rasputin-like charms, you’ll be underTillman’s spell as he enchants intimate audiences in his most realized musical persona yet. Father John Misty withTess & Dave at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-3600; observatoryoc. com. 8 p.m. $35. —AIMEE MURILLO [FILM]

3/26

3/30 ELEPHANT REVIVAL

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4/3 MIKE PETERS

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LINDI ORTEGA

Equal Means Equal

SCAN

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5/8 5/10 5/11 5/12

Y&T

5/13 5/14 5/21 5/22 5/25 5/26 5/28 5/29

4/21

6/2 6/3 6/5

4/16

THE ANN WILSON THING

VOICE OF FOREIGNER”

ELEPHANT REVIVAL / 4/28 MANDOLIN ORANGE AUGIE MEYERS SUPER DIAMOND (NEIL DIAMOND TRIBUTE) HONK MIKE PETERS (THE ALARM) DSB (JOURNEY TRIBUTE) CINDERELLA’S TOM KEIFER LINDI ORTEGA 4/29 THE TUBES DEANA CARTER Y&T ROD PIAZZA & THE MIGHTY FLYERS THE ANN WILSON THING AL STEWART ROGER CLYNE AND THE PEACEMAKERS 5/1 BILLY JOE SHAVER THE AUGIE MEYERS / SMITHEREENS LOS FABULOCOS DEANA CARTER MICK ADAMS & THE STONES THE SMITHEREENS CRYSTAL BOWERSOX L.A. GUNS 5/13 OC’S FUNNIEST IRON HOUSEWIVES BUTTERFLY TOMMY EMMANUEL JAMES MCCARTNEY JAVIER COLON ANDY MCKEE – THE NEXT CHAPTER TOUR

IRON BUTTERFLY VENICE WHICH ONE’S PINK? STRUNZ & FARAH LOS LONELY BOYS LEON RUSSELL GUN BOAT KINGS JUICE NEWTON ACOUSTIC TRIO LEON RUSSELL JONNY LANG TRASHCAN SINATRAS

5/25 LOS LONELY BOYS

5/26 & 6/2 LEON RUSSELL

UPCOMING SHOWS 6/10 6/11 6/16 6/19 6/22 7/2 7/6 7/8

JUSTIN HAYWARD QUEEN NATION ISRAEL VIBRATIONS AL DI MEOLA DONAVON FRANKENREITER HINDER TED NUGENT CASH’D OUT (JOHNNY CASH TRIBUTE)

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VONDA SHEPARD THE YARDBIRDS THE WAILERS DESPERADO GUITAR ARMY FEAT. ROBBEN FORD, LEE ROY PARNELL, JOE ROBINSON 9/16 RICHARD CHEESE 9/17 DICK DALE 10/29 OINGO BOINGO DANCE PARTY

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Much progress has been made in the realm of women’s rights (thanks, feminism!), but there is still work to be done to ensure all women— regardless of socioeconomic status, race and gender—receive the same fundamental rights. Enter filmmaker Kamala Lopez, who trekked across the United States with a crew to document the lives of multiple women who discuss how the passing of an Equal Rights Amendment would change their indiT H I S CO D E vidual lives. The resulting TO DOWNLOAD THE FREE OCWEEKLY film, Equal Means Equal, IPHONE/ANDROID APP will be screened in mulFOR MORE EVENTS OR VISIT tiple cities and makes its ocweekly.com Long Beach premiere tonight. These topical discussions are at an all-time high, and this screening will be accompanied by Lopez and a panel of speakers—including Jennifer Thompson, Nina Fernando, Jeannine Pearce and Amanda Pertocelly—engaging viewers in what should be a thought-provoking conversation. Equal Means Equal at Art Theatre of Long Beach, 2025 E. Fourth St., Long Beach, (562) 438-5435; www.facebook. com/PacificShoreNOW. 7 p.m. $11.54.

4/10 4/15 4/16 4/17

REVEREND HORTON HEAT / UNKNOWN HINSON / CADILLAC TRAMPS LOU GRAMM “THE

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Together, DanielTrudeau and Styles Munson are Pregnant, a musical project established in Placerville, a region in Sacramento that rightfully deserves its name for the intriguing mixture of genres swimming with one another in an amniotic sac of warm, experimental sounds. Using a combination of foot pedals, vocals, electronic beats, sampling, loops, guitar, saxophone and other instruments, the end result is dreamlike and atmospheric—possibly informed by the pastoral environment in Placerville—while maintaining an avant-garde musical aesthetic.Their show tonight is part of a larger series of Porch Party Records showcases at the Pike Bar every last Wednesday of the month, in which they’ll be playing two sets for psychedelically inclined audiences. Don’t miss this intimate, mind-bending experience. Pregnant at the Pike Bar, 1836 E. Fourth St., Long Beach, (562) 437-4453; www. facebook.com/porchpartyrecords. 9 p.m. Free. 21+. —AIMEE MURILLO

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Everyday Heroines [CONCERT]

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High Expectasians

DUSTIN AMES

Kitchen Republic in Huntington Beach has lots of potential but a bad location

coated strands of thin egg noodles. For another pasta dish, the kitchen greases the same noodles with garlic butter—something that may or may not be inspired by AnQi’s famed garlic noodles and sold for about the same price. And the best deal here may be the grilled lamb chops. You get three for $13—all pan roasted competently and served next to a small dome of cheesy orzo pasta that stretches out in webs. Though there’s a burger to order (a truffled one, no less), what you want at Kitchen Republic are actually the straightup Asian dishes. The braised pork belly comes steeped in its own pot juices in a small ramekin. To eat it, you’re supposed to tuck the meat into steamed buns, then garnish that with shaved scallions, cucumbers and sprouts. But since the anisescented broth had most of the flavor, I dipped the DIY sandwiches into the liquid, treating it as a sort of improvised au jus. Kitchen Republic’s $15 “Frizzled Rice” might be the most you’ll pay for shrimp fried rice anywhere, but when you get it, you’ll immediately spot where the money went. Those white streaks running through the rice grains are premium lump crab meat. Khao soi—the Thai noodle soup that so captured the imagination of Playground’s Jason Quinn he made a whole food stall out of it—is also a good bet. The kitchen staff serves it in deconstructed layers: the chicken in its curry sauce on the bottom of the bowl, the egg noodles above that, then an impenetrable beehive of wispy fried noodles on top. It’s incredibly messy and hard to eat, especially when the

staff tell you you have to mix it all together and squeeze a lime into it. But it all manages to work out in the end. Easier to navigate, though spicier by a thousand Scovilles, is a beef curry with sliced chiles as its only vegetable. The wait staff give you ample warning, but they don’t tell you the beef is loaded with gelatin-rich tendon—something that’s coveted by Asians but might be misconstrued by everyone else as fat or gristle. Kitchen Republic has other dishes that aren’t quite Asian enough. The Imperial egg rolls are the very best kind of cha giò, blistered fried stogies packed with shrimp, crab and pork, all patiently wrapped in rice paper instead of the usual egg roll skin. But when I asked for lettuce leaves to eat it with, the waiter shrugged after checking with the kitchen. The only unsuccessful dish here is the fried corn and shrimp—something neither Asians nor non-Asians would like. And it’s not because the dried baby shrimp’s pungent aroma wallops you in the nose; the problem is the corn, which is dry and sticks to your teeth as though old gum. Still, everyone should give Kitchen Republic a shot. The restaurant is full of potential, and it sure beats Cheesecake Factory, with or without its hour-long wait times. KITCHEN REPUBLIC 7821 Edinger Ave., Ste. 110, Huntington Beach, (714) 891-8890; www. kitchenrepublicbistro.com. Open Mon., 3-9 p.m.; Tues.-Thurs. & Sun., 11:30 a.m.9 p.m.; Fri.-Sat., 11:30 a.m.-10 p.m. Dinner for two, $30-$50, food only. Full bar.

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itchen Republic isn’t the first restaurant to attempt a smallplates-Asian-fusion concept in Huntington Beach. And as with others that came before it—such as Scraps, which closed after a year—it’s earnest in its efforts and ambitious in its intent. But here at Bella Terra, Kitchen Republic is fighting a particularly hard battle. Buffalo Wild Wings and Cheesecake Factory flank it. Both chain restaurants were packed on the weekend nights I visited; Kitchen Republic had six customers. If I had to guess why it’s struggling to find a foothold, I would say Kitchen Republic’s price points are too expensive for the older generation of Asians who’ve never paid more than $5 for a bowl of pho. At the same time, some of its food may be too Asian for those who’ve yet to discover that a little tendon on beef is a good thing. This leaves Kitchen Republic to carve out a narrow target audience of trendy, younger customers fluent in Asian food but with the short attention spans of a crazy Yelper. This all becomes evident when you see the dishes Kitchen Republic has chosen to attract them. The menu worships recent restaurant tropes as though they were the Gospel of Thomas. Poutine, roasted Brussels sprouts and poke are all present and accounted for. And up until a few weeks ago, it even offered roasted bone marrow served with triangles of crustless toast. Up until a few weeks ago, Kitchen Republic offered a very good rendition of uni pasta. It was hot and creamy, the vaguely buttery sea urchin liquefied into a sauce that

BY EDWIN GOEI

ou need balls to take on Northgate Gonzalez, the mighty Mexican supermarket chain that employs my papi as a truck driver. Scratch that—you need ovaries, which is what Aurora’s Chorizo proudly wields. It stands right across the street from Northgate #15, occupying a tiny spot smack-dab in the middle of two barrios, in a former hamburger stand with just three parking spots compared to Northgate’s parking lot. It has only two deli cases, a couple of racks and shelves of snacks—in total, Aurora’s offerings maybe make up one Northgate aisle. Yet Aurora’s thrives, confident in its niche. The shop traces its heritage to Aurora Ochoa, the chorizo queen of Orange County who famously sold fresh sausages from her SanTana home for decades before her family convinced la doña to open Ochoa’s Chorizo. A daughter (also named Aurora) went on to open Aurora’s Chorizo in 2015, and the crowds have never stopped coming. You’ve never had the Mexican sausage the way the Ochoas make it, and I’m not just talking about the famous green chorizo or the one made from chicken. All links are prepared fresh—you can see the cooks grind out the pork right behind the counter. All the choices have immaculate snap, not too much fat and taste exactly as advertised. The mild chorizo is perfect for even the most gabacho gabacho, the spicy option scalds, and the chicken version surprises with its savoriness. There are no actual dishes sold here, so instead buy the makings of your next meal. Get some fresh cheese, some crema fresca, flour tortillas from the chingón Ruben’s Tortillería, another SanTana treasure. Not feeling chorizo? Aurora’s also sells fine cecina, dried beef. And beware the salsa perrona (which translates directly to “big dog” but is usually understood as “badass”), for which you’ll need plastic gloves. The oil salsa sticks on everything it touches, from your lips to your clothes to even the plastic bag the workers wrap it around, knowing the heat to come. Sprinkle just a little bit, and watch out: The stuff is like a happy dirty bomb, so gradual and ruthless and delicious its fire is.

M ON TH X X–X X , 2014

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IN THEIR SOLITUDE . . .

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Tip-Top Tapas

Stuffed squid at ETCetera Sushi & Izakaya

espite being located on a oneway street in a plaza full of wedding vendors that all close at sundown, you won’t find ETCetera Sushi & Izakaya without a line outside and a wait list five parties deep. As well it should. In Costa Mesa, a town not lacking in sushi joints or izakayas, ETCetera is new, but it’s already a respected player. I had one of the better salmon-skin rolls I’ve ever had there. The agedashi tofu is fried delicately. And when you order poke, it’s presented in an upturned bowl for no other reason than because it looks cool. The best thing to order, though, is hidden in the so-called “tapas” list. It’s described simply as “stuffed squid” because that’s exactly what it is: a cooked mantle of calamari that’s stuffed with imitation

EATTHISNOW » EDWIN GOEI

crab meat, then cut into coins and drizzled with Sriracha, eel sauce and mayo—you know, the usual suspects. As you eat it, you discover it’s a sushi roll unlike any you’ve encountered in the past. It has 10 times the flavor, but none of the carbs. And since these squid are actual squid, not cuttlefish, you realize the labor it took to stuff them requires even more meticulous patience than making a turducken. ETCETERA SUSHI & IZAKAYA 1355 Bristol St., Costa Mesa, (657) 231-6222.

DRINKOFTHEWEEK » ROBERT FLORES

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Shipyard Monkey Fist IPA at Louie’s On Main

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

arden Grove has two great, non-Asian things going for it. You gotta start with the song “Garden Grove” by Sublime, quite possibly their best. And then, of course, there is Main Street, a throwback in time, where parking is FREE (unlike downtown SanTana, but that’s another story) and the businesses are quaint: a mom-and-pop diner, antique shops, the legendarily Elvis-obsessed Azteca and Louie’s On Main. Established in 1953 and formerly called the Rainbow Room, Louie’s has 30 beers on tap, 22 of the craft variety and rotated often. Burgers, sandwiches, wings and bomb-ass onion rings all pair nicely with the eclectic beer menu. Sierra Nevada Beer Camp Tropical IPA (with a 6.7 percent ABV) combines mango, papaya and bitter orange—refreshing with a little bit of a bite and not at all too fruity. (I could’ve done without the bitter orange since that’s what the hops are for, but you decide.)

ROBERT FLORES

On the other end is Rogue Shakespeare’s Oatmeal Stout on Nitro 5.8 percent ABV, a richtasting stout with plenty of chocolate notes. Easy to drink, not too sweet—ain’t it cool how chocolate stouts are becoming a great dessert choice? But the beer of the week is Shipyard Monkey Fist IPA out of Portland, Maine. THE DRINK

At a 6.9 percent ABV, it pours out a beautiful copper color that comes from malts combined with three kinds of hops. This beer is full of flavor and is best described as an English-style pale ale. Louie’s On Main is a nice, comfortable neighborhood bar where you can kick back, watch a game or just kick back . . . ma . . . ma . . . Martinez. LOUIE’S ON MAIN 12942 Main St., Garden Grove, (714) 5379946; www.louiesonmain.com.

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film»reviews|screenings Special Screenings BY MATT COKER

The Belly of Los Angeles

City of Gold chronicles the influence of Pulitzer Prize-winning food critic Jonathan Gold BY DUSTIN AMES

The HUMP! Film Festival. Savage Love returns to OC Weekly, and author Dan Savage’s dirty short-movie festival glides into Art Theater. Coinky-dink? 2025 E. Fourth St., Long Beach, (562) 438-5435; humptour.boldtypetickets.com. Thurs., March 24, 7 p.m. $18. The Holy Mountain. The Weekly’s Friday Night Freakout at Frida Cinema presents Alejandro Jodorowsky’s follow-up to his 1970 freakout El Topo. 305 E. Fourth St., Santa Ana, (714) 2859422; thefridacinema.org. Fri., 11 p.m. $8-$10. The Rocky Horror Picture Show. The teddies come out way earlier than the final frames on the Art Theater screen as Midnight Insanity presents Lingerie Night. 2025 E. Fourth St., Long Beach, (562) 438-5435; longbeachrockyhorror. com. Sat., 11 p.m. Contact for fee. Carrie and The Birthday. A 1970s horrorthemed short from Frida Cinema volunteer Trevor Dillon’s indie Ghost Party Productions precedes the Brian DePalma classic that inspired it. 305 E. Fourth St., Santa Ana, (714) 2859422; thefridacinema.org. Tues., 7:30 p.m. $8-$10. En El Pais de No Pasa Nada. UC Irvine’s Latin American Research Cluster presents this Mexican telenovela-tinged rom-com followed by an audience Q&A with director Maricarmen de Lara. McCormick Screening Room, Humanities Gateway 1070, Campus and West Peltason drives, Irvine, (949) 8246117. Thurs., March 31, 6 p.m. Call for fee. Vatel. The French drama set in King Louis XIV’s time is part of Chapman University Student Life’s World Languages & Cultures Food and Film Series. Argyros Forum 119A, 1 University Dr., Orange, (714) 743-7030. Thurs., March 31, 6:30 p.m. Free. The Huntsman: Winter’s War. NBC Universal and Chapman’s film school present a prerelease look at the sequel to 2012’s The Huntsman. Dodge College of Film and Media Arts, 283 N. Cypress St., Orange, (714) 9976765; chapman.edu/dodge. Thurs., March 31, 7 p.m. Free—but first come, first seated. Mysteries of Egypt. Omar Sharif heads the cast in this short historical drama that screens as part of the 10th anniversary of Arabic Studies at Chapman University. Hashinger Science Center, Irvine Lecture Hall, Room 150, 1 University Dr., Orange, (714) 7437030. Thurs., March 31, 7 p.m. Free. Repo Man. OC Weekly Staff Picks at the Frida has Calendar Editor Aimee Murillo revving up Alex Cox’s mind-bender. 305 E. Fourth St., Santa Ana, (714) 285-9422; thefridacinema. org. Thurs., March 31, 7:30 p.m. $8-$10.

MCA UNIVERSAL

NEVER LATE AGAIN . . .

here is an arc in the life of every food critic that starts with being a relatively unknown (both personally and professionally) restaurant-goer and ends with being an instantly recognizable regional god. Sometimes, that transition is abrupt and devastating, such as when veteran Los Angeles Times critic S. Irene Virbila was publicly outed and ejected from Red Medicine in Beverly Hills because restaurateur Noah Ellis was being a massive dick. Other times, it’s a planned and deliberate slow burn hurried by the first Pulitzer Prize for food criticism. That’s what happened to Jonathan Gold, the current Times food critic whose larger-than-life presence and outlandish-yet-brilliant metaphors are as much a part of the Southern California landscape for this generation of Angelenos as Cal Worthington and Gorgeous George were for others. For more than 20 years, from essentially creating the genre of reviewing hole-in-the-wall restaurants at LA Weekly to moving on to the Times to returning to LA Weekly when his wife, Laurie Ochoa, became editor, the general public only knew him through his chats with Evan Kleiman on KCRW’s Good Food. But in 2007, when Gold won his Pulitzer, a picture

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of him enjoying a glass of champagne from a comically big glass went online, and his jig was up. By then, though, in this social-media world of ours, Gold’s identity was the worst-kept secret in the SoCal food world since In-N-Out’s unofficial menu. The topic of anonymity pops up in City of Gold, a new documentary on him directed by Laura Gabbert. Gold talks about it with Ochoa (now the Times’ arts and entertainment editor), and so does

Robert Sietsema, who still likes to lecture at conferences while wearing a devil’s mask. But the most telling information on just how silly this whole debate is . . . well, there’s a documentary now about Jonathan Gold featuring the man himself, in the flesh, nothing to hide. In that way, this film isn’t an exposé on the man who has eaten his way through Los Angeles since 1986 so much as capturing the mundane. Gold’s process turns out to be like that of any other academic

CREEPIN’ ON THAT DIM SUM

a restaurant so dramatically, of course, but this example shows him at his best: inspiring readers to cut through sociopolitical bullshit and not only enjoy a great meal, but also explore the Southern California we live in today. City of Gold shows Gold’s impact on not just the many communities in Los Angeles, but also the interactions Angelenos have with food—a great counternarrative to the usual stereotype-filled weird-food dispatch New York usually writes about LA. But Gabbert’s aim suffers when the subject is, ironically, Gold himself. While he is a fabulous speaker and writer, the film captures multiple awkward moments: when he’s sitting

at his morning editorial meetings, waxing poetic on whether the classic food stalls of the Grand Central Market can survive as gentrification slowly makes its mark; when making small talk as he drives around the city, pointing out the best dish at every restaurant he passes; when his infamous procrastination creeps up, and he maneuvers the uncomfortable interactions with his editors as his deadlines pass and his reviews remain unfinished. Such scenes come off as an argument between your friend and his parents that you shouldn’t have seen. But Gabbard’s lens doesn’t condemn its subject; rather, it’s a necessary

reminder that no one is infallible and the passing distractions of the Internet or TV or books or whatever else is as strong with Gold as with anyone else. Despite being an actor in his own story (the argument as to whether you can get a truthful performance out of someone you are actively observing is for another time, perhaps), City of Gold shows that getting out of our comfort zones to discover something new is the only way to live—and that no matter where you decide to go out to eat, Jonathan Gold has been there before. CITY OF GOLD was directed by Laura Gabbert.

professional: Be proficient in an area of interest and slowly consume (both figuratively and literally) until the data becomes knowledge. Gold is the first to say he won’t pretend to have expertise he doesn’t have. He knows he’s not a natural, that he must always push to pass himself off as one, as is evidenced by the Alexandrian collection of books and reference material carefully and not-socarefully distributed in cascading shelves and stacks and piles around his home. But it’s the ease with which he plays the part of expert that makes him so powerful as a writer. And that’s why City of Gold works better when focusing on what Gold’s prose has wrought on Los Angeles rather than on the man himself. Gabbert takes the viewer along to many of Gold’s favorite and most well-reviewed restaurants in the city, each stop paralleled by excerpts of his reviews in voice-over. She emphasizes the impact Gold’s writing has had on restaurateurs by providing moving vignettes on a handful with whom Gold has forged personal relationships, many now nationally known: people from Mariscos Jalisco, Antojitos Carmen (which has since closed), Jitlada, Meals By Genet, Kogi and Guelaguetza, among others. For the latter, Bricia Lopez, one of the owners of the legendary Oaxacan restaurant, explained Gold’s review came at a time when the Spanish-language media hadn’t reviewed her family’s restaurant, as Latino elites had historically looked down on Oaxacan anything because of its indigenous association. Gold’s unbiased take on Guelaguetza’s food helped to transform a six-table outfit into the 300-person-per-service icon it is today. Not all of Gold’s reviews transform

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ANNE FISHBEIN

Lindsay Buchman impresses with ‘Y(OURS)’ at Irvine Fine Arts Center BY DAVE BARTON

ART FOR DAYS

COURTESY THE ARTIST

pictures are more intriguing than what’s come before, even if they aren’t so much eye-catching as frustratingly distorted— things you’d see out of the corner of your eye as you drive past, shapes flickering by without eliciting enough excitement to make one stop to get more details. The surprising flipside to this alienating avantgarde is the far-more-traditional photograph CH6: Incidentals, 2015, one of the largest images in the show. A stunner in its simplicity, it’s a window frame shot from the inside of a darkened room. Between the slats of hanging blinds, cracked strips of light from outside are revealed, but we don’t know if it’s dawn or dusk; the neighboring brick house’s lone porch bulb could have just popped on or been illuminating the carport since the night before. Hang the picture in a small, windowless cell (or gallery), and the print becomes a framed portal to the world outside. Possession (an introduction), 2014/15 is another marvel, with the word Y(OURS) in bees’ wax and washi paper, luminescent, double-printed and blurred, frayed edges providing more intense texture in one piece than many artists use in an entire lifetime. It looks aged, ancient, as if it would crumble if removed from behind glass, making concrete the delicacy of the fragile social construct suggested by the words. Nearby, the hopeful, neon lowercase phrase “you can have everything,”

hanging in the dark room of the last gallery, is backhandedly titled [It’s a conceit], 2015, mordantly suggesting the opposite of the flashy message, while simultaneously making a conceptual art pun. Buchman is multidisciplinary, so it makes sense that she’ll succeed in some mediums and flail about in others as she continues to find her way. But I think she comes closest to her own description of what the show is supposed to be in the limited-edition take-away art book offered to any patron who wants one. Resting in short white stacks within a white wooden box atop a pair of sawhorses, the thin, stylish book is full of essays, photos and prose from artists, including Buchman, commenting on the same subjects brought up in her statement. Neatly laid out in black and white, it brings together a diverse group of people, with just a glance at its contents reinforcing the author’s statement that “I owe my humanity to those that I share it with.” The seeming dispassion of her vision becomes warm in the community of the book—and more inviting when included among the work of others. “Y(OURS)” at Irvine Fine Arts Center, 14321 Yale Ave., Irvine, (949) 724-6880; www.cityofirvine.org/ irvine-fine-arts-center. Open Mon.-Thurs., 10 a.m.-9 p.m.; Fri., 10 a.m.-5 p.m.; Sat., 9 a.m.-5 p.m. Through April 16. Free.

His DTSA Stint

f you’re taking a stroll through downtown SanTana, you can’t miss Jouvon Kingsby’s art: giant, vivid faces juxtaposed with geometric shapes, their allknowing eyes peering into the distance. You’ll find his work on doors, alleys, atop the Yost Theater, inside the Frida Cinema and at Fourth Street Market, among other spots. Some are collaborations with fellow artist Michael Ziobrowski; others are solo works. For the Santa Ana-based painter, art has been a strong constant throughout his life: from a jumbled childhood moving from city to city to his time serving in the military. “I got out of doing a lot of stupid remedial jobs and combat missions from drawing tattoo designs for soldiers and T-shirt designs for the platoon,” Kingsby says, admitting that his first mural was in an underground bunker that belonged to Saddam Hussein. After finishing his stint for the Army, he continued to move around different cities before settling in Santa Ana in 2011. Today, Kingsby works as a full-time artist, creating portraits of celebrities and clients’ pets and family members, represented in realistic detail that almost looks photographic. His other, more personal work is a series of surrealist paintings that feature multiple visual cues including random figures, words, images and even material objects glued to the canvas. Each piece carries its own narrative, ultimately aiming to trigger emotions of nostalgia. “Nostalgia is my main theme,” he says. “All the little pieces I [use] are to reflect and trigger the happiest moments of life [for the viewer].” He also wants to motivate other artists to continue pushing the envelope in their work, to further the arts scene in DTSA. To aid in his goal, Kingsby will step out as silent muralist and into the role of speaker and prominent figure to help artists learn how to be fearless in their creations. “It’s partially my responsibility [as an artist],” says Kingsby. “Art can save someone else’s life.” Check out his art at www.jouvon.com. AMURILLO@OCWEEKLY.COM

Jouvon Kingsby Is Doing His DTSA Art Stint

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t’s a yearning ode to community that ironically opens artist Lindsay Buchman’s solo show “Y(OURS)” at Irvine Fine Arts Center. A mission statement at the front of the gallery espouses a muddy blend of philosophy and pretension in vaguely anarchistic terms about connectivity and overturning the system—half of it makes sense, a quarter is art-school gobbledygook, and the remainder is hopeful political manifesto. But as an explanation of the concept behind the exhibition, it’s mostly a bust. After spending 90 minutes in the gallery, I’d argue that Buchman’s work—and curator Yevgeniya Mikhailik’s display of it—is less about its stated conceits than about the moments of forgetting that are necessary to make your way through a difficult world. She hints at this briefly in her repeated use of the words event horizon, referring to the apocalyptic sucking surface of a black hole. The stack of free art inside her installation, The Event Unit, 2016, also mentions the “doorway effect,” the way your memory seems to be wiped clear when you go from one room to another. While that may qualify as a mini-horizon from a technical standpoint, the center’s bright overheads and the sunlight streaming in through the glassy gallery remove any suggestion of a black hole when you enter. I suppose that under better lighting, the fluorescents wrapped in chiffon and wood framing could momentarily cause you to forget where you placed your car keys, but I’m not completely sold on that idea. The series of risographs that precedes it—a digital throwback to low-fi copiers such as mimeographs—also suggest faded memories, their Xerox-y black-and-white imperfections and high level of grain like a dusty blurring of decaying details. Her subjects are intriguing, but only in their standardized emo isolationism: snatches of Brutalist landscape; the light blasting through a kitchen window in a holy sunburst; a bridge and marsh, the lower portion blacked out like a censored crime scene; a coin-operated washer and dryer in a laundry room; a closed door that leads nowhere; the crushed pile of junk mail promising sales, bent and furrowed on top of a communal apartment mailbox. When we step away from the drab grayscale of the first two-thirds of the show into the last, Buchman’s work is still primarily detached, chilly in its observations, but the color of the images brighten up the proceedings. The same indistinct mystery of the risographs remains, but the

» AIMEE MURILLO

M ON TH X X–X X , 2014

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You and Me and Every Art Lover We Know

TRENDZILLA

culture»art|stage|style

What He Got Opie Ortiz’s art for Sublime is probably the most displayed tattoo work on Earth

EL MERO MERO COURTESY OPIE ORTIZ

UNDER THEIR SKIN » JOSH CHESLER

STILL LIFE TATTOO 1500 Pacific Coast Hwy., Ste. F, Seal Beach, (562) 296-8066. Follow Ortiz on Instagram: @tattoosbyopie.

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tattoo for themselves was really when tattooing was coolest. Considering that his music-related designs are among his most well-known, it’s not surprising that what brought him to think tattoos were cool in the first place was their visibility on rock stars of decades past. “They’ve always been connected because of punk rock and rock & roll,” Ortiz says. “Guys such as Ozzy [Osbourne] were heavily tattooed rock stars in the public eye, and I gravitated toward it because I wanted to know who did their tattoos. I think they go pretty much hand in hand, but now you have hip-hop and rap and all this other stuff, and it’s all blended in. They’re all getting tattooed, and it’s cool in that sense, but I think the rockers are the ones who inspired it all. The only ones who had tattoos back then were gangsters, bikers and rockers.”

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utside of legends such as Ed Hardy and Sailor Jerry, Opie Ortiz probably has his artwork and tattoos displayed on clothing, posters and whatnot more than just about any other tattoo artist. Don’t laugh. Decades ago, Ortiz did a lot of the artwork for a band from his hometown of Long Beach. Millions of sold Sublime albums later, it’s hard to walk down a street in SoCal (or through a college dorm anywhere) without seeing one of Ortiz’s designs, from the band’s signature sun to the iconic back tattoo. “An artist doesn’t just create art,” he says. “He creates it out of emotions. That shit was created out of emotions and friendships and love and hate and all that.” While Ortiz doesn’t have a problem with Sublime fans appreciating what he created for the band, he’s not looking to have hundreds of bros flock to him for Sublime tattoos. But he is engulfing himself in the Sublime world once again. The veteran tattooer teamed up with Troy Holmes (Bradley Nowell’s widow) and Sullen Art Collective to put together a clothing line. “Troy and I have been trying to do a limitededition line for about 10 years now, but we were never able to get it on the board with any companies,” Ortiz says. “Troy linked up with Sullen, and she liked the clothing they were doing, so we’re doing it through them. Instead of doing all the art myself, I picked some artists who I respect and, I’m sure, the band respect.” To kick off the new line, Sullen and Ortiz will host an art show and release party at Collective Ink Gallery in Garden Grove focused on the 20th anniversary of Sublime’s self-titled final studio album. Similar to the clothing designs, Ortiz curated the show to feature dozens of the top Sublimeloving tattoo artists. It’s something no tattoo artist would’ve been able to do 30 years ago, when Ortiz first started slinging ink, but that doesn’t mean he likes the current state and popularity of tattooing. “It changed for the lame,” Ortiz says. “It went totally mainstream. When I got into tattooing, it was underground. It meant something. Now, it doesn’t mean shit unless you can look at it and say, ‘That’s a [tattooing legend] Bob Roberts sleeve’ or anything like that. I won’t knock the people turning out quality work because quality work is quality work, but it’s all gotten lame, and I think it’s the shape of things to come. It’s going to keep going up before it comes down to reality again.” As Ortiz sees it, the time before every barista and soccer mom could go on Instagram or Pinterest and pick out a

culture»

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music»artists|sounds|shows FINALLY, OC WEEKLY!

Bent, But Not Broken

SPENCER BARTSCH

Shattered Faith, the band ignored in OC punk history, just put out a new album BY NATE JACKSON

ew bands are more overlooked in the annals of OC punk than Shattered Faith. Time and time again, history lists and punk biographies name-check the usual suspects: Social Distortion, TSOL, Agent Orange, the Adolescents, etc. But rarely does the Fountain Valley-based Shattered Faith get a mention for their thumping, angry, quasi-political tunes that simultaneously preached American values and questioned the notion of political and religious conformity. Though their sound seemed to stick out in the OC punk scene, they always managed to be forgotten. “I always thought, ‘Somebody doesn’t like us,’” says front man Spencer Bartsch. “I don’t think our music’s awful. I don’t think it’s the best, but it’s good enough to be mentioned once in a while. I always got a feeling that whoever was writing had a block of text, and they would take that block of text and just move it into every article.” It’s a fair point. Despite touting itself as a community of freethinkers, it’s interesting how the mob mentality in the punk scene (and those who write about it, including us) can give fans unintentional blinders on any sound or band that’s outside of our accepted old-school dogma. It’s a little surprising in this case, considering the band was once signed to revered punk label Posh Boy Records. It’s

a battle for notoriety that still needs to be fought, but Bartsch and his fellow band members aren’t all that interested in fighting it anymore. After three-plus decades of shows the band only put out a handful of recorded songs across two albums and some scratchy demos. This year, it was finally time for them to put something new on the table. “The new record has new songs on it, but some of them are actually old songs we just never recorded,” Bartsch says. “So it’s got that old sound to it.” The album, simply titled Volume 3 and released on March 19 via Hostage Records, was recorded in approximately three days. Co-founding guitarist Kerry Martinez (also of the US Bombs and several other established punk bands) flew in on a Wednesday from New York and was rehearsing with the band an hour later. The lineup maintains mostly original members. Aside from Bartsch and Martinez, guitarist Denny McGahey and bassist Bob Tittle are still in the group, rounded out by drummer Steve Shears and Bartsch’s son Branden on guitar. Two days of rehearsals was all it took for the band started in 1978 to jump back in the studio and crank out 10 new songs. “It went like magic,” Bartsch says. “Probably the best we’ve ever done. It was unbelievable. Kerry called it lightning in a bottle.

It was cathartic. When we were done, we were just like, ‘Fuck, we nailed this!’” The main obstacle was the year’s worth of planning to get all the members into the studio. Most of the old songs they recorded were originally done on old demo tapes, recorded in Bartsch’s family home in Fountain Valley, which they pretty much took over while the front man’s parents lived in Singapore. During the band’s early years, his father was a sales rep who made a living selling spare airplane parts throughout Asia. While they were gone, Bartsch and his brother took care of the house, and the band recorded in their bedroom. Decades later, the band retrieved the tapes and revamped some of the best songs to pair alongside some new tunes. Even after the tapes were recovered, Bartsch says, Shattered Faith wouldn’t have bothered recording anything if not for the encouragement of Hostage Records owners Rick Hostage and Paul Avanzino, who were intent on putting it out. They’d been fans of the band since the beginning, as well as through a period in the 1990s when Shattered Faith had broken up and the band members started recording music with other groups. Bartsch says one motivation to get this record out now is the hope they’ll be able to tour Europe for the first time. Also?

“The truth is, we did a really good record,” he says. “Even when I listen to it now, I’m, like, stunned. How did we do that?” Though the band may not have gotten their due in the heyday of OC punk, they retain a local fan base, including Wyatt and Fletcher Shears of one of OC’s current punk-rock It-bands the Garden. You could say having their dad (Shears) in the band probably helps, but Bartsch says they were fans well before the drummer joined them. And for him, the feeling is mutual. “I remember meeting [the Shears brothers] at our rehearsal when we were called Firecracker, and I remember thinking, ‘These kids are crazy,’” Bartsch says. “We played a show with X [dad Steve is the tech for X], and they played after us at the Observatory, and they just went off!” Regardless of whether the press pays attention to this record, validation from old and new fans is what keeps the band going. And an album that finally represents a well-recorded version of Shattered Faith is really the biggest payoff for OC’s original underrated punk band. “If you listen to our records—Volume 1, 2 and 3—in a row, you wouldn’t know that 35 years had passed between the second record and the third,” Bartsch says. “Except the sound. . . . We’re better at playing our instruments, and my voice is a little deeper.” NJACKSON@OCWEEKLY.COM

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Phobia bring their grindcore mayhem back to Orange County BY JASON ROCHE

hey weren’t the first band to play grindcore. But since their 1990 formation in the Orange County punk scene, Phobia have remained an enduring force in one of the most abrasive genres of music imaginable. Bands such as Napalm Death in the U.K. arose in the late ’80s and churned out short bursts of musical aggression similar to punk, but amped up with death-metal riffs and blastbeat drumming. This movement, tagged as “grindcore,” appealed greatly to Shane Mclachlan, who was then a teenage punk rocker growing up in Costa Mesa. “I was always in punk bands, and I was a very passionate person—and a very extreme kind of person,” Phobia vocalist Mclachlan says. “Getting into grindcore was just a step up. It was more extreme [than punk], a lot harder and a lot faster.” Despite grindcore rising elsewhere as a force within underground music, Phobia’s early output was still a jolt to the Orange County scene. “We played a lot of shows where we definitely stood out and were hated,” says Mclachlan, laughing. “We played a lot of backyard parties where it was just drunken, crazy times. I remember one time, we played a show, and the place was so crazy, the cops came—one of the many times this happened—but people locked down the pad, cops couldn’t get in, and nobody would go out, so [the police] were trying to get me for inciting a riot.” Flinging crusty, chaotic grindcore on appropriately titled albums such as 22 Random Acts of Violence, the band remain a Southern California favorite among punk rockers and metalheads for songs ranging from the socio-political (“State and Enemy”) to the irreverent (“Loud Proud and Drunk As Fuck”), songs that inspire wall-to-wall mosh pits. Throughout Phobia’s 26-year history, Mclachlan has remained its sole consistent member. According to MetalArchives.com, a Wikipedia-style resource for heavy metal, 23 different musicians have played alongside him. But Mclach-

lan, who is raising his 4-year-old son in Arizona, is pragmatic about the band turnover. “We really don’t have ex-members,” he says. “We have people that are members of the Phobia family, and they play in the band. No one really gets kicked out of Phobia. It’s just people moving on to other things in their lives. They all remain family and friends.” Some of those old family members will be returning to Phobia for a special pair of shows this weekend—Friday night at PBW in Pomona and Saturday night at Los Globos in Los Angeles. Original guitarist Bruce Reeves and drummer Raymond Banda will come back into the fold, both of whom will be playing alongside Mclachlan for the first time in more than a decade. The shows were inspired by the production process for Decades of Blastphemy, a four-disc Phobia retrospective released earlier this month. The collection gathers albums, demos, B-sides and EPs from 1990 through 2008, many of which are now out of print. “I’m really glad I did it,” Mclachlan says. “It brought me in touch with a lot of things from our past, including old members who I had lost touch with. We’re talking again and getting the creative juices flowing again.” Phobia’s grindcore outbursts remain a perennial favorite attraction on the metal and hardcore festival scene. “Grindcore has always been the outlaw kind of music,” Mclachlan says. “It’s beyond the barriers of what most people think brutal music can be. That’s what’s attracted me to it. I was an intense person, and this was music that matched the intensity.” PHOBIA perform with Resist & Exist, Apocalypse, the Iconoclast, and Mob Attack at PBWLA, 296 W. Second St., Pomona, (909) 6202602; www.pizzabeerwings.com. Fri., 7:30 p.m. $10. All ages. For more information on the band, visit www.facebook.com/ phobiagrindcore.

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However, as this no-pressure project has percolated, the quartet have seen a flurry of activity. Songs have come quickly and nearly seamlessly, with nary an argument or disagreement over the direction of the band. “We all became friends because we knew each other from our other bands,” McQueen explains. “It was such a good experience. There were no egos, no band politics. We’re just friends and were like, ‘Hey, man, this sounds great; why don’t we write a few songs?’” The instant connection has translated into their live show as well. The unexpected union of the Mink Daggers following that gig has been parlayed into spots playing original material while opening for the Supersuckers and Cornfed Project. Calling themselves a “show band,” the Mink Daggers’ theatrics have provided the appropriate visual to counteract their ferocious, straight-forward sound, which recalls many of the classic, distinguishable elements of Southern California punk. In late 2015, the band headed into Pot O Gold studios in Orange with engineer David Irish to bang out a song for their first EP. But they aren’t satisfied with a single EP. The Mink Daggers are slated to go back into the studio next month to hammer out another EP and to take advantage of this fruitful songwriting period. “This was a great opportunity to have some fun,” McQueen says. “That’s what carried through to the band, and everyone contributes, and that’s why I think it’s working so well.”

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s anyone who has been to one of the Prospector’s tribute shows can attest, seeing a band cover an iconic album is worth the price of admission. For the Mink Daggers, performing the Damned’s Damned Damned Damned proved to be a night that changed the lives of each musician onstage. Guitarist/vocalists Patrick Dean McQueen and Ho 13 had been in bands before, and they shared an admiration for the iconic London punk band. No group had tackled the Damned before, so Ho asked McQueen if he’d be down to take on that band’s seminal album. Upon agreeing, they brought in Rev. Mitchell Cartwright and Jorge E. Disguster from the Hitchhikers and Mr. Mirainga for the show. What happened at that Prospector show 18 months ago changed the trajectory of their respective careers. “One of the first conversations Patrick and I ever had was about that Damned Damned Damned record,” Ho says. “We were familiar with it, and it’s the kind of record that a lot of people like but can’t really play. It’s what we call an athletic record.” “We weren’t going to do it unless we thought we could do it justice,” McQueen says. The band’s explosive energy and instant chemistry were obvious from the start. Though the band learned the record quickly, each member quietly knew as they blasted through the album that it was to be more than just a one-off performance. Each musician has a sterling reputation— Throw Rag, the Humpers, Disguster and Doom Kounty Electric Chair—which includes stints in local outfits in the territorial local punk scene. Each musician would excitedly welcome fellow Mink Daggers members into their previous bands.

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concert guide» THIS WEEK

Blvd., Ste. 200, Costa Mesa, (949) 722-7103; sutraoc.com.

FRIDAY, MARCH 25

THE CONTORTIONIST: 7 p.m., $14-$16. Chain

Reaction, 1652 W. Lincoln Ave., Anaheim, (714) 6356067; allages.com. THE DICKIES: 7:30 p.m., $20-$25. The Glass House, 200 W. Second St., Pomona, (909) 865-3802; theglasshouse.us. FRANKIE BALLARD: 7 p.m., $18-$42.50. House of Blues, 1530 S. Disneyland Dr., Anaheim, (714) 778-2583; hob.com/anaheim. FUNK FREAKS: 9 p.m., $10. Original Mike’s, 100 S. Main St., Santa Ana, (714) 550-7764; originalmikes.com. MATISSE & SADKO: 9 p.m., $15-$20. Sutra, 1870 Harbor

House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. WOLFMOTHER: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

SATURDAY, MARCH 26

ABJECTS: 9 p.m., free. Acerogami at the Glass House,

228 W. Second St., Pomona, (909) 865-0979.

ART & EDM MUSIC EXIBIT: 7 p.m.-2 a.m., $25.

Eco-Minded, 4150 E. La Palma Ave., Anaheim, (949) 529-1110. AZAR LAWRENCE QUARTET: 9 p.m.-12:30 a.m., $15. Roscoe’s Seabird Jazz Lounge, 730 E. Broadway, Long Beach, (562) 787-0899; seabirdjazzlounge.com.

BALANCE: 8 p.m., $10. Original Mike’s, 100 S. Main St.,

Santa Ana, (714) 550-7764; originalmikes.com. CIRCUS OF SIN: 9 p.m., $15-$25. Harvelle’s Long Beach, 201 E. Broadway, Long Beach, (562) 239-3700; longbeach.harvelles.com. FALL OUT BOY: 7 p.m., $20-$59.50. Irvine Meadows Amphitheatre, 8800 Irvine Center Dr., Irvine, (949) 8558095; livenation.com/venues/14469/irvine-meadowsamphitheatre-formerly-verizon-wireless-amphitheater. GUTTERBOYS: 8 p.m., $7. Malone’s, 604 E. Dyer Rd., Santa Ana, (714) 979-6000; facebook.com/MalonesConcertVenue. LAXX & ARIUS: 9:30 p.m., $15. Yost Theater, 307 N. Spurgeon St., Santa Ana. LOU GRAMM: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-

Clothing Store Santa Ana, 206 E Fourth St., Santa Ana, (714) 541-0300; gcssantaana.com. RA RA RIOT: 9 p.m., $20. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. SECRETS: 6:30 p.m., $13.50-$15. Chain Reaction, 1652 W. Lincoln Ave., Anaheim, (714) 635-6067; allages.com. TERRACODA: 8 p.m., free. The Slidebar Rock-N-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com. UNDECIDED FUTURE: 7 p.m., $10. The Vault OC, 1200 W. Alvarez Ave., Orange; facebook.com/thevaultoc. VINTAGE CITY ROCKERS: 10 p.m., free. Diego’s Rock-n-Roll Bar & Eats, 220 E. Third St, Santa Ana, (888) 862-9573. BILLIONAIRE BUCK: 8 p.m. The Yost Theater,

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MONDAY, MARCH 28

ALEX CALDER & LUKE RATHBORNE: 8 p.m.,

free. The Slidebar Rock-N-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com. PROFESSOR COLOMBO: 8 p.m., free. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com.

TUESDAY, MARCH 29

C4MULA: 7 p.m., free. Doll Hut, 107 S. Adams St.,

Anaheim, (714) 533-1286.

SLEEPING WITH SIRENS: 7 p.m., free. The Slidebar

Rock-N-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com. THE STRUTS WITH BLEEKER: 9 p.m. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com.

WEDNESDAY, MARCH 30

MAY 14

800.827.2946

307 N. Spurgeon St., Santa Ana, (888) 862-9573; yosttheater.com. THE DECIBEL MAGAZINE TOUR: 6:30 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. MIGOS WITH RICH THE KID: 11 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. SEEDLESS: 5 p.m., free. The Slidebar Rock-N-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com. SLINGSHOT: 4 p.m., free. Marine Room Tavern, 214 Ocean Ave., Laguna Beach, (949) 494-3027.

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DEATH HYMN NUMBER 9: 9 p.m., free. The

Continental Room, 115 W. Santa Fe Ave., Fullerton, (714) 469-1879; facebook.com/ContinentalRoom. ELEPHANT REVIVAL: 6 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. FATHER JOHN MISTY: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. MODERN DISCO AMBASSADORS: 10 p.m.-2 a.m. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com. NIGHT BEATS: 9 p.m. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. TOP ACID PRESENTS: 7:30 p.m., $10. Yost Theater, 307 N. Spurgeon St., Santa Ana.

THURSDAY, MARCH 31

ALEX G: 8 p.m., $13. Constellation Room at the

Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. THE BASTARD SUNS: 8 p.m., free. The Slidebar Rock-N-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com. LYRIC JONES W/ THE BLACK NOISE: 8 p.m., $5. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 7640039; wayfarercm.com. PORCHES: 9 p.m. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com.

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I’m a 24-year-old male, married three years, monogamous. My wife and I are religious and were both virgins when we got married. I’m sexually frustrated with two things. 1) How can I get her to give me oral sex? (She has never given and I have never received oral sex. I regularly give her oral sex.) She is afraid to try it, saying she’s not ready yet. About every six months, I bring it up, and it leads to a fight. She is a germophobe, but I think she believes fellatio is done only in porn. (I used to look at porn, which nearly ended our then-dating relationship.) 2) I feel like I’m always giving and never receiving any type of affection: massages, kisses, caresses, you name it. It’s like having sex with a sex doll—no reciprocation. How do I broaden our sex life without making her feel like we’re in a porno? Sexually Frustrated If you don’t already have children—you don’t mention kids— please don’t have any, SF, at least not with your first wife. You’re a religious person, SF, a lifestyle choice I don’t fully understand. But you’re also a sexual person, and that I do understand. And if you want a lifelong, sexually exclusive, sexually fulfilling relationship, then you must prioritize sexual compatibility during your search for the second Mrs. SF. Because your next marriage is likelier to survive for the long haul if you’re partnered with someone who is attracted to you physically and is aroused—roughly speaking—by the same sex acts, positions and fantasies you are. In other words: Don’t marry someone and hope she likes sucking your dick. You tried that, and it didn’t work. Find someone who likes sucking your dick and marry her. I’m a straight woman in my early 30s, and I just don’t like receiving oral sex. I love giving blowjobs and can orgasm from PIV sex, but I seem to be one of the few women who don’t enjoy guys going down on me. I’m not uncomfortable with it, but it doesn’t get me off. I also get wet easily, so it’s not like I need it as foreplay. As I’ve gotten older and the guys I sleep with have gotten older, it seems like most want to spend a great deal of time down there. I’ve tried being up front about not liking it in general, but guys either get offended or double down and do it more because they assume I’ve never been with a guy who “could do it right.” Any ideas on how to handle this? Needs Oral Preference Explainer The observation you make regarding older straight guys—older straight guys are more enthusiastic about going down on women—is something I’ve heard from other female friends. They couldn’t get guys to go down on them in their 20s, and they can’t get guys in their 30s and 40s to stop going down on them. (SF, above, is clearly an outlier.) The obvious solution to your dilemma, NOPE: Only fuck guys in their 20s. Fan from Sweden here! Question: My fetish has no name. It is a “worshipping” fetish, for want of a better term, in which I am the one being worshipped. Not by one man, but all men of the earth. The worshipping itself, while sexual, is not bound to my body parts. It would be great to have this named. Lack Of Vocabulary Enervates My Experiences A year ago, I would’ve diagnosed you with “caligulaphilia,” LOVEME, after the Roman emperor Caligula, who considered himself a living god, and -philia, the go-to suffix meaning “abnormal appetite or liking for.” But these days, I’d say you were suffering from a bad case of “trumpophilia.” I’m a 24-year-old female who met my 26-year-old boyfriend five months ago through Fetlife. We do not share the same fetish, but we have other overlapping interests, and he is lovely, smart and funny. He

SAVAGELOVE » DAN SAVAGE

has a diaper and incontinence fetish. Not my jam, but I’m GGG. The issue: He has the most one-dimensional sexuality I have ever seen. He can get off only in the missionary position, with a diaper under us and incontinence dirty talk. Even with all of the above, its difficult to get him to orgasm. And it’s only very recently that we’ve been able to have penetrative sex—since he was used to getting off with his hand and a diaper—always with diapers under us and with lots and lots and lots of pee talk. But there’s only so long I can talk about losing control and peeing myself before I lose interest in the activities at hand. I do not mind getting him off this way sometimes, but this does absolutely nada for me and it’s the only way he gets off. He’s otherwise an amazing person, but I’m getting frustrated. We’ve talked about how my needs aren’t being met, and he claims he’s done standard vanilla before and managed to satisfy his partners. I’ve yet to experience it myself, however, and I’d really like to be able to enjoy some vanilla sex—let alone my kinks!—with him! Please, I’m Sexually Saddened Your lovely, smart boyfriend is a lousy, selfish lay, PISS, and you two aren’t sexually compatible. DTMFA. I am a 26-year-old guy, and I have an overwhelming foot fetish. I cannot help but think about the male foot every hour of every day. I often find myself pushing boundaries with attractive male friends and acquaintances to satisfy my urges, which has caused me a lot of stress and anxiety. I’m obsessed with the idea of offering some of my friends and acquaintances foot massages, but I just don’t know how to bring up the subject, given my mixed experiences. A lot of people think of foot rubs as intimate and believe they should be restricted to romantic relationships. While I’ve been lucky on very random occasions, I’ve had some fuckups. I asked a gay friend whether he would like a foot massage, but he declined—and while he was polite about it in the initial exchange, he has since ignored me. I asked a straight guy, and he considered it but never followed through, and I feel weird about asking him again. I told another straight guy who was shocked that I would ever ask him such a thing, but he still talks to me and makes light of the incident. Another guy unfriended me on Facebook after I messaged him and told him I liked his feet. What should I do? Is there a proper way to ask to rub someone’s feet? It’s not like I’m asking to suck on people’s toes. Crazed About Lads’ Feet You remind me of those straight guys who send unsolicited dick pics to women they barely know—they don’t do it because it never works; they do it because it works on rare/random occasions. But you have to ask yourself if those rare/random instances when an attractive male friend allowed you to perv on their feet—the handful of times you’ve gotten a yes—are worth the sacrificing of all the friendships you’ve lost. Foot rubs are a form of intimacy, particularly when performed by foot fetishists, and you’ve gotta stop pestering your hot friends about their feet. There are tons of other foot fetishists out there—most male, loads gay, tons online. Go find some fellow foot pervs and swap rubs with them. On the Lovecast, Debby Herbenick on anxiety-induced orgasms: savagelovecast.com. Contact Dan via mail@savagelove.net, and follow him on Twitter: @fakedansavage.

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On February 10, 2016, the Court issued an Order which, among other things, granted preliminary approval of the Settlement and established procedures for notice, final approval of the Settlement and other related matters. A hearing will be held before the Honorable Michele Rosenblatt in Department 40 of the Stanley Mosk Courthouse, located at 111 North Hill Street, Los Angeles, California 90012, on September 21 at 8:30 a.m. to consider whether the Settlement is fair, reasonable and adequate to the members of the Class. If you believe you are a member of the Class and want to make a Claim, you must submit a Claim form. You may do this by mail, facsimile, or email; however, the mailing or other transmission must be postmarked or otherwise have date confirmation by August 8, 2016. You may be asked to submit a Settlement Questionnaire in order to assist in determining your qualification as a Class member and your entitlement under the Settlement. You can receive a copy of the Notice, Settlement Questionnaire and/or Claim Form by contacting the Claims Administration office. The completed Claim Form should be sent to the Claims Administrator at: In Re: Paradise Showgirls Claim Administrator. c/o ILYM Group, Inc. P.O. Box 2031 Telephone: (888) 250-6810 Tustin, CA 92781 Fax (888) 845-6185 Email: Claims@ilymgroupclassaction.com Website: www.paradiseshowgirlssettlement.com K.L. Myles KNAPP, PETERSEN & CLARKE 550 North Brand Boulevard, Suite 1500 Glendale, California 91203-1922 Telephone: (818) 547-5250

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email: ParadiseClass@kpclegal.com

If you are a Class Member and do not wish to remain in the Settlement Class, you may exclude yourself (or “opt out.”) If you wish to exclude yourself from the Settlement Class, you must file and mail a written request for exclusion, which must contain your full name, any stage name(s) utilized while you performed as a dancer at Paradise, the specific dates, if known, or date range(s), month(s), year(s) you performed as a dancer at Paradise, and your current address. Your request for exclusion must also contain generally the statement “I want to be excluded from the PARADISE SHOWGIRLS class action settlement described in the Notice dated March 11, 2016. I understand that by requesting exclusion, I will not be eligible to receive any payment or other benefit from the settlement but will be free to pursue my claims individually”, and your signature. You must mail, fax, or email your request to the Settlement Administrator at the address set forth above postmarked or delivery receipt marked no later than July 9, 2016. To object to the settlement, you must follow the procedures as set forth in the full Notice of Proposed Class Action settlement. You can receive a copy of the full notice by contacting the Settlement Administrator at the address and numbers set forth above. Any objection to the settlement must be filed with the Court by June 9, 2016. IF THE SETTLEMENT IS APPROVED, AND IF YOU ARE AND REMAIN A MEMBER OF THE SETTLEMENT CLASS, AND IF YOU DO NOT SUBMIT A CLAIM BY August 8, 2016, YOU WILL NOT RECEIVE ANY MONEY BUT WILL STILL BE DEEMED TO HAVE RELEASED YOUR CLAIMS.

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SAFE ACCESS DIRECTORY

1ST LICENSED MEDICAL MARIJUANA DISPENSARY IN ORANGE COUNTY

SCSA

SOUTH COAST SAFE ACCESS

Largest Showroom & Biggest Selection in OC

FTP: Buy an 1/8, Get a FREE 1/8

25% VETERANS DISCOUNT 21 Years and Over10% DISABILITY DISCOUNT 10% SENIOR DISCOUNT All Products

25% Veterans Discount

10% Disability Discount

Lab Tested

10% Senior Discount FTP 7 Gram 1/8th

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