August 11, 2016 – OC Weekly by Duncan McIntosh Company

Snuff : The Movie? | Meet Hip-Hop’s First Beach Boy | Zuckerberg, Zuckerberg, Zuckerberg! AUGUST 12-18, 2016 | VOLUME 21 | NUMBER 50

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Sawdust Memories

Fifty years later, OC’s original DIY art festival is still going strong

e h T

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up front

The County

06 | MOXLEY CONFIDENTIAL |

Who’s really funding Loretta Sanchez’s campaign? By R. Scott Moxley 07 | ¡ASK A MEXICAN! | Educating

gabachos everywhere. By Gustavo Arellano 07 | HEY, YOU! | Running from a skin-deep soul. By Anonymous

Feature

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09 | CULTURE | Fifty years in,

Laguna Beach’s Sawdust Festival is still going strong. By Dion Wright

in back

Calendar

16 | EVENTS | Things to do while

avoiding the Zika virus.

Food

FULLERTON: 215 N. Harbor Blvd. • 714-870-6855 COSTA MESA (The LAB): 2930 Bristol St. • 714-825-0 LONG BEACH: 4608 E. 2nd St. •619 562-433-1991 BUFFALOEXCHANGE.COM •

23 | LONG BEACH LUNCH | GD Bro

Burger is Signal Hill’s best kept secret. By Sarah Bennett

Film

24 | REVIEW | Snuff will make you squirm—and then some. Plus, who are these Little Men? By Matt Coker 25 | SPECIAL SCREENINGS | Get off your couch!

Culture

26 | ART | Coastline Art Gallery’s

Mark Zuckerberg exhibit isn’t exactly fan art. By Dave Barton 26 | TRENDZILLA | Essential oils for your dog. By Aimee Murillo

Music

also

33 | CONCERT GUIDE 34 | SAVAGE LOVE | By Dan Savage

on the cover Illustration by Rob Dobi Design by Dustin Ames

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

ART DIRECTOR Dustin Ames CONTRIBUTING ARTISTS AlGae, Bob Aul, Jared Boggess, Mark Dancey, Rob Dobi, Jeff Drew, Scott Feinblatt, Greg Houston, Cameron K. Lewis, Bill Mayer, Luke McGarry, Kevin McVeigh, Thomas Pitilli, Joe Rocco, Julio Salgado PHOTOGRAPHERS Bridget Arias, Ed Carrasco, Brian Erzen, Scott Feinblatt, Brian Feinzimer, John Gilhooley, Eric Hood, Nick Iverson, Allix Johnson, Matt Kollar, Isaac Larios, Danny Liao, Shane Lopes, Fabian Ortiz, Jeanne Rice, Rickett & Sones, Josué Rivas, Eran Ryan, Sugarwolf, Matt Ulfelder, Miguel Vasconcellos, Christopher Victorio, William Vo, Kevin Warn, Micah Wright EDITORIAL ART INTERNS Nick Bockelman, Mercedes Del Real

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Who’s Really Funding Loretta Sanchez’s Campaign? Despite filings by the congresswoman, an unlikely donor denies it’s him

eading into the November general election to replace retiring U.S. Senator Barbara Boxer, Orange County’s Loretta Sanchez faces an almost-impossible uphill battle. California Attorney General Kamala Harris, the more progressive frontrunner, trounced Sanchez during the June primary and increases her massive fund-raising advantage on a daily basis. But has the stress of chasing Harris prompted the Blue Dog Democrat’s campaign to botch a federal-disclosure report? That question came to mind when I contacted an individual officially listed as a $2,700 CONFIDENTIAL contributor to the Loretta for Senate campaign: Mark Puente. According to a July quarterly report filed with the Federal Election R SCOTT Commission (FEC) in Washington, MOXLEY D.C., Sanchez’s campaign claims Puente gave the money on May 31, listed his employment with the Baltimore Sun and reported his occupation as investigative reporter. The entry caught my eye because Puente is not only an investigative reporter, but he’s also one of the nation’s best journalistic hell-raisers with a long list of honors, including three Pulitzer Prize nominations while capturing the Institute on Political Journalism’s Clark Mollenhoff Award for Excellence in Investigative Report-

FEC FILING, ADDRESS REDACTED

PRETTY PLEASE, SAY YOU GAVE ME MONEY

ocweekly.com | | OCWEEKLY.COM

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moxley

» .

CHRIS VICTORIO

last person to get it.” Ashleigh Aitken, treasurer for Sanchez’s campaign and the person who officially vouches for the accuracy of the disclosure reports, directed me to Luis Vizcaino, the campaign’s spokesman. Vizcaino, a 2008 California communications director for Hillary Clinton’s 2008 presidential effort, said he was unaware of the issue and will investigate. Katharine Borst, the committee’s custodian of record, couldn’t be reached; the telephone number she listed with the FEC has been disconnected. Aitken is the daughter of high-profile Orange County lawyer Wylie Aitken, the mastermind behind Sanchez’s historic, 1996 upset of Congressman Robert K. Dornan (R-Garden Grove). On Aug. 9, Vizcaino issued this statement to the Weekly, “Mr. Mark Puente who contributed to the campaign is a different Mark Puente [than] who was listed. We have made the correction, and the filing will be amended.” Case closed? Perhaps. Records support Vizcaino’s representation that a Mark Puente, this one a health-care organization’s CEO, is tied to the area. But the mess raises two questions: What caused the bizarre mix-up? After all, Puente the journalist has no connection whatsoever to the address or the Sanchez campaign. And what else can’t be trusted on Sanchez’s disclosure reports? RSCOTTMOXLEY@OCWEEKLY.COM

ing. Like myself, I assumed he might not share his income with a well-paid, 10-term member of Congress. “I have no idea who Loretta is and

the $2,700 you’re talking about,” said Puente, who left the Sun for the Tampa Bay Times. “If I had $2,700 I wanted to throw away, a politician would be the

aREAD MORE»ONLINE WWW.OCWEEKLY.COM/NEWS

¡ask a mexican!» » GUSTAVO ARELLANO DEAR MEXICAN: I’m a gabacho living in a barrio. It took a year after moving in (we’ve been here for five now) to grow accustomed to the bicycle-horn-honking guys selling churros out of grocery carts, the tamale lady selling from a stroller, the couple selling new clothes out of a panel van, the fruit/vegetable guy who really just sells crappy chips from the back of a bobtail, the every-other-day yard sales. Don’t get me wrong, I love the “micro-economics” of it all; it’s kind of like living at the ballpark. If you sit there long enough, somebody will show up with something to eat. I’ve stopped jumping every time I hear the “Tijuana doorbell.” A LOT of trash gets thrown into the street and my yard, much of it from the crappy chips the aforementioned fruit guy sells. The trash and the honking still piss me off, but I’m used to it. The cholos, copters and potholes—old news. What I just can’t get my head around is this: Why do so many Mexicans— men and women—sit in their cars for hours at a time? Or start the car, then walk away for a half-hour? The car’s just sitting there—ON— and nobody’s around. The sitting around might be attributable to not having any privacy at home—I get that. But starting your car and just sitting there or walking away? ¿Qué? Señor Gabacho Con Questiones y Mariscos DEAR MR. GABACHO WITH QUESTIONS AND SEAFOOD: Do hipsters call gunshots “Tijuana doorbells”? Cute. But ever heard of carburetors? That’s what real cars have in their engines, and you need to warm up said carros in the morning in order for them to run. Mexicans have always preferred real ranflas, so even when we eventually get weak-ass fuel-injection cars, we still warm up cars as a form of habit. And while this might seem like a weak answer, it’s based on

precedent: Look at that classic Mexican habit of not flushing away toilet paper full of caca. DEAR MEXICAN: I’m a 64-year-old white guy. I’m one of your readers and a Facebook amigo. I’m a huge fan of Tejano music, which led me to appreciating Mexican music. Then, of course, there’s Los Lobos and Los Lonely Boys, who can—and do—play anything. Then there’s that whole Depression/World War II diaspora that had a hand in the Oakland/Bay Area horn-funk bands of the 1960s and ’70s, as well as the whole damn Escovedo family up there in Northern California. Boy, did I get off-base! My question is: Am I a gabacho? Green Goes the Gringos DEAR GABACHO: Did you ever hear that joke Chris Rock said about black people and “niggas”? That’s how it is with white people and gabachos. The Mexican frequently gets accused by gabachos of being racist toward white people, when that’s not the case at all. Some of my best friends are white people—hell, one just installed a door for me the other day, and I even let him use my bathroom! This column takes on the gabachos of the United States, though. It’s gabachos who think Mexicans are destroying this country, gabachos who want to elect Trump yet profess to enjoying Mexican food. White people hate gabachos as much as Mexicans, which is why they don’t have a problem with the Reconquista. Gabachos, on the other hand? Better stock up on the Tapatío as a peace offering ’cause you’re gonna have to make nice with us muy soon. So you, sir, ain’t a gabacho; you’re just a plain ol’ gringo. ¡Buenos días! ASK THE MEXICAN at themexican@askamexican.net, be his fan on Facebook, follow him on Twitter, or ask him a video question at youtube.com/askamexicano!

» ANONYMOUS Skin-Deep Soul

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

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Egoss were wer eree wounded woun wo nd deed among am mon ng some so ome m touchy tou ouch ch chy hy Egos peop pe o le op le.. Angry Angr An g y “rejects” gr “rrej ejec ects ec cts ts”” decided deci de cide ci deed to o start sta t rrtt people. an anot not othe herr festival he f st fe s iv i al iin n to town wn wn, n, on o ne wi ith thou o t a ju ou jjury. ury ryy. ry. another town, one without Th he rebels rebe re bels be ls set ls set up up shop shop in in 1965 1 65 19 5 on on a vacant vvaaca c ntt lot lot The n aarr the ne the library. lib ibra rary ra ry.. They ry They ey ran ran their the heir irr art artt show sho ow durdurrnear ingg the in th he same saame me weeks wee eeks kss that tha hatt the th he Festival Feest s iv ival all o rtss ing off Ar Arts was on. wa o . The on Th he new neew show n sh how ow did did not not happen hap appe pen the pe pen th he was next year. yea ear. r. Raucous Rau uco c us u protests, pro rote t st te sts, sstaged taageed by b o ut-ut next outraaggeed losers, rage lo lose ose sers rs,, surrounded rs ssu urr rrou o nd ou n ed e the the h jurying jurrying yiingg process pro r ce c ss raged at the the Festival Fes e ttiiva val al of o A rtts in n 11966 9 6 an 96 and d 19 1967 677, as 67, a tthe h he at Arts 1967, worl wo rld rl d was was dealing wa deal de allin ng with with wi h the the Vietnam Vie ietn nam m War War and and nd world fo fl ow wer er power. power ow wer e. flower Frran ank k Tauriello Taur Ta u iieell llo o and and Marilyn Maariilyyn Za Mari app p, ma m arrFrank Zapp, marriied pro pro ro painters, pai aint ntter n ers, s, were s, werre the t e first th firs fi rsst iin rst ndiivviidu dual dual as ried individuals t build bui uild ild d a practical praact c ic ical all alternative altter erna naati tive ve art art show sho ow in n to L gu La guna n . They na T ey Th ey were wer e e not n t timid no timid ti miid about abou ab abou o t expressex xprresssLaguna.

ing their opinions. Tauriello was a mild man with big, soulful eyes and tons of talent, while Zapp was a wide-mouthed, rubber-faced whiner who was more a commercial artist. Zapp attacked the Festival of Arts’ jurying system by locking horns with Mayor William D. Martin, who was sitting on the festival’s board of directors. Her argument was vetoed unanimously. In the loud chaos that followed, the police had to be called. Zapp and Tauriello then tried to change the nature of the City Council by running the soft-spoken and bemused Tauriello as a candidate. He didn’t stand a chance, but his principles influenced several others. Two sympathetic men were elected, even though Tauriello wasn’t.

Continued on Page 10 »

orr tthe he ccantankerous he aan nta t artists of Laguna Beac Be acch in the 1960s, the Festival of Beach A Ar ts w a the only game in town. Arts was A Ar w grow ow Artt wa wass gr growing more abstract in the w rl wo r d outside outs ou ttssid of Laguna Beach, but it world prog pr ogre og ress re sssed m progressed more slowly within the Fest va ti vall of Arts, Art r s, s, and a a lot of insulted artists tival ld ’tt gett in. i couldn’t When I first showed there in 1959, the makers of abstract or unusual art were grouped in one aisle, known as “Red Alley.” As more artists joined, the ratio of those who applied to the Festival of Arts and those who were accepted became wider. The juries had better and better selections from which to put together the show.

M ON TH X X–X X , 2014

By Dion Wright

ILLUSTRATION BY ROB DOBI

Fifty years later, OC’s original DIY art festival is still going strong

| OCWEEKLY.COM |

Sawdust Memories

Sawdust Memories » FROM PAGE 9

His campaign manager was a sexy little bulldog painter from Texas, Dolores Ferrell, who approached me in the late spring of 1968. I had a reputation for promoting experimental and psychedelic art, and I knew where those artists were who were doing more radical work than could be seen at the Festival of Arts. Ferrell foretold a completely uncensored forum for creative statements, probably knowing that I’d had my censorship issues with the Festival of Arts in the past: In 1964, I had my metal sculpture Medusa in the festival; there was an outcry because it was nude and, worse, it had little pubic snakes to match the big pit vipers growing out of her head. (I had left in outrage over what I saw as bourgeois values, not to return until 10 years later, when the board invited me to be on the jury.) “Bring your group and come join our new festival,” Ferrell told me in ’68. She ran her picture in the paper with the announcement of another summer exhibition, a call-to-arms to other rejects. This article was read by Edmund Van Deusen, a most successful business man, both chubby and steely, who wore his curly hair too long for the Rotary Club and too short for a hippie. Van Deusen was a restless seeker of challenges and expanding his horizons toward becoming a Renaissance man. His interest in an alternative art festival was aroused, as he was a newly hatched sculptor looking for a forum. (He also became interested in Ferrell herself at this time.) Van Deusen had made his fortune manufacturing two-part epoxy resVAN DEUSEN AT WORK

SAWDUST FESTIVAL CIRCA 1970S

ins, brand-new at the time, and was intent on using the stuff as a sculpture medium for the creation of large naked girls wearing boots. When Van Deusen met Ferrell, he had just succeeded in effecting the construction of the Laguna Moulton Playhouse. Now he was ready for a new project. He had helped to convince the city to appropriate the land, arguing it was the only possible centrally located lot available—even though the Festival of Arts had earmarked the same land for its own development. Two years later, Van Deusen infuriated the Festival of Arts by requesting licensing of the new Sawdust Festival, arguing that the Festival of Arts had no room to expand. The name of the Sawdust Festival originates with the Festival of Arts, which until about 1963 had sawdust covering the grounds and wooden booths. Then they put down the concrete and installed cement and terrazzo pillars to be hubs for booth panels. The new festival’s name was a nostalgic nod to less corporate times. Early in 1968, Van Deusen, Tauriello, Zapp and Ferrell agreed with PHOTOS BY DOUG MILLER my idea of bringing to

Laguna a light show, there being in America just then an explosion of development in experimental projection devices. Such a show was also immediately identifiable as “hippie psychedelic.” I had access to a variety of light machines and their creators, which was one of the reasons Van Deusen and company decided to approach me—not to mention they were suddenly in need of more artist bodies to fill the large property. I called on every experimental artist I could think of, all of whom signed up. The momentum was building for a snail-shaped performing-arts pavilion designed by J. Lamont Langworthy, with a light show to be presented therein. It was arranged that a preview of our show would be offered to the City Council. The burden of this event was to be carried by John Forkner’s holographic light organ (later featured in the American Pavilion at the Tokyo World’s Fair), Richard Aldcroft’s projection kaleidoscope (later bought by the Revell Plastics Co.) and a bank of Carousel slide projectors with a multiported dissolve/resolve unit. The Carousel trays were to be packed with slides that would come up in an unorganized order. Only part the council deigned to arrive; they were treated to a parade of huge images on the concrete block wall that included close-ups of natural childbirth. Somehow, that tray of slides had been mistakenly inserted into the program. The council members fled in indignation, muttering, “I told you so!”

n the early ’70s, the Sawdust Festival was becoming adolescent. It had a founding philosophy of free expression, and it had responsible leadership within as little structure as possible. In the beginning, there were

only two rules, which are still the bedrock of the Sawdust Festival’s constitution: (1) You had to live in Laguna Beach, and (2) whatever under the sun you presented to the public, you had to make it yourself. Because of such an open-door format, it was assumed the most banal and uninformed objects were as valid as a painting by a genius. Whatever the Sawdust Festival was becoming, it was very seductive to the public, and the crowds kept growing. People came for an adventure among the artists, and they got one. Van Deusen became president of a languishing enterprise known as the Winter Festival around the time it was renamed the Laguna Beach Craft Guild. He moved it from the Festival of Arts to the old Main Beach boardwalk, where it finally had a great year. But the merchants there protested to the city that the Craft Guild was hurting their business. Mayor Richard Goldberg wondered why the show was not done on Forest Avenue, where the shops were mostly closed on Sunday. Van Deusen pounced on this remark and reported it to the press, thereby forcing its implementation. Van Deusen was tired of micromanaging chief executives, so he decided to install an old-fashioned political boss who would be steady, unimaginative, reliable and malleable. He picked for the job the mechanic husband of a Guild member, Tom Leslie, who looked like an Irish bartender, with a bully-boy physique, Wyatt Earp eyes and a mustache you could use to sweep a gymnasium. Van Deusen told Leslie he should learn some kind of craft, so he could step into the Craft Guild presidency with his strong personality. Thus Leslie began making brass jewelry. When Van

» CONTINUED ON PAGE 12

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Sawdust Memories

» FROM PAGE 10

Deusen put the membership of the Craft Guild into the Sawdust Festival, Leslie then became available for Van Deusen to establish as a resident ward-heeler president of that show also. Leslie steadily began to groom yes-men for the board, establishing a political machine that lasted for a decade. Was it necessary to the survival of the Sawdust Festival to put a non-creative junta in power? In retrospect, we can see that control fell into the hands of a few people. It was unfortunate that those people were the worst artists in the show. There was a lack of artistic leadership, as well as a tendency to justify amateurism on the basis of the non-juried system. Some of the board members thought it okay to do bad work because they couldn’t tell the difference. The good news is the Sawdust Festival survived. The bad news is that it followed weak aesthetic standards. Leslie was a benevolent despot, a tough opportunist and an accessible godfather. All those characterizations make a point. He changed over time, as did perceptions of him. In the beginning, he was less looming than he became later. His mustache told whether remarks were acceptable or not. If angry, Leslie’s mustache would elevate into attack position. He puffed and clenched his jowls. His veins popped out. He once told young potter Jorg Dubin, “You’ll never get in any show in Laguna Beach that I have anything to do with.” Twelve years later, Dubin had Leslie’s job. By 1975, Tauriello and Zapp had left the Sawdust Festival and were trying to start a new show in Dana Point. They sent out an overripe promo, stating, “We will move into the future under the divine guidance of our spiritual leader, Marilyn Zapp.” Nothing happened. Meanwhile, Van Deusen was advancing his career as a sculptor, working in colored polyester resins. He was pressing the envelope of free expression to the utmost limits. There seemed to be far less outrage than one might have expected, perhaps to Van Deusen’s chagrin as a would-be agent provocateur. But Van Deusen was getting bored. His intellect ate up experience like a Harvester. After a years-long affair with Ferrell faltered, he decided to hire a wife rather than marry one. Following some initial auditioning, he decided on Janice Costello, who looked remarkably like a female version of himself. They commenced their unusual arrangement, which worked so well they wrote a book about it called Contract Cohabitation. They made enough money on that endeavor that Costello used her share to buy an island off the coast of Honduras, where she may be still. Van Deusen eventually died of a withering disease that had him wheelchairbound for the last decade of his life. It was a physical ailment that did not affect his mind, which Van Deusen used

sharply against a world that never lived up to his expectations.

he Sawdust Festival’s perimeter fence is the face with which it greets the public every year. But from 1968 to 1971, there was no such barrier. Between 1971 and 1972, several changes occurred. A building contractor, Bob Rider, known to some as “Builder Bob,” was hired in 1971 to install a fence around the chemical toilets. Rider was a compact, tan man with shiny, straight black hair, merry eyes, and smile wrinkles. At that time, Leslie was in his first year on the board. With overhead increasing, it was decided to charge a 25-cent admission to the 1972 show. In order to get the two bits, another fence needed to be built. Rider was hired to build that structure, which he made from redwood. Rider came into the show using his phenomenal problem-solving skills to advise exhibitors on their building problems. The festival wasn’t established enough then to get a loan from a bank, as Sawdust never had any money in those days, so Rider became its financial underwriter and construction expert. He and his crew, led by Roy Cameron (“The Fastest Hammer in the West”), built the show on the cuff for years, waiting weeks for receipts to be paid. Rider became an exhibitor himself, his best booth being a miniaturized solar house. Rider was still in the show in 1977, but as a troubleshooter. He had evolved into the problem-solver with regard to special problems and construction knots among the exhibitors. Rider continued to give encyclopedic building expertise as graciously as an old uncle. In 1977, the Sawdust Festival leased the property next-door, now home to Seven Degrees, for the summer. In the leased area, Leslie asked Rider, “Why don’t you build a platform over against the wall for performers?” Whatever Leslie may have anticipated, what he got, almost instantly, was a fullblown stage, complete with wings and a proscenium arch. The stage proved to be a hit with performers, a convenience for board meetings, and a good place to hold Sunday fashion shows. The public loved the stage, but Leslie was frightened that something so big would violate the permit with the city by defining the Sawdust Festival as an entertainment venue. He also feared having to listen to moaning from exhibitors, which is exactly what happened. Those near the stage complained that it interfered with their business, and elsewhere, fears were expressed that the stage would open the door once again to the dreaded light show.

y 1983, Laguna Beach was feeling the influence of the Women’s Liberation Movement. This was reflected by a majority of ladies who won seats on the Sawdust Festival board. Their main qualification as board members seemed to be that they were not men.

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against Rider. The emotional climate in the show was ripe for a scapegoat; after having been convinced of how they had been bilked, the reactionary element of the exhibitor members rushed to the opposite extreme, and they were ready to see malefactors in every plastic trash can. The bills kept on coming, and Rider continued forwarding them to the board. When he’d submitted the same bill twice, his enemies pounced on it and began accusing Rider of double-billing. They did not say how they had generated the second bill themselves by failing to pay the first one. The board called on Rider to refute the accusations against him, foremost of which was that he constructed the deck and concession buildings without its approval. When he asserted that the president had okayed the work, Dubin claimed he hadn’t. Witness testimony to the contrary carried no weight because they were seen as being Rider’s friends and therefore lacked credibility. The outstanding balance owed Rider was never paid. Rider bore the weight of that libelous shadow. More than 20 years later, with the Sawdust Festival under saner and more sober administration, and with Rider suffering severely from the onset of Parkinson’s Disease, the show called on him again—and he answered the call. The Sawdust Festival had installed a permanent structure for use by glass-blowers, but in the 11th hour, it was discovered that the gas feeds didn’t function. The festival needed help—and fast. Who had always saved them over the years? Yup, Rider. He saw the problem and supervised the efficient fix. Then he hung around a little, looking over the developments of two decades, which were piecemeal. The “temporary” façade that had replaced the once-annually renewed one reflected the idea of a

311 & MATISYAHU SAT AUG 13

In the wake of the coup, consternation reigned among the irresponsible, the uninformed, and the members who were frightened and confused by the sudden disappearance of what they had come to regard as normal. A reactionary faction started up. People who had been content to be ripped off so long as the boat did not rock, now wanted revenge for having been cast rudely into the choppy waters of having to think for themselves. This is when Dubin, then 26 years old, in the flux of chaotic domestic arrangements and publicly conducting an affair on the Sawdust grounds, took the helm. He was not only an artistic genius, but he was also socially irascible. His attitudes were complicated by his youth and his testosterone overload. He was determined to be the “Chief of the Show” in every way, which led to various pointless power plays. The older guys shook their heads and humored him. One day, fellow founding members “Rodeo” Bob Foster and I sat in as Rider asked Dubin what he thought about building a major entertainment deck in front of the waterfall. Dubin immediately gave Rider the goahead. A day or so later, Foster and I witnessed Dubin endorsing building the new concession structures up to code so they could later accommodate a second story. Rider’s crew accomplished both of these projects efficiently and in time for the opening of the show, but it wasn’t cheap. This construction soon returned, in the hands of his female enemies, as a weapon to hurt Rider. Construction on Sawdust ’83 moved ahead, this time with Rider and his crew building a tall, wooden quasi-Transamerica-style tower that rose high over the gate. Rider had to contend constantly with the attitudes of Dubin, who apparently wanted all spotlights to shine on him alone. He was forever coming on like a rival bull. An excuse developed to move decisively

DOUG MILLER

CHRIS YOUNG FRI AUG 12

Sawdust Memories

WRIGHT

» FROM PAGE 13

theme park, a cartoonesque superstructure that has remained in place for almost 30 years, despite its having been presented as a five-year solution. Management now turns aside requests for an aesthetic update of the show’s look by claiming lack of funds. (Such a thing never kept anyone from being creative in the old days.) Rider took it all in and conceived a master plan for the development of the show. Nobody has ever shown any interest in looking at that plan. In 2003, Rider died, unredeemed but mourned by all who knew him—except the mean-spirited and ignorant. The chaos that destroyed Rider was the watershed moment in the Sawdust Festival’s history. The volunteer board hired a manager, commencing its long slide into restless bureaucracy. The practical began to dominate the visionary. The art venue shifted toward an entertainment venue. The novelty of artistic experiences, while remaining as a rationale for the show, receded in favor of bands and beer. The Sawdust Festival has turned the corner of waning receipts and diminishing attendance in recent years. The artists still determine the nature of the show, within the California Corporate Code. Thanks to Van Deusen’s foresight, the show owns the property upon which it

SummHASerARRIVED!

sits. Van Deusen had made a sweet deal to buy the place, paying more than it was worth. “Why not?” he had asked. “After all, it’s found money.” The Sawdust artists also continue to have free expression. The balance between the commercial and the creative continues to shift, and it’s up to the public to do the endorsement. The greatest social value of the Sawdust Festival is its nature as a recurring village, where members of the show continue their twomonth-long summer relationships over five decades. While everything else might change in life, for the exhibitors, the Sawdust Festival represents continuity. Growing up has proved to be an evolution from anarchy to corporation. The onetime semi-criminal lunatic fringe has become part of the establishment, and the future will reveal how much real art may still be in it. Still, 50 years after its founding, the festival remains a gift to artists, one of a kind in its potential for expressive freedom, and everybody knows it’s fun. LETTERS@OCWEEKLY.COM

DOUG MILLER

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Artist and sculptor Dion Wright is a founding member of the Sawdust Festival, which celebrates its 50th anniversary this year. At the city’s March 5 Patriot’s Day parade, he was celebrated as Laguna Beach’s Artist of the Year. He is also the author of five books, most recently including his memoir, Tempus Fugitive: Art, Beatniks, Sex, Hippies, Art Festivals, Mind Expansion, Mortality, available via www.tempusfugitivebook.com.

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[CRAFTS]

[CONCERT]

Simply Bedazzling

Dance This Mess

Bead & Design Show

wednesday›

UM, ISN’T THAT MY TOP?

Most of us probably moved on from beads after our grade-school days, when everyone had shiny, colorful Best Friends Forever bracelets chained to our wrists, but trust us when we say it’s still a passion for multitudes of crafters and artisans. See for yourself at the Bead & Design Show, an annual, multicity convention at which every exhibitor list is curated and examined by a jury. More than 275 exhibitors who work in patterns, art jewelry, ceramics, glass, textiles, fiber arts, gemstones, enameling and other decorative arts will showcase their merchandise, which was probably stitched, etched, glued or welded together to painstaking and passionate perfection. With workshops and demonstrations on the roster as well, these hardcore artisans will blow you away with their exquisite handmade goods. Bead & Design Show at Hilton Orange County, 3050 Bristol St., Costa Mesa, (714) 5407000; www.beadanddesign.com. 10 a.m.; also Sat.-Sun. $8-$10. —AIMEE MURILLO

The B-52s and the Aquabats

Everybody will be moving and grooving to the infectious energy coming out of the Pacific Amphitheatre, where two iconic party bands, the B-52s and the Aquabats, will be performing a slew of their partyrock hits. New-wave trio the B-52s have been sending audiences into a frenzy since 1976 and show little sign of stopping any time soon (although we do miss the big hair on singers Kate Pierson and Cindy Wilson), while effervescent ska/pop-punk combo the Aquabats will be kicking up a storm in their memorable blue costumes and masks. Whether you’re a fan of one band or the other, there’s no denying you’ll be in a dance trance throughout the entirety of the concert, as this humble venue becomes a “Love Shack.” The B-52s and the Aquabats at Pacific Amphitheatre, 100 Fair Dr., Costa Mesa, (714) 708-1500; www.pacamp.com. 7:30 p.m. $20-$50. —AIMEE MURILLO

[FILM]

AS YOU WISH

The Princess Bride

The Long Beach Community Foundation Bixby Knolls/Cal Heights Charitable Endowment Fund and the Bixby Knolls Business Improvement Association present a free screening of one of the MORE most beloved ONLINE family films OCWEEKLY.COM of all time: director Rob Reiner’s 1987 cult classic, The Princess Bride. Starring Robin Wright, Cary Elwes, Mandy Patinkin, and standouts Andre the Giant and Billy Crystal, this quirky, romantic swashbuckler brilliantly spins the archetypal fairy tale into a fresh, hilarious hybrid of legend and modernity. Catch it under the stars this weekend because being absent would be inconceivable! The Princess Bride at Expo Arts Center, 4321 Atlantic Ave., Long Beach; www.facebook.com/ExpoArtsCenter. 7 p.m. Free. —SR DAVIES

[FESTIVAL]

Rock This Town SoCal Hoedown

It’s been years since the Hootenanny festival raised hell in the wilderness of Oak Canyon Ranch, so those tatted-up greasers and pinup queens of Orange County who’ve been feeling upright-bass withdrawals will find comfort in seeing the likes of Wanda Jackson, Nekromantix, Slim Jim Phantom, Shooter Jennings and Cadillac Tramps invade the streets of Downtown SanTana for the SoCal Hoedown. Too big to confine to any one venue, this fest—featuring a souped-up vintage car show, a lowbrow art exhibit, a vendor bazaar and pinup pageant—spreads four stages’ worth of shows among various indoor and outdoor venues. How’s that for a summer sensation? SoCal Hoedown at Fourth and French streets, Santa Ana, (657) 2042944; www.socalhoedown.com. Noon. $25-$55; kids aged 10 and younger, free. —AIMEE MURILLO

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[THEATER]

Tale As Old as Time . . . Beauty and the Beast

We all have our opinions on Disney princesses: They’re either empowering for women or detrimental in their unattainable body sizes and unreasonably luxurious hair. No matter your outlook on the matter, it’s impossible to not enjoy singing along to the catchy songs that stream throughout the animated films. In the theatrical production of Beauty and

the Beast put on by South Coast Repertory’s Summer Players—comprised of students who audition for their roles after at least a year in the Theatre Conservatory—the cast and crew strive to showcase princess Belle as more than just your typical Disney damsel in distress; here, she’s a bookish heroine with goals and insight who sees beyond physical beastliness to the character within. Beauty and the Beast at South Coast Repertory, 655 Town Center Dr., Costa Mesa, (714) 708-5555; www.scr.org. 1 p.m.; also Fri.-Sat. $15-$19. —AMANDA PARSONS

1 2- 1 8, 20 16

Alabama Shakes

Following the success of their Grammywinning album, Sound & Color, Alabama Shakes took their soul-entwined brand of southern blues rock to the masses and managed to convert many music listeners. On the band’s current tour, Brittany Howard and company are playing to crowds far beyond what they could have expected

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VAJJ (the initials of the people in the band) make punk rock like it was year one of punk rock: grab the instrument, write the song, ignore the rules and have tons of fun. There’s a lot going on in their sort-of recent Sadie Hawkins EP: Redd Kross back when they were Red Cross, the first two Bikini Kill EPs, maybe some L7, even a little Rose Melberg’s K Records-style pop. This is the stuff house parties and generator shows are made of—but a store like Beatnik Bandito is a good place for VAJJ, too. VAJJ, Seaweed Party, Fox Bodies and Hollow Ran at Beatnik Bandito, 417 N. Broadway, Santa Ana, (714) 835-3313; beatnikbandito.com. 8 p.m. $5. —CHRIS ZIEGLER

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Future People

when they formed in Athens, Alabama, seven years ago. Powered by Howard’s soulful vocals, they have become a crossover favorite to soul revivalists and alternative fans, which isn’t easy. Nonetheless, as the band’s current album and tour cycle slows down, there’s no doubt that not only are Alabama Shakes a band on the rise, but they’re also on the cusp of being superstars. Alabama Shakes at Irvine Meadows Amphitheatre, 8808 Irvine Center Dr., Irvine, (949) 855-8095; www.irvineamp. com. 7:30 p.m. $35-$65. —DANIEL KOHN

mon/08/15

SAMMY HAGAR

[CONCERT]

ALEJANDRA GUZMAN

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[SCIENCE]

CAN YOU DIG IT? Extreme Dinosaurs

What’s cooler than a dinosaur exhibit? An Extreme Dinosaurs exhibit, now open at the Discovery Cube. From life-sized animatronic dinosaurs—some of which can be controlled by guests—to real fossils and full-sized skeleton replicas, there’ll be no shortage of prehistoric entertainment for everyone.The family-friendly exhibit is sure to be as fun as it is educational, with plenty of hands-on learning, including a children’s “dinosaur dig.” Instead of letting Jurassic World 2 ruin your paleontological dreams, live them out as you visit some of the most interesting and diverse primitive critters. Extreme Dinosaurs at Discovery Cube, 2500 N. Main St., Santa Ana, (714) 5422823; www.discoverycube.org. 10 a.m. Through Sept. 5. $12.95-$17.95; ages 2 and younger, free. –JOSH CHESLER

wed/08/17

thu/08/18

[THEATER]

Suspicious Minds Doubt

John Patrick Shanley’s Pulitzer Prize- and Tony Award-winning 2004 modern classic tells the story of Sister Aloysius, a Catholic school principal who seems to find evidence of child molestation at the hands of a priest, Father Flynn. Set in 1964, Doubt is a compelling psychological T H I S CO D E drama that leaves audiTO DOWNLOAD THE FREE ences debating the eviOCWEEKLY dence, and yet, the point IPHONE/ANDROID APP FOR MORE EVENTS OR VISIT isn’t guilt or innocence, ocweekly.com but rather the elusive nature of truth, as well as the fine line between ambiguity and certainty—and the consequences of doubt. International City Theatre presents Doubt, A Parable at Beverly O’Neill Theater, 300 E. Ocean Blvd., Long Beach, (562) 436-6410; www.longbeachcc.com. 8 p.m. Through Sept. 2. $34-$54. —SR DAVIES

SCAN

[CONCERT]

HERE THEY COME

—AIMEE MURILLO

GANGSTER’S PARADISE

White Heat

You can have your Marlon Brandos, James Deans and Clint Eastwoods— James Cagney was one of the first cinematic badasses decades before Brando Method-acted his way through On the Waterfront. Cagney was a well-rounded actor, but he will always be remembered for his many turns as a cunning gangster in Depression-era talkies, most notably Raoul Walsh’s White Heat. As Cody Jarrett, Cagney plays a psychotic, sadistic criminal planning a heist after a prison break. While any actor could have easily been forgotten in the role, Cagney fleshes out his sinister character with improvised lines and raw acting abilities that landed the film on numerous must-see lists and the U.S. Library of Congress’ National Film Registry. See it tonight, with an introduction by art curator Janet Blake. White Heat at Laguna Art Museum, 307 Cliff Dr., Laguna Beach, (949) 4948971; lagunaartmuseum.org. 7 p.m. $5-$7; members, free. —AIMEE MURILLO [HEALTH AND FITNESS]

Mind Over Matter Morning Meditation

It’s easy to get overwhelmed with all the stress and aggravation in the world, but how to deal? Meditation and stress-relieving techniques have been gaining traction in the past couple of years, and Bowers Museum offers its own ongoing series. With instructor Bing Luh, a longtime teacher and student of Tai Chi Chuan in Orange County, you can learn the steps to mindfulness at today’s Morning Meditation class. Luh will demonstrate his knowledge on how to properly circulate energy through your body with stretching exercises, repeated breathing techniques and gentle movements to relieve stiffness, stress and tension, as well as help your balance, flexibility and spiritual well-being. Students are required to bring their own mat and be ready to open up for a more effective meditation session. Morning Meditation: Tai Chi With Bing Luh at Bowers Museum, 2002 N. Main St., Santa Ana, (714) 567-3600; www.bowers. org. 8:45 a.m. $10-$15. —AIMEE MURILLO

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It’s been quite the journey for ex-Disney stars Demi Lovato and Nick Jonas, who both had to navigate their own hectic lives post-Disney television-show stardom. But despite life challenges, both have been prolific in producing new music: Lovato released her fifth studio album, Confident, in late 2015, while Jonas, main guitarist and songwriter of family act the Jonas Brothers, released his second studio album, LastYear Was Complicated.Their joint Future NowTour unites both pop stars for an extended jaunt across the country, sharing their lighthearted pop anthems with fans everywhere. Don’t miss seeing these two teen idols all grownup at their only OC engagement. Demi Lovato and Nick Jonas with Mike Posner at Honda Center, 2695 E. Katella Ave., Anaheim, (800) 745-3000; www. hondacenter.com. 7 p.m. $29.95-$99.95.

[FILM]

August 1 2-18, 2 016

HOLLYWOOD RECORDS

Demi Lovato and Nick Jonas

WARNER BROS.

Go for the Gold

» GUSTAVO ARELLANO

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BIGGIE’S BURGERS 1017 S. El Camino Real, San Clemente, (949) 492-9182; www.biggiesburgers.com.

BRIAN FEINZIMER

wheat and ground beef sculpted into tiny, mint-inflected footballs that are deep-fried to a crisp. And enroladinho de carne moida, which seemed to be the spicy beef version of the coxinha, formed into one-bite stogies. If you went by the pictures on the video menu board, Taste makes eight kinds of salgados in all. But if you count the pastries that had multiple options for fillings, it’s actually more. The folhado, baked puff pastry pockets, can be stuffed with either chicken and cream cheese or bananas and Nutella. Empadas—tiny pastries that resembled pot pies, complete with the crumbly crusts—have variations that include chicken or hearts of palm. I much prefer the Brazilian version of empanadas called pastels over the dry empadas, though. Also, for the pastels, which were fried into bubblecrusted half-moons, Taste offers almost every conceivable filling, from ground beef to banana to cheese and guava. Truthfully, I’ve never met a fried empanada I haven’t liked. Perhaps the most unique salgado I tried was the joelho, ham and cheese encased in a torpedoshaped shell of dough that was baked as dense and as shiny as a ballpark pretzel. It’s a Hot Pocket you actually want to eat.

Taste also offers açai bowls, since OC remains so crazy for them. But I’d ignore them to focus on the salgados or something more substantial: the oar-sized sandwiches that have shredded chicken or beef, lettuce, and tomato tucked into pressed, oval-shaped loaves of bread. They’re the halfway point between a Cuban and a torta. And though they’re labeled “Lunch Specials” on the whiteboard, the kitchen staff also cooks plates of grilled steak, pot roast or chicken Parmigiana to serve throughout the day. They’re often paired with a scrumptious mound of rice, black beans, fries, a side salad and sometimes farofa, fried cassava flour that tastes like flavored sawdust. So far, I’ve not yet seen feijoada—Brazil’s national dish of beans, sausage and pork—on the menu here, but it’s rumored the kitchen does make it on occasion. In the meantime, I’m going to keep ordering more pão de queijo and be thankful I no longer have to pay the exorbitant all-you-can-eat churrascaria entry fee to have it. TASTE BRAZILIAN STYLE GOURMET 19933 Beach Blvd., Huntington Beach, (714) 460-8606. Open Mon.-Thurs., 9 a.m.-9 p.m.; Fri., 9 a.m.-9:30 p.m.; Sat., 10 a.m.-9:30 p.m. Dinner for two, $20-$30, food only.

here’s a couple of reasons why Biggie’s Burgers doesn’t get the countywide love it deserves. Most important is its location: in the terra incognita of South El Camino Real in San Clemente, a stretch most OCers only visit if they get off the northbound 5, trying to escape traffic. Even if they drive by, said commuters probably overlook the place, as it stands in a former Taco Bell (the old faux-adobe type), elevated just above street level, with a small, constantly full parking lot. And in a burger era in which bulky is better, these no-frills steamed hams are downright Luddite. Oh, Biggie’s hawks a Kingburger that has made some noise in OC foodie circles, a three-patty beast worth its seven-bucks-and-change price. But whether you get that or just a single patty, Biggie’s knows why Americans love burgers in the first place: simplicity. All it offers is an egg bun, shredded lettuce, a neverfrozen patty, onions, some secret sauce and tomatoes. Ketchup? To taste, with bottles from Dana Point’s excellent Kickin’ Ketchup to add heat. Sides? Nothing crazier than curly fries, although the onion straws are as wispy as fried air. The rest of the menu? Hot dogs, a couple of salads, sandwiches and a veggie/chicken/ turkey option for the patties. To wash everything down? Soda or a milkshake. People aren’t going to drive down from Yorba Linda for the basics—which is too bad. Because Biggie’s Burgers is one of the best mom-and-pop non-chain burgers in Orange County, San Clemente’s best-kept secret after the Red Fox Lounge. Locals have loved it for nearly 25 years now—weekends are a wonderful mix of retirees sitting at the counter, cyclists asking strangers to keep an eye on their fixies, families and construction workers. Tales of customers placing memorable orders— Marines calling in from Iraq just before they come back home, surfers taking more than 100 to San Onofre—are the stuff of San Clemente legend. We might not love Biggie’s enough, and it’s our damn loss: The owners are scheduled to open a second branch in San Diego this fall. Damn it! GARELLANO@OCWEEKLY.COM

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dmit it: What you covet most at a churrascaria, other than the endless meat parade, are those warm, golden, cheesebread balls that usually come free by the basketful. And it’s always at a churrascaria, isn’t it? Because where else would you have had them? When it comes to the food of Brazil—the largest country in South America and host of this year’s Olympic Games—you barely know of any other kind of restaurant. Orange County may be awash with businesses offering all sorts of Brazil-branded services—waxing, jiu-jitsu, Gracie gyms, blow-outs—but for food, it’s basically the churrascaria or nothing. Can the average Orange Countian name a single non-churrasco dish that’s not açai? And did you know those cheese-bread balls are actually called pão de queijo? Or that they’re just one of Brazil’s many pastry-based delicacies known as salgados? Yes, it’s true! There’s more to Brazilian food than its fabulous barbecue, and Brazilians eat salgados on a daily basis. They’re offered at corner shops, bakeries, cafés and street vendors—practically everywhere. And Orange County now has a true salgados specialist at Taste Brazilian Style Gourmet. The restaurant, if you can call it that, is wedged among a body-piercing store, a tattoo studio and a massage parlor in a cramped strip mall. Its dining room has only about eight chairs and two tables. It’s crowded if there are more than six people there at one time. A waist-high freezer of prepackaged ice-cream bars claims one corner, and a tall, glass case holds a few of the salgados on display. The kitchen takes up more than threequarters of the floor space; in it, trays of unbaked bread and flour dust stand ready for duty. One night, when I ordered a basket of pão de queijo, the cashier asked if I minded waiting a few minutes. He wanted to make me a fresh batch. When I finally bit into a hot, golden crust, I realized how long it’s been since my last pão de queijo. My teeth sunk into the familiar and wondrously pliant, chewy texture, which lies somewhere between a gooey fried mozzarella stick and the stretchy part of a Pillsbury crescent roll. And it was just the start of my journey into the universe of salgados. There were breaded croquettes called coxinha, dough shaped into teardrops filled with chicken and cream cheese. There were quibes, a close cousin to kibbeh, bulgur

Famous In San Clemente

M ON TH X X–X X , 2014

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or our wedding-anniversary dinner, the chica and I decided to dine at Marché Moderne. We got in just before the dinner rush, so were able to sit at the muchcoveted Table 20, that little nook toward the back that’s elevated just so above the booths. We splurged on Veuve Clicquot and more: she on oysters, me on a macaron that was the size of a shotput yet impossibly delicate. And we marveled at how, more than a decade into its run, OC’s best French restaurant never stops improving itself, even in the small things. And that’s how I ended up ordering the Citrus & Sand.

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veered toward lighter tastes. Not so with the Citrus & Sand, a take on one of my favorite drinks, the Blood and Sand. A scotch and vermouth base gets a single-malt wash, some crème de cassis and an orange cordial. Strong, sharp, sweet and potent—brilliant. More of this, Marché; it’s time to take your rightful place among OC’s cocktail elites. And gents: take your gals here for an anniversary—just sayin’! MARCHÉ MODERNE 3333 Bristol St., Ste. 3001, Costa Mesa, (714) 434-7900; www.marchemoderne.net.

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social media-savvy Los Angeles foodchasers—who always seem more than willing to drive and stand in lines from downtown to Santa Monica—would travel farther south for the chance to try OC’s flavor-shock burger lords. But Long Beach doesn’t work that way; as with Halal Guys, after the initial few days of long lines, the GD Bro in Signal Hill has reverted to mellower lunch rushes. Which is all well and good for us locals, who are loving the chance to make another food experience that’s worth the hype just a normal part of Long Beach’s food scene. The GD Bro team even created a burger exclusively for this location: the Bojangoals, a fried-chicken sandwich from the gods that’s topped with honey Sriracha and cole slaw. (And when that Catholic-grandma guilt is too much to bear, just get your burger on a buttery golden bun instead.) You can also still order some of GD Bro’s famous sides—including the fork-busting French fry casseroles based on the burgers (Italian Stallion becomes pizza fries and the Juan & Only becomes Consuela fries)—and wash it down with a Popeye lemonade (more spinach!) or one of their signature red-velvet milkshakes. Eat it all inside under the wall of screaming hashtags meant to declare the sheer decadence of what you are consuming (#everydayischeatday #pattygirthmatters #theydontwantyoutoeat). Or take a chance on the sunny side patio, where a bobbing pumpjack silently pulls oil from underground in plain view of everything—a soothing reminder that raspberryred hamburger buns aren’t just for Orange County anymore.

B B Q

Au gu st 12- 18 , 20 16

y grandma always told me not to eat any food that was an unnatural color, which, for most of my childhood, eliminated the joy that comes with squeezing bright-turquoise Go-Gurt out of a plastic tube or diving headfirst into a bag of multicolored sour gummies. So it was with some trepidation that I first bit into a surprisingly yummy, pillowy, crimson hamburger bun last year—you know, those lightly grilled brioche ones that surround Orange County’s most Instagrammable takes on ’Murican comfort food, available exclusively at GD Bro Burger. But the gimmicky bun with a delicious purpose would have been the least of my nona’s nontraditional food worries at GD Bro. What would she say about the slurry of thoughtfully crafted ingredients nestling between the neon dough, especially that of the Italian Stallion, named in honor of our Sicilian heritage? Not only is there a coarse ground-beef patty (natch), but toppings included spinach (instead of lettuce), mozzarella sticks (instead of sliced cheese), pizza sauce (instead of barbecue sauce), pepperoni and ranch (because why not?). Another option, the Juan & Only, uses a chunk of meat stuffed with jalapeño cream cheese, and instead of tomatoes, there’s pico de gallo. The Hang Loose has grilled pineapple pepperjack cheese and something called “boss sauce.” Since my first experience with pizza heaven in burger form at the GD Bro food truck early last year, the ultra-hip burger business has expanded, first into Great Food Truck Race glory (it won third place), then into its first brick-and-mortar in SanTana. In February, a second location opened in a strip mall in a Food 4 Less parking lot, the unlikely food destination of Signal Hill, a city entirely circumscribed within the freeway-adjacent part of Long Beach. Like Halal Guys before it, GD Bro was probably trying to capitalize on the fact that Long Beach is technically within LA County, hoping the droves of

PIKE RESTAURANT AND BAR

food»

Dave Barton’s Snuff makes you squirm. Plus, Little Men BY MATT COKER

I THINK YOU CUT YOURSELF

BRYTON FILMS

Snuff was made mostly on weekends over several years. Barton’s film, which he estimates cost $50,000 to make, does have more going for it. What other movie includes a threesome, self-amputation and references to Johann Wolfgang von Goethe’s The Sorrows of Young Werther? I mean one not made by Pixar. Buckle yourself into a Frida seat, brace for the gut punches, and then hang out afterward to quiz Barton and some special guests about what the hell just happened during an audience Q&A.

nother film that begins with grief over the death of a loved one is Little Men, which opens Aug. 19 in Irvine and Laguna Niguel. Director Ira Sachs also has experience in having two male characters dealing with the fallout from a fling (2012’s Keep the Lights On), but no gay themes are evident in Little Men—at least not on the surface. The story revolves around shy 13-yearold Jake (Theo Taplitz), who moves with his family from Manhattan to the

Brooklyn home of his grandfather, who has died. Attached to the residence is a dress shop that was rented from gramps by a Chilean woman (Paulina Garcia), whose outgoing son Tony (Michael Barbieri) strikes up a friendship with Jake. Once the boys are thick as thieves, their relationship is tested by a tenant dispute initiated by Jake’s parents (Greg Kinnear and Jennifer Ehle). The adult actors in Little Men are fine, with Garcia effectively putting up a stone face as she belittles her business foes, Ehle giving a sort of Laura Linney-lite performance (meant as a compliment) and Kinnear once again fully committing to a role, as he always does, whether unraveling as the dad in Little Miss Sunshine or suffering separation issues in Stuck On You. My problem is with the teen actors. Taplitz has a look that will serve him well in the TV and movie business, and I haven’t heard a New York accent like Barbieri’s come out of someone so young since the Dead End Kids. But there are too many scenes in Little Men in which they seem to be reciting lines from a page,

especially when they are with other young actors at—where else?—an acting school. Ah, well, keep at it, boys, and some day, you’ll be ready for Rude Guerrilla. MCOKER@OCWEEKLY.COM SNUFF was written and directed by Dave Barton; and stars Keith Bennett, Scott Barber, Bryan Jennings, Christine Tanabe and Steven El Ray Parker. Premieres at the Frida Cinema, 305 E. Fourth St., Santa Ana, (714) 285-9422; thefridacinema.org. Thurs., Aug. 18, 7:30 p.m. $10. LITTLE MEN was directed by Ira Sachs; written by Mauricio Zacharias and Ira Sachs; and stars Greg Kinnear, Jennifer Ehle, Paulina Garcia, Michael Barbieri and Theo Taplitz. At Westpark 8 Cinemas, 3735 Alton Pkwy., Irvine, (844) 462-7342; www.regmovies. com/theatres/theatre-folder/edwardswestpark-8-1297; also at Rancho Niguel 8 Cinemas, 25471 Rancho Niguel Rd., Laguna Niguel, (949) 831-0446; www.regencymovies. com/main.php?theaterId=21. Opens Aug. 19. Check theater websites for show times and ticket prices.

| OCWEEKLY.COM |

ears ago, when Dave Barton was but a wee Weekly contributor, I saw a local play he directed that was loud, intense and quite disturbing. It’s refreshing to see the writer/director has not changed one bit with Snuff, his feature-film debut. Several years in the making and produced on a shoestring budget, Snuff is an endurance test for the main characters onscreen, as I suspect it will be for the characters in the aisles of the Frida Cinema, where the unrated film will make its theatrical premiere. (In the interest of full disclosure, it’s an OC Weekly presentation.) Frida is a few blocks from the Empire Theater in Downtown Santa Ana, where co-artistic director Barton’s Rude Guerrilla Theater Co. once mounted challenging, often critically lauded productions. As you’d imagine, 13 onetime Rude Guerrilla players make up the Snuff cast, including leading man Keith Bennett, whose Paul opens the film caring for his sore-spotted husband Jeff (Steven El Ray Parker). Jeff’s death from AIDS plunges Paul into a despair spiral as he attempts to deal with (or, actually, not deal head-on with) grief. Distractions such as drugs and sex with strangers will be familiar to those who have experienced or witnessed others experiencing similar straits. But leave it to Barton to amp things up several notches. Paul’s one-night stand-ins are male and female and include several spectrums of the disabled community. What Paul is not prepared for is another damaged soul (physically and otherwise) falling in love with him. Barton employs a neat storytelling device by introducing the limping Kevin (Scott Barber) through video journal entries that run before he and Paul actually meet and continue after the hopeless romantic has been rejected. (This story’s headline comes from Paul’s description of love in his kiss-off to Kevin.) Snuff is filled with graphic sex scenes, and Paul and Kevin are fumbly in their first encounter—although, in real life, the actors are used to simulating intimacy. Barber says in the press notes that before he and Bennett went on to appear in dozens of plays together, they met at a Rude Guerrilla rehearsal for the Mark Ravenhill play Handbag. “He said, ‘Hi, I’m Keith.’ I said, ‘I’m Scott,’’’ Barber recalls. “Then I had to pretend to go down on him.” The long history together pays off in Barber and Bennett’s natural, believable performances, which are the two best things going for Snuff. Their cohesion is more incredible when you consider

MO N TH X X–X X , 2 014

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Painful and Messy and Brutal

film»reviews|screenings

‘Peace Be the Journey’ BY MATT COKER GOING FOR THE GOLD

COURTESY WALT DISNEY PICTURES

grave as Queen Margaret. The Frida Cinema, 305 E. Fourth St., Santa Ana; thefridacinema.org. Thurs., Aug. 11, 7:30 p.m. $8-$10; also at Regency South Coast Village, 1561 Sunflower Ave., Santa Ana, (714) 557-5701. Sun. & Tues. Call theater for show times and ticket prices; and Directors Cut Cinema at Regency Rancho Niguel, 25471 Rancho Niguel Rd., Laguna Niguel, (949) 8310446. Tues., 7 p.m. $14-$17. The Little Prince. Animation more artsy than you’re used to in a family flick helps to tell the story of a little girl pushed to excellence by her mother discovering an extraordinary new world thanks to her elderly neighbor, the Aviator. Jeff Bridges, Rachel McAdams and Paul Rudd are among the many stars lending their voices. Well, “lending” for big paychecks, no doubt. Camino Real Park, 13602 Parkcenter Lane, Tustin, (714) 573-3326. Thurs., Aug. 11, 7:50 p.m. Free. Where to Invade Next. El Centro Cultural de México, OC May Day Coalition and the Green Party of Orange County

ON WALL STREET, ALL PLAYERS ARE NOT CREATED EQUAL

-A.O. Scott, THE NEW YORK TIMES

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tington Beach; www.gopacificcity.com/ events/. Wed., 6 p.m. Free. Snuff. OC Weekly art writer and theater trouper Dave Barton’s film makes its premiere. See “Painful and Messy and Brutal,” page 24. The Frida Cinema; thefridacinema.org. Thurs., Aug. 18, 7:30 p.m. $8-$10. MCOKER@OCWEEKLY.COM

BASED ON THE INSPIRING TRUE STORY

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loosely based on the Jamaican national bobsled team’s debut at the 1988 Winter Olympics, Candy plays a two-time American bobsled team gold medalist who is recruited by an old friend’s son to coach the inexperienced Jamaican team. Pacific City, Level Two, near Smocking Birds and Ocean Blue Art + Design, 21010 Pacific Coast Hwy., Hun-

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GEN Silent. Stu Maddux’s acclaimed 2010 documentary about six LGBT seniors choosing whether to hide their sexuality to survive in Boston’s longterm health-care system. Besides the screening, service providers are onhand to answer questions at what may be the first official Orange County event geared toward LGBT seniors. Huntington Beach Senior Center, Central Park, 18041 Goldenwest St., Huntington Beach; www.surfcity-hb.org. Thurs., Aug. 11, 6 p.m. Free, but email heather. dodd@surfcity-hb.org to reserve a seat. Chasing Gold. San Clemente filmmaker Brent Deal was not a standup paddler when he made his first two documentaries on the sport, H2indO and Decade of Dominance, which made their world premieres at the 2012 Newport Beach Film Festival. Since then, Deal has become the go-to SUP filmmaker, and the Newport Beach Film Festival presents the screening of his latest, which follows the U.S. team trying to win the Olympics-style, 2015 ISA World SUP and Paddleboarding Championships, neither of which had been won before by any team other than Australia’s. Deal participates in an audience Q&A after the screening. Lido Theater, 3459 Via Lido, Newport Beach; www.newportbeachfilmfest.com/ event/chasing-gold-special-screeningpresented-newport-beach-film-festival. Thurs., Aug. 11, 7 p.m. $15. Richard III. The Frida presents its first live-screening simulcast with London’s legendary Almeida Theatre, whose artistic director, Rupert Goold, directs Ralph Fiennes as Shakespeare’s most notorious villain and Vanessa Red-

present Michael Moore’s subversive comedy that has the creator of Fahrenheit 9/11 and Bowling for Columbine playing the role of an “invader” who visits nations to learn how the U.S. can improve its prospects. It turns out the solutions to America’s most entrenched problems already exist in the world—they’re just waiting to be co-opted. Bring blankets, beach chairs or other portable seating, and you can purchase snacks and refreshments for the benefit of May Day 2017. Birch Park, 400 W. Third St., Santa Ana. Thurs., Aug. 11, 8 p.m. Free. The Business of Recovery. With the collision of business and recovery playing out in the debate over sober-living homes in Costa Mesa, what better place to show Adam Finberg’s examination of the untold billions that are being made off families in crisis? With little regulation or science, the addictiontreatment industry has become a cash cow that continues to grow while the addiction death rates continue to rise, argues the 2015 documentary presented by the nonprofit Orange County Needle Exchange Program. Starlight Triangle Cinemas at the Triangle, 1870 Harbor Blvd., Costa Mesa; www.ocnep. org. Sun., 4 p.m. $12. Beautiful Creatures. Teen Book to Movie Club presents Richard LaGravenese’s adaptation of the first young adult novel in Kami Garcia and Margaret Stohl’s Caster Chronicles series. Gatlin, South Carolina, teen Ethan (Alden Ehrenreich) is drawn to newcomer Lena (Alice Englert) despite the destruction that seems to surround her. Women! Fullerton Main Library, Teen Area, 353 W. Commonwealth Ave., Fullerton, (714) 738-6334. Wed., 4 p.m. Free. Cool Runnings. Can you guess the title of the last John Candy film released during his lifetime? Was having the question in this entry too much of a giveaway? In Jon Turteltaub’s movie

film»special screenings

Not Exactly Fan Art

» AIMEE MURILLO

New Coastline Art Gallery exhibit features Mark Zuckerberg as you’ve never seen him BY DAVE BARTON

SO MUCH ZUCKERBERG

COASTLINE GALLERY

an old, ruined billboard, faded by the sun and shit on by birds. Bill Amundson routinely features himself—or at least his severed head—in many of his drawings, so it’s no surprise he’s in Self Portrait w/ Mark. The Facebook CEO wears a T-shirt with the words “U are my brand” on it, a lowercase F tattooed on his arm, circuits dangling from his head and ear, a leering brainiac Hamlet Yoricking the artist’s grumpy-faced head in his hand. William Wray’s WTF is the funniest piece: a gangly figure wearing an ill-fitting Spiderman outfit sits on a bike staring at his phone, with “14 Likes? WTF” in a dialogue bubble, as another guy in a Superman costume walks away in the distance. It’s the only large piece in the show that doesn’t feature Zuckerberg’s face. The exhilarating Like MARK by Kerri Sabine-Wolf qualifies as the most fascinating work, as well as the most generous, with her richly painted Zuckerberg illuminated by the light of his cellphone in a night scene, a kaleidoscope of butterflies fluttering around him. It works perfectly on several different levels: as a warning about missing the beauty around you; as a bit of magic realism worthy of Gabriel García Márquez; and, lastly, as poetic tribute to the mini-miracle of Zuckerberg’s creation. It’s the more than 50 paintings on square panels that Lee solicited from other artists, set on a grid covering one wall of the gallery, recalling the uniformity of boxy Facebook profile pics that

becomes something more transcendent than the face of the billionaire media giant. April Williams’ The Creeper is a portly gentleman wearing Pogo the Clown makeup, destined to be blocked numerous times before he goes on a mass shooting spree. You can smell the burnt, blackened-wood surface on which the face would be amid the cruddy silver spray paint in Katie Stubblefield’s sculpture/painting Unfriend, the perfect symbol of the current scorched-earth politics affecting many online conversations. In Mike Coffey’s Sauce Portrait, you are what you eat, with the face painted, but the clothes and background made from empty, carefully cut-up Del Taco sauce packets. Lee’s press release suggests that data mining, an obsession with collecting friends and the tracking of popularity in numbers are the concerns of the show, but this exhibition at Coastline Community College isn’t really about any of that. Instead, it’s about taking down Zuckerberg a few notches, and while that works well enough to make the show worth seeing, one wishes there had been less focus on the man behind the curtain and more on what the wizard of Facebook has wrought. “LIKE MARK” at Coastline Art Gallery, 1515 Monrovia Ave., Newport Beach, (714) 963-8475; www.coastline.edu/community/art-gallery. Open Tues.-Thurs., noon-4 p.m. Through Sept. 30. Free.

aring for dogs is tricky, especially when it comes to purchasing uncertain and expensive over-the-counter products promising to cure or relieve ailments. Recently, however, dog owners are beginning to catch on to a cheaper, more organic solution: essential oils. Normally reserved for humans, essential oil use for animals has been on the rise as an alternative method for treating anxiety and respiratory issues; promoting digestive, skin, joint, immune and muscle health; as well as a pesticide-free insect repellant. “They’re just getting refined enough now for people to use them at home on their own,” explains Karen Mahmalji, owner of Huntington Beach-based dog groomer and boutique Top Dog Barkery. “Everybody is looking for the natural solution for things; instead of putting a dog on flea medicine, try a mixture of oils that prevent fleas in the first place.” But not all oils that are beneficial for humans will be so for your beloved fourlegged pal. Make sure that each one is 100 percent pure and not simply used for aromatic purposes. Lavender is said to relieve anxiety over riding in a car, insomnia, even allergies. You can dillute the oil in water for consumption or rub it on your dog’s collar and body (while making sure to avoid the eyes and nether regions). To learn more about how to implement essential oils into your canine’s health care, check out the upcoming Essential Oils for Dogs 101 class at Top Dog, held by organic product manufacturer Young Living. An expert will discuss the company’s line of doggie oils and how to best use them. Class size is limited, and registration is first come, first served; attendees will get a doggie bag of oils to take home. AMURILLO@OCWEEKLY.COM ESSENTIAL OILS FOR DOGS 101 at Top Dog Barkery, 21010 Pacific Coast Hwy., Ste. A-160, Huntington Beach, (714) 960-3647; topdogbarkery.net. Aug. 25, 6:30 p.m. $19.99.

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acebook CEO Mark Zuckerberg went through something of a public sea change after the debut of the 2010 film The Social Network. While heavily fictionalized, the movie portrayed him as a misogynistic, greedy, back-stabbing, black-hearted pig. Beginning with a 60 Minutes interview following the opening of the film—in which he tried to look more human(e)— his publicists have gone into overdrive to make him more accessible to the press, he’s stood up for progressive political issues, gotten married, had a child, and promised to donate much of his money to charity. While photographs now portray him as laughing and jovial, a closer look at those unblinking dead eyes suggests he’s still a coding robot transfigured by a computer screen and that much of the change is media manipulation, as opposed to any Damascus-style conversion. That cynical view seems to be consistent with the bulk of the imagery in curator David Michael Lee’s “Like MARK” at Coastline Art Gallery. F. Scott Hess’ Down the Rabbit Hole is the most visually provocative painting, picturing Zuckerberg’s wife, Priscilla, in the nude, complete with realistically dimpled cottage-cheese thighs. Standing in front of a stone circle that’s part Art Deco, part MRI machine, an unmade bed in the background that has clearly been fucked in, Mrs. Z has a large, bloodless rabbit’s head slung over her shoulder, her eyes aimed toward something to the left, off canvas. Her husband sits on the floor, looking in the same direction, a computer screen emitting a wash of cathode green over their two bodies. Fertility, Moon Goddesses, an unsubtle vagina joke, the draw of electronic media interrupting intimacy . . . The piece draws on any number of interpretations, with Hess’ unsightly imagery a dense, intellectual, often-impregnable read. There’s an equal hint of the backhand in the splash of color obliterating Zuckerberg’s face in Marinus Welman’s Harnessing the Energy MZ, the mottling of half the picture suggesting a bullet had splattered his brains across the canvas. Bradford J. Salamon’s monochromatic gouache-andoil-on-canvas portrait Visage #32 looks as if the artist knocked it out in a couple of hours, but the resemblance is deadon, with Zuckerberg looking directly at the viewer, his mouth open and upper teeth exposed in a joyful, lunatic jeer. The whitewash and drip effect Salamon uses elongates an incisor to a fang; Zuckerberg’s face is pale, his black lips drooling blood, making him resemble a vampire on

Doggie Essentials

M ON TH X X–X X , 2014

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music»artists|sounds|shows MAKING AMERICA STRANGE AGAIN

We’re an Amerikan Band

COURTESY OF BIG HASSLE

Young the Giant tackle the state of their band and nation on their latest album

t the end of the Mind Over Matter tour cycle, Young the Giant decided to move on. Not from one another, but rather, they ditched the isolating and quiet confines of Palos Verdes, where they recorded their sophomore album. Lead singer Sameer Gadhia moved in with his girlfriend/now-fiancée in Venice, while his band mates also settled in the burgeoning west-side community. “Even though we’ve been living separate from one another, we all live a few blocks away [from one another], so it still feels like this neighborhood vibe. There’s a lot more inspiration now being around, you know, people,” Gadhia says with a laugh. “Vibing with a lot of different visual artists and writers and meeting people has been helpful in fusing what we do.” Though a far cry from the band’s earlier years in Irvine and Newport Beach, where they initially dazzled locals as the Jakes, Young the Giant have become a wellknown indie-and alt-rock staple following the release of their second album, Mind Over Matter. After touring extensively behind that record, which culminated with a tour with rock giants Kings of Leon and their biggest stand-alone headlining jaunt, the band took a short break. But Gadhia says the ideas for what was to become Home of the Strange came during the tour; they fleshed out and worked on the material in 2015 before heading into Seahorse Sound Studios in downtown Los Angeles. Unlike their time spent holed up in Palos

BY DANIEL KOHN Verdes with Justin Meldal-Johnsen (Nine Inch Nails, Beck, M83)—affectionately known as JMJ to them—Young the Giant decided to take a different route, production-wise. Criticized for being too poppy, the quintet showed major growth on their third album. “The first two albums, we were getting our bearings,” Gadhia says. “This time, we were finally comfortable to say things we want and tell our story.” Working with Alex Salibian (Elle King, Mikky Ekko), the band took where they went sonically on the previous album and where they were trying to get to and fully realized their vision on Home of the Strange. Instead of being holed up in a house living, writing and sussing things out together, Young the Giant recorded the album on tape, which lends itself to a rawer, warmer sound that was more complex. Though they were listed as co-producers on their first two albums, Home of the Strange was the first album for which they were active participants in the production process. “We wanted to work with someone who was really young and hungry,” Gadhia says. “We loved our experiences with Joe [Chiccarelli] and JMJ, but we had to go through those steps to get to this point. This is the first album Alex has really done for a full band, but his aesthetic and sonic tones were something that we were really trying to achieve, and it morphed into a really strong relationship.” The band also tackled heavier lyrical

subject matter, reflecting the members’ diverse backgrounds. Gadhia comes from a family of Indian classical musicians. Guitarist Jacob Tilley is British. Guitarist/keyboardist Eric Cannata is an Italian-Jew, bass guitarist Payam Doostzadeh is Persian-American, and drummer Francois Comtois is French-Canadian. Thus, even before the election cycle, the quintet decided to focus on the path and journey of immigrants as the concept for Home of the Strange. In Donald Trump’s version of America, immigrants and their labor are, at minimum, frowned upon, if not outright disrespected. When the band began working on these songs, Trump’s candidacy wasn’t even in its infantile state. Yet, when you hear songs such as “Amerika” and “Something to Believe In,” you can’t help but think of them as political, even if that wasn’t their initial intent. “The dream of coming to America and what it’s like to be an immigrant in this country and how that narrative has changed in between two places is what we were going for,” Gadhia explains. “For me, my parents are Indian, and I went [to India] a lot as a child, so I have that instilled in me and the idea of family first, and rectifying that with the reality of the American Dream and what that entails.” While Home of the Strange isn’t a direct chronicle of each member’s personal journey, “we just wanted to tell our story, and it wasn’t a cynical thing about minorities and immigrants being persecuted—which

they are,” Gadhia says. “But it’s the wonder of coming to America and finding a home for yourself. I think that’s universally more applicable to anyone.” Gadhia and his band mates experimented with this album, performing in different roles, including playing different instruments. For example, Comtois wrote the verse and lyrics for “Amerika.” “Francois and I have very different lyrical styles,” Gadhia says. “But we’re able to fuse that together and tell a cohesive story with one another. Francois and Eric are singing a lot more on this record. We wanted to keep it as fluid and interchangeable as possible. I also played a lot of guitar and organ, as well.” As they continue to tinker with their sound, Young the Giant are keenly aware of how this album is a major step forward for them. As their migration north to Venice symbolizes, the group aren’t content with the status quo and are always looking for new inspirations. “The songs on this album are about love, and that’s been a hard thing for me to write about,” Gadhia says. “‘Cough Syrup’ and ‘My Body’ weren’t love songs. It’s easy to hear how this would be a political album, but people will take from it what they want, and at the end of the day, it’s more about looking forward and what we can do as opposed to fueling the anger and fear. There’s a lot of redeeming qualities about America right now, and the fact that we have awareness is a positive thing.” LETTERS@OCWEEKLY.COM

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SanTana Americana

SoCal Hoedown wants to rally OC’s rockabilly scene

ugust’s festival lineup is a glut of day drinking, outdoor mosh pits and suntanned selfies. That includes this Saturday’s inaugural SoCal Hoedown in Downtown Santa Ana, one of several big events presented by OC-based Sellout Productions in partnership with the Yost Theater. With one mini festival already under its belt (May’s Totally ’80s Fest), Sellout Productions says it’s more than ready to host the next big rockabilly event in OC. The Hoedown’s real value is its attempt at reviving the spirit of former local staples such as the Hootenanny and Ink-n-Iron with a tried-and-true format. After all, standup-bass solos, pompadours, hot rods and hot pinup girls are a combination Orange County does best. Scattered among the Yost’s neighboring venues, the Hoedown features a wide range of wild, old-school American musicians. Headlining the festival are Outlaw Country heartthrob Shooter Jennings and Waymore’s Outlaws (the band his father, Waylon Jennings, performed with), ravenhaired rockabilly queen Wanda Jackson, and psychobilly favorites the Nekromantix. Plus, the Blasters, Supersuckers, Cadillac Tramps, the recently reunited Throw Rag, Lonely Stars, Thirsty Crows, Galactic Polecats, and more are on tap. While the festival itself isn’t exactly reinventing the wheel, Sellout Productions CEO Scott Tucker says the point is to bring a new crowd to Santa Ana’s ever-expanding East End. In addition to an outdoor main stage, there are sets planned for Yost, Underground DTSA and Diego’s Rock-N-Roll Bar & Eats. (Tucker is also in charge of in-house marketing

BY NATE JACKSON and booking for those venues.) “The Downtown [Santa Ana] area is great and up and coming, but people still don’t realize half the things that are down there,” Tucker says. “Just like Long Beach five years ago, we’re trying to bring some awareness of what’s going on and incorporate the neighboring businesses.” And when it comes to festivals of the rockabilly variety, Tucker’s prior experience as an organizer for Horton’s Hayride in San Pedro comes in handy. Unlike the Hayride or similar events such as Music Tastes Good in Long Beach, the Hoedown will include more beloved local acts on the bill than both of those other events combined. It’s worth lacing up your creepers to come check it out. Among the highlights for the event are a lowbrow-inspired art exhibit and stage in the Underground DTSA and a bluegrass stage/indoor dining area in the Festival Hall. “If you want to escape the sun and get a burger with your family in the Festival Hall, you can do that,” Tucker says. “Or if you’re looking for a Jack-and-Coke-swigging outdoor Hootenanny vibe, we have that as well. . . . You’ve got one owner of multiple venues, all within eyesight, as well as the street being shut down. It’s a little city almost.” If that’s the case, the East End might want to consider renaming itself for the Hoedown: “Greaserville” has a nice ring to it. SOCAL HOEDOWN in Downtown Santa Ana, enter at French and Fourth streets, Santa Ana; www. socalhoedown.com. Sat., noon-10 p.m. $25$55; kids aged 10 and younger, free. All ages.

HIP-HOP’S FIRST “BEACH BOY”

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hop for me when I was young,” he says, “and I definitely think listening to that had me gravitate toward it later.” Pinch started freestyling at parties during his freshman year at Marina High School, and he’s been creating since. “I kind of just fell in love with writing music, and after that, I never really stopped,” he says. Yung Pinch’s love for many genres of music, especially hip-hop, is evident in his ability to make various styles of rap all his own. His earliest project, Late Nights and Early Mornings, boasted a nearly old-school, boombap hip-hop style that evolved into an aggressive trap sound on Goonie Adventure. Last month’s release of the EP 4EverHeartBroke saw the rapper come of age, as he melodically rapped over the heartbreak of losing his friend to a car accident. And the upcoming 714Ever is shaping up to be even more musically advanced. “I don’t want to be contained in one section ’cuz I don’t listen to just one type of music,” he says. “I always try to do it all.”

INGREDIENTS:

his that 714, I put on for my city now, you know,” says 19-yearold Yung Pinch (née Blake Sandoval) on his track “Rock With Us,” which may as well be the first recorded instance of a rapper proudly reppin’ the 714 area code—one of the least hip-hop spots in America until recently. Yung Pinch (whose name was bestowed upon him after accidentally pinching blunts with his older homies growing up) has already opened up for some of the biggest acts in hip-hop, including Young Thug, Bone Thugs-NHarmony, Nipsey Hussle, Ty Dolla $ign, Nate Dogg, Lil Uzi Vert, and Playboi Carti. He has even been added to the Observatory’s highly anticipated Day N Night Festival lineup. Yet the Surf City rapper says he’s not your stereotypical beach boy, with a past that’s quite darker than the picture-perfect coastal town he grew up in. “People think they know me because I’m from HB or something, but there’s so much more to my story than meets the eye,” says the soft-spoken Pinch, as he sits at the Starbucks in the Bella Terra outdoor shopping mall. “I grew up with kids with rich parents and what-not: nice house, well-off, got a car when they turned sophomores—a nice, brand-new car that you would work your whole life to get. It was different for me: I grew up with my grandparents because both my parents did drugs since I was a kid; they were in and out of jail.” It’s these hardships that Pinch credits to cultivating his development as a person and as an artist. “When my grandpa died, I was probably, like, 10 or 11; then it was just me and my grandma. That’s when I really grew up and started becoming who I am.” So who is Yung Pinch? He’s a tall, skinny, long-haired, blond kid from HB who effortlessly croons smooth R&B vocals and busts stylish rap flows. One of his casual lines feels more like a direct statement of his identity in hip-hop: “Who you know talk like this? Northside beach boy, I really walk like this.” “I’m aware that I’m white and making black music, and that can make people feel a lot of different ways,” he says. “It is what it is. I’m sorry; I understand, but I’m not gonna stop for anyone— I’m doing what I love.” Pinch was always musically inclined—he picked up the drums at an early age and enjoyed dancing. He says his household was filled with everything from the Red Hot Chili Peppers to Eminem. “My mom was the one playing hip-

YUNG PINCH performs at the Day N Night Festival at Oak Canyon Ranch, 5305 Santiago Canyon Rd., Silverado; daynnightfest.com. Sun., 2:35 p.m. Festival runs Sat.-Sun.; visit website for show times. $205-$250.

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THIS WEEK FRIDAY, AUG. 12

COYOTE MOON: 7 p.m. Beatnik Bandito Music

Emporium, 417 N. Broadway, Santa Ana, (714) 8353313; beatnikbandito.com. MOUNT HOLLY: 9 p.m., $5-$8. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. PETER WOLF: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 4968930; thecoachhouse.com. SEGA GENECIDE: 10 p.m. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com. SNAKEHIPS: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. THE SOCAL HOEDOWN PRE-PARTY: 9 p.m. Underground DTSA, 220 E. Third St., Santa Ana, (888) 862-9573; underground-dtsa.com.

YOUNG THUG: 11 p.m., $35. The Observatory, 3503 S.

Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. ZIGGY MARLEY; STEEL PULSE: 5:30 p.m., $27.50-$57.50 (includes OC Fair admission). Pacific Amphitheatre, 88 Fair Dr., Costa Mesa, (714) 708-1870; pacamp.com.

MONDAY, AUG. 15

ABSENCE OF DESPAIR: 7 p.m., $5. Blacklight District

Lounge, 2500 E. Anaheim St., Long Beach.

LA PICANTE: 8 p.m., free. The Lighthouse Cafe, 30 Pier

Ave., Hermosa Beach, (310) 376-9833; thelighthousecafe.net. NIGHTAIR: 9 p.m., free. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. YOUNG DOLPH WITH CAP 1: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

SATURDAY, AUG. 13

TUESDAY, AUG. 16

Costa Mesa, (949) 722-7103; sutraoc.com. CAITLIN LUCIA: 9 p.m. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. DAUGHTERS OF DISASTER 3: 7 p.m., $10. Malone’s, 604 E. Dyer Rd., Santa Ana, (714) 979-6000; facebook.com/MalonesConcertVenue. DAY N NIGHT: noon, $205-$250 (two-day pass). Oak Canyon Ranch, 5305 E. Santiago Canyon Rd., Irvine, (714) 740-2000; daynnightfest.com. LIL UZI VERT: 11 p.m., $30. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. RON KOBAYASHI TRIO: 6:30 p.m., free. Port Restaurant and Bar, 440 Heliotrope Ave., Corona Del Mar, (949) 723-9685; portcdm.com. SONGWRITERS @ SUNSET: 8 p.m., $10. Schooner at Sunset, 16821 Pacific Coast Hwy., Huntington Beach, (562) 430-3495; schooneratsunset.com. WORDOVMOUTH: 8 p.m. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com.

ARTY: 9 p.m., $20-$30. Sutra, 1870 Harbor Blvd., Ste. 200,

MARC FORD & THE NEPTUNE BLUES CLUB:

7:30 p.m., $15-$200. Don the Beachcomber, 16278 Pacific Coast Hwy., Huntington Beach, (562) 592-1321; donthebeachcomber.com. NE OBLIVISCARIS: 7 p.m., $15. Chain Reaction, 1652 W. Lincoln Ave., Anaheim, (714) 635-6067; allages.com. ROCK N’ FOOD FESTIVAL: 2 p.m., $20. Tiki Bar, 1700 Placentia Ave., Costa Mesa, (949) 270-6262; tikibaroc.com. ROCKIN’ LONG BEACH SUMMER FESTIVAL:

8 p.m. Gaslamp Restaurant & Bar, 6251 E. Pacific Coast Hwy., Long Beach, (562) 596-4718; thegaslamprestaurant.com. SOCAL HOEDOWN: noon, $20-$55. The Yost Theater, 307 N. Spurgeon St., Santa Ana, (888) 862-9573; yosttheater.com.

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Vacation

SAVAGELOVE

DEAR READERS: I’m on vacation for the next three weeks—but you won’t be reading old columns while I’m away. You’ll be getting a new column every week, all of them written by Dan Savage, none of them written by me. Dan Savage is a sports writer and the assistant director of digital content for OrlandoMagic.com, and he will be answering your questions this week. Dan has covered six NBA finals and 10 NBA All-Star Games; he’s appeared on CBS, ESPN, NBA TV and First Take; and his writing has been published at ESPN.com, CBS.com, NBA.com and OrlandoMagic. com. This is Dan’s first time giving sex-and-relationship advice. (Follow Dan Savage, assistant director of digital content for OrlandoMagic.com, on Twitter: @Dan_Savage.) “Other sports writers often tell me they enjoyed reading my latest column,” Dan Savage told me in an email, “but when they show me the article, it’s one of your sex-advice columns. The joke is going to be on them this time around when it’s actually my advice!”

wasn’t going to be for me. I get bored, I like attention, and I love the chase. He was against it. I thought, okay, we have a lot of other positive stuff going for us and maybe he would reconsider in the future. I feel as if I’ve lost a part of my sexual self: no adventures, no three-ways, I miss girls, etc. I feel that what I want—newness, some kink he isn’t trained in, being with a girl, etc.—he can’t give me. So I brought up opening up the relationship again. My thought is I could get what I need/want and get my engine revving again and hopefully bring that excitement and spark back to our relationship. He listens to your podcasts now, but he doesn’t think he could handle the idea of me with someone else. I don’t think I can handle the relationship as it is now, though, and this was my suggestion to try to make it stronger. I feel like I’ve already ended the relationship just by bringing this up. Are we doomed? A Girl Has Needs

I’m a straight guy in my 40s, and I’ve been with my wife for more than 20 years. I’m incredibly attracted to my wife. Recently, I’ve been a bit frustrated with us not having sex as frequently as I’d like. So I broached the subject with her. I tried to be easygoing about it, but maybe I fucked that up. Basically, I told her that I fantasize about her daily and would like to have sex more often. I cited two examples of frustration. Two weeks ago, I came on to her and tried to initiate, but we had a dinner party to go to, and she didn’t want to be late. One week ago, I was flirting with her but was rebuffed because we were going out to dinner and . . . she wanted to go to dinner more than fuck, I guess. I made my wife cry by bringing this up. End result is that she doesn’t want to fuck more than we already do, there’s nothing I can do to make sex more appealing for her, and it hurt her for me to bring the subject up at all. I dropped it, apologized and moved on. I don’t want to coerce her into anything (I want her to want me), so here we are. How can I communicate better in the future? Using My Words Communication in any relationship is key. On the basketball court, one of the first things young players are taught is to communicate effectively with their teammates. They’re required to call out plays, offensive assignments, and defensive rotations in order to prevent breakdowns and keep the system working smoothly. In relationships, the same principles hold true. You have to be able to effectively communicate with your partner in order to keep both parties happy. And just like everything else in life, timing is everything. First, I’d make sure you communicate your needs at a time other than when you’ve just been rebuffed. You’re then likely to be less emotional, think more rationally, and able to more effectively explain your needs without applying added pressure. Second, I’d try making your next move when other plans are not on the table. In both the examples you mention, UMW, the timing of your request appears to have been an issue for her. Schedule some time for an intimate dinner at home or cap off an exciting evening out on the town with romantic advances. If she does not respond to your improved efforts, then she’s not being a good teammate. A successful relationship is when both members’ needs are met, not just one. I’m a 36-year-old bisexual female. I’ve been dating my nice Midwestern boyfriend for about four and a half years. Within the first few dates, I brought up nonmonogamy. I was pretty sure from past experiences that long-term monogamy

» DAN SAVAGE

I appreciate you having your boyfriend listen to my podcasts—oh, wait, that was probably meant for the other Dan Savage. Never mind. My podcasts probably wouldn’t have helped with this issue. Your question reminds me of a topic that’s currently top of mind in my profession: NBA free agency. In the basketball world, it’s the time of year when teams can go after the best available prospects not under contract and offer them a deal to join their team. Organizations heavily vet these players, talking to their former teammates, coaches and others to make sure that their values match up. There’s nothing worse than being locked into a fiveyear, guaranteed contract with a guy who doesn’t fit with your franchise. Actually, on second thought, there is—getting married to a guy who doesn’t share the same relationship goals and values. If your boyfriend is someone who has no interest in open relationships—and from all indications, he doesn’t—odds are he’s never going to be happy in that type of situation. And if you’re never going to be happy with monogamy, then you need to find someone whose values match your own. Unfortunately, some people are destined to play man-to-(wo)man, while others are more satisfied in a 2-3 zone. I’ve been hooking up with a good friend for about a year. We’re both single, and he lives in another state but comes to town for work every month or two, and we usually hang out and have really great sex when he’s here. One of the things I’ve always admired about him is his eco-conscious lifestyle . . . which includes showering only about once a week to save water. His BO is pretty inoffensive (it’s actually a nice scent), but I find that most times we hook up, I get a raging UTI within a day or two. It’s happened enough times that I’m wondering if his infrequent washing could be allowing bacteria to live on his junk, causing my infections. Is that possible? Do I need to have a talk with him about washing more frequently/thoroughly? Hurts To Pee The simple answer is yes, HTP. It’s great to have an eco-conscious lifestyle, but not at the expense of your urinary tract. If he cares about you as much as he does about the environment, then with a quick chat, he’ll probably focus a little more on his personal hygiene. Especially if you explain to him that the overuse of antibiotics contributes to creating antibiotic-resistant bacteria, which can cause issues for the entire planet. On the Lovecast (savagelovecast.com), Dan chats with twin, queer, heartthrob pop stars Tegan and Sara. Contact Dan via email at mail@savagelove. net, and follow him on Twitter: @fakedansavage.

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Digital Account Executive OC Weekly is seeking an energetic and outgoing individual for a new digital sales position. In this role, you will help small, mid-sized and large businesses with an array of digital services and strategies designed to increase web and mobile presence, generate leads to expand their customer base, and deliver significant ROI & increased revenues. We develop customized digital marketing campaigns that achieve our clients' marketing goals. Our portfolio of innovative advertising solutions are targeted and affordable. We offer a variety of digital products that are designed to get results such as SEO, PPC, Paid Media, Display Advertising, Social Media, Programmatic, Retargeting, IP Targeting, Email, Mobile Advertising, Web Design, Content Production and more. We are looking for a superstar who wants to be part of a dynamic sales team. Applicants should be motivated, smart-on-their-feet, outgoing, personable, competitive, able to thrive in a fastpaced environment and posses a strong work ethic. Candidates must also have a clean driving record and must pass a background check. We provide a portfolio of solutions for every clients needs with precision targeting, a fun and exciting work environment, base salary + commission + bonus, unlimited earning potential, ongoing sales training, a career path in sales and management, Medical, Dental, Vision, Life, Disability Insurance and 401(k). Interested candidates should submit a letter of interest and resume to smabry@ocweekly.com. EMPLOYMENT * ASTROLOGERS, PSYCHICS, TAROT READERS NEEDED! P/T F/T $12-$36 per hour. tambien en Espanol. 954-524-9029

Employment Accounting - Marrs Services Inc. (Civil Engr, construction), needs an Accountant to perform various acctg functions. Req: MS + 2yrs exp. Job location: Fullerton, CA. Mail resume to: 340 E. Commonwealth Ave, Fullerton, CA 92832, Attn: Ryan C. International Sales Manager -Under the direction of the Sales Director, Plan, and coordinate international business development, marketing and sales programs, such as determining the demand for international services offered by Company, and identify potential customers in Canada, Mexico, Central and South America. Develop pricing strategies with goal of maximizing the company's profits or share of the market while ensuring customer satisfaction. Formulate, direct and coordinate marketing and sales activities and policies to promote services on an international level with frequent travel and presence at Trade Shows; Identify, develop, and sell UV Sanitizers to the Recreational Water Industry. Use sales forecasting and strategic planning to ensure the Sales profitability, analyzing business developments, monitoring market trends. Coordinate and participate in promotional activities with Key Distributors. Must speak French and Spanish. High school diploma or its foreign equivalent plus 4 years experience in the job offered or as Sales Manager.40 hrs/pwk, job site Gardena, Ca. Send resume to Jeff Boynton, @ jeffb@deltauv.com, Delta Ultraviolet Corporation. Microchip Technology seeks Pr. Silicon Design Engineer (PSDE-CA) in Irvine, CA. Work on 802.11a/b/g/n based wireless modem/sub sys designs. Master’s+3yrs exp. Email resume to #AllSiliconValleyHR@Microchip.com. Reference job title & code in subject line.

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Martinez Handyman Indoor & Outdoor Repair Work. One Call does it all! Free Estimates (714) 461-2110

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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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SAFE ACCESS DIRECTORY

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