May 19, 2016 – OC Weekly by Duncan McIntosh Company

TURKEY’S PREZ WAGES PROXY WAR IN ANAHEIM | SHAG+STAR WARS+HARVEYS | HOW TO BECOME A WALKER FOR THE WALKING DEAD MAY 20-26, 2016 | VOLUME 21 | NUMBER 38

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! c u h c a P , h A ORANGE COUNTY’S GREAT ZOOT SUIT PANIC OF 1943

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wages proxy war in Anaheim. By Gabriel San Román 09 | ¡ASK A MEXICAN! | How did onions and cilantro get on tacos? By Gustavo Arellano 09 | HEY, YOU! | Relief society. By Anonymous

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10 | NEWS | OC’s Great Zoot Suit Panic of 1943. By Gustavo Arellano

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All of Erdogan’s Dunces

Turkey president’s proxy war against enemies now in OC, thanks to Anaheim educators

tudents, parents and teachers nearly filled Anaheim High School’s 1,290-seat Cook Auditorium on March 8 for a sneak peek of the documentary Killing Ed: Charter Schools, Corruption and the Gülen Movement in America. The carefully orchestrated event was spearheaded by a who’s-who of Anaheim liberal leaders: Anaheim Union High School District (AUHSD) superintendent Mike Matsuda, trustee Al Jabbar, and former Anaheim City School District president and current Anaheim City Council candidate Jose Moreno—all of whom hoped the screening would catapult them to the status of national thought leaders in the fight against charter schools. The trio had much to be proud of. They had scored an early screening of the film, which focuses on publicly funded charter schools affiliated with Fethullah Gülen, a wealthy imam based in Pennsylvania who leads a popular, controversial Islamic movement in Turkey. Director Mark Hall was flown in. The crowd featured teachers, parent activists, students and politicos. Questions were shared among panelists before the screening, along with a script for speakers, all hitting on Killing Ed’s message: that Gülen’s movement presented a danger to not only schools, but also America itself. But by doing so, Jabbar, Matsuda and Moreno—whether wittingly or not— became puppets in a proxy war waged by Turkey’s president, Recep Tayyip Erdogan. For years, the increasingly autocratic leader has accused Gülen, a 74-year-old Sufiinspired scholar and onetime ally, of being a terrorist who wishes to overthrow his regime through his followers, who populate the ranks of Turkey’s police forces, judicial branch and private schools. Erdogan has publicly called on the Obama administration to let him extradite Gülen, and he’s now going after Gülen’s followers in the United States by targeting charter schools associated with them. And that’s where Jabbar, Matsuda and Moreno come in, essentially doing Erdogan’s dirty work and joining forces with other fellow travelers. The offensive dates back to December of last year, when Matsuda and the entire AUHSD board co-signed a Voice of OC op-ed piece arguing that local districts, not the Orange County Board of Education, approve charter schools. A reasonable request, but the missive couldn’t help but slam an application before them filed by the Magnolia Science Academy, a charter-school chain they alleged is overseen by Gülen, a claim Magnolia officials vehemently deny. The board and Matsuda also charged that Magnolia took taxpayer

BY GABRIEL SAN ROMÁN money and “funneled [it] into the pockets of Turkish foreign nationals.” The piece caught the attention of Sharon Higgins, a researcher featured in Killing Ed. Records obtained by the Weekly show she reached out to AUHSD spokeswoman Patricia Karlak and introduced her to director Hall in early January. Hall told Karlak that he’d be in Los Angeles that month and was game to screen his documentary for the district, but Karlak responded that AUHSD couldn’t put together an event in time. Matsuda nevertheless attended a Jan. 14 private viewing of Killing Ed at a Four Seasons Hotel in Los Angeles. Also present that night were members of Amsterdam & Partners LLP, a law firm retained by Turkey to investigate Gülen’s network worldwide and who had filed a civil suit against him in Pennsylvania, alleging human-rights abuses late last year. In February, Amsterdam & Partners announced it was filing a complaint with the California Department of Education, urging the agency to investigate Magnolia and any alleged ties to Gülen and the Gülen-inspired Pacifica Institute in Irvine. Moreno was one of the “interested California taxpayers” named in the complaint filed against Magnolia. “When Magnolia Charter Academy filed a petition to open up two charter schools in Anaheim, I became very concerned about these corporate networked charters bullying their way into school districts,” he said. But when pressed if he had any qualms about Erdogan’s repression of journalists, Kurds and critics, Moreno repeatedly returned to a refrain: “Whether I agree or not with that foreign government is actually not the nature of that complaint.” But aping Erdogan’s line—that Gülen is a shadowy cleric whose followers shouldn’t be trusted—is something that Moreno and Matsuda don’t mind. And that’s where their opposition to Magnolia has gone from mere philosophical disagreements to latent Islamophobia and nativism. In late March, Amsterdam & Partners’ Robert Amsterdam wrote in The Hill that Gülen’s “secretive Islamic movement” sought to infiltrate the U.S. military through schools on army bases. In a March 4 opinion piece for La Opinión, Moreno wrote that claims of how the Gülen movement mistreated teachers amounts to “human trafficking” if true and accused the schools of “inculcating Turkish values and Gülen principles in students.” And at that Cook Auditorium screening, Jabbar—Anaheim’s first Muslim elected official—introduced the film by playing the Good Muslim. He read a prepared statement that said, “As a Muslim, I was also

HE AIN’T NO ATATÜRK

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concerned about the connections made in the film to an Imam. So let us remind ourselves that Islam, like Christianity, Hinduism, Judaism and other great religions, encompasses a broad spectrum of believers.” For the panel that followed—moderated by Matsuda, filmed by Amsterdam attorneys and including Moreno, Higgins and Hall—district records revealed the superintendent’s scripted questions included, “Is that who you want teaching your children: Turkish foreign nationals?” Killing Ed itself plays well enough as a general critique against charter schools. (Hall initially declined to provide the Weekly with a review copy, opting instead to email Karlak, trying to find out what our “angle might be.” He eventually mailed a copy, but Hall’s publicist demanded it back the day after this article went online.) But it descends into trashing Gülen at any opportunity, painting him as a modern-day sultan trying to re-establish the Ottoman Empire: The documentary shows a map of the old Ottoman Empire in red while an obscured Gülen “historian” says the movement’s real aims are to bring about a “global Islamic State” and “sharia law.” Such scare tactics intensified when Hall granted a friendly, lengthy interview on the notoriously Islamophobic The Alex Jones Show, hosted by David Knight in November. The segment— tellingly titled “Is Your Child Being Trained by an Islamic State?”—didn’t disappoint. “Some of his detractors have called his educational institutions ‘educational jihad,’” Hall told guest host David Knight after Knight had labeled Gülen-affiliated schools “madrassas.” “Because what you see in the schools, here in the United

States and elsewhere, is intense national Turkification of their children.” Hall denies his film incites anti-Muslim sentiments. “The Gülen movement has been successful in using Islamophobia to stifle dissent about what they’ve been doing, not only in the United States, but elsewhere,” the filmmaker said. “I don’t know if David [Knight] is Islamophobic or not. I do believe he has a certain perspective, and Alex Jones has that perspective, too.” Yet for all the calls by Hall, Jabbar, Matsuda and Moreno for financial transparency surrounding Gülen-affiliated charters, everyone involved in Anaheim has maintained an almost-paranoid secrecy about their doings. The Cook Auditorium screening was invite-only, with security tight and Magnolia representative Alfredo Rubalcava getting ushered out by Anaheim police once he was recognized by event organizers. AUHSD delayed for almost a month before turning over to the Weekly public records pertaining to the screening. A district employee revealed in an email that AUHSD paid for Hall’s visit; the director denies that, but he declined to identify who bankrolled his visit, only allowing that he “charged a screening fee, but that was paid for by a private party that wants to remain anonymous.” But shortly after finishing his interview with the Weekly, Hall called again. “Hey, Mike,” he said. The filmmaker was looking for Matsuda. LETTERS@OCWEEKLY.COM

aREAD MORE»ONLINE WWW.OCWEEKLY.COM/NEWS

» GUSTAVO ARELLANO DEAR MEXICAN: I read an article you linked to about how it could be hard to order a lime in Spanishspeaking South American countries. The bottom line was that, depending on where you were, un limón could mean a lemon or a lime—it was all a matter of local dialect. Curiously, limes originated in Europe, lemons in Asia. Growing up in Encinitas, there was never a question of la palabra correcta for which was which. This realization, logically, led me to ask you, the Mexican: How did the combination of onion and cilantro—both basically Mediterranean in origin and brought by the Spanish— become such intrinsic ingredients in the culinary traditions seemingly everywhere south of the border? Devorador de Nopal DEAR POOR LITTLE YOU: Wait, how did you go from an etymological question about lemons and limes to asking about onions and cilantro? That’s a non sequitur on par with talking about democracy, then mentioning Trump. But the Mexican will use any opportunity to plug the works of his pals, so I forwarded your question to Lesley Tellez, author of the fabulous Eat Mexico: Recipes From Mexico City’s Streets, Markets & Fondas and creator of great restaurant tours through la mera capirucha. “Mexicans have a rich history of using aromatic herbs in their cooking,” says Tellez. “Pápaloquelite, epazote, hierbas de olor (just to name a few)—they’re used abundantly to flavor everything from quesadillas to stews. Cilantro came from Asia, but its herbal punch fits right in. As for onion, there’s evidence that a type of wild onion existed before the Spaniards arrived, so indigenous Mexicans might’ve already had a palate for it. The combo that’s popular at

Mexican taquerías today—raw, diced white onion mixed with chopped cilantro—is all about texture and balance. The taco needs that necessary crunch and brightness, just as much as it needs salsa.” Everyone: Buy Lesley’s book. And Devorador: Linear arguments, cabrón! DEAR MEXICAN: Why do we Mexicans refer to any type of cereal as confleis—or corn flakes, for the gabas? Tepito Timoteo DEAR POCHO: Same reason why gabachos use Xerox as a verb when they want to photocopy anything, call cotton swabs Q-Tips and refer to all steroidal creams as Quadriderm. The bigger question is how Mexican Spanish seemingly mangles a straightforward term such as corn flakes into confleis. The answer, como siempre, is elision, the linguistic concept of combining vowels and consonants to create new words that confound gabachos and fancy-ass Mexicans alike. Try this head scratcher: How does “Pues, está para allá, hermano” (“Well, he’s over there, brother”) turn into “Pos, ‘ta’ pa’lla, ‘mano”? WATCH BORDERTOWN! Folks, the FOX cartoon on which I serve as a consulting producer has been canceled, so por favor watch THIS SUNDAY at 7 p.m. PST, or stream it any time on Hulu or FOX Now. You have more of a mandate to watch this week’s episode, as it’s the season finale and your humble Mexican wrote the episode. Gracias, and don’t forget to tweet #renewbordertown! ASK THE MEXICAN at themexican@askamexican.net, be his fan on Facebook, follow him on Twitter, or ask him a video question at youtube.com/askamexicano!

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ou were the two guys who were so kind and compassionate to me on the days before Christmas. I was outside in the cold, dark, damp night of Dec. 22, 2015, and you pulled up in your white BMW. I didn’t know what to expect; in fact, I was kind of worried. I was so surprised when you rolled down your window BOB AUL and asked if I was cold and if I would like a blanket. I was so embarrassed I didn’t know what to say, but you walked over and gave me the blanket that you said you loved. I was outside again the next night, and you were the other guy who rode up on a bicycle and asked if I was on the street. You then gave me a blanket and rode away. To these two young men, one Asian and one Chicano: Thank you for showing such kindness and concern, as well as for restoring my hope and belief that there are still good people in this world.

Artopia – May 21st

2 0X-2 6, 20 6 MMay ON TH X–X X , 12014

HEYYOU!

•EVENTS•

¡ask a mexican!»

! c u h c a P , h A

ORANGE COUNTY’S GREAT ZOOT SUIT PANIC OF 1943 by Gustavo Arellano

PHOTOGRAPHER SHANE LOPES | PHOTOGRAPHY ASSISTANT PATRICK GONZALES | MODELS JOHN KHARALIAN, JOCELYN OSORIO | H/MUA GENEVIEVE LAMB | CAR PROVIDED BY DAVID ESTRADA

s the sun set on Wednesday, June 9, 1943, servicemen began to pour into downtown Santa Ana. A long weekend of liberty awaited, and they were ready to help Orange County jump into Southern California’s hottest fad: beating up Mexicans. During the previous week, thousands of sailors, marines, soldiers and civilians gleefully squared off in Los Angeles against pachucos, zoot suit-wearing Mexican-Americans whom authorities and the press had demonized for years. Clashes

between them and troops became as much a part of SoCal’s wartime culture as victory gardens once the United States entered World War II and military bases sprung up in the region, drawing in draftees from the Deep South and beyond. Many had never encountered Mexicans, let alone pachucos, and the sight of vatos locos pridefully defying wartime sanctions by wearing killerdiller coats with a drape shape, reet pleats and massive hats that weren’t sombreros didn’t sit well with polite society one bit. Our fighting men rampaged through the City of Angels for one final show-

down, earning international headlines. Night after night, they dragged pachucos into the street to strip off their suits in public and leave them bloodied and humiliated, as police officers blithely looked on. Among the attackers were recruits from the Marine Corps Air Station El Toro and the Santa Ana Army Air Base (SAAAB), who took caravans up U.S. Route 101 to join in the fun. But with LA now declared off-limits by military brass, the El Toro and SAAAB boys decided to bring the Zoot Suit Riots to the Orange County homefront.

More than 300 commandos stormed downtown Santa Ana on a warm night, splitting off into patrols to find as many pachucos as possible. They surrounded the Princess, a Spanish-language movie theater that was playing a matinee, daring attendees to come out. They forced their way into the State Theater and tried to turn on the lights to smoke out any of their enemies; the State’s manager suffered a cut on his hand while trying to shoo them away. Pachucos beat up one sailor; in response, soldiers found four Mexican braceros, immigrants brought

» CONTINUED ON PAGE 13

| OCWEEKLY.COM |

in to help the American side by picking crops, and punched them up good before Santa Ana police quickly intervened. Soon, MPs carrying automatic and semiautomatic rifles rounded up their base mates onto buses, then sent them back. Playtime was over. “If these servicemen can’t abide by the civil laws, we don’t want them in Santa Ana,” the city’s police chief, George E. Boyd, told local papers the following day. Four sailors and a Marine were arrested in the fracas, caught with everything from hunting knives to filed-down scab-

Sleepy Lagoon case. OC’s press now had a new term with which to slur zoot suitwearing Mexican-Americans: pachuco. Though not a local story, the Register and its rivals reprinted Sleepy Lagoon trial updates and began attributing all local crimes committed by Mexicans to pachucos, regardless of whether the alleged criminals identified themselves as such, or whether they wore a zoot suit. Then came two key events on Nov. 16. During a dance, more than 100 MexicanAmericans and African-Americans wielding tire irons, blackjacks and bicycle chains went after their rivals during a dance at Colonia Independencia, an unincorporated part of Anaheim. Far more ominous, though, were reports of 15 pachucos trying to “molest” a white woman outside a bar in Santa Ana. It set off a week of rage in the Register, with large headlines, long stories and op-eds lashing out at the pachuco menace. The editorial page—which wondered out loud if these rampaging Mexicans weren’t “Axis-inspired”—thundered it was “high time that the law-enforcement officials take whatever measures are necessary to provide proper protection of the public and of property.” Publisher R.C. Hoiles also began running photos of young white people who were either working in factories or wearing their military gear alongside many of the zooter stories—a not-so-subtle hint of which race was helping this country. Pachucos were suddenly everywhere— in Placentia, Wintersburg, Stanton, Costa Mesa, Garden Grove, even Sunset Beach. Crimes began getting attributed to them— rape, kidnapping, murder, theft—every time someone with a Hispanic surname was collared. Chief Boyd called for 150 extra policemen to deal with what the Register described as “vicious young Mexicans.” The press celebrated white citizens who fought back alleged assaults with everything from hammers to jars of cold cream. Vigilante groups formed until Sheriff Jesse Elliott, a former Ku Klux Klan member, urged the public to let law enforcement handle this public threat. Four defendants were put on trial for the Colonia Independencia melee. The original sentence called for 30 days in jail on counts of disturbing the peace, but the DA’s office, caught up in the pachuco panic, decided to refile charges against them for allegedly carrying a blackjack, a felony. At the trial, prosecutors initially wanted the defendants to wear their zoot suits during testimony, a tactic that had earned worldwide condemnation during the Sleepy Lagoon trial. Superior Court Judge Kenneth Morrison initially agreed, but vociferous opposition from community members changed his mind. Three were eventually convicted: Arthur Felix, Johnny Anaya and Richard Monteverde. Anaya had served time for public intoxication, and Monteverde had previously been arrested on suspicion of riding in a stolen car. In the appeal, defense lawyers, while not denying their

M ON TH X X–X X , 2014

a naranja’s pachuco scene arose during a tumultuous yet frequently forgotten era in American history. Far from the unified country portrayed by guardians of the Greatest Generation myth, the United States was a seething republic in the years surrounding our entry into World War II. Juvenile delinquency was skyrocketing; race riots and violent strikes swept across the country. Minorities openly questioned why they should support a campaign against Krauts and Japs when they had to live under legal segregation and widespread discrimination in the U.S. It was into this environment that the Penny Sportland arcade debuted in downtown Santa Ana in the fall of 1941. It promised skee ball, bowling tables, marble games and a photo booth. More important, the opening gave Mexican-American youth a slice of downtown they could call their own. The gaming hall was on Fourth Street, the de facto shopping district for Orange County back then: a place filled with markets, clothing stores and racism. Though not officially segregated, the years had placed Mexican shops east of Main Street, while west of the thoroughfare was firmly gabacho. For good times, Mexican-Americans had to look elsewhere. Authorities frequently raided dances in OC’s barrios, so many teens and young adults headed to Central Avenue in Los Angeles to hear Duke Ellington, Count Basie and other bigband legends. They’d also haunt the Rendezvous Ballroom and Balboa Pavilion in Newport Beach, where Glenn Miller came to play after striking up a friendship with Mexican-Americans from El Modena. And wherever they roamed, the coolest chucos y güisitas wore zoot suits—the flashier, the better. Once the national rage, the clothing was becoming almost exclusively the domain of blacks and Mexicans. Local Mexican-Americans would frequent la Cuatro to check in at Zachary’s, run by a Jewish tailor who gave his customers credit and sewed for them custom-made suits; those who couldn’t afford it visited Vandermast’s, a popular clothing store that urged customers in its ads to “Meet the Gang” at its two-story location. Penny Sportland represented a new era for Santa Ana. But having greasers regularly hang out in downtown was too much for city fathers. Skirmishes between

Mexican-Americans and whites started almost immediately after the arcade opened, turning into an almost-nightly ritual. It started with a group of gabachos beating up a Mexican; he returned with a bigger group to get his revenge. The gabachos returned with an even bigger posse, and so forth. By Nov. 19, more than 600 youths—"Americans," per the press, on one side, Mexicans and African-Americans on the other—congregated outside Penny Sportland, ready to rumble once and for all. Multiple law-enforcement agencies broke up the scene, and no one was arrested. But Orange County were warned that a new generation of Mexicans were in OC: They were no longer just quiet peons, but rather Americans who weren’t going to passively take hate anymore. The prospect of a restless minority immediately put authorities on notice. Just a couple of days before the face-off, Orange Police Chief Garland Coltrane told the Santa Ana Register there were now a bunch of Mexican males who “think they’re tough and try to give police officers as much trouble and fight as possible whenever anyone calls to report them.” Quickly, the Orange County press created a Mexican youth crime wave where one didn’t previously exist. From the near-rumble in Santa Ana through 1942, the Register, Orange Daily News, Anaheim Bulletin, Fullerton Daily News-Tribune and other local dailies published story after story about deviant brown youngsters, even though statistics showed no difference in crime rates between them and their gabacho peers. Reporters frequently used the terms “Mexican boys” or “Mexican youth” in their pieces, yet never mentioned race or nationality whenever a white person committed a crime. The race-baiting became so nasty that in one front-page feature, the Daily News labeled a group of Latino boys whose age ranged between 8 and 12 a “juvenile gang.” Their sin? Stealing 40 cents from the Pacific Electric bus depot. Such biased coverage further fueled tensions between Mexicans and whites, as fights continued. A near-riot happened in Balboa on June 29, 1942, with police blaming a “Mexican gang” for the outbreak. Meanwhile, Santa Ana officers began targeting Penny Sportland, ticketing Mexican boys who hung out too long or allegedly blocked the sidewalk in front of the venue. Newspapers began ridiculing the zoot suits that Mexican-Americans wore, harrumphing that the “costumes” were a waste of fabric at a time when everyone was being called to ration for the war. Offering no evidence whatsoever, the Register reported that a gang of “young Mexican men who wear their hair long and their trousers tight around their ankles” was randomly assaulting people. The defamation drumbeat picked up in August with the death of a young man after a party near Montebello; the subsequent arrest of Mexican-American teens suspected of killing him made national headlines in what became known as the

bards to 5-inch blades to a butcher’s knife sharpened on both edges. But not a single zooter was beaten up, not one hepcat hurt. This was supposed to be Orange County’s towering victory over pachucos after a year-long campaign that featured a full-scale media blitz, the ban of zoot suits, mass arrests, show trials and multiple convictions—and it was a big flop. But you know how it goes in OC—no way do the Powers That Be let Mexicans get the upper hand or final word. And because of that truism, we’re still living with the overblown mess that was OC’s Great Zoot Suit Panic of 1943.

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Ah, Pachucos! » FROM PAGE 11 clients’ involvement in the brawl, argued that Felix, Anaya and Monteverde didn’t use any such weapon and tried to provide evidence that would absolve the trio. But appellate judges declined the motion, noting that “a great number of the young men [at the Independencia party] wore ‘zoot suits’”—and that was proof enough.

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fter the Colonia Independencia trial, OC went into overdrive to stamp out pachucos for good. A judge made six teens arrested for blocking the sidewalk at Penny Sportland get haircuts and turn in their zoot suits. Santa Ana passed an anti-loitering law. Local thought leaders wondered out loud why Mexican-Americans were turning into pachucos instead of productive American citizens. “What is a pachuco?” a YMCA leader asked a crowd in Anaheim on Jan. 13, 1943. “He is a misguided youth of yesterday, possessed with fear, not only stigmatized by his foolish costume of the ‘zoot suit.’” But a small item in the Register a week later told a more complex story. Juvenile delinquency in Orange County had risen an alarming 33 percent from 1941 to 1942, and social workers put the blame on World War II. Specifically, they said young people, abandoned by adults who were either in the European or Pacific theaters or working, were aping their elders in adopting an aggressive war mentality. Not only that, but a confidential government report noted

that the thousands of young men filing through Southern California bases had also “changed community conditions,” and civic authorities were complaining to commanders and admirals about how conscripts kept harassing civilians while off base. “If steps are taken at this time to correct the derogatory attitude on the part of soldiers, sailors and marines toward civilians,” wrote San Diego City Councilman Charcles C. Dail to a Navy bigwig, “it would go far to relieve the unchecked and developing animosity perpetuated against civilians in general.” Those nuances didn’t matter to the regional press or law enforcement; the only criminals in Orange County were pachucos. And so the anti-pachuco campaign continued. Santa Ana police told people to stop wearing zoot suits under penalty of arrest. On April 10, 1943, they arrested 38 young Mexican-Americans, claiming reports of a loud pachuco party; the Register snickered that a 14-year-old arrested at the scene told cops “people had more freedom in Germany and he wished he was living there.” The anger was well-founded, though; in reality, the fiesta was to send off young Latinos who had joined the Army. Two days later, protesters gathered outside the Register’s office to decry the wrongful arrests and the daily’s calumnious coverage. They were led by Frank Moreno, editor of the Spanish-language newspaper Acción, and Lucas Lucio, an influential civil-rights activist in Orange County who had previously worked for the Mexican consulate in protecting Mexicans during the 1936 Citrus War and the Great Flood of 1938. Moreno told the paper that the

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Ah, Pachucos! » FROM PAGE 13 mass arrests had happened for “political reasons” and were “just like Germany,” while Lucio discovered that police got most of their arrests from street sweeps around the neighborhood. Another protester, the Register reported, “said that the people of Mexican extraction protested being used as political pawns” by the press and authorities. Afterward, the Register was quiet for about a month. But the assault of a white man in May brought hysteria back to the front pages. By the time of the attempted June 9 riot in downtown Santa Ana, newspapers were virtually begging for a pachuco beatdown akin to what had happened in Los Angeles. “Zoot War Spreads to Santa Ana,” roared the Daily News on its front page the following day, while the Register played it safer with “City-Wide Rioting Averted Through Actions of City and Military Police.” But by the time the Zoot Suit Wars actually arrived in Orange County, nothing really happened. Defiant, newspapers tried to justify their yellow journalism of the past year. “It may be that the publicity brought by the attempts of the servicemen to ‘handle’ the zoot-suiters will result in better control of the fancy Dans,” the Register hoped in an editorial. “If it does, then all of the confusion and trouble that

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has come during the past week or more in Southern California may not have been in vain.” And they lashed out at accusations that racism had fueled their spilled ink. After Eleanor Roosevelt attributed LA’s Zoot Suit Riots to long-standing discrimination against Mexican-Americans, the Daily News inveighed that Franklin Delano Roosevelt’s administration had “sowed the seeds of discontent by arousing class consciousness and telling people they are underprivileged.” The paper even planted a fake story: Mexicans in Mexico City, having seen a wax figure of a pachuco, commented that “anyone who would wear an outfit like that ought to be beaten up.” The only problem: The statue was of Tin-Tan, a Mexican comedian whose pachuco comedies are still beloved across Latin America. Law enforcement had one last antipachuco push in them. The weekend after June 9, police rounded up 52 MexicanAmericans, nabbing them on everything from possessing cigarettes to “half a pint of whiskey and some prophylactic goods,” per the Daily News. They also announced the arrest of the leader of OC’s zoot suiters: 19-year-old Lawrence Castillo Reyes, grabbed for allegedly leading an assault on a soldier outside a Santa Ana bar the night of the non-riot. Officials explained the time lapse between the capture and announcement by insisting they didn’t want to publicize the soldier’s beating, lest an already-volatile situation explode. Reyes was no stranger to the press. He had been arrested in November 1942 for assault and also faced charges for participating in a throwdown between pachucas, a skirmish that shocked OC anew. In neither of those cases was he ever identified as a leader of anything, yet suddenly, he was being called head of the Artesia Street Gang, a group that had never before garnered a mention. Charged with felonies for assault and robbery, Reyes maintained his innocence. The night of the assault, the laborer said, he was at a film with his girlfriend, who had also been arrested in the pachuca rumble. The only problem was the film he claimed to see wasn’t screening in Santa Ana. And the injured soldier told police that a redheaded man had assaulted him; Reyes was arrested having just dyed his previously red hair black. An all-white jury took three and a half hours to find Reyes guilty. He was sentenced to five years in San Quentin. And OC’s pachuco wars were finally over.

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range County historians have studiously ignored our Great Zoot Suit Panic. There were a couple of paragraphs giving basic details in 1989’s The SAAAB Story: The History of the Santa Ana Army Air Base, in which author Edrick J. Miller commented, “I can still remember several outbreaks of violence at my junior high school during this period.” Far more dismissive was Leo J. Friis, whose 1965 Orange County Through Four Centuries was one of the first history books to try to tell OC’s past objectively. To him, pachucos were nothing more

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where the buses took us into town. That weekend, almost no servicemen ventured out to take the bus.” Interviews on file at the Center for Oral and Public History at Cal State Fullerton also document white veterans fondly recalling their buddies beating and pachucos. “We had a bunch of burly-chested Marines that would give anything for a weekend pass,” recalled Donald Holbert in 2009, with the leathernecks bragging they were going to Los Angeles to “beat the hell out of a bunch of zoot suiters.” Another vet, Frank Reed Jr., told researchers that a squad of Marines once went to Los Angeles, rounded up a bunch of pachucos in military cattle cars and imprisoned them in El Toro. “That is one thing that I know happened,” Reed said, “but other than that, I can’t say too much about it.”

Mauraders, a special-ops unit that was celebrated for its deep-penetration jungle missions in Burma. Sixty years later, however, as he offered his oral history, Rodriguez couldn’t forget the fights between pachucos and white servicemen. “The only trouble we had,” he recalled, “it was the white guys.” If there were any assaults by whites against Mexicans during the Zoot Suit Panic, the local papers didn’t report them. But they happened. Legendary Chicano activist Bert Corona was stationed at SAAAB during the zoot suit years. In Memories of Chicano History: The Life and Narrative of Bert Corona, he recalled how “some of our Anglo servicemen beat up on local Chicanos”; after one incident, he said, “hundreds of Chicano kids from the nearby communities advanced on our base and waited for servicemen in the areas

paper websites, and in the way you glance over nervously when a shaved-head Chicano driving a Chrysler 300 and bumping a bone-rattling sound system idles next to you during a red light. Yet the retellings of Friis and other such historians just don’t square up with what actually happened. Take Charles Rodriguez of El Modena: The former pachuco proudly owned four zoot suits and partied from Tijuana to Watts. “I was always in trouble,” he told a Cal State Fullerton researcher in an oral history that was excerpted in Forgotten Patriots: Voices of WWII Mexican American Veterans of Southern California. “I used to go to Santa Ana and have fights in Santa Ana; we had fights in Delhi.” But Rodriguez, like many pachucos, grew out of the fad and enlisted in the Army. He became a member of Merrill’s

than Mexicans who wore “outlandish” suits, while the women “preferred sloppy clothes with emphasis on heavy sweaters.” Part of the problem is that LA’s Zoot Suit riots have long-dominated any study of the pachuco phenomenon. But the real issue is that telling the full story throws a monkey wrench into OC’s officially accepted conclusion over the matter: that Mexicans picked on innocent, patriotic servicemen; that their beatdown was not just inevitable, but also necessary; and that young Mexican men are inherently criminal. That narrative has influenced Orange County thinking about Mexican-American youth ever since and echoes in OC District Attorney Tony Rackauckas’ endless gang injunctions, in the furor over the protests led by high schoolers that greeted Donald Trump last month, in the ceaseless stream of anti-Mexican comments left on news-

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Blondes Have More Fun Bring the FMLY

Legally Blonde: The Musical FMLYBND Even though the original Legally Blonde film came out 15 years ago (God, we feel old), its subsequent Broadway musical continues to plug right along—and is still just as sweetly delightful as a MORE scented, pink ONLINE résumé. Revisit OCWEEKLY.COM the story of the unstoppable blonde Elle Woods as she navigates her way from sorority queen to Harvard lawschool star, dodging scumbag guys and ridiculous stereotypes along the way. Catch Legally Blonde: The Musical at the Camino Real Playhouse as this bubbly romp rounds out the theater season. Bend and snap! Legally Blonde: The Musical at Camino Real Playhouse, 31776 El Camino Real, San Juan Capistrano, (949) 489-8082; www. caminorealplayhouse.org. 8 p.m. Through June 5. $29-$39. —ERIN DEWITT

Whether or not you’ve heard of the Isla Vista-based FMLYBND, you won’t forget them after tonight’s show at the Constellation Room. This quartet’s music revels in shimmery electro-pop synthesizer beats and smooth vocals by Mac and Brae Montgomery. If you’re looking for a band that can transcend different genres and styles while still maintaining a fun, party atmosphere, look no further. Their latest EP, Hearts on Fire, re-establishes their indie tenacity while pushing their message of staying passionate and young while you can. Get a taste of this precocious new band on the rise as they collect new fans and add them to their family—or, should we say, FMLY. FMLYBND with Olivver the Kid and Dark Waves at the Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; www. constellationroom.com. 9 p.m. $13. —AIMEE MURILLO

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BRINE ’N’ DINE Lobsterfest

Seafood-lovers, take note: Tustin’s Lobsterfest is back. Now in its seventh year, the family-friendly event invites crustacean fans to Peppertree Park, where they can roll up their sleeves and devour unlimited claws, tails and whole lobbys. If the all-you-can-eat succulent lobster doesn’t tickle your taste buds, the fest will also be serving Grade A beef tri-tip, corn on the cob and coleslaw. The outdoor event includes live music from the Again Band, who will cover popular hits from the past 40 years. The price tag fits the cuisine, but considering all of the net proceeds benefit the Tustin/ Santa Ana Rotary Club, it’s a tasty and worthwhile investment. Lobsterfest at Peppertree Park, 200 S. C St., Tustin; www.tustinlobsterfest. com. 4 p.m. $85-$100. —HEIDI DARBY

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Tales of the Rat Park Rat Park Launch Party

Put your dinero and dancing feet to good use this weekend with the Rat Park. Focused on social recovery via rebuilding human connections through art and music, Rat Park raises awareness and funds for those suffering from substance abuse who cannot afford their own treatment. Banding together is a way for all to help, and there’s no better way to do it than by listening to 14 amazing bands, including the Gromble, Chip Monk, Ainsworth, Shutterings, Dope By Design, Young Lovers, Gnarvana, Myekey, the Hyphenate, Chief Deceiver and Tommy (of Moon Bandits). Also marvel at artwork by Fernando Delrosario, SCRaM, Blake Sierra and Franky Castle—with additional works provided by Dax Gallery and Arlyn Pillay Art Gallery. Go get your creativity on for the cause! Rat Park Launch Party at Eureka Building, 1621 Alton Pkwy., Irvine; www.facebook. com/ratparkfdn. 4 p.m. $7-$35. —SR DAVIES

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Our Generation The Who Hits 50!

Late last year, the Who were supposed to once again conquer America. However, illness postponed their 50th-anniversary tour. But now Roger Daltrey and Pete Townshend are finally ready to remind fans how to rock. The last time the two original members of the iconic band were in town in 2013, they performed Quadrophenia

front-to-back before ending with a medley of hits. This time will be different, as the band promised a celebration of their rich songbook and history, including their many radio hits and CSI anthems. With the band set to be part of Desert Trip Indio, this arena show is as intimate as it gets for the Who—and it could be their last area gig if the retirement rumors are indeed true. The Who Hits 50! with the Slydigs at Honda Center, 2695 E. Katella Ave., Anaheim, (714) 704-2400; www.hondacenter. com. 8 p.m. $149.50. —DANIEL KOHN

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Does a Body Good Melodica

Based on the short description provided by the organizers of the yoga/music/culture fest Melodica, it’ll be a utopian vision of art, community, dance and life. For one day, you and your fellow Melodicans (shouldn’t it be Mellow-dicans?) can romp and play in nature at Mile Square Regional Park while the sounds of beatific beat makers and producers Mul-

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Tonight’s folk-rock showcase is sure to be a stunner, courtesy of OC-based Americana band Jerry & the Rest. This brand-spankin’new group are as fresh as they come, so all we know is that the lineup includes members from psychedelic-tinged rock bands Creatures Choir, Charles Mansion and the Merry Rounders—and if you’re privy to the sounds of those groups, you’d be intrigued at the news of their stripped-down, folk music incarnation, too. Let your curiosity be your guide as you check out this new band. Jerry & the Rest at the Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; www.wayfarercm.com. 9 p.m. Free. 21+. —AIMEE MURILLO

tue/05/24

KENNY ROGERS WITH

lie Graf, Steve Massa, James Blakemore and more will provide electronic, aural entertainment. Meanwhile, bring a yoga mat (or downward dog right on the grass) to participate in a mass yoga session; Hula-Hoop, Frisbee, horseshoes and live painting sessions will go down as well. Enjoy this short respite from the real world— it’ll be there in the morning. Melodica at Mile Square Regional Park, 16801 Euclid St., Fountain Valley, (714) 9736600; facebook.com/skunksoundsystem. 11 a.m. $10 suggested donation. —AIMEE MURILLO

[ART]

POST-POP ART

‘Late Drawings of Andy Warhol’

Andy Warhol is famous for basically everything, but before the ultrabright lights of stardom hit, he was an excellent (if more “traditional”) artist as well.This exhibition presents lesser-known drawings from Warhol’s last years, including portraiture, advertisements, still lifes and sketches, and while these pieces aren’t exactly the POP ART that made his name, they represent a more intimate examination of the same kind of fascinations (will there be celebrities? Probably!). Don’t let this exhibit drift away like so many Mylar balloons. “Late Drawings of Andy Warhol 1973-1987” at Fullerton Museum, 301 N. Pomona Ave., Fullerton, (714) 7386545; ci.fullerton.ca.us/museum. Noon. Through Aug. 14. $12; members, free. —CHRIS ZIEGLER

5/16/16 11:13 AM

[CONCERT]

GETTIN’ FUNKY IN HERE

Afrolicious Party

What other place in the area offers a regular night of Afro/tropi/electro/funk/soul/ disco sounds other than Long Beach’s the Federal Bar? Every Wednesday, the San Francisco-based music collective/band Afrolicious offer up a funkadelic party featuring the DJ stylings of Pleasuremaker and Señor Oz with live percussionists, MCs, horn players and other musicians, livening up the usual night out MORE at the club. ONLINE OCWEEKLY.COM Tonight’s Afrolicious Party will have you moving and grooving to the various beats and rhythms you likely wouldn’t hear anywhere else. But if you find yourself in Afrolicious withdrawals later in the week, grab a copy of their album California Dreaming Remixed for an Afrolicious Party in your own home. Afrolicious Party at the Federal Bar, 102 Pine Ave., Long Beach, (562) 4352000; lb.thefederalbar.com. 9 p.m. Free. 21+. —AIMEE MURILLO

[ART]

Africa Unite!

‘A Touch of Africa in Anaheim’ Anaheim is home to more immigrants from all over African than anywhere else in OC. Muzeo, nestled in the city’s downtown, is giving all residents the opportunity to experience the mother continent’s culture through its latest exhibit, “A Touch of Africa In Anaheim,” via textiles, artifacts and musical instruments from West African countries. Matthew Short’s “Passport to Senegal” photography exhibit is also on display. The cultural exchange comes by way of Da’ African Village founder Serigne “Mara” Diakhate, a native of Senegal. Catch this exhibit before it closes! “A Touch of Africa in Anaheim” at Muzeo, 241 S. Anaheim Blvd., Anaheim, (714) 956-8936; muzeo.org. 10 a.m.-5 p.m. Through May 29. Free. —GABRIEL SAN ROMÁN

Street Team - at -

For Art’s Sake

SCAN

[CONCERT]

Keeping It 99.9 Kaytranada

A favorite of beat junkies everywhere, Canadian producer Kaytranada recently released his debut album, 99.9%, to wide acclaim, most of which is directed toward his slick production combining hip-hop, Chicago house and soul. At only 23, the Haitian-born, Montrealbased Louis Kevin Celestin has already gotten the attention of fans and collaborators, including Little Dragon’s Yukimi Nagano, Anderson .Paak, BADBADNOTGOOD and Karriem Riggins. And even without the accolades of super-famous fans such as Madonna, Kaytranada’s music proves he’s anything but a flavor of the month. Dig on his music for yourself, then come out to the Observatory, which will surely be packed with diehard fans of various ages. Kaytranada with RiverTiber and Lou Phelps at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; www. observatoryoc.com. 8 p.m. $25. —AIMEE MURILLO

LIKE TOTALLY 80S FESTIVAL 5/21 - DOWNTOWN SANTA ANA

GARDEN GROVE STRAWBERRY FESTIVAL 5/28 & 5/29

SOCAL BREW FEST 6/4 - The Phoenix Club

EAST END BLOCK PARTY 6/11 - Downtown Santa Ana

SOCAL HOEDOWN 8/13 - The Yost Theater

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—AIMEE MURILLO

LIAM MCCRAE

May 2 0 -2 6, 20 1 6

Every artsy person out there knows listening to music can help spur artistic creativity when you’re working on an art piece. So let’s kick it up a notch and let your inner Bob Ross out to live music. Longtime radio DJ, T H I S CO D E model and purveyor TO DOWNLOAD THE FREE of the arts Kat MonOCWEEKLY roe hosts this art IPHONE/ANDROID APP FOR MORE EVENTS OR VISIT get-together the last ocweekly.com Wednesday of every month at the Doll Hut, where live bands play while you create a masterpiece of your own. Bring art supplies such as pens, pencils, markers and other materials as local bands inspire ideas with their jams. Or bring a musical instrument and jam along. Pair it all with your favorite brew, and you’ll be making some happy trees of your own in no time. Kat Monroe’s Drink and Draw at the Doll Hut, 107 S. Adams St., Anaheim, (714) 533-1286; www.facebook.com/ worldfamousdh. 7 p.m. Free. 21+.

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[ART]

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Milkin’ It

» GUSTAVO ARELLANO

Holsteins brings good burgers, excellent spiked milkshakes to South Coast Plaza BY EDWIN GOEI

“I

ARE THE FRENCH FRIES INSIDE THE ONION RINGS, OR DO THE ONION RINGS WRAP AROUND THE FRIES?

DOUGH DOUGHS HAWAIIAN CAFE 16552 Bolsa Chica St., Huntington Beach, (714) 846-8253; www.doughdoughshawaiiancafe.com.

BRIAN FEINZIMER

Coast Plaza’s Chinese spenders who’d order the pork belly bao buns appetizers for $8.88, but also the new economy’s next Mark Zuckerbergs who may have the cash for a filet mignon yet would rather go out to have a really good burger. These burgers range from $12 to $16 for hefty patties cooked to any specified temperature, topped with everything from nori furikake to potato chips. Always included in the price: thin and reedy battered fries, which can be substituted for house-made onion rings for an upgrade fee. There’s also a decent list of salads, including a gigantic Cobb that took two of us to finish, and a mock “guacamole” that used hummus and artichokes and was served with tortilla chips so fresh and hot no one noticed the guac didn’t have a trace of avocado in it. But it wasn’t until I returned for happy hour that I tried the best thing to eat with those chips: an excellent oven-baked dip that tasted exactly like Buffalo chicken wings. Also on special during that time: an exemplary poutine topped with braised beef and real cheese curds, with a stoutbased gravy served on the side. I also finally discovered the alcohol-spiked milkshakes, Holsteins’ most fun-filled item outside of the liquid nitrogen meringues.

They existed in flavors from Candy Cane to a fruity vegan shake made with coconut sorbet. Though you could leave out the booze, I found that the alcohol—whether it’s the marshmallow vodka in the Campfire Smores shake or the Frangelico in the Nutella Crunch—was essential in cutting through the richness. The Nutella Crunch, by the way, was particularly scrumptious, one of the best “Bam-Boozled” shakes I tried. Before I knew it, I sucked up the last remaining dregs of whipped cream from the bottom of my soda-fountain glass. It was then that I realized how dangerous Holsteins’ shakes were. It wasn’t because of the alcohol (which can hardly be tasted or felt), but because all milkshakes are mostly ice cream. So no matter how young-at-heart Holsteins made me feel, those calories were still going to affix themselves somewhere permanent on my middle-aged body. Whatever: My tryout for American Ninja Warrior can wait. HOLSTEINS SHAKES & BUNS 3333 Bristol St., Costa Mesa, (714) 3522525; holsteinsburgers.com/orange-county. Open Sun.-Thurs., 11 a.m.-10 p.m.; Fri.-Sat., 11 a.m.-midnight. Dinner for two, $25-$65, food only. Full bar.

ow that Orange County has made poke as indispensable a part of our diet as tacos and pho, what’s going to be the next food to go viral? My vote is on malasadas. Somewhere between a sugar doughnut and a beignet, they’re a fluffy, stuffed, fried zenith rolled in sugar. Hawaii’s coffee shops, restaurants and even gas stations stock malasadas, with the most famous shop being Leonard’s in Honolulu; its goofy commercials have bewildered tourists for decades, with a recent one featuring a guy eating one while skydiving. Given the tight connection between OC and the Aloha State, I’m surprised the dessert hasn’t already taken off more than it has here. Sidecar Doughnuts makes some good ones, Da Hawaiian Kitchen fries them up on weekends, and that’s about it. But if the success of Dough Doughs Hawaiian Cafe is any indication, we’ll be obsessing over malasadas next year the way we used to over blueberry doughnuts. The diner (which shares a space with the excellent Hula Girls Shave Ice) has a menu full of island grindz, from steaming bowls of saimin and epic plate lunches to breakfast burritos (this is HB, after all) stuffed with SPAM and linguiça. It’s the only local Hawaiian restaurant I know that sells chili spaghetti, a Hawaiian favorite that’s exactly what it sounds like—and you’re served enough to feed a Boy Scout troop. But you know this place is malasadacentric because when you order one at the same time as an appetizer and a main course, the malasada is brought out first. Dough Doughs offers a build-it-yourself option or six preselected combos; start with the combos to see the dive’s talents in action. The No. 6 piña colada oozes with each bite; the Neapolitan features chocolate, vanilla and strawberry filling and mixes with the ease of getting your partner to join in a luau. Mini ones are available as well, but whatever you order, be prepared to lick your fingers and shirt: The malasadas rain sugar on you as if you were the protagonist in Def Leppard’s masterpiece. GARELLANO@OCWEEKLY.COM

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haven’t forgotten that we’re celebrating a birthday tonight!” our server exclaimed after we finished our dinner. He’d been extremely attentive all evening, but now he was back at our table with a surprise treat. Whatever it was, it was contained inside a big mixing bowl swaddled in a towel. Billowing white clouds spilled from the brim as though “Thunderstruck” was about to start. And when he lowered the vessel to our eye level, we saw it: bite-sized morsels of meringue floating in liquid nitrogen. Then, the real show began. Our server fished out one of the meringues from the bowl with a slotted spoon and placed the morsel on my 5-year-old niece’s open palms. “Toss it back and forth in your hands for a few seconds, and then eat it,” he instructed. She did as she was told, rocking the pink confection between her tiny fingers. When she finally put it in her mouth and started chewing, a plume of white vapor spewed from her nostrils as though they were NASA rocket boosters. She shrieked with delight. The whole table clapped. I captured the magical moment on video. The server then went around so that all of us could get the chance to try it ourselves. And when we did, for the few seconds that the super-cooled, lightly sweet cookies caused smoke to come out of our noses, we ourselves became giddy 5-yearolds. It was, by all accounts, the most fun we’ve had at a South Coast Plaza restaurant—the highlight of a relaxed, informal dining experience I never thought I’d have inside the same room in which I once ate foie gras at Charlie Palmer eight years ago. Now that it’s a Holsteins Shakes & Buns—a burger-and-milkshake restaurant from a Vegas-based group that has another one like this at the Cosmopolitan—my dinner was called El Caliente, a thick burger with pickled jalapeños and crunchy chicharrones shoved into it. And to drink, instead of Sauternes with notes of apricot, I gulped a tall, icy glass of Cherry Coke. The only thing missing was a jukebox. Though Holsteins’ giant, pop-art canvases of a cartoon pig frolicking in a cow costume abolished the stuffiness of the restaurant that came before it, the new place did keep Charlie Palmer’s layout pretty much the same. It preserved not only the illuminated tile catwalk near the entrance that always reminded me of Michael Jackson’s “Billie Jean” video, but also the tower of wine bottles that stretched from basement to ceiling. Noticeably absent these days, though, was the old-money crowd. Instead, Holsteins’ target market is not just South

Malasada Madness

M ON TH X X–X X , 2014

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HOLEINTHEWALL

food»reviews | listings

LITTLE SEOUL STAR

JACKLYN KIM

Cold Noodles for the Win

Naengmyun at Gangnam Umuyi

ce-cold noodles can freak people out, but when it’s hot outside and your stomach is growling, a refreshing bowl of the chewy-thin Korean cold-noodle dish naengmyun is the nextbest remedy to mile-high froyo. North Korea actually takes credit for the tastiest naengmyun and its origin, but while Mo Ran Gak in Garden Grove gets all the local attention for the dish, Gangnam Umuyi (“uh-moo-yi,” the North Korean way to pronounce “Mom”) just down the street is where you should be eating it. Umuyi specializes in something called chic-naengmyun. The biggest difference: The noodles are made from arrowroot rather than buckwheat, and hence have a darkbrown tone. The best difference: taste, texture and chomp. The most popular version, mool-naengmyun, is famously served in an

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

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

EATTHISNOW » JACKLYN KIM

icy broth with a perfect blend of sweet and salty if done right (don’t forget to add a dash of vinegar and hot Korean mustard to accent the rest of the flavors). Bibim naengmyun, is a spicy, chilled version of the noodle without the icy broth. Each style is topped with layers of pickled radish, fresh cucumbers, thin slices of chilled beef (or spicy raw fish, if you’d like) and a hard-boiled egg cut in half. To make your naengmyun experience even better, get the combo with the galbi. A hot and cold duo always kicks up the senses! GANGNAM UMUYI 10031 Garden Grove Blvd., Garden Grove, (714) 636-8888.

food»

DRINKOFTHEWEEK » ROBERT FLORES

Champion Brewery and Brewmaster in the Small Brewing Company category. BOOM! THE DRINK

Overall, Orange County breweries did well, with Tustin Brewery, Bottle Logic, the Bruery, Beachwood and Taps winning various medals for their craft beer. Outstanding job to all! But for this week, get thee down to Noble’s conveniently located spot near Anaheim Stadium, Honda Center and the Grove. The owner will be expanding the current location soon, which means even more people will flood in—yet Noble staff will handle it, as they always have. Congrats, gents! NOBLE ALE WORKS 1621 S. Sinclair St., Anaheim, (714) 6342739; www.noblealeworks.com.

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inner, winner, winner! Food-truck dinner! Congratulations to Noble Ale Works for recently kicking some beer booty at the World Beer Cup competition, one of the most prestigious suds events in the world. We’ve known for years now how great the beer at Noble is gracias to its Naughty Sauce, that legendary concoction of golden milk stout with Portola coffee—“often imitated, but never duplicated,” as the staff love to say. But head brewer Evan Price and the Giants (Brad Kominek and Matt Frantz) brought home a gold medal at the World Beer Cup for the American-style IPA I Love It! (the mostentered category in the contest), a silver for the German-style Sour Ale Gosebusters, and a bronze for Imperial IPA Nobility. Even better, Noble Ale Works was named World Beer Cup

ROBERT FLORES

Ma y 20 - 26 , 20 16

Medal Winners at Noble Ale Works

Khmer and Get It Learning how to eat Cambodian at Phnom Penh

I OC Weekly’s 2nd Annual Taco Throwdown will be taking place in the Tito’s Vodka VIP Cabana at Summer Fest 2016! VIP tickets include a taco from each competitor and the chance to vote on your favorite.

The

COMPETITORS: Borracho Taco Tacolized The Fifth The Lime Truck Urbana

M ay 2 0 -2 6, 2 016

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TICKETS ARE LIMITED!

$60*

*Pricing increases June 21st IF tickets are still available

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f anyone ever asks you what Cambodian food tastes like, take them to Phnom Penh Noodle Shack and start ordering. The menu at this tiny home-style dining room (it’s actually built into the house of the family who started it 31 years ago) is by no means comprehensive, but when it comes to sampling the complex mishmash of flavors, textures and ingredients that comprise Khmer cooking, it’s a brilliant place to start. As the name implies, the focus here is on noodles—more specifically, kuy teav or, as many like to call it, Cambodian pho. Not only is it a bowl of meaty broth traditionally eaten for breakfast like the Vietnamese classic, but it also comes as a base to which you can add a tableful of condiments, from sweet to spicy, crunchy to silky. But that is where the comparison stops (kuy teav came first, by the way). Kuy teav at the Noodle Shack is so much more that it makes pho seem like salty MSG water. The soup is far more customizable right out of the kitchen, meaning you need to make some choices beyond bowl size and meats. Do you have a preference on noodles? There are the standard thin rice noodles, but there are also large rice noodles, egg noodles of various sizes, pin (or “tear drop”) noodles and something listed as “mama noodles,” which is really just the wavy noodles you’ll find in any pack of Top Ramen. Also: Do you want those noodles wet or dry? Wet will come as a familiar bowl of soup; dry means the ingredients are in one big bowl, while the thin, porky broth comes on the side with a giant scraggly pig knuckle plopped into the middle of its bowl. (Doing the latter lets you douse your noodles with the broth, suck out the marrow in the bones and dip some cha quai—sweet Cambodian fry bread—in whatever’s left). What kind of meat are you looking for? If offal makes you queasy, you should probably leave now. The house special is, of course, phnom penh noodle, with sliced and ground pork meat along with stomach, liver and shrimp. Beef stew gets you beef, tripe and tendon. Mo’s Special—named after one of the three second-generation owners who now run the place—features ground pork, sliced pork and beef balls. The Chluy Bowl is named after a young Cambodian parody singer who stops by when he’s in town (chluy means rude) and includes

FUNKY NOODLES

SARAH BENNETT

LONGBEACHLUNCH » SARAH BENNETT

beef intestines, quail eggs and pork rinds. Once your kuy teav hits the table, it’s time to get to work, bringing your own level of balance to the medley of flavors. Squeeze bottles filled with hoisin sauce, chile paste and a house Chluy sauce (a sweeter, smoother Sriracha alternative) line the table. A rack is filled with cups of such sides as salted red soy beans and pickled green beans. There’s also the pancake-syrup dispenser filled with sweet, garlic fish sauce (not unlike the one you’d pour over a bowl of Vietnamese bún). It all almost makes the plate of bean sprouts and lemons dropped as soon as you ordered seem like an afterthought. Overwhelmed yet? Don’t worry. Unlike visits to the Noodle Shack 10 years ago, the place is now run by friendly, bilingual Khmericans, kids born here who didn’t want to see the local institution their auntie started go under when she retired. They gave the place a new paint job and a fresh landscaping of native plants; started an Instagram, a Facebook page and a Snapchat account; and will happily help confused Western palates navigate the menu (the stir-fried noodle plates are “kind of like pad Thai,” and the meat bread is “basically an empanada,” one said recently). That’s why it’s best to start your adventures in Khmer eating here, the least daunting of all Cambodia Town restaurants, then go forth from the land of kuy teav. An even wider world of deep-fried catfish, beef-anchovy salads and prahokladen dishes awaits! PHNOM PENH NOODLE SHACK 1644 Cherry Ave., Long Beach, (562) 433-0032; www.thenoodleshack.com.

Walking Dread

film»reviews|screenings DON’T GO TO TERMINUS

Or: How to not get cast as a zombie

MATT COKER

in trouble when the first fellow out proved to be a contortionist who could make his left arm appear to be coming out of his chest while slowly waltzing front- and sideways at the same time. Amazing. All I recall from my own spin was walking with stiff legs, as if I were trying to hide a boner, and making the gurgled choking sound of a TV walker. “Oh, crap, what’s my backstory?” I thought to myself. After everyone took a turn, we were

escorted outside to await deliberations on who was being called back for second auditions. Surely jurors would choose the bearded guy who claimed to have spent six years in Atlanta as a walker on The Walking Dead. Not today, Sparky. Alas, my number also was not called, but No. 274 was, so I am confident the judges at least caught a glimpse of me not standing out in the hangar-sized ballroom. MCOKER@OCWEEKLY.COM

ocweekly.com | | OCWEEKLY.COM

during a phone call. “He’d always been a consultant, but now he really wanted to work for us. Now his team is part of our team. They are giving us actual [mask] molds from the show.” Behind Murdy as he spoke were 17 auditioners who’d like to wear those masks; they flopped their limbs to composer Bear McCreary’s The Walking Dead theme, which blared from the Globe Theatre’s speakers. The hopefuls lurched slowly toward a long table of busy-looking casting agents who will ultimately fill the 100 slots with men and women bound for the same two-week training Nicotero requires of his TV walkers. Many will not make the cut because they just don’t understand the role. “I’ve actually had to touch people on the shoulder and say, ‘You’re dead; you can’t talk,’” Murdy says. “My advice to people auditioning is to find your inner walker. Create your own backstory: What were you when you were alive? That will inform the way you are as a walker. Over the years, the big mistake I have seen potential scare actors make is trying to be like Boris Karloff. I prefer they bring their own creativity to it.” When I returned that afternoon for my audition, I was given a name tag with the number 273, had my mugshot snapped against a theater-lobby wall, and then had my height taken. We had all been instructed to wear comfortable clothing, but not a zombie costume or makeup. I was definitely the oldest person in the room. There were more men than women, and just about everyone had not yet reached 30. Fresh from a soap-opera audition was Dana Palmiero, who complained the tryout space was too confining. “It makes it hard to stand out,” he said of the hangarsized ballroom. Sitting next to me was a young fellow whose name I will not use because he is a theme-park employee and his boss was not encouraging about auditioning. The potential walker was psyched about the new The Walking Dead attraction, mocking the old House of Horrors. “They had some actors, but it was mostly mechanical,” he said. “Dracula would pop out, say, ‘Blah!’ and then slide straight back into place. It was so hokey.” My group was much larger than the morning audition packs that seemed to be filled with struggling Hollywood actors. We began by stalking around together, with my tight moves based on an actual zombie coach’s YouTube video I watched the night before. Then came our individual turns inching up to an empty chair that was meant to be a park guest you could not touch but could scare shitless. I knew I was

May 2 0X-2 6, 20 MO N TH X–X X , 126014

here’s no way in Helen, Georgia, I have the acting chops of an Andrew Lincoln, a Norman Reedus or a Danai Gurira, but an extra playing a walker? How hard can that be? Very, as I discovered when I joined a couple of thousand other hopefuls in the Globe Theatre at Universal Studios for auditions May 5 and 6 for 100 zombie positions. I learned of the auditions for The Walking Dead attraction opening this summer after being invited by the theme park’s media team to cover a portion of the latemorning session. This included chatting up John Murdy, who is officially Universal Studios Hollywood’s creative director, although he calls himself “a professional 10-year-old.” As a kid, Murdy created haunted houses every Halloween; they got so elaborate he broke them out other times of the year. He was no doubt influenced by what he saw at Universal Studios in the 1970s, when public tours of old movie sets were famously pitched on television by Alfred Hitchcock. Later getting hired on at the theme park and rising through the ranks, Murdy got an up-close perspective on the complete change from sleepy tourist spot to world-class destination. It was in his current role that he recalls many concepts being batted around to replace House of Horrors, a maze attraction based on the classic Universal monsters that have filled screens since the studio’s founding in 1912. It ran from October 2006 through Sept. 1, 2014. “After House of Horrors went away as part of the major transformation of this theme park, it created a space to do something,” explains Murdy, who believed the choice was “obvious.” “How about The Walking Dead?” he recalls blurting out to co-workers, reasoning, “There is no bigger television show. It’s a sensation. As a brand, it stands as tall as any out there.” Elements of the most successful cable TV series ever were part of annual Halloween Horror Nights at the park, but occupying a permanent chunk of the lot would allow Murdy and his team to do so much more. “We have better control of the sound and can be much more detailed,” Murdy says. “We can make guests seem like they are part of The Walking Dead world.” His idea was immediately blessed by Greg Nicotero, The Walking Dead executive producer, director of several episodes and head of the special-effects company KNB EFX that transforms TV extras into decaying walkers. “Greg said, ‘I want to be part of it,’” Murdy recalls Nicotero saying

BY MATT COKER

1 23

| ocweekly.com | 24

film»special screenings

Killer Ooze

BY MATT COKER

“WHAT DID CHAPO SMELL LIKE?”

FOCUS FEATURES

2001: A Space Odyssey. See Warner Bros.’ 4K restoration of Stanley Kubrick’s 1968 masterpiece for free— but only if you are a Frida member or guest. The Frida Cinema, 305 E. Fourth St., Santa Ana; thefridacinema.org. Thurs., May 19, 7:30 p.m. Members

must check in via the site to secure a seat. Follow prompts for a Frida annual membership ($50-$1,000). The Craft: 20th Anniversary Screening. The 1996 teenage horror flick is presented by Mistress Azrael’s Sinema Screams as part of Frida’s Fri-

day Night Freakout. Enjoy a specially decorated lobby and theater, tarot readings, a “fangtastic” floor show, goodies from the Dragon & the Rose metaphysical shop and “Bewitching Brews” and “Manon’s Magical Power Punch.” Guests are encouraged to “dress to depress” for a chance to win the “FEARce Fashion Contest” and “poisonous” prizes. Magical music, more drinks, photos and free cake follow. The Frida Cinema; thefridacinema.org. Fri., 11 p.m. $8-$10. Mission Viejo Film Festival. City-sponsored showcase of the family-friendly work of aspiring young filmmakers, with submission fees and donations going to the City of Hope. Audience Q&As with filmmakers follow each screening, and awards are presented after all are shown. Kaleidoscope Mall, 27741 Crown Valley Pkwy., Mission Viejo; missionviejofilmfestival.com. Sat., Block 1 (young filmmakers), 12:30-1 p.m.; Block 2 (high school), 2-3:30 p.m.; Block 3 (college/ independent), 5-6:30 p.m.; award ceremony, 7:30-8 p.m.; opportunity drawing, 8-9 p.m. Free. Killer of Sheep. The 1978 drama about life in Watts was not released in theaters until 2007, when filmmakers finally received the rights to the music used in the film for $150,000. Charles Burnett, who wrote, produced, directed and shot the movie, participates in an audience Q&A after the screening. UC Irvine, McCormick Screening Room, 4100 Humanities Gateway, Irvine; illuminations.uci.edu/ events. Sat., 3:30 p.m. Free. Teenage Mutant Pizza Party II: The Secret of the Ooze. See the original 1991 sequel Teenage Mutant Ninja Turtles II: The Secret of the Ooze,

enjoy free pizza, play a trivia game, try to win prizes and get your photo taken with the Ninja Turtles (which will come out better if you wear a TMNT costume, too). The Frida Cinema; thefridacinema.org. Sat., 4 p.m. $13-$15. Zotfest. Ten of the best student-made short films from the past school year are shown, and then judges give out awards. The films (and their makers) are: Passé (Mengyuan He), Punch (Isaiah Walk), Recall (Jessica Lin), Beards (Iffanie Yang), Tell Me a Joke (Ryan Gonzales), The Watch (Matthew Randall), Yifu Yan (Gege Xu), In the Shadows (Russell Kawaguch), Hell of a Day (A Hells No Production), and From Agents With Coffee (E & E Studios). Formal attire is highly recommended for great pictures at the red-carpet ceremony afterward. The 17th-annual event was created by the collaborative filmmaking-andnetworking group FADA (Film Arts Drama Alliance), which supports filmmaking opportunities for students of all majors. UC Irvine, HB 100, 4100 Humanities Gateway; www.fadauci. com. Sat., 5 p.m. Free. The Lego Movie. This digitally animated kids film is pretty digestible for adults. It’s this week’s Calle Cuatro Sunday Matinee, which begins with classic cartoons and a prize raffle. The Frida Cinema; thefridacinema.org. Sun., 11 a.m. $1-$5. Lucia Di Lammermoor. Katie Mitchell’s opera-and-dance production of Donizetti’s story of an ongoing feud between two families in 17th century Scotland and the terrible consequences it has for two young lovers is shot on the Royal Opera House stage and beamed into theaters around the country. Directors Cut Cinema at

Rancho Niguel, 25471 Rancho Niguel Rd., Laguna Niguel, (949) 831-0446; also Regency South Coast Village, 1561 Sunflower Ave., Santa Ana, (714) 557-5701. Sun., 12:55 p.m.; Tues., 7 p.m. $14-$17. Speciesism: The Movie. Living Vegan, which reserved the Irvine Ranch Water District screening space, presents Mark Devries’ documentary on the sometimes funny, sometimes frightening goings-on at America’s hidden factory farms. IRWD Community Room, 15500 Sand Canyon Ave., Irvine; livingubuntu.org. Sun. Vegan refreshments, 6:30 p.m.; screening, 6:45 p.m.; discussion, 8:15 p.m. Free but RSVP. Milk. In honor of Harvey Milk Day, it’s director Gus Van Sant’s critically acclaimed drama on the life of the gay-rights activist and politician, the first openly gay person to be elected to public office in California and the victim of murder by a fellow member of the San Francisco Board of Supervisors. Milk won 2009 Academy Awards for Best Screenplay (Dustin Lance Black) and Best Actor (Sean Penn). The Frida Cinema; thefridacinema.org. Sun., 7:30 p.m. $8-$10. I Hope You Dance. Documentary about how music is transformative. Krikorian Metroplex 18 at Buena Park, 8290 La Palma Ave., Buena Park, (714) 826-7469; also at Krikorian San Clemente Cinema 6, 641-B Camino De Los Mares, San Clemente, (949) 661-SHOW. Mon., 2 & 7 p.m. $12-$15; Regency Directors Cut Cinema at Rancho Niguel, (949) 831-0446. Mon. 2 & 7 p.m. $9.75-$12.50; Regency San Juan Capistrano, 26762 Verdugo St., San Juan Capistrano, (949) 661-3456. Mon., 2 & 7 p.m. $10-$12.50; Regency Westminster 10, 6721 Westminster Blvd., Westminster, (714) 893-4222. Mon., 2 & 7 p.m. $8-$10. Chinatown. The 1974 Roman Polanski classic and arguably the best screenplay ever (by Robert Towne) follows private investigator Jake Gittes (Jack Nicholson) trying to unravel a mystery involving water, adultery and murder in Los Angeles of the late 1930s. Regency South Coast Village, (714) 557-5701. Wed., 7:30 p.m. $9. The Widowmaker. Patrick Forbes’ documentary, presented by UC Irvine Health, explores whether America’s medical establishment may be needlessly condemning certain heartattack victims to death. UC Irvine, Nelson Auditorium, 1003 Health Sciences Rd., Irvine; www.eventbrite. com/e/uc-irvine-health-present-thewidowmaker-documentary-tickets25352728694?aff=ebapi. Thurs., May 26, 5 p.m. Free. MCOKER@OCWEEKLY.COM

Extraordinarily Ordinary

The Big Meal features an American family doing what America does best: Eating BY JOEL BEERS

NOT READY FOR SNAPCHAT

CHANCE THEATER

three generations of children. Nothing hugely dramatic happens in The Big Meal, just living, dying, mourning and celebrating. There are no lofty speeches, characters mired in existential angst, or epic journeys or descents into the depths. These are just people, not particularly bright or clever, not particularly saintly or sinnerly. Sure, some drink a bit too much, stray from the ties of matrimony or work too much, or nag too often, but there is nothing heroic or even that memorable about any of them. Which is one reason why LeFranc’s play is so powerful. By the end of the 80-minute production, you can’t help but feel keenly for every member of this family unit, whether buried in the ground or still huddled around the table. By relaying the course of a quite ordinary family with ordinary lives— punctuated by moments of tragedy and celebration—LeFranc tells a quite extraordinary story, one that might compel you to hug your own family just a little bit tighter or miss the ones who’ve gone even more. THE BIG MEAL at the Chance Theater, 5522 E. La Palma Ave., Anaheim, (888) 455-4212; chancetheater.com. Thurs., May 19, 7:30 p.m.; Fri.-Sat., 8 p.m.; Sun., 3 & 7 p.m. $40-$45.

SHAG Goes Star Wars

’ve just returned from a short vacation in Palm Springs, where you’re simply inundated with SHAG’s aesthetic: midcentury-modern architecture, bright colors, kitsch, retro interiors. And that’s not counting the SHAG gallery/store, from which you can buy prints, dresses, purses and paintings by the artist himself. Now, the OC-bred artist has come back home with the upcoming launch of his new collaboration with Harveys and Disney, and he’ll be celebrating the release of the collection this Saturday at Downtown Disney’s WonderGround Gallery. Known for his colorful paintings that combine 1950s and ’60s advertising, Tiki, Exotica, beatniks, Googie, and other nostalgic tastes, Josh Agle (a.k.a. SHAG) was one of the biggest artists to emerge from SoCal’s lowbrow art movement of the ’90s, with his ultra-cool party scenes featuring martini-chugging hipsters and swinging urbanites. At their best, they were a marriage of Saul Bass and Playboy After Dark, although many reviewers noted a dark undertone in his tableau vivants. “I almost always try to paint a story . . . something that’s happening, often sinister, and usually a bit mysterious,” Agle told the U.K.-based Modculture in 2012. Gotta admit, no one makes sinister look cooler than SHAG. The new collection is a tribute to Star Wars Episode IV: A New Hope. Called “A Wretched Hive,” it presents the famous Mos Eisley cantina scene featuring Luke, Obi-Wan, R2 and the others in a SHAG-style nightclub setting (with Han Solo and Greedo’s meeting off to the side—wonder who Agle believes shot first?). Agle’s new artwork comes to life on Harveys Medium Streamline Tote, Hip Pack and Billfold wallets, and it will be available on other select items such as T-shirts, glasses, post cards, phone cases, magnet sets, deluxe-sized prints and more. Agle will be there at Saturday’s launch, along with Dana and Melanie Harvey. You can buy the limited-edition merchandise in store starting at 8 a.m., then get your products signed and certified SHAG-adelic at Agle’s afternoon appearance. AMURILLO@OCWEEKLY.COM HARVEYS X SHAG STAR WARS RELEASE at WonderGround Gallery, 1580 S. Disneyland Dr., Anaheim; disneyparksmerchandise.com/ events. Sat., 3 p.m.

SHAG and Harveys and Star Wars, Together At Last

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just people who love and lose and question their choices and take comfort—and occasionally rebel—at the humdrum, commonplace miracle of life and the unfortunate postscript buried in the fine print of that miracle. The play centers on a couple who meet at an unnamed restaurant, go home and knock boots, and wind up starting a family. We meet their parents, their kids and their grandkids in a series of vignettes that cover 50 years. It’s an eight-person cast (not including the unsung hero of the play, Kelly Ehlert’s server), with every performer playing multiple roles. The play’s central couple begin as young adults (played by Ben Green and Angela Griswold), morph into thirtysomethings (Robert Foran and Jennifer Ruckman) and are finally seen as an elderly pair (David Carl Golbeck and Karen Webster). But throughout the play, the actors switch roles, playing not only the couple at various stages in their lives, but also their kids, grandkids and parents. It all sounds terribly confusing, if not downright incestuous, but it’s not. The play’s brisk pace and steady direction, courtesy of Jocelyn A. Brown, keeps things moving at such a clip that you don’t have time to question why this person is now their own child or parent. You just buy into it, something made even more effortless by a uniformly excellent cast, including Dylan Barton and Abbey Lutes, who play

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t’s tempting for us cool kids in the back row, occupied as we are with spit wads and sardonic observations on everything, to dismiss the ritual of family gathering around a table and breaking bread—unless it’s at some hipster joint serving pork-belly whatevers—as a relic of the Ozzie and Harriet past. Who’s got the time? Who’s got the interest? Who likes their family enough? In reality, Gallup reported in 2013 that a majority of adults with children younger than 18 say that they eat dinner together at home six or seven nights per week, a percentage that hasn’t changed appreciably for some 20 years. The family in Dan LeFranc’s heartbreaker of a comedy, The Big Meal, obviously got the memo. They may not eat at home all the time, but dinners at a “very popular chain restaurant in the Midwestern United States” are the spine of this family skeleton. Whether bickering, rejoicing, grieving, planning for the future or remembering the past, it’s all done while pondering a menu that includes everything from corn dogs to enchiladas. The restaurant—or, rather, restaurants—is intentionally not named. It might be an Applebee’s, a Cracker Barrel, or, on more special occasions, an Outback Steakhouse or Red Lobster. Nor do we ever know just what the people in this family, which stretches four generations in a play that spans some 50 years, actually order; what any of them do for a living; where they live (besides the Midwest); or what their views are on politics, religion, gender, race, or the seemingly impossible chasm between red states filled with urban sophisticates who give a shit about Jon Stewart and flyover blue states filled with redneck mouth-breathers who hate science, women and Jon Stewart. No, it’s just a normal family filled with all the normalcies that occupy the lives of so many Americans in that massive chunk of real estate located roughly between the Rockies and the Ohio River, a place that, depending on your specific bias, is viewed as either the Heartland of America or the super-sized Wal-Mart where all the fat white people hang out. The beauty of LeFranc’s play is that he avoids any of the standard tropes. These are not salt-of-the-Earth, Dodge truck-driving, country music-loving, jeans-wearing, flag-waving, nose-tothe-ground, good, decent Americans. Nor are they shit-for-brains ’Mericans, hoarding their guns and clutching their Bibles and yearning for Drumpf to make American great for them again. They are

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music»artists|sounds|shows UP FROM THE ASHES

A Band Reborn

JONATHAN WEINER

With a new album and outlook, Thrice insist they’re here to stay BY JOSH CHESLER

ust a few days before the end of 2014, Thrice announced their reunion. In some ways, the timing made sense. Most of their contemporaries from the 2000s post-hardcore/ emo/screamo/alternative scene were getting back together, making Thrice’s music as popular as ever. On the other hand, the band had shown no public signs of interest in reuniting since their split in 2012. Each Thrice’s four members went on to do his own projects. Front man Dustin Kensrue moved to Washington for a couple of years to become a worship pastor of Mars Hill Church’s Bellevue campus, but in 2014, he stepped down from his position and switched to a smaller church in California just prior to the Mark Driscoll scandal. He also continued his solo career, which began toward the end of Thrice’s run. But throughout the second half of 2015, Thrice set the clock back a decade, as they appeared at several festivals across the country after performing a few smaller local shows to shake off the rust. Whether they’d been rocking out to the quartet since the release of Identity Crisis in 2000 or hadn’t yet been able to see them live, fans filled every tour date to catch a live listen of songs new and old. While Thrice aficionados were thrilled to jump into the mosh pit and incessantly call out for “Deadbolt,” the inconsistent festival dates and set lengths never really allowed the band to get into a groove.

“We played a lot of random one-off shows and festivals last year, so it was really hectic and didn’t let us get settled in,” Kensrue says. “They were all either warm-up shows with a bunch of rabid Thrice fans or festivals. Festivals are always a mixed bag, but they’re fun. We played Taste of Chaos in San Bernardino in October, and that was a blast. It felt like a homecoming show for us.” For anyone in attendance, it didn’t seem like a band coming off a three-year hiatus. While some reunion tours can be a bit awkward, Kensrue, guitarist Teppei Teranishi (who also produced some of Kensrue’s solo work), and the brotherly rhythm section of bassist Eddie and drummer Riley Breckenridge already sounded as if they’d never missed a beat by the time they got to San Bernardino. The fans may have been unsure of how one of their favorite bands would sound after the extended absence, but Kensrue knew it wouldn’t take long for the longtime friends to meld. “It’s great to play with these guys again,” Kensrue says. “We’ve done it long enough that it doesn’t feel weird when we take some time off, but I don’t think we’ll be taking that much time off again.” With a new record, To Be Everywhere Is to Be Nowhere, due out May 27, Thrice won’t have a chance to rest much this year. With a national tour occupying the month of June and some European dates lined up in August, the four-piece from Irvine

have a busy few months ahead of them. But first, Kensrue and the band are awaiting the general reaction to the latest evolution of Thrice’s signature sound—in Kensrue’s eyes, it’s as good or better than fan-favorite albums such as The Illusion of Safety (2002) and The Artist In the Ambulance (2003). “I think the record is fantastic,” Kensrue says. “I definitely like the past couple of records we’ve done, but I think [To Be Everywhere Is to Be Nowhere] is stronger than anything we’ve ever done as a complete record. It’s not as big as The Alchemy Index was, but every song on it is great, and they all fit together really well.” As much as the 35-year-old Kensrue enjoys the new album, there’s no doubt there will be some fans who clamor for the angry young man who screamed his way through life’s mysteries and problems almost two decades ago. Although still unmistakably the same group of musicians, Thrice’s music has matured with the band members. Their fan base’s response to two new songs—“Blood On the Sand” and “Black Honey”—has been mostly favorable, but few will show up to the concerts not wanting to hear the songs they’ve already spun hundreds of times. For Kensrue, looking back on those first few albums can be like checking out his high school yearbook. “I can still connect with it, but in a very different sense than something I’m doing now or working on right now,” Kensrue says. “I listen to some stuff that we did back then, and it sounds

like we know what we’re doing. But it’s also like looking at a picture of an old haircut sometimes. It can seem funny now, even though we were serious back then.” Thrice will also be busting out some tunes that haven’t seen the light of day in a very long time. “We’re going to be playing a song on the upcoming tour that we haven’t played live in about 12 years,” Kensrue says. “We’re trying to pull out some songs that we’ve never played or that we haven’t played in a very long time, so people who came out last year—or even to the shows we did in 2011—will get something different. We don’t want people to feel like it’s a show they’ve seen already.” Mixing in the classics along with the new material may be the key to keeping their fans happy. With nine full-length releases spread over 18 years, there’s plenty to please in their catalog—which will likely be added to in upcoming years. “For all intents and purposes, we’re back as a full-time band,” Kensrue says. “We’re going to be touring with a more sustainable rhythm, so we’ll do about three weeks of touring, and then take a little time off. We’re not going to be burning ourselves out again.” As long as Thrice don’t decide to take years off again, their fans won’t mind giving them some time to recover between short tours. They can’t play everywhere all the time, after all, because to be everywhere is to be nowhere. LETTERS@OCWEEKLY.COM

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SCOTT FEINBLATT

Imbibe Like a Scribe

Why it’s okay for music journalists to drink and do drugs on the job

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rugs and alcohol have their legitimate uses, and while most of the time they are written about in the context of abuse (particularly drugs), there are some circumstances in which their use can be beneficial. Music journalism is a prime example. Here are five reasons (in no particular order) why it is okay for such writers to drink and do drugs on the job.

Free the beast within. While some people benefit from a little social lubricant, the same can be said for some journalists. After all, they’re not reporting on some boring town-hall meeting, trying to make a case about racism inherent in the system or describing the nuances of some frivolous lawsuit. They’re writing about a sensuous art form. By subduing their inhibitions, music reporters can allow themselves to relax with the crowd and experience a bit more of the feeling that musicians create. Furthermore, by perhaps imbibing a bit, their style may loosen up and enable them to sound more like a humorous art aficionado rather than a stuffy, hard-nosed analyst. When in Rome. Apart from writing reviews of shows, music journalists sometimes wind up backstage with the performers. They may be there to score an interview, or perhaps they already interviewed the performer and were invited backstage to say hello. In either case, if said performer offers the journalist a drink, then it’s appropriate to share a beer with them. While it’s usually permissible to opt for a soda or a bottle of water in such cases, other times may not lend themselves to such flexibility. For instance, if the lead singer of Bad Brains offers to share a joint with you, it would be poor etiquette to just say no. Do it for the Holy Trinity. Rock & roll journalists write about an industry and art form that goes hand-in-hand with the words “sex” and “drugs.” To exclude either of the two, in theory or practice, is simply

BY SCOTT FEINBLATT sacrilegious. That said, this category is one of the few that may allow exceptions. If we’re talking about teen pop, this argument is totally inappropriate; you wouldn’t want to drop acid or be coked out of your head and go to a Katy Perry concert, where you would be surrounded by 12-year-old girls. To do so would be a sin—not to mention that the visuals of pop shows designed for teenyboppers, experienced on hard drugs, would likely result in sensory overload and/or seizures. Acid logic needs an authoritarian voice.

The music of certain bands might not make much of an impression when you’re sober, but under the influence of alcohol or various substances, the vibe and the music might take on an elevated meaning or significance. For example, many people think that Grateful Dead music is jollygood background music, but if you listen to it while under the influence of a powerful hallucinogen, your doors of perception will likely open, and you will achieve a finer understanding of life, the universe and everything. Music journalists enabled with the appropriate substances can substantiate what might otherwise be deemed the mere delusional ravings of an impaired audience member. No one loves a narc. If you are in a houseful of outrageous slobbering maniacs, all piss-drunk or twisted out of their minds, you don’t want to be the only sober person. First off, if everyone in the audience is drunk, then their drink-spilling, vapid jabbering, vomiting ways are likely to result in your negative experience of an otherwise-great party environment. On the other hand, if everyone’s consciousness is altered in some other way, but yours is not, then you may come across like a narc. In either case, if a reporter is in the midst of a concert party zone and they don’t speak the common tongue (or party language), then they may not be able to report accurately on the event. LETTERS@OCWEEKLY.COM

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things I have to deal with every day are just such bullshit,” Paniagua says, reflecting on issues that affect Mexican-American communities in OC such as racism, debt and legal issues. “Growing up here, I think it’s odd that there are a lot of Mexicans, South American people, people from India and Vietnam. But my entire life I still felt that being Mexican was something weird.” He now takes pride in being a North Orange County punk and a Mexican-American, an amalgamation apparent on his black-denim jacket by the embroidered Zacatecas patch that’s permanently adhered adjacent to a Discharge patch and an English Dogs pin. Recently, No Side released their self-titled debut cassingle at Top Acid’s Fuck Trump! A Cinco De Mayo Pari at Diego’s in downtown Santa Ana. It features two of their most recently written tracks, wrapped up in matte sleeves with art by Trabajo Press’ Felipe Flores. The art is based on the true story of Gonzales fainting at Knott’s Berry Farm and being transported via wheelchair across the park in the middle of a cheerleading convention. No Side’s music reflects the frantic energy of growing up different in Orange County—complicated even in its shimmering moments, driven by deep angst, a gnawing survival aesthetic necessary to get by in the belly of the beast. “I like playing music with my friends, hanging out and drinking beers, and just enjoying myself,” Paniagua says, laughing. “The times that I can do this, it’s great, and the rest of the time, that makes me miserable. Helps me make good music, I guess.”

he members of No Side may look familiar. Over the past few years, Erik Varho and Jessica Gonzales have become Orange County hardcore’s rhythmic power couple, playing individually in bands such as Death Hymn Number Nine, Half Goon, Grinning Ghosts and YAAWN. But when paired with new bestie and former Palm Reader drummer Andy Paniagua, they create a dynamic indie-infused trio that shows off a more nuanced side of shredding. No Side is the brainchild of Paniagua, the band’s lead guitarist, vocalist and self-taught multi-instrumentalist. Most of the songs blossom in the hours between Paniagua’s early and late shifts working as a barista in North OC. “Andy is prolific,” Varho says. “We almost write a new song at every practice.” Paniagua is the first-generation punk son of Mexican parents in Orange County, which shapes his songwriting and trajectory. “I started listening to punk when I was 13,” he says. “Before that, I just listened to my parents’ music: regional Mexican music like norteño and my mom’s favorite cumbia, but that’s all I would listen to. . . . I don’t know anything [about popular music], and it’s kind of weird.” Even with Paniagua’s punk history and Varho and Gonzales’ hardcore vibes, No Side’s are anything but one-dimensional. Their sound is filled with smart melodies and sharp linear interplay between guitar and drums, with grooving bass that cradles frenetic, dark, engaging vocals and compositions. “We’re expressing our punk, angry selves in those other [bands],” Gonzales says. “But those extraneous influences that come out in No Side reflect what we also listen to and music we [share] with one another, so it makes perfect sense that we want to make something a little different.” Paniagua’s vocal style is snotty yet honest. His songs reflect everything from the mundane to the infuriating, as well as the struggles he and his hard-working family have endured, such as doing shitty jobs for scant wages. “A lot of the

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TUESDAY, MAY 24

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THURSDAY, MAY 26

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Over the years, I have consumed what I believe to be an average amount of porn for a 44-year-old hetero guy. I have never paid for it, and I am now facing a troubled conscience for that fact. I could obviously just subscribe to some site or other now, but that would benefit only one company and/or set of performers. Is there a Dan Savageapproved charity relating to the adult film industry to which I could donate? Seeks Penance And Needs Knowledge “Porn performers almost never get royalties for their scenes when they work for big studios,” said Conner Habib, a writer, activist and porn performer. “If you buy into the trickle-down theory of things, then more money for the studio should mean more money for the performers. If you don’t buy into that—and not everyone does—there are other options.” To get your money directly to the performers whose work you’re currently enjoying/stealing, SPANK, you can patronize smaller studios run by performers, book time with independent webcam models, and purchase porn created by performers on sites such as Clips4Sale.com. To atone for your years of freeloading, SPANK, you can and should make large donations to two organizations. “The Adult Performer Advocacy Committee [APAC, apac-usa.com] is the largest performer-based organization in the world, and its membership is made up entirely of performers,” said Habib. “Full disclosure: I’m the vice president, but no donation money goes to me or any board member. It all goes to the organization, which works to improve the working conditions, quality of life and safety of performers, as well as to fight anti-porn laws and stigma.” Habib also recommended donating money to the Sex Workers Outreach Project (swopusa.org). “This isn’t a porn-specific organization,” said Habib, “but it works to protect and fight for the rights of all sex workers. Since many performers are doing other forms of sex work, donations go a long way to help porn performers.” Habib will be hosting an online lecture/seminar about the upside of porn on June 5. His talk is titled “Pornworld: Why Pornography Is a Healthy Part of Our Culture,” and you can find out more about it by searching “pornworld” at Eventbrite.com. You can—and you should—follow Habib on Twitter: @ConnerHabib. I didn’t talk to my nearly-70-year-old dad for most of my 20s. Now that I’m trying to maintain relationships with my parents, I am struggling. My dad is the king of the overshare. He makes creepy comments about women who are about 30 to 40 years younger than him—including women who were kids when he met them but are now grown-ups. Not something I want to hear. I don’t think he is abusing anyone, just being creepy, but I desperately want him to stop with the inappropriate comments. He makes about one creepy comment per phone conversation. If he were a person at work, I would be able to stand up for myself and say, “That is not appropriate.” But when he says creepy stuff, Dan, I’m a deer in the headlights. I go silent, it’s awkward, and I keep hoping he’ll understand how weird he’s being. I would say something, but bringing up things that anger me causes him to act overly sorry, and that routine is annoying, too. I asked my mom (they divorced a long time ago), and she had no suggestions. She was just like, “Yeah, he’s like that.” Any suggestions on what to say? Seeking Help Regarding Unpleasant Guy “Dad! It creeps me out when you make comments about women you wanna fuck. I realize you’re a sexual person, and I honor that, and blah de blah blah

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blah. But these are thoughts you share with friends, Dad, not with your adult children. There’s no need to go into your oh-so-sorry routine, Dad, we just need to change the subject.” My husband and I have been married for 16 years. We have been polyamorous for the past five years. We are a bit mismatched sexually in many ways. Polyamory was our solution. For much of this time, my husband had a girlfriend. Before I go on, let me say that I adore my husband in all ways except sex. We are raising a child together and are a good fit otherwise. I no longer have any desire to have sex with my husband. Lots of men and women write in to complain about their partner’s low libido. This is not the case. My libido is fine; I just don’t want to have sex with my husband. Whenever we would have sex in the past, I would get anxious and try to avoid it. We each have our issues. He feels insecure and has trouble maintaining erections. I always felt desexualized—not by him, but when I was younger. Being a poly woman dating in my 40s has been incredibly empowering and sexy. But my husband’s experiences have been different. He is frustrated because it is hard for him to meet women, and his frustration is made worse by the fact that I don’t want sex with him either. When he had a girlfriend, our sex life wasn’t as much of an issue. What should I do? He’s unhappy; I’m frustrated. Neither of us wants to divorce. Should I force myself? Lady In Baltimore Isn’t Desiring Obligatory Sex It is a truth universally acknowledged—in the poly universe anyway—that a married poly woman will have an easier time finding sex partners than a married poly man. Some men in open/ poly relationships present themselves as dishonest cheaters rather than honest nonmonogamists because women would rather fuck a married man who’s cheating on his wife than a married man who isn’t cheating on his wife. Go figure. Anyway, LIBIDOS, the answer to your question—should you force yourself to fuck your husband?—depends on your answer to this question: How badly do you want to avoid divorce? Because if your husband can’t or won’t pretend to be cheating, LIBIDOS, and if women won’t fuck him because he’s in an open marriage, your refusal to fuck him could wind up incentivizing divorce. So to save your marriage, LIBIDOS, you might wanna fuck your husband once in a while. Forcing yourself to fuck someone is tiresome and dispiriting, I realize, but you can always close your eyes and think about someone you’d rather be fucking—a timetested stratagem employed successfully by millions of people in loving, stable and sexually enervating/ dead marriages. And since you’re off the hook when your husband has a girlfriend, LIBIDOS, you might wanna do everything you can to help him find a new one—a stratagem employed by tens of thousands of women in poly relationships. You don’t want your husband stewing alone at home while you’re out fucking your boyfriend(s), LIBIDOS, because that ups the odds of your resentful/unfucked husband asking you to close up your relationship again or for a divorce. So help him craft messages to women he contacts online, go to play parties and poly mixers with him, and vouch for him to women he’s interested in. But between girlfriends, LIBIDOS, you’ll probably wanna fuck him once in a while. Lube for you, Viagra for him, and pot for you both. Jillian Keenan, author of Sex With Shakespeare, on the Savage Lovecast: savagelovecast.com. Contact Dan via email at mail@savagelove.net, and follow him on Twitter: @fakedansavage.

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

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CONDITIONS: All advertisements are published upon the representation by the advertiser and/or agency that the agency and advertiser are authorized to publish the entire contents and subject matter thereof, that the contents are not unlawful, and do not infringe on the rights of any person or entity and that the agency and advertiser have obtained all necessary permission and releases. Upon the OC Weekly’s request, the agent or advertiser will produce all necessary permission and releases. In consideration of the publication of advertisements, the advertiser and agency will indemnify and save the OC Weekly harmless from and against any loss or expenses arising out of publication of such advertisements. The publisher reserves the right to revise, reject or omit without notice any advertisement at any time. The OC Weekly accepts no liability for it’s failure, for any cause, to insert an advertisement. Publication and placement of advertisements are not guaranteed. Liability for any error appearing in an advertisement is limited to the cost of the space actually occupied. No allowance, however, will be granted for an error that does not materially affect the value of an advertisement. To qualify for an adjustment, any error must be reported within 15 days of publication date. Credit for errors is limited to first insertion. Drawings, artwork and articles for reproduction are accepted only at the advertiser’s risk and should be clearly marked to facilitate their return. The OC Weekly reserves the right to revise its advertising rates at any time. Announcements of an increase shall be made four weeks in advance to contract advertisers. No verbal agreement altering the rates and/or the terms of this rate card shall be recognized.

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o classifieds

SAFE ACCESS DIRECTORY

1 ST LICENSED MEDICAL MARIJUANA DISPENSARY IN ORANGE COUNTY

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