San Diego CityBeat • Mar 15, 2017

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FEBRUARY 22, 2017 · SAN DIEGO CITYBEAT · 1

2 · San Diego CityBeat · March 15, 2017

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March 15, 2017 · San Diego CityBeat · 3

UP FRONT | FROM THE EDITOR

Enter stage left

E

nvironmental attorney Mike Levin was as surprised as everyone else when his ticket number was called to ask a question during Rep. Darrell Issa’s town hall meeting in Oceanside over the weekend. Just a few days before, Levin had announced his candidacy for Issa’s 49th District seat and now here he was, getting to ask the congressman a question while also giving constituents a possible sneak preview of what a 2018 debate might look like.

Levin, an Orange County native who founded a clean energy industry trade organization and is on the board of the California Hydrogen Business Council, prefaced his question by referencing a book he had personally sent to Issa in 2016 called Climate Change for Beginners, but before Levin got to ask his question, Issa snapped.

“Ask your question, young man!” the Vista congressman barked. The exchange was indicative of Issa’s approach to both of the town halls.

Defensive, snappy and often talking down to the constituents in attendance (see Torrey Bailey’s roundup of both town halls on page 8), Issa was literally cracking up about it on a Monday appearance on Fox & Friends. Levin, however, did not find it at all funny.

“I was blown away when he confronted me and wouldn’t let me ask my question,” Levin told CityBeat. “He was rather patronizing and his answer wasn’t at all persuasive.”

Levin, a lifelong Democrat, is currently enjoying some attention since announcing his candidacy, getting some love from the OC Weekly, Mother Jones and even the Union-Tribune. But he knows he has a long way to go and a tough primary battle coming up against fellow Democrat Doug Applegate. He admits to being young, but wouldn’t classify himself as inexperienced. He’s been involved in progressive politics since he was in college at Stanford, where he befriended fellow dormmate Chelsea Clinton. He worked on Bill Bradley’s 2000 presidential bid before eventually going on to run the Democratic Committee of Orange County. Most recently, he helped raise money for Hillary Clinton’s 2016 presidential campaign, as well as doing some consulting work for the campaign on its clean energy policy.

This may be Levin’s strongest suit when it comes to challenging Issa. While Levin agrees with Issa on the fact that something must be done about the nuclear waste at the now decommissioned San Onofre Nuclear Generating Station, he disagrees with Issa’s overall energy policy.

“Issa’s policy, and I’m paraphrasing, is that we need more nuclear power,” says Levin, who regularly calls out Issa as a “full-blown Trump apologist.”

“His solution is to build more natural gas plants and to keep the nuclear energy plants online for longer. That’s what I heard him say, and I think that’s an unfathomable proposal for a progressive and environmentally-friendly place like San Diego.”

Levin is also quick to point out his immense respect for Doug Applegate and how close the retired Marine colonel came to defeating Issa in 2016. He says that despite the fact that they will run against each other in the primary, the two of them must work together to stay on message.

“This election is about Darrell Issa,” says Levin, who adds that he hopes to sit down with Applegate soon to make sure they focus on Issa rather than attacking each other. “In order to win, we must stay on offense and focus on the issues, because if we do, San Diegans will know that Darrell Issa is out of touch with them.”

Without solicitation, Levin also points out how deeply he cares about San Diego’s homeless crisis and is “concerned” when it comes to federal cuts to the Housing and Urban Development budget.

“The sad thing is that San Diego needs local leadership on that issue now Mike Levin more than ever,” says Levin. “I saw that San Diego now has the fourth largest homeless population.”

“I also think there’s a big correlation between the homelessness issue and our vets. How many of those 9,000 homeless people in San Diego are veterans? The answer should be none of them and particularly not in San Diego.”

While voter turnout is bound to be lower for the 2018 midterms, Levin is confident that it can be done, citing that even though Issa won reelection in 2016, Hillary Clinton still won the 49th district by seven points and won by 13 points in the San Diego region of the district.

“I know we can do better and that’s why I’m running,” says Levin, who hopes to meet with progressive groups such as Indivisible and Together We Will over the coming months. “I’m a political organizer by background and I’ve been at this a long time… We’ll be lucky if voter turnout in 2018 is 55 percent. What that means is that, until then, we have to run a perfect campaign.”

—Seth Combs

Write to seth.combs@sdcitybeat.com

This issue of CityBeat is dedicated to our office microwave, which was recently decommissioned for being broken, disgusting and a tool to spy on us.

Volume 15 • Issue 33 EDITOR Seth Combs MUSIC EDITOR Jeff Terich WEB EDITOR Ryan Bradford ART DIRECTOR Carolyn Ramos ASSOCIATE EDITOR Torrey Bailey COLUMNISTS Aaryn Belfer Edwin Decker Minda Honey John R. Lamb Alex Zaragoza

CONTRIBUTORS Matthew Baldwin, David L. Coddon, Beth Demmon, Andrew Dyer, Tiffany Fox, Michael A. Gardiner, Glenn Heath Jr., Lara McCaffrey, Scott McDonald, Sebastian Montes, Jenny Montgomery, Kinsee Morlan, Jordan Packer, Jim Ruland, Ben Salmon, Jen Van Tieghem, Amy Wallen EDITORIAL INTERNS Jamie Ballard Sofia Mejias-Pascoe Nicole Sazegar

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4 · SAN DIEGO CITYBEAT · MARCH 15, 2017

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March 15, 2017 · San Diego CityBeat · 5

UP FRONT | LETTERS

HE PAID HIS DUES

Great article [“Fighting Fire with Fire,” March 8]! Going back to the Jesus Cecena article, let’s just say that I think the way you do: This person was only 17-years-old when he committed that terrible crime and after 39 years in jail, I think he paid his dues to society and to officer Buggs’ Family.

Needless to say that I don’t agree with early release but that is what makes this the greatest country in the world.

Joselito Mercado Chula Vista

WE WANT FEEDBACK Did you read a story in San Diego CityBeat that made your blood boil, or caused you to laugh so hard you pulled a stomach muscle?

If something inspires you to send us your two cents we welcome all letters that respond to news stories, opinion pieces or reviews that have run in these pages.

We don’t accept unsolicited op-ed letters.

Email letters to editor Seth Combs at seth.combs@ sdcitybeat.com, or mail to 3047 University Ave., Suite 202, San Diego, CA 92104.

For letters to be considered for publication you must include your first and last name and the part of town where you reside. Note: All comments left on stories at sdcitybeat.com will also be considered for publication.

TABLE OF CONTENTS

STREET PEOPLE KNOW THE DRILL

I wanted to comment on Michael McConnell’s opinion piece on homelessness [“San Diego’s backward approach to ending homelessness,” Feb. 15]. I agree that housing first is desirable but it will be at least three years before we see much there. There needs to be some transitional stuff in the meantime. He says there are “hordes of police” that clear out people’s possessions, which is inaccurate. It is the city’s environmental services department that does the cleanup. The blocks are noticed on Thursday and then cleaned on the following Monday. The street people know the drill—they move what they want and leave the rest on the sidewalk and in the gutter.

It is literally tons of stuff that is collected. I have lived in San Diego since 1969 and in the East Village since 2007. I walk to Sherman Heights and Barrio Logan all the time so know the areas well, especially J and Island.

From the Editor. . . . . . . . . . . . . 4 Letters. . . . . . . . . . . . . . . . . . . . . 6 News. . . . . . . . . . . . . . . . . . . . . . 8 Backwards & In High Heels. . . . . . . . . . . . . . . 9 Well, That Was Awkward . . . . . . . . . . . . . . . . . 10

FOOD & DRINK The World Fare. . . . . . . . . . . . . 11 Anatomy of a Cocktail Scene . . . . . . . . . . . . 12 Final Draught . . . . . . . . . . . . . 13

THINGS TO DO The Short List. . . . . . . . . . . . . 14 Calendar of Events . . . . . . . . 15

ARTS & CULTURE Theater . . . . . . . . . . . . . . . . . . 16 Film . . . . . . . . . . . . . . . . . . . . 17-18

Jan Bourgeois East Village

AND NOW, A POEM

“The Pliny “ [re : “The Younger is Getting Old,” March 8] Here is a trick I learned from a welder Who seemed to have a clue When you’re drinking Pliny the Elder Never have more than two

UP FRONT

Ivan Smason Santa Monica

A TRAGIC MISTAKE

I disagree with your decision that Jesus Cecena should continue his time in prison after he has been

MUSIC San Diego Music Awards Program. . . . . . . . . . . . . . . . 19-24 FEATURE: Via Satellite. . . . . . . . . . . . . . . . 26 FEATURE: All-Ages Venues. . . . . . . . . . . 27 The Great Demo Review - 2017. . . . . . . . . . 28-40 If I Were U. . . . . . . . . . . . . . . . 42 Concerts & Clubs. . . . . . 43-45

LAST WORDS Advice Goddess. . . . . . . . . . . 46

there since 1978, almost 40 years [“Fighting Fire with Fire,” March 8]! He was 17-years-old when he did the murder, but it’s been determined that teenage brains are not fully developed. It is totally wrong to treat juveniles as adults. Juveniles can’t make contracts, etc., so he should not be treated as an adult when he did the crime. Cecena made a tragic mistake, but our paying for him to be in prison for the rest of his life is ridiculous. You sound like you want vengeance.

We’re wasting government money when it could be used for better purposes.

6 · SAN DIEGO CITYBEAT · MARCH 15, 2017

Nancy Witt Point Loma

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March 15, 2017 · San Diego CityBeat · 7

TORREY BAILEY

UP FRONT | OPINION

Playing both sides Darrell Issa attempts to appease angry constituents by pivoting to the center

by Torrey Bailey

W

aiting for San Diego Republican Rep. Darrell Issa to speak Saturday at the Junior Seau Recreation Center in Oceanside, 38-year-old Rebecca Tracey held a sign that read “1621 is not a mandate.”

“1,621 is the number of votes [Darrell] Issa won by in the last [general] election,” she said. “He does not have a mandate. He has to listen to the other half of his constituency.”

This slim win wasn’t lost on Issa, who initially dodged arranging town halls but succumbed to pressure from weekly protests outside his office. With uproar rising from constituents feeling misrepresented by him, Issa has taken a people-pleasing, center-right pivot. He used the March 11 town hall meetings to try to promote this newfound centrism, but spent considerably more time talking down to the crowd and scolding them into silence instead of listening to them.

“He’s got a lot of pictures of himself with some happy, rich, white people, and he has avoided anyone that might have an alternative position to him so I’m here to tell him that I disagree,” Tracey added.

Even when ticket holders were settled into the meeting, constituents outside chanting “You work for us!” could be heard in between Issa’s historically uncharacteristic stances on independent investigations on Russia, health care, women’s reproductive rights and the environment.

On Saturday, Issa broke with party lines to reinstate his support for an independent investigation on Russia, which he first brought up during his Feb. 24 appearance on Real Time with Bill Maher.

“People said I looked really good on Bill Maher,” he gloated, ostensibly patting himself on the back for being the first Republican to call for Attorney General Jeff Sessions’ recusal. But the audience wasn’t buying it. While declarative during the prime time announcement, several days later Issa voted against pressuring the U.S. Department of Justice to turn information over to Congress on any “criminal or counterintelligence investigations” into Trump and his cabinet members.

Switching to the town hall’s fo-

cus on health care, one constituent asked about the future of Medicare and Medicaid, to which Issa replied that it “isn’t changing.”

This is logistically impossible since, starting in 2020 under the American Health Care Act, “funding for Medicaid will end,” according to Forbes, “resulting in vast inequalities between individual states.” Forbes also notes “state funding will be calculated according to how much each state spends per enrollee on Medicaid, population demographics and whether or not the state participated in Medicaid expansion under the [Affordable Care Act]. ” And organizations such as the American Psychological Association say the bill would reduce mental health and substance use coverage for Americans enrolled in Medicaid.

“The current bill is not in a form that I approve of, and I am trying to change it, but ultimately the Affordable Care Act has problems that have to be fixed,” Issa said on Saturday. “My intention is to keep working on the fixes.”

Nonsense. On March 14, just three days after the town hall, GOP-affiliated group American Action Network ran 30-second TV ads touting the American Health Care Act and thanking Issa, among other legislators, for sticking to their promise to repeal and replace Obamacare.

When it came to women’s reproductive rights, Issa was blatantly hypocritical to his past leanings. On Saturday, he said Roe vs. Wade was “settled,” and guaranteed Planned Parenthood wouldn’t be cut, although he’s already voted to defund the organization in 2015. In 2011, he voted to ban federal funding for abortion, and in 2005, he voted to restrict minors from crossing state lines to get abortions, according to ontheissues.org, a website dedicated to monitoring politicians.

And both Planned Parenthood and NARAL Pro-Choice America gave him a dismal zero percent rating, indicating he doesn’t align with the organizations’ values when it comes to reproductive rights.

Meanwhile, the National Right to Life Committee allotted Issa an 80 percent rating.

He’s also been fighting the bad fight for women’s rights loudly

8 · SAN DIEGO CITYBEAT · MARCH 15, 2017

Rep. Darrell Issa addresses constituents at a town hall meeting in Oceanside. enough to get placed in a Planned Parenthood poll ranking the top five worst quotes on the subject.

He had barred activist Sandra Fluke from speaking on an all-male panel discussing religion’s role in mandated birth control coverage. He said she “wasn’t in any way related to the point of the stated reason for hearing” because the issue was about religion, not women.

Issa also touted himself as an environmental hero at the town hall. In the category of going green, Issa has been sacked with a 10 percent grade by the League of Conservation Voters and a 13 percent by the Humane Society Legislative Fund. Some of his votes have gone toward deauthorizing critical

habitats for endangered species and legislation that would accelerate forest thinning.

But on March 1, Issa seemed to have a change of heart by joining the Climate Solutions Caucus. Except he joined, perhaps not so coincidentally, just days before environmental lawyer Mike Levin announced he’ll run against Issa next term (more on him in this week’s editor’s note). When confronted

by Levin on climate change, Issa played coy stating that he does not support cutting EPA funding.

Additionally, Issa has introduced a bill that would privatize nuclear waste cleanup at San Onofre in a plan that offers “interim storage,” which Levin likened to the “tem-

porary school trailer that seems to never be removed.”

By flip-flopping on his stances, failing to provide concise explanations and hushing an anguished crowd, Issa’s stroke of centrism lacked the unity his incumbency relies on. The wishy-washy answers directly contradicted the straightforward replies constituents asked for (“yes or no,” they often shouted, taking a play from the Indivisible handbook). In the end, it seemed that Issa was appealing to neither the left nor the right, but cementing his role as a career politician. Constituents were left wondering the same question they came with: Is he here for his party, or for his people?

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UP FRONT | OPINION

AARYN BELFER

BACKWARDS & IN

HIGH HEELS

Paging Brutus! Ou est Brute?

“When battling foreign enemies, Caesar was ruthless. Besieging rebels in what is now the Dordogne part of France, he waited until their water supply ran out and then cut off the hands of all the survivors.”

—PBS, The Roman Empire In the First Century

L

o, the Ides of March. On this day in 44 BC, Julius Caesar was stabbed to death by a group of 60 of his friends and colleagues during a senate meeting. Sounds like one hell of a cloture vote if you ask me.

You can’t say the guy wasn’t warned.

Caesar had only been named dictator perpetuo or “dictator in perpetuity” in late January of the same year when Brutus led the attack against his former friend two months later (ahem). He and other attackers were supposedly wounded in the melee, as is not uncommon in a melee. But they survived, highfived each other on having granted themselves amnesty as politicians so frequently do, and Rome got a chance at reinvention.

Wouldn’t it be healing if we had our own lurking Brutus and two-thirds of the senate finally admitted, Yo, this kid is insane, man! and took his ass out of the game? (Along with all the other monsters he dragged in; unlike Rome, 45’s fam and associates have to go as well.)

Now, before everyone freaks out thinking I’m advocating assassination and I am subsequently disappeared into a detention center where who-knows-what-the-fuck is going on, please know this: I am not suggesting any kind of violence against the Texter-in-Chief because a) I’m not violent; b) that would be illegal, and; c) that’s letting the little peen off too easy. Even as I’m connecting some historical dots and wouldn’t at all mind a coup in response to the coup, I am looking for a political—rather than literal—nerve agent.

Like, oh, I don’t know—how about impeachment?

It seems all the teeth gnashing from even the most outraged Dems has somehow prevented most of them from enunciating the syllables of the I-word, so it doesn’t appear that this is the pathway forward. Political writer Bob Cesca explained that there are no knives beneath the togas in our congressional houses.

“The Democrats need a majority in the House to impeach someone,” wrote Cesca last January for Salon. “They also need votes of 67 senators to convict a person. (For that matter, they also need provable high crimes or misdemeanors before anything else happens.) Without a multitude of Republican votes, the entire scenario is a non-starter— even after a possible Democratic sweep of the House in 2018.”

Every damn time Charlie runs to kick

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that football, Lucy just yanks it away.

And while I’ve been of the mindset that we will never have another fair election, after watching the new health care rollout last week, I’m sorta thinking that the Republicans are gonna get their asses kicked in November 2018. Even the weasel-turd Tom Cotton is running around the House these days urging his fellow right-wingers to maybe think about not voting a unified “yea” vote on the American Health Care Act. Not, mind you, because it’s bad for American people, since our elected leaders are supposed to be looking out for the American people, but rather because doing so might put them at risk of losing power next year.

I’m sorry, dear reader. I took the liberty of paraphrasing Cotton. Here is what he actually said: “I’m afraid that if they vote for this bill, they’re going to put the House majority at risk next year.”

Party over country, Huzzah!

Americans, I hope, are not waiting for the overthrow of our own Babyhands Ceasar to come from our elected leaders, because they, like 45, are really looking to chop off our hands. Absolutely don’t count on any Republican to swing away without a lot of pressure on our part. Sure, if you look at just the headlines, Cotton may seem like a Brutus. But he’s just a momentary one. In this story, we are Brutus and his gang of warriors.

Our voices (and our wallets) are our daggers and we must use them by making calls every day. And by that I mean every. Single. Day. All the days. This sucks for those who prefer to text rather than talk, but it’s time to get up and over your introversion.

The easiest, least-disruptive-to-yourlife, most minimal thing to do is to take that health care bank account you have, also known as your smart phone according to Utah Rep. Jason Chaffetz, and download the 5 Calls app today. Then set the alarm on that health care bank account and wake up 15 minutes early tomorrow and the next day and the next day and so on and make the calls. The app provides you not only with the digits of your elected officials, but also scripts for every single issue you can possibly care about. It may seem daunting, but it won’t land you in prison and is much more effective and far easier, as it happens, than stabbing someone. I know this for a fact from my Target Focus Training. Truly. Stabbing someone to death, like impeachment, is not easy work. Julius was stabbed 23 times but only one blow was fatal.

We need to strike at the proverbial aorta of this hideous monster. Eventually, we’ll be rid of 45 and his zombie ilk. The sooner, the better. Rome is burning. Let’s get rid of our own dictator perpetuo and take our chance at reinvention.

MARCH 15, 2017 · SAN DIEGO CITYBEAT · 9

UP FRONT | OPINION VOICES

RYAN BRADFORD

WELL THAT WAS

AWKWARD Disney made me a rock ‘n’ roll star

I

n honor of the Local Music Issue, I’d like to share my own brush with rock and roll stardom.

Look up Ryan Bradford on the Internet Movie Database, more commonly known as IMDB, and this is what you get: · 2005 3:am (Short) · 2001 The Poof Point (TV Movie) · 2008 Gay Hitmen (Short) · 1996 Saved by the Bell: The New Class (TV Series) I don’t really know how to explain 3:am and Gay Hitmen except that my friends and I made a lot of movies in college while we were drunk.

The Saved By The Bell credit belongs to a different Ryan Bradford, a child actor who also appeared in the second-to-last episode of LOST. I’ll often check out his Twitter profile to see who has more followers. It’s always him.

The Poof Point, though. That’s totally me.

In high school, I played drums in a punk band called The Flare with my friend, Ryan Seaman, whose dad was a director of photography in the film industry. This also happened to be in Utah, a right-to-work state, which meant there were a lot of small-budget, non-union projects being filmed there.

Disney, being a historically anti-union company, filmed a lot of shit there, including the The Poof Point.

Now, when I said The Flare was a punk band, I meant we were pop-punk. We were Disney punk. Our songs were about dancing while you’re driving and being sad after a break-up. But they were good*, and worthy of Disney stardom, despite Mr. Seaman’s blatant nepotism. (*amazing) After landing the gig, Disney paid us (PAID! US!) to record a couple songs at a fancy studio in the industrial outskirts of Salt Lake City. Our producer was a legit professional, and I remember simultaneously disliking him and feeling sorry for him. Imagine the Twilight Zone twistiness of being a well-regarded audio expert, but having a mousey overlord force you to record a bunch of shitty teens.

This guy would say things like “your songs don’t make sense, musically” or tell our singer that our music didn’t match her voice. The producer even tried to make me do a drum roll to intro one of our songs, and, oh boy, I wasn’t having it. We don’t change our music for suits, man. I was also not technically proficient enough to do a drumroll.

The plot of The Poof Point involves two kids whose wacky scientist parents (the father is played by Mark Curry from Hangin’ With Mr. Cooper) invent a reverse-aging machine. When the parents use it on themselves, they begin to mentally regress, and their kids

10 · SAN DIEGO CITYBEAT · MARCH 15, 2017

must race against time to reverse the reverse aging before their parents hit infancy, i.e. the poof point. (Apologies—I get 25-cent royalties every time I write or say the movie title).

Complicating matters, Curry’s son (Tahj Mowry from Sister, Sister) wants to join our band. But get this: his rehearsal is at the same time as his parents’ catastrophic, potential poof point (cha-ching!).

After our first day on set, I understood why child actors are so fucked up: anything you want, it’s yours. Candy, soda, catered meals.

It’s a bacchanalian orgy of freedom and hedonism, corrupting kids in the same manner as Pinocchio’s Pleasure Island—but turning them into assholes instead of jackasses.

Curry provided a dire glimpse into a future provided by Disney stardom. To say he was strange is a bit of an understatement. I have vivid memories of a stunt where Curry’s character accidentally sets the school principal on fire, and if you can picture the hallucinatory image of Curry laughing gleefully while a stunt person’s head burned, you’ve now just imagined one of my most frequent, recurring nightmares.

The Poof Point’s set also became rotten with teen hormones. Little romances sprung up. I’m pretty sure Ryan spent a lot of time hooking up with the entire supporting cast. I, however, spent most of the time self-conscious about my made-up face and wardrobe. Adorned with an embarrassing red shirt with flames on it, there was no way I was going to to pull moves on any Disney tween. The makeup department thought it’d be cool to slather my face with fake tan—I looked like someone had pureed Donald Trump and blasted my face with him.

While Ryan was off macking, I spent a lot of time alone, exploring empty parts of the set and discovering strange items. I found a copy of The Communist Manifesto in the bookshelves on the set meant to be Tahj’s bedroom. While Ryan was copping feels with brace-faced divas, I was diving deep into the wormhole of class struggle and the evils of capitalism.

It took about a week to film our scenes, and by the end, everyone in our band was thoroughly corrupted by the limelight. Except me. As we all know, I became a socially adept, happy person who never dwells on the past and who doesn’t sell bootlegged CD-Rs of The Flare’s album out of the trunk of my car for only $6 a piece. No siree, the rock and roll lifestyle just wasn’t for me. I’m totally fine with watching whatever fame I had disappear. Totally. Poof.

Well, That Was Awkward appears every other week. Write to ryanb@sdcitybeat.com.

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UP FRONT | FOOD

BY MICHAEL A. GARDINER

THE WORLD

cos, quesadillas, a quesataco (of birria), consomé (of birria) or tortilla sandwiches of, wait for it, birria.

You’re pretty much getting birria, a beef stew cooked low and slow with guajillo and pasilla chiles, vinegar and sweet spices (cinnamon and clove) until the meat falls off the bone in a vain attempt to Another roadside attraction avoid the worst of the rhythmic “thwacking” of the cook’s cleaver. The result is thick, rich and, at its here could be worse places to look for hap- best, utterly exhilarating.

Isabel’s bowls are birria in its truest and purest piness than the bottom of a bowl of birria.

Church, for instance. Or maybe the bal- form: broth, shredded meat, onion, cilantro and lot box. High cuisine is great and tacos have their (somewhat unusually) beans. The broth is rich and charms, but is there anything better than pulling spicy, the meat is savory and soft, the onions proup to a roadside birrieria, seeing lines out the door vide textural contrast, and the cilantro serves as a and tucking into that spicy meat stew? It’s the sort colorful herbal element. It may be the perfect food. of thing that’ll cure any kind of hangover you have: It will cure what ails you. Neither God nor governphysical, spiritual or maybe even political. It’s an ment have a better plan.

Or go the other direction and get the consomé attraction on just about every Mexican roadside and I’ve been to none better than Birrieria “Isa- with tortillas. It’s broth garnished with a sprinkling bel” (Calle Jesús González, 1489, Colonia Lucio of diced onions and served with warm, earthy corn tortillas dipped in fat. Sip it out of the cup or try usBlanco) in Rosarito. ing the plastic teaspoon it ofMICHAEL GARDINER fers, but the ultimate delivery device is those corn tortillas.

Isabel, like most roadside birria shacks, offers the stuff in taco form, specifically street taco-style (doubled small corn tortillas in a vaguely triangular paper wrapper). They’re good, they’re quick and you can eat a lot of them. Or trade the corn tortillas for flour and get the quesadilla: the cheese rounds out birria’s more angular flavors.

Birria is not high cuisine. It’s not even Mexico’s most celebrated street food.

But there’s a reason roadQuesadilla de birria side birria spots are crowded: birria’s good, it’s honest, and Isabel isn’t exactly “Captain Kendrick’s Memorial it’s oddly wholesome, heady and true. It is everyHot Dog Wildlife Preserve” from Tom Robbins’ An- thing Tom Robbins celebrated in Another Roadside other Roadside Attraction. But a place doesn’t need Attraction, without Jesus’ mummified remains. Find either hot dogs or Jesus’ bones to catch your atten- your salvation at church if you choose, or prescription when you can’t see into it from the road because tion drugs if you have refills remaining, but you there are just too damned many people clogging the could do much worse than digging to the bottom of cart and doorway. It’s even better when the people the bowl at Isabel. around that doorway don’t look much like me.

The menu at Isabel is short: birria, birria and The World Fare appears weekly. birria. Order the full bowl or half bowl, birria ta- Write to michaelg@sdcitybeat.com.

FARE T

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MARCH 15, 2017 · SAN DIEGO CITYBEAT · 11

UP FRONT | DRINK

ANATOMY OF A

BY IAN WARD

COCKTAIL SCENE #1: Grandpa Comes Home

ship for some time, I grew tired of not being here, home. Now that I’ve returned, I asked Michele what t the spry young age of 33, I was referred her favorite cocktail in San Diego currently was. to as “Grandpa” by many of my colleagues Without hesitation she responded, “It is still the ‘Hunter S. Thompson’ at Lion’s Share.” in the San Diego bar inThe name brought a smile to my dustry. By having helped stoke the face and a steadiness to the ground. flames of the cocktail movement The Lion’s Share (629 Kettner that was beginning to burn in our Blvd.) had always been a place city, it would be fair to say that it where the name “Grandpa” rang out aged me. “Grandpa Ward” is who upon my arrival, and so we called I became, but it was a name not an Uber and headed that way. The derived by age or appearance, but Lion’s Share seemed a perfect place rather one rooted in respect. to start this new chronicle.

Or, at least that is what I beAs for the tart and boozy “Huntlieved. er S. Thompson” cocktail, I had It has been some time since I’ve been present during its inception heard that name, Grandpa, having and even helped give it it’s name. left San Diego for a few years to live I’m happy to report that it’s just as in New York. Having now returned, good as I remembered it. it’s a name that no longer rings out The “Hunter S. Thompson” Seeing as how we are currently when I walk into a bar. These days, at Lion’s Share in the throes of a Tiki revival, it is I pull up bar stools to sit and watch good to find a cocktail that takes as the San Diego cocktail scene goes on without me. elements easily associated with “Tiki” (fruit syrups, After some wise, grandpa-like reflection, I have decided to make a chronicle of the cocktail move- Rum, pineapple) and have them work together to ment in this, America’s Finest City. Draw up an create something that is more than fluff. It has grit and character from the mezcal and pineapple rum, anatomy of this cocktail scene.

I found the act of re-entry into this cocktail and the raspberry syrup not only lends the concoccarnival more dizzying than I had anticipated so I tion a beautiful vibrant color, but also a coating turned to one of the few people I love and trust for mouth-feel that helps to balance the the astringent advice, Michele Willard. Michele is the Beverage citrus. And whereas a lot of bartenders add bitters Director for the URBN Restaurant Group (URBN, to a cocktail because they were told to do so years Basic) and the reason I returned to this humble ago, the old fashioned aromatic bitters here really harbor town. After having a long distance relation- do bridge the gap between the ingredients.

A

THE “HUNTER S. THOMPSON” as found at The Lion’s Share

• 1 oz. of Mezcal • 1 oz. of Pineapple infused Rum • 1 oz. of Lime • 1/2 oz. of Raspberry Syrup

• 1/2 oz. of Agave Nectar • 2 dashes of Fee Brothers brand Old Fashioned Aromatic Bitters

Combine all ingredients into a mixing tin filled with ice.

Shake and strain into a double rocks glass with fresh ice. Garnish with a candied pineapple.

Anatomy of a Cocktail Scene will appear every other week. Write to ianw@sdcitybeat.com

12 · SAN DIEGO CITYBEAT · MARCH 15, 2017

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UP FRONT | DRINK

FINAL

BY BETH DEMMON

DRAUGHT The fourth element

water and blend it back in with reverse osmosis water to meet our objectives [since] reverse “If George Harrison is hops (the wild, “out there” one), osmosis [RO] basically takes out everything.”

Breweries often use a blend of city and ROPaul McCartney is yeast (the most feminine—yeast treated water for a unique brewing profile, but are all female), and John Lennon is malt (the founder of the band that provides a solid foundation for the Societe Brewing takes a more hands-on approach rest to build on), then Ringo Starr is most like water: by treating 100 percent of their brewing water through reverse osmosis. crucial, but often overlooked.”

“We do this for several reasons,” says Travis —Slide seen in the Intro to Homebrewing Smith, brewmaster at Societe. “Unless you are class at The Homebrewer testing the city water on a daily basis and then making adjustments on how much water is f the four main elements in beer, water is blended, there would not be a way to know what certainly considered the least interesting. minerals are in the water. By using 100 percent Brewers animatedly argue the finer points of RO water and then adding minerals, we maintain a alpha acids in hops and malt bills, but conversations consistent water profile year-round and complete about water treatment techniques or the alkalinity control of what that profile is. We can add higher level of local water sources are rarely overheard calcium sulfate concentrations to hoppy beers to COURTESY OF WHITE LABS accentuate the hoppiness, outside laboratories. up the calcium chloride to However, what water give the beer a rounder, lacks in pizazz, it makes softer character, or add up for in importance when calcium carbonate to give it comes to brewing. Not it a harder, more mineralonly does it compose rich composition.” the bulk of all beer, but On a smaller level, the minutiae of mineral many homebrewers are content and pH levels content to carbon filter affect different styles of chlorine out of tap water suds in vastly different or wing it with a quick ways. Identical recipes boil before mashing in, can be considerably but these approaches varied when brewed with Water testing at White Labs only remove organics different water sources.

San Diego’s water is sourced mainly from and tend not to noticeably alter taste. For the mineral-rich Colorado River, which supplies hardcore brewing scientists, White Labs offers the region with “hard” water full of calcium water testing kits as well as testing services for and magnesium. Other minor sources include professional brewers.

While San Diego’s particular water profile desalination distributors, rainfall (which, thanks to the drought, is a drop in the bucket) and from the supports our output of IPAs and other hop-heavy State Water Project, which San Diego hasn’t seen styles, it has a ways to go before becoming palatable on its own. Smith puts it a little more bluntly. much of in the past decade.

“I stand by my claim that San Diego water tastes “The Colorado River has fairly high alkalinity,” says Tim Suydam, senior water operations manager like ass.” at Stone Brewing and a 25-year veteran of the wastewater industry. “At Stone, we have very Write to bethd@sdcitybeat.com, check her out on specific mineral content that we try to brew with, Instagram at @thedelightedbite, or via Twitter at so what we do is take some of the Colorado River @iheartcontent.

O

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MARCH 15, 2017 · SAN DIEGO CITYBEAT · 13

SHORTlist

EVENTS

the

THREE YOU HAVE TO SEE

COORDINATED BY

SETH COMBS

SAN DIEGO

1 LATIN LOVE

In these rather unprogressive times, going to the movies can provide a much-needed sense of escape. For 24 years, the San Diego Latino Film Festival has provided such a sense while also showcasing important films and documentaries whose sole aim is to further broaden our horizons.

“In light of the current political situation, it seems like the film festival is even more important,” says Ethan van Thillo, executive director of the Media Arts Center San Diego and founder of the festival. “This idea of an event that celebrates diversity, that builds bridges instead of walls and that tries to provide a more positive portrayal of the Latino community instead of the stereotypical news we’re hearing.”

And while we usually avoid clichéd statements like “there’s something for everyone,” in this case we feel confident saying just that. Highlights from the fest include cute rom-coms (¿Qué Culpa Tiene el Niño? and Alma), serious dramas about war and history (El Amparo and La Carga) and profound documentaries (Dolores and Etiqueta No Rigurosa).

DOWNTOWN

2 STRIKE A CHORD

After a brief hiatus, the San Diego Music Awards returns to declare who’s who and what’s what in the local music scene. This year, performers include veterans of the scene such as The Creepy Creeps as well as relatively new and buzz-worthy bands such as The Schizophonics and The Verigolds. Doors open for the awards at 6 p.m on Tuesday, March 21 at the House of Blues (1055 Fifth Ave). General admission tickets go for $36, but VIP tickets are also available. Proceeds go toward the San Diego Music Foundation’s Guitar for Schools programs. For those who can’t make it on Tuesday, there will be various showcases throughout the city with spotlights on specific genres such as blues, indie-rock and acoustic folk. For more information, visit sandiegomusicawards.com.

There are also horror films, animation, short film showcases and premieres from former San Diegans Shinpei Takeda (Ghost Magnet Roach Motel) and Kate Trumbull-LaValle (Ovarian Psycos).

“Tons of people submit their films from all over the world,” says van Thillo, who adds that there were over 800 films submitted this year. “Diversity is key not just in the amount of countries represented, but in the genres we show. There’s a huge LGBT showcase every year, we have a family showcase, and we have very niche films as well.”

The film fest takes place from Thursday, March 16 and runs through Sunday, March 26.

Most of the films ¿Qué Culpa Tiene el Niño? are screened at AMC Fashion Valley (7037 Friars Road) in Mission Valley, but some will be screened at Digital Gym Cinema in North Park (2921 El Cajon Blvd.). There will also be special events like a food and wine tasting festival, as well as opening and closing night parties. Prices range from $225 for all-access passes to $11.50 for individual screenings. See sdlatinofilm.com for full schedule and details.

ESCONDIDO

3 WAKE UP

While most folks will be appropriating Irish culture on St. Patrick’s Day, the culture capitalists over at A Ship in the Woods (3007 Felicita Road) will be paying respect to the special day by throwing their own version of an Irish Wake. Instead of celebrating the death of St. Patrick, Ship’s new art and music exhibition, Wake, will feature artists and scientists questioning the vanishing ecosystem, climate change and decline of our political system. Over a dozen artists will show work including William Feeney, Marisol Rendon and Scott Nielsen, among others, and there will also be musical performances by indie-experimenters Xiu Xiu and Kid606. It happens on Friday, March 17 from 6 to 11 p.m. Tickets are $15 plus $3 to park at the neighboring Felicita County Park. shipinthewoods.com ALEX BROWN

The Schizophonics 14 · SAN DIEGO CITYBEAT · MARCH 15, 2017

Xiu Xiu @SDCITYBEAT

EVENTS ART HFemme Forme at Whistle Stop, 2236 Fern St., South Park. A music and art show that encourages creatives to come out and network. Artists include Diana Benavidez, Sarah Brown and Ella Lulla, while musical performances include Twin Ritual, Maura Rosa, Heather Hard Xore and more. From 9 p.m. to 1 a.m. Wednesday, March 15. Free. tini-ebla.com HDowntown at Sundown at MCASD - Downtown, 1001 Kettner Blvd., Downtown. MCASD’s after-hours event offers free admission and guided tours of exhibitions at MCASD and the SDSU Downtown Gallery. Also includes specials at local businesses and live music. From 5 to 8 p.m. Thursday, March 16. Free. 858454-3541, mcasd.org HVideo Marathon at San Diego Art Institute, 1439 El Prado, Balboa Park. A night of video art submitted by San Diego based artists. Includes animation, performance, narrative, digital painting and more. At 6 p.m. Thursday, March 16. $5.

619-236-0011, sandiego-art.org HWake at A Ship in the Woods, 3007 Felicita Road, Escondido. A new exhibition featuring artists and scientists questioning the vanishing ecosystem, climate change and decline of our political system. Includes musical performances by indie-experimenters Xiu Xiu and Kid606. Opening from 6 to 11 p.m. Friday, March 17. $15. shipinthewoods.com HPerformance Mythodologies at SDAI Project Space, 141 Horton Plaza, Gaslamp.

A showcase of performative works by artists from San Diego, Tijuana and Los Angeles. Names include Maria Mathioudakis, Reanne Estrada, Long Long and The Kellies and more. From 6 to 8 p.m. Friday, March 18. Free. 619-236-0011, sandiego-art.org Shifter at Space 4 Art, 325 15th St., East Village. Space 4 Art co-founder and former curator, Chris Warr, will exhibit sculptural work he has developed since moving from San Diego to Los Angeles last year. Opening from 5 to 10 p.m. Saturday, March 19.

Free. 619-269-7230, facebook.com/ events/1863608190521959

BOOKS Angie Brenner and Joy Stocke at La Jolla Riford Library, 7555 Draper St., La Jolla. The two friends will be signing and discussing the new book they co-wrote and illustrated, Tree of Life: Turkish Home Cooking. At 3:30 p.m. Saturday, March 18. Free. warwicks.com HJenny Lawson at Warwick’s Bookstore, 7812 Girard Ave., La Jolla. The The author of The Bloggess website will sign and discuss her new book, You Are Here:

@SDCITYBEAT

An Owner’s Manual for Dangerous Minds.

At 7:30 p.m. Monday, March 21. Free.

858-454-0347, warwicks.com HElif Batuman at Warwick’s Bookstore, 7812 Girard Ave., La Jolla. The New Yorker staff writer and author of The Possessed will sign and discuss her new novel, The Idiot. At 7:30 p.m. Tuesday, March 21.

Free. 858-454-0347, warwicks.com

COMEDY Jay and Silent Bob Get Old at Balboa Theatre, 868 Fourth Ave., Downtown. The comedic duo of Kevin Smith and Jason Mewes (Clerks, Mallrats, etc.) do a live taping of their podcast. Jeff Terich will not be in attendance. At 8 p.m. Saturday, March 18. $32-$48. sandiegotheatres.org

DANCE HMalandain Ballet Biarritz at San Diego Civic Theatre, 1100 Third Ave., Gaslamp. The French ballet troupe returns for an interpretive performance based on Beauty & The Beast and set to music by Tchaikovsky. At 8 p.m. Saturday, March 18. $20-$73. 619-235-9500, ljms.org

FILM HSan Diego Latino Film Festival at AMC Fashion Valley, 7037 Friars Road, Mission Valley. The 24th annual fest will showcase documentaries, feature films, shorts and animated films from around the world. Also includes parties, food events and more. Various times. Thursday, March 16 through Sunday, March 26. $11.50-$225. sdlatinofilm.com

FOOD & DRINK HBackroom Beer Pairings at various Barons Market locations. The grocery store will transform its loading docks and store rooms into speakeasies for tastings and pairings of Hangar 24 beers. From 6 to 8 p.m. Wednesday, March 15. $15. baronsmarket.com

MUSIC Béla Fleck and Abigail Washburn at California Center for the Arts, 340 North Escondido Blvd., Escondido. The celebrated banjo players will take the stage to perform music from their self-titled debut album, which won a 2016 Grammy in the “Best Folk Album” category. At 7:30 p.m.

Wednesday, March 15. $27-$45. 760839-4190, artcenter.org HShe’s Got That Swing: Women in Jazz at Copley Symphony Hall, 750 B St., Downtown. In honor of Women’s History Month, this concert will feature vital female jazz artists like violinist Regina Carter, bassist Katie Thiroux, vocalist Dena DeRose and more.

AFTER DARK: ABOUT LAST NIGHT Last call

fate. Sen. Wiener envisions boosts for small businesses and particularly the LGBT scene statewide. y way of Senate Bill 384, partying now has “As a gay man, I grew up in the bars and the bi-partisan support. San Francisco Demo- clubs,” he says. “In the LGBT community, our nightcratic state Sen. Scott Wiener has rein- life helps us find community.” troduced the concept of extending California’s Some struggling gay bars in San Francisco have alcohol-serving hours until 4 a.m. And on March told Wiener that the extra hours could be the dif9, local GOP state Sen. Joel Anderson of District 39 ference between staying open and shuttering. And became a joint author. while business is good for Hillcrest-based restaurant “I’ve been downtown, and I’ve been told I have group Mo’s Universe, Marketing Director Lukas Volk to go home at two o’clock,” says Anderson. “Me and says they support the bill. my friends from out of town, we weren’t ready to “[We view] the extension of hours as an obvigo home… [Under this law] we won’t be ushered out TORREY BAILEY ous benefit to businesses all at 1:45. We can stay for a couple over San Diego,” Volk wrote more hours, maybe have anin an email. “Longer hours other beer and have some more mean more sales and, in fun.” turn, more taxes for the city.”

If passed, a 4 a.m. last call Drunk driving is a main concern wouldn’t automatically blanket for opponents, but Anderson communities. The decision is a says restaurants and bars will be multi-tiered process left to each held to the same responsibility city’s discretion, which is why standard. the legislation is called the LO- Gossip Grill, part of Mo’s Universe When Cape Coral, Florida CAL Act, or Let Our Communirestaurant group introduced a yearlong, extendties Adjust Late Night. San Died-hours pilot program in 2015, bars reported a 30 ego City Council would first decide whether to allow percent increase in revenue but twice as many DUIs extended hours and in which neighborhoods. Then, within the first six months, according to USA Today councilmembers pick a last-call time, either before Network. or at 4 a.m. Finally, the Alcoholic Beverage Control “You always run the risk of DUIs whether it’s 4 board would approve the city council’s plan and is- o’clock in the morning or 2 o’clock in the morning or sue extended-hours licenses submitted by bars, res- 3 o’clock in the afternoon,” Anderson says. “I think taurants and nightclubs within the allotted areas. you can stay out past 2 a.m. and not overdo it.”

On March 28, the Senate Governmental Organiza—Torrey Bailey tion Committee will be the first to vote on the bill’s

B

At 8 p.m. Saturday, March 18. $20-$65.

619-235-0804, sandiegosymphony.com Cameron Carpenter at Copley Symphony Hall, 750 B St., Downtown. The acclaimed organist brings his “International Touring Organ” to town for a performance that will include selections from Richard Wagner, Astor Piazzolla, George Gershwin and more. At 7:30 p.m. Sunday, March 19. $35. 619-235-0804, sandiegosymphony.com HClayton Brothers Quintet at The Auditorium at TSRI, 10620 John J Hopkins Drive, La Jolla. The Grammy-winning jazz group made up primarily of brothers will play a variety of styles punctuated by their signature showmanship. At 7:30 p.m.

Monday, March 20. $30-$35. 858-7842666, ljathenaeum.org HSan Diego Music Awards at House of Blues, 1055 Fifth Ave., Gaslamp. The annual awards show celebrates the best in local music with live performances and

awards given in a variety of categories. At 6 p.m. Tuesday, March 21. $36. sandiegomusicawards.com

POETRY & SPOKEN WORD HSt. Patrick’s Day Open Reading of Irish Poetry and Prose at D.G. Wills Books, 7461 Girard Ave., La Jolla. Members of the public are invited read their favorite passages from James Joyce, William Butler Yeats, Oscar Fingal O’Flahertie and others at this annual tradition. At 7 p.m. Friday, March 17. 858-456-1800, dgwillsbooks.com

SPECIAL EVENTS HshamROCK Gaslamp Block Party at Gaslamp Quarter, Downtown. Now in its 22nd year, this annual music fest along Fifth Avenue will feature dozens of bands and artists as well as the requisite beer

gardens. See website for full details and lineup. From 6 p.m. to midnight. Friday, March 17. $40-$165. 619-233-5227, sandiegoshamrock.com HSpring Planting Jubilee and Tomato Sale at San Diego Botanic Garden, 230 Quail Gardens Drive, Encinitas. The annual fest features a wide variety of herbs, spring plants, bromeliads, garden art and implements, plus guest speakers and garden experts on hand to answer questions.

From 9 a.m. to 5 p.m. Saturday, March 18 and Sunday, March 19. Free-$14.

760-436-3036, sdbgarden.org HSouth Park Spring Walkabout at South Park, 30th & Juniper, South Park. A quarterly evening festival that showcases all the unique and independent businesses within South Park. Enjoy complimentary treats, live entertainment, special offers and discounts, and much more. From 6 to 10 p.m. Saturday, March 18. Free. southparksd.com

MARCH 15, 2017 · SAN DIEGO CITYBEAT · 15

THEATER

KEN JACQUES

Shadow of a doubt

T

he shadowlands of William Nicholson’s 1989 play—based on his own script for a 1985 TV movie—is the temporal realm in which all of us reside: the living world. How we occupy and navigate life and what awaits us afterward is one of Nicholson’s central questions. The other is equally unanswerable: Why does a benevolent Creator allow almost-unbearable human suffering? These are inquiries ponderous enough for 10 plays, let alone one. Nicholson’s Shadowlands, now onstage at Lamb’s Players Theatre in Coronado and directed by Kerry Meads, tries just the same. Even at an overlong two hoursplus, it only approaches the scope of such substantive existential issues.

What the production has going for it are elegant performances by husbandand-wife Robert Smyth and Deborah Gilmour Smyth as the prolific British writer and so-called “Christian apologist” C.S. Lewis and Helen Joy Davidman, an academic- and activist-minded American. In this real-life story, the relationship between Jack and Joy, as they called each other, evolves from epistolary to friendship to marriage of convenience to a love that endured even after Joy’s death from cancer. Smyth, Lamb’s producing artistic director, is nearly unrecognizable made up as Lewis, but it’s the interior-

16 · SAN DIEGO CITYBEAT · MARCH 15, 2017

OPENING: Anansi, the Story King: The mythological tale of a spider and a sky god that attempts to draw parallels between the story and the African diaspora.

Adapted and directed by Nadine George-Graves, it opens for five performances at the Arthur Wagner Theatre at UCSD in La Jolla. theatre.ucsd.edu A Piece of My Heart: Shirley Lauro’s prize-winning play tells the true story of six women who served in the Vietnam War. Directed by Jeannette Thomas, it opens March 16 at the Grossmont College Theatre in El Cajon. grossmont.edu The Dresser: A WWII-era theatre dresser attempts to prepare a veteran stage actor for a King Lear performance. Written by Ronald Harwood and based on his own experiences, the play opens March 17 at the Lamplighters Community Theatre in La Mesa. lamplighterslamesa.com

Robert Smyth and Deborah Gilmour Smyth in Shadowlands ity of his performance—brave, dignified and restrained—that command the stage.

Gilmour Smyth embodies Joy’s headstrong nature and fortitude in the face of eternity, and as always when this pair performs together (as in last year’s piercing Who’s Afraid of Virginia Woolf? for Intrepid Theatre Company), the chemistry is instantaneous.

It’s rare that a play is based on a movie rather than the other way around. (Shadowlands was also a 1989 feature film starring Anthony Hopkins and Debra Winger.)

On the stage, C.S. Lewis’ contemplations, as dramatized by Nicholson, hover lon-

ger in the air than they do on the screen, though the jerking of tears in either idiom is conspicuous. As with many a theatrical work centered on ideas, the strength of the actors determines its accessibility.

In that respect, Lamb’s Shadowlands is in good hands.

Shadowlands runs through April 9 at Lamb’s Players Theatre in Coronado. $24$68; lambplayers.org

—David L. Coddon

Theater reviews run weekly.

Write to davidc@sdcitybeat.com.

Awake & Sing!: Clifford Odets’ Tony Award-winning drama about a third-generation Jewish family who all share an apartment in the Bronx during the Great Depression. Directed by Kristianne Kurner, it opens in previews March 17 at the New Village Arts Theatre in Carlsbad. newvillagearts.org My Brooklyn Hamlet: Brenda Adelman’s onewoman show about how she leanrned to forgive a father who killed her mother and married her aunt.

It opens for three performances on March 19 at the Lamplighters Community Theatre in La Mesa. lamplighterslamesa.com

For full listings, visit “Theater” under the Culture tab at sdcitybeat.com

@SDCITYBEAT

CULTURE | FILM

Innocent voices

Tempestad

San Diego Latino Film Festival remains a bastion of equality and hope

by Glenn Heath Jr.

N

ow in its 24th year, the San Diego Latino Film to find her village sacked by a rebel death squad and Festival [SDLFF] has steadily become an es- heads to Bogota for safety. La Mona (Jocelyn Meneses) sential event. This year, the fest will showcase kills her abusive paramilitary boyfriend only to be over 150 new features and shorts from around the chased through the jungle by his compatriots. Former world during its 11-day run. With a reputation for soldier Nelsa (Luisa Vides Galiano) decides to leave emphasizing hope and equality, SDLFF has developed her death squad after witnessing an atrocity. a reputation for programming thought-provoking All three women live in a world no longer in need documentaries that deal with myriad diverse subjects. of language. Often primal, their journeys are domiTake for instance Tatiana Huezo’s heartbreaking nated by nature’s ambient noises that threaten to documentary Tempestad, which critiques cycles of overwhelm all sense of directionality. In choosing acviolence and intimidation that have permanently al- tion over stasis they’ve taken the first step toward retered the daily lives of Mexican citizens. Two different claiming some sense of individual power. But the film women share their traumatic stories through haunting offers nothing in the way of closure by the end credits. voice-over, each providing converging perspectives on João Pedro Rodrigues’ The Ornithologist is a differhow everyday people randomly find themselves at the ent kind of liberating experience. mercy of powerful cartels and corIt follows Fernando (Paul Hamy), rupt government forces. the titular Portuguese scientist SAN DIEGO Miriam Carbajal was a trusted who has sequestered himself in airport customs officer before bethe woods studying the mating LATINO FILM ing unjustly accused of drug trafpatterns of different bird species.

FESTIVAL ficking. Without much due process When his canoe tips over during March 16-26 she is whisked away to await trail a river expedition, he ends up beAMC Fashion Valley Cinemas at a “self-governing” prison run by ing saved by two Chinese tourists. and Digital Gym Cinema gang members and separated from This is where the film parts ways in North Park. her young son indefinitely. Miswith logic and reason, becoming conduct and extortion are a daily an unabashedly surreal exploraoccurrence, with female prisoners tion of backwoods mysticism and having to pay protection fees in order to avoid beat- religious fanaticism. ings and death. The story of circus performer Adela AlCrazy rituals, strangers by the lake and a Christ figvarado is no less harrowing. Sex traffickers kidnapped ure come to define an alternative world that seems to her 20-year-old daughter ten years ago, creating a gap- be tilting on its own axis. Fernando’s return to civiliing emotional wound that has never been closed. zation takes multiple psychotic turns, ultimately leadInstead of presenting interviews through standard ing toward an overly symbolic reincarnation of the talking heads, Huezo layers the women’s voices over spirit. Despite being self-indulgent and occasionally elliptical b-roll of modern Mexico. People travel by incoherent, The Ornithologist proves why Rodrigues is bus across the countryside, shop at local fish markets, one of the world’s most daring filmmakers. and go about their daily business. More than once SDLFF will also present a retrospective on the work federal police trucks with armed officers reside in the of master Mexican director Arturo Ripstein, special background. Tempestad effectively places the viewer sidebars on female and LGBTQ filmmakers, and will in the mindset of a victimized populace slowly be- once again spotlight the latest comedic and dramatic ing suffocated by fear. It makes clear that Adela and hits in mainstream Mexican cinema.

Miriam’s plight could happen to anyone at any time.

San Diego Latino Film Festival runs from March Similarly heavy themes can be found in the nar- 16-26 at AMC Fashion Valley Cinemas and Digital rative feature programming. Felipe Guerrero’s Oscuro Gym Cinema in North Park.

Animal is a dialogue-free escape film about three Colombian women entangled in the madness of their Film reviews run weekly. surroundings. Rocio (Marleyda Soto) returns home Write to glennh@sdcitybeat.com

@SDCITYBEAT

MARCH 15, 2017 · SAN DIEGO CITYBEAT · 17

CULTURE | FILM

Donald Cried

Stay in touch

P

ete (Jesse Wakeman) is a jerk, and always has been by most accounts. At the beginning of Donald Cried, the smarmy Manhattan banker begrudgingly returns home to upstate New York hoping to scatter his dead grandmother’s ashes and attend to her affairs as quickly as possible.

Things don’t go according to plan; after losing his wallet on the bus ride up, Pete’s forced to visit his grating former best friend Donald (Kris Avedisian).

Donald Cried takes this con-

18 · SAN DIEGO CITYBEAT · MARCH 15, 2017

ventional set up and makes it unexpectedly complex. Having not seen each other in 20 years, the old pals awkwardly dance around old wounds while still clinging to good old times. Pete has shed his slacker façade for Wall Street slickness but Donald hasn’t changed a bit. He’s still the abrasively crass but kind-hearted soul who has no filter or short supply of loyalty, the guy everyone takes advantage of.

Written and directed by Avedisian, Donald Cried is a sharply

funny debut that considers whether flawed people can ever truly recognize their own faults. Pete’s passive-aggressive selfishness parallels Donald’s penchant for delusion in ways that bring out the worst in both men. It seems theirs has always been a broken relationship, but time has only amplified the cracks.

Early on Donald describes their forced reunion aptly: “It’s like taking your brain and dropping it down a time hole.” Pete tries squirming out of spending time with his friend, but the film’s prickly narrative keeps pushing them back together in hilarious and uncomfortable ways.

Rarely does this messy friendship get laid bare on the big screen. Avedisian’s singular performance comes to embody these unpredictable and daring virtues.

His specific mix of sad-sack idleness and defiant resilience is thoroughly rooted to the film’s snowy small town bubble. Unworthy and preoccupied by success, Pete will never understand why his friend chooses to stay.

Donald Cried opens Friday, March 17 at the Ken Cinema.

—Glenn Heath Jr.

OPENING Beauty and the Beast: Disney reboots their animated classic with live acting and singing. Emma Watson stars as the innocent young Belle who is captivated by the forlorn Beast.

Donald Cried: After his grandmother passes away, a Manhattan banker returns home to deal with her affairs only to be lured back into hanging out with a taxing old friend.

San Diego Latino Film Festival: Now in its 24th year, this local arts event will showcase over 150 narrative features, documentaries and short films including a special retrospective on Mexican master director Arturo Ripstein. Opens Thursday, March 16, and screens through Sunday, March 26, at AMC Fashion Valley and Digital Gym Cinema in North Park.

The Last Word: Shirley Maclaine plays a retired businesswoman that decides to write her own obituary, drawing the attention of a young journalist keen on getting the truth.

The Sense of an Ending: In this drama starring Jim Broadbent and Charlotte Rampling, a man becomes haunted by his past and is presented with a mysterious legacy that causes him to reconsider his current situation in life.

For a complete listing of movies, visit our F ilm section in C ulture on sdcitybeat.com.

@SDCITYBEAT

OFFICIAL PROGRAM

present the

2017 SAN DIEGO MUSIC AWARDS HOUSE OF BLUES SAN DIEGO TUESDAY, MARCH 21, 2017 • 7PM

1055 5TH AVENUE • SAN DIEGO

TICKETS ON SALE: SANDIEGOMUSICAWARDS.COM PROCEEDS TO BENEFIT THE SAN DIEGO MUSIC FOUNDATION’S TAYLOR GUITARS FOR SCHOOLS PROGRAM

Beneficiary The San Diego Music Awards were started in 1991 as a way to recognize the achievements of our diverse local music community. However, it’s more than just a celebration of San Diego’s rich pool of musical talent. It also helps nurture future generations of musicians. Now in its 26th year, funds raised by the awards show and surrounding events go to the San Diego Music Foundation as the primary fundraising vehicle for its Guitars for Schools Program. For almost 25 years, the Foundation has been actively involved in keeping participatory music programs in San Diego County elementary, middle and high schools. In partnership with Taylor Guitars, the Guitars for Schools Program was launched in 1990 as a way to both augment existing programs and to offset the loss of arts-based instruction due to budget cuts. The guitar’s familiarity and popularity among young people makes it an excellent tool for getting them interested in music, as well as the performing arts. While not every student goes on to be a rock star, playing music can help teach skills that will carry on in life, from logic to working well with others. Throughout its 25 year history, the San Diego Music Foundation has served over 55,000 K-12 students in more than 80 schools from San Ysidro to San Onofre. ◆

Lifetime Achievement Award

Wayne Riker

Although guitarist Wayne Riker was originally from the East Coast, there can be no doubt of the major impact he has had on San Diego and beyond. Since his 1980 arrival, the virtuosic player has performed both solo and in numerous acclaimed bands. He has released nine albums along the way, as detailed in his recent autobiography, 50 Years, 50 Bands, 50 Bucks.

However his biggest impact has been as teacher and mentor to thousands of performers. He’s taught at local shops and rehearsal spaces, most recently becoming an instructor at the Guitar Workshop Plus music camp. Riker’s six string prowess also landed him long running columns in national music mags such as Guitar Player and Acoustic Musician, as well as a major worldwide deal from Alfred Publishing for his music instruction books, which have seen nine titles released since 1994. For these reasons and many more, The San Diego Music Awards are proud to present Wayne Riker with the 2017 Lifetime Achievement Award. ◆

2017 SAN DIEGO MUSIC AWARDS

O F F I C I A L

P R O G R A M

@SDCityBeat

March 15, 2017 · San Diego CityBeat · 21

NOMINEES Album of The Year

Andra Day

blink-182

Cattle Decapitation

P.O.D.

Pierce the Veil

Switchfoot

Cheers to the Fall While Andra Day’s Grammy-nominated debut, Cheers to the Fall, peaked at #48 on the Billboard Top 200 Charts, it’s clear her impact has been much greater.

Blessed with an emotional, soulful voice and mentored by Stevie Wonder, Day’s modern take on rhythm and blues instantly cemented her status as one of the country’s hottest rising stars. In addition to appearances on everything from TV’s Jimmy Kimmel Live to Good Morning America, she has appeared in advertising for Apple and McDonalds, performed at the White House and had a song in the Netflix documentary, What Happened, Miss Simone?

The Awakening South Bay metal band P.O.D. have returned with their ninth album, The Awakening, hitting #3 on the Billboard Christian Chart and #75 on The Top 200. SWith the same lineup they’ve had since their 1994 recording debut, the band scored a minor hit with “This Goes Out To You,” (#18 U.S. Mainstream Rock), which maintains the group’s melodic, anthemic sound. The band will continue to promote The Awakening, with a tour of the U.S. and Canada beginning April 14.

2017 SAN DIEGO MUSIC AWARDS

California Though the classic line up of Blink 182’s heyday is now history, the fans didn’t seem to mind the replacement of guitarist Tom DeLonge with Matt Skiba of Alkaline Trio. Indeed, the new lineups first album, California, scored Blink-182’s second U.S. #1 album and their first U.K. #1. It’s been 25 years since the band kicked off in Poway, but the new album and songs like “She’s Out Of her Mind,” shows the band still doing what they do best: turning out catchy, sing-a-long tunes, and mixing power-pop and punk for a collection full of radio-friendly ear worms. California is set to be reissued in a deluxe edition on May 17.

Misadventures The post-hardcore band’s fourth album, Misadventures, was an international hit, reaching #4 in the U.S., #12 in the U.K. and #17 in Australia. The secret to their success is their way with a song hook, as heard on recent singles “Circles,” and especially “Floral & Fading.” In the process, the band have become a huge draw worldwide and are currently in the midst of a worldwide tour wrapping up in Berlin, Germany on June 18.

The Anthropocene Extinction Cattle Decapitation’s seventh album, The Anthropocene Extinction, is undoubtedly the least likely album on this list to get airplay, but it still drew a legion of fans, hitting #5 on the Billboard Indie Chart. One of the best known of the bands currently playing Death-grind metal music, this is brutal stuff, mixing death metal and grindcore into an even more potent brew. Meant to be played loud and with blistering beats and tempos, this is adrenaline filled rock ‘n’ roll taken to its extreme.

Where the Light Shines Through Drawing on the strength of singles “Float” and “Live It Well,” Switchfoot’s tenth album continued their chart success, becoming their third top ten Billboard smash in a row and sixth #1 on the Christian charts. The band continues to be worldwide draw, next heading to the Netherlands in May. The band maintains a close link with their local fans through events such as their annual Bro-Am event and side projects.

O F F I C I A L

P R O G R A M

NOMINEES Best Singer-Songwriter Nina Francis Lady Rogo Sierra West Raelee Nikole Savannah Philyaw Tolan Shaw

Best Rock Amerikan Bear Black Market III Dead Feather Moon Roni Lee The Farmers Schizophonics

Best Country or Americana Berkley Hart Brawley Morgan Leigh Band Nancarrow Sara Petite The Moves Collective

Best World Music B-Side Players Brogue Wave Mariachi Garabaldi Quel Bordel Todo Mundo Tribal Theory

Best Jazz Gilbert Castellanos Ian Tordella Joshua White Patrick Yandall Peter Sprague Allison Adams Tucker Best Blues Chet & the Committee Mercedes Moore Michele Lundeen Robin Henkel Whitney Shay Tomcat Courtney Best Hip-Hop/Rap Main Flow Parker Edison South Psycho Cide Odessa Kane Tall Can and Generik Lyrical Groove Best Indie/Alternative Grizzly Business Prayers Big Bad Buffalo Rob Crow’s Gloomy Place The Bassics Wild Wild Wets Best Pop Birdy Bardot Dani Bell & the Tarantist Pony Death Ride Normandie Wilson KI Sister Speak

O F F I C I A L

Best New Artist Casey Hensley Band Elektric Voodoo Hexa Spitfire Torpedo Skyterra Spooky Cigarette Artist of the Year Andra Day Gilbert Castellanos Little Hurricane Steph Johnson The Redwoods Collective Tribal Seeds Best Live Performer Jason Hanna & the Bullfighters Joshua White Rebecca Jade & the Cold Fact Schizophonics The Creepy Creeps The Little Richards Best Country or Americana Album Country Rockin’ Rebels - Ride Rebel Ride Eve Selis - See Me with Your Heart Shadowdogs - Tangerine The Midnight Pine - s/t Trouble in the Wind - Lefty Ypsitucky - New Old Lady

P R O G R A M

Best Jazz Album Danny Green Trio Altered Narratives Lori Bell - Brooklyn Dreaming Sue Palmer - The Thunderbird Sessions Nathan Hubbard Furiously Dreaming Natural Sounds Trio - s/t Steph Johnson - Music is Art

Best Pop or Rock Album Bit Maps - You, Me and Dystopia Daddy Issues - s/t Mittens - s/t The Donkeys - Midnight Palms The Phantoms - s/t The Routine - Black Tropics Best World Music Album Dornob Collective Standing Tall Dubbest - Live at the Belly Up Tavern Fluid Foundation - s/t Hirie - Wandering Soul Jet West - Wake Up E.N. Young - Call On Me

Best Blues Album Give Me Back My Wig Band - Big Wigs John Meeks - On A Sea Darkly The Fremonts - Alligator Wayne Riker Brotherhood - Best Local Recording Blues Convocation Ass Pocket Whiskey Fellas - The Holla Pointe - Down Second Pint The Road A Piece Authentic Sellout - Take Chickenbone Slim - Gone Back the Streets

Best Hip Hop/ Rap Album Bloodstone - Street Ammunition The KneeHighs - We Put The Fun in Dysfunction Vokab Kompany - The Good Company Album Dre Cat - Californ-IPA Gonjasufi - Callus Def Shon - Hypebomb University

Best Indie/ Alternative Album Imagery Machine - s/t Le Chateau - Brutalism Mrs Magician - Bermuda The Verigolds - For Margaret The Dabbers - I Am Alien Now Silent - A Century of Abuse

Euphoria Brass Band - Live & Loud Soft Lions - XOXO Sure Fire Soul Ensemble Out on the Coast The Sleepwalkers Roots Rockin’ with the Sleepwalkers Song of the Year blink-182 - She’s Out of Her Mind Hirie - Renegade Little Hurricane - Bad Business Switchfoot - Float Pierce the Veil - Circles Slightly Stoopid - Hold it Down

2017 SAN DIEGO MUSIC AWARDS

Performers

Gilbert Castellanos & The Young Lion All-Stars No doubt about it, jazz trumpeter Gilbert Castellanos is a lynchpin in San Diego’s music community. He’s recorded with a who’s who of music legends including Willie Nelson, Paul Anka, Michael Bublé and Diana Krall. Just as importantly, he’s been a major factor in the rise of jazz in our community through his promotion of his own jam sessions and other concerts.

Especially important has been his support of young players, via his Young Lions music series held weekly at Panama 66. An electrifying performer, fans of classic, Blue Note-style jazz will enjoy every note of a Castellanos set.

The Creepy Creeps The Creepy Creeps are an exceptional garage band, both for their churning ‘60s-inspired rock and their wonderful costumes. These guys go all out to put on a show and crowds rarely know what the Creepy Creeps might appear as on stage: Day of the Dead skeletons, lizard people, Planet of the Apes right out of the film… its all fair game. With go-go girls, a manic stage performance and songs meant for dancing, the band is putting fun back into rock ‘n’ roll.

2017 SAN DIEGO MUSIC AWARDS

Hirie San Diego has long had a thriving reggae scene, but no one has exploded onto the music world quite like Hirie.

It’s been a meteoric ride to the top after she scored a #1 Billboard reggae hit with the album, Wandering Soul. This was preceded by the top 5 success of her 2015 self-titled debut. Hirie’s horn-tinged reggae is the perfect party soundtrack, with just the right amount of pop touches in her take on island sounds.

The Schizophonics A Schizophonics show is an explosion of sound and motion which makes them one of the most exciting bands to break out of San Diego. The trio is fronted by guitarist Pat Beers, who comes across a manic mix of Jimi Hendrix and James Brown, blending mind bending guitar work with killer stage moves. With drummer (and wife) Lety Beers holding down the beat and bassist Brian Reilly propelling the action, the Schizophonics deliver a thrilling rock sound that will appeal to fans of the MC5 or The Stooges.

Steph Johnson and the Voices Of Our City Choir Steph Johnson may be best known as a jazz artist, but there is a lot of soul in her voice. Her four albums to date show a clear progression in her sound and her latest, Music Is Art, is a tour de force of song craft and was deservedly nominated for “Best Jazz Album.” Johnson has wonderful stage presence, which has surely helped her in her new role as an advocate for San Diego’s homeless.

Her advocacy has led to the formation of the Voices of The City Choir, who will join her for tonight’s performance alongside keyboardist and choir co-founder Nina Leilani.

The Verigolds Formed in 2014, The Verigolds operate under the indie rock template, but their sound is actually quite expansive.

Nominated in the category of “Best Indie / Alternative Album” for their album, For Margaret, the quartet has built a following through live shows that are full of songs that are as stylistically varied as they come. You might hear folk, psychedelic, pop, dance or experimental sounds mixed in with their rock beats. It all adds up to music that is full of infectious melodies and a band that has captured the hearts of local music fans.

O F F I C I A L

P R O G R A M

@SDCityBeat

March 15, 2017 · San Diego CityBeat · 25

THE MUSIC ISSUE

RACHEL PEREZ

After a decade-long hiatus, Via Satellite makes new music while staring down mortality

by SETH COMBS

Via Satellite ia Satellite are huge in Japan. Well, they were over a decade ago. Sure, a lot of bands say that, but really, they were.

“There were cardboard cutouts of us,” says guitarist and co-vocalist Drew Andrews, recalling a Japanese tour the indie-rock experimentalists did after the release of their 2005 album, Cities are Temples. “It was really wild.”

Sadly, the band would not tour Japan again or anywhere else for that matter. Just as the trio seemed to be hitting a creative peak with Cities, they fizzled out shortly after the release of the album. There were no Spinal Tap-type blowouts or regrettable words exchanged, and while guitarist, vocalist and multi-instrumentalist Scott Mercado looks back at the group’s disbandment as “definitely a sad moment,” the three remained friends and always talked about making music together again even after drummer Tim Reece moved to Denver six years ago.

“Over the years, we would hang out and we’d drink a little and just have fun,” recalls Andrews. “Just the three of us and then we’d go, ‘Lets do it, let’s do a record!’”

But over the years, Reece says that “life just took over and we would kind of forget about it.” The members stayed musically active over those years with Bit Maps (Andrews), Manuok (Mercado) and Limber Wolf (Reece), but the bonds they forged while they were together remained despite the time and distance.

“Of all the projects I’ve ever been involved in, Via Satellite has always been the one that’s closest to my heart,” Reece says.

“It’s rare to find collaborative partners like that,” Andrews adds. “Ones that last and stand the test of time. So many bands tear through members and tear through lineups and stuff, but we never had that.”

Life continued to get in the way of them collaborating again, but then in August of 2016, Reece went to the hospital after suffering from incessant pain. He thought it was from working long hours at a music school. It turned out to

26 · SAN DIEGO CITYBEAT · MARCH 15, 2017

be a rare form of stage IV cancer called adenocarcinoma.

Because the cancer had progressed so fast, the prognosis was dire, with doctors pessimistic that Reece would live much longer. He almost immediately began chemotherapy and has been doing it every two weeks since September.

“It was a real motivating factor for this project,” says Reece. “I’ve always had the mindset that our time is limited on this earth. So I’ve always wanted to take advantage of it while I can. Make as much music as possible, make as much art as possible and spend time with friends and family. The cancer diagnosis just brought that home even more.”

He called Andrews and Mercado almost immediately after his diagnosis to tell them, essentially, that the time had come to make a new record.

“To date, I’ve never had anyone in my life that’s close to me that’s had to face that,” Andrews says. “So hearing it from your best friend, someone who has been like a compass to me, that was pretty rough.”

Rather than starting over from scratch, the three ended up revisiting older material including a live session recorded in between their second album, ¡Traffico! (2002) and Cities are Temples. Called the “Kübler-Ross Sessions,” the demos were named after the famous theory about, appropriately, the five stages of grief. Andrews likes to point out that the recording process started a day after Trump’s inauguration.

“It’s certainly worth pointing out that during the Bush era, we were a political band,” says Andrews. “Then we just vacated music for the Obama era.”

But in a sense, Via Satellite has always been a band of the times. Just never, it seems, the right times. It’s hard not to speculate as to why they never got big despite knowing people who were (both Andrews and Reece played in The Album Leaf for a a spell) and touring regularly. Maybe it has to do with the fact that when they did receive major label attention from Interscope and American, they were told to pick a particular sound and stick with it, to which the band, according to Andrews, told the companies to “fuck off.”

A much more likely scenario is that Via Satellite were just an extremely talented three-piece who weren’t afraid to take chances with their music, and who just happened to come along at a curious and transitory time for the music industry. Social media was not yet developed and iTunes and music streaming services were still in their infancy. Meanwhile, the once mighty corporate record companies were in a death spiral thanks to charging ridiculous amounts for CDs, which resulted in most consumers illegally downloading music.

With all of that going on, it’s understandable that Via Satellite, a band with an unclassifiable and ever-changing sonic palette, would simply find themselves being that beloved local band that should have been huge.

“I think we occupied a very unique time,” says Andrews.

“I just know that at the time we were part of building something; a genre of music that just didn’t have a home. We never fit into one specific genre.”

Now, the group is planning on a May release for what will be their fourth album. All the members hope there will be a possible record release show, but Mercado maintains that they’re taking a “wait and see” approach especially considering Reece’s health. However, just before this story went to press, Andrews texted us to say that Reece recently went in for a checkup and the results were, in his words, “miraculous.” Though not in remission, the cancer is “under a greater state of control.”

So while it’s safe to say they won’t be doing a reunion tour of Japan anytime soon, they’re also not ruling it out either. For now, Mercado says he’s just happy to be playing with his friends again.

“You know, we always have kind of sad lyrics or sad songs, but there was always an element of hope in our music,” Mercado says. “What we’re doing now is really no different. We’re facing adversity and it’s really no different.

We’re the same, the same people facing the same uphill battle.”

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GEOFF DUDE

THE MUSIC ISSUE

The challenges and importance of all-ages venues in San Diego

by JEFF TERICH

Mosh pit at SOMA he Scene. The Epicentre. Wabash Hall. The Muse.

Xanth. The Old Krikorian Theatre. Porter’s Pub. The list of all-ages and 18-and-up venues in San Diego that have come and gone over the past 40 years is too long to list here. San Diegans who regularly attend live shows have probably been to many of them, and have memories of seeing The Locust’s Gabe Serbian vomit onstage at The Scene or catching a legendary punk band at Wabash Hall. But one way or another, under-21 venues in San Diego have a way of coming to an abrupt end.

In some cases, they just run their course, as Wabash did last year after owner Ron Hall sold the building when he ended his screenprinting business. Yet in most cases, as with The Epicentre, it’s simply too difficult to make all-ages shows profitable, especially without a license to sell alcohol.

“There’s always going to be not a lot of them,” says Cory Stier, talent buyer at Soda Bar, who puts on shows at allages venues including The Irenic and The Che Cafe. “It’s usually because they don’t have booze. In L.A., they’re able to get away with it. For whatever reason, San Diego County is more conservative than the rest of the state.”

Under many circumstances, there’s no alcohol to be found at all-ages venues, which removes a major revenue stream for those businesses—and in the case of the need for code compliance or repairs, a means to pay for them. Venues that sell alcohol but allow entry to minors are rare. In most cases these establishments require some kind of barrier between those who drink and those who don’t, as is the case with House of Blues (which has a Type 47 license for venues that serve food).

The Observatory North Park, which also holds a Type 47 permit, implements a simple wristband system, but has a no-tolerance policy toward underage drinking. Venues such as The Casbah or Soda Bar that have a Type 48 liquor license, however, are legally required to allow entry to only ages 21 and up.

Those are the most expensive and hardest permits to obtain.

There are certain exceptions. SOMA recently held a test-run for serving beer and wine at a Descendents show late last year, with a temporary permit secured by ARTS (A Reason to Survive) and sales benefiting the nonprofit. And

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while The Irenic is governed somewhat differently, since it is a church that holds special events, it has temporarily halted the sale of alcoholic beverages at shows until it can be granted the proper permits to avoid legal repercussions.

The Che Cafe is the rare exception to the rule, having lasted for more than three decades without alcohol of any kind. However, three years ago it was threatened with closure by UCSD over needed fire-code-related repairs. In fall of 2015, however, UCSD and the Che Cafe came to an agreement to continue lease negotiations going forward, and the university agreed to assist the venue in getting the necessary repairs done. Yet were it not for the 120-day occupation of the venue by students and its unique history on a college campus, it might not have been saved.

The continued restrictions and limited options for young people when it comes to live music has some people worried.

Jordan Krimston of local trio Big Bad Buffalo is 19 years old and started playing shows when he was in high school. But without venues like The Irenic or the Che, he sees diminishing returns for a music scene that’ll only continue to age.

“Obviously, young blood is directly correlated to the future of the music scene, but the kids that make up the allages scene are not consistently active within it,” Krimston says. “They come in waves. They move away to college.

They have school. They don’t have cars. They don’t know their way around. The all-ages scene will always ebb and flow—that’s just the way it’s built.

“There are a handful of musicians my age—and a bunch of avid music fans my age,” he adds. “I would like to think that I’m not, like, a super-outsider for being into certain sects of the local scene. San Diego has a lot to offer but is keeping it hidden from younger generations. It perpetuates

this stigma that San Diego’s music scene is terrible. Kids don’t go to shows because there aren’t many for them to go to, and then they move away without ever discovering the cool musical groups that San Diego has to offer.”

“Without live shows to go to, I would have kept playing baseball,” Stier adds. “I’d be on a Greyhound right now, probably trying to play in the minors.”

Live music for all-ages crowds isn’t strictly limited to clubs. Art spaces and galleries are other options for shows, and restaurants such as Panama 66 in Balboa Park also hold concerts that are accessible to younger attendees. Yet Krimston still thinks there’s more work ahead in order for San Diego’s music scene to flourish.

“There are a handful of people in the scene that have already started the good fight: Gilbert Castellanos starting the Young Lions series at Panama 66 is a great example,” Krimston says.

“Tyler Ward and the San Diego School of Rock putting on San Cheap Art at Che Cafe Diego-themed cover shows is another. San Diego seems to always be on the brink of something cool, and I truly believe that if a little bit more effort was invested into nurturing the allages scene, some sort of breakthrough would happen.”

Fewer restrictions on how venues can serve alcohol would be one better way to allow all-ages venues to survive longer, but Stier sees that as treating a symptom rather than the disease. Ultimately, it’s a matter of supply and demand.

“The bigger thing is that the country just doesn’t support the arts that much,” Stier says. “It’s really hard to make money off of it. As long as I’m still living, though, I’m still fully invested in it.”

Write to jefft@sdcitybeat.com.

Follow him on Twitter at @1000TimesJeff

MARCH 15, 2017 · SAN DIEGO CITYBEAT · 27

hy do we do it? Why do we gather dozens, sometimes hundreds of local demos each year, and listen to each and every one, sometimes only to end up receiving a lot of angry emails and letters about the results?

The answer is simple: It’s because we give a shit about local music. That might not sound so convincing if you had your demo slammed by one of our writers, but it’s true. We want San Diego to be a place people think of when they think of good music. And so every year we like to take the temperature of the city’s music scene and offer our own remedies for the areas that might be a bit ailing.

We received 91 demos this year, a dropoff in submissions that I’m going to go ahead and blame Donald Trump for but by no means a small number, and we reviewed all of them. Many of them were excellent—those we dub EXTRASPECIALGOOD, as we’ve done in past years. A handful of them we definitely didn’t like; we hope those artists will take it as constructive criticism or at least have a sense of humor. Most were between the two extremes, usually pretty good, but sometimes in need of a tweak. But I can definitely say that while we can only give away so many EXTRASPECIALGOOD designations, San Diego sounds pretty good this year. Here’s to hoping that 2018 can keep up the streak.

—Jeff Terich THE GREAT DEMO REVIEW 2017 BEGINS ON PAGE 30

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March 15, 2017 · San Diego CityBeat · 29

10-19 The Numberman Solus Superstes

I can’t remember a time that our Great Demo Review didn’t start off with a release by 10-19 The Numberman, and frankly I don’t want to. The veteran hip-hop artist delivers a surreal mixtape of disorienting hip-hop tracks that are uniformly short and trippy, not unlike any of Madlib’s many weeded out productions. The lyrics are often distorted, the samples distant, but the production is compelling all the same. There’s nothing commercial or mainstream about the brief tracks contained here; it’s underground rap at its most wonderfully weird. 10-19thenumberman.bandcamp.com -Jeff Terich

a swoop & a cross a swoop & a cross

San Diego has no shortage of bedroom beatmakers, and here’s one who knows how to make music that knocks but can’t resist burying it under a blanket of murk. I

don’t know exactly what (he?) (they?) are doing, gear-wise, but these nine tracks sound like wheezing robots covering sad chiptune songs at the bottom of Clams Casino’s backyard pool.

Good stuff’s burbling just beneath the surface, and the experimental streak is very much appreciated. aswoopandacross. bandcamp.com –Ben Salmon

Aempire Realms

Maybe it’s just the “Ae” in their name (like “Aenima”), but I was half expecting Aempire to sound like Tool. I’m a little thankful that they don’t—nobody’s got time for 11-minute wankfests when reviewing a couple dozen demos. Instead they have a dreamy indie rock sound in the vein of Grizzly Bear, balancing a light layer of synths with rhythmic guitar riffs that come together nicely, sounding mainstream enough for radio but with enough in the way of unique arrangements to have staying pow-

30 · SAN DIEGO CITYBEAT · MARCH 15, 2017

er. The longer I listen, the more I like it. soundcloud.com/aempire -Jeff Terich

AJ Froman Indecorum

AJ Froman is a musical collision of fluctuating tempos, wide dynamic ranges and the strong vocal presence of Sarah Norwood. With Indecorum, they offer up a refined collection of complex and alluring progressive psychedelic rock.

It seems that over the years, AJ Froman has established a sort of self-awareness of their music, having submitted to the Great Demo Review before, revealing that they are adept musicians both creatively talented and fully aware of their direction as a band. ajfroman.bandcamp.com -Sofia Mejias-Pascoe

Alive & Well

From Basements to Beaches Pop-punk is alive and well with, uh...Alive & Well. I can’t be the

first person to say that; it must be intentional. But puns aside, the group has the kind of polished power-chord chug and eternalteenager vocal style that makes everyday feel like 2002. They do it well, however, right down to the rhythmic start-stop dynamics and harmonies, key changes and tempo shifts. And as far as I know, nobody in the band is a UFO conspiracy theorist. But hey, it’s never too late to start. aliveandwellmusic.bandcamp.com -Jeff Terich

Amen BK

Another Perspective Sounds like a mix of conscious rappers like Dead Prez and Saharan rockers Tinariwen which, on the surface, seems like a novel and potentially great combo. However, this Tunisian-American MC gets a little bogged down in clichéd platitudes and “tolerance is unity” sentiments. We sure do need some positivity in these troubled times, but Amen is at his best on the bangers like “The Hermit” and

the funked-up jams like “Ignite for Tonight.” amenbk.com -Seth Combs

ATO Worldwide I’ll Do It To Myself

ATO Worldwide’s demo kicks off with a sucker-shaming banger called “Did That” that features some fire trap beats, whoops and a number of emcees taking turns going buck wild. It’s almost as if they saw what Atlanta rappers like Young Thug were doing and said, “hold my beer.” It’s high-energy hip-hop with innovative production and no shortage of intensity.

This is great. soundcloud.com/ atoworldwide -Jeff Terich

Balance Demo

Balance’s rap can best be compared to the feet-dragging sluggishness of a weed hangover.

Cyclical choruses kick off “Ring

DEMO CONTINUED ON PAGE 31

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suburban garage rock one hears emanating from the backyard party the teenager down the street throws while his parents are away for the weekend. Pass. Hard pass.

-Matt Baldwin

Bayou Brothers High Roller Zydeco

HEXTRASPECIALGOODH

Body Song

I’m Not Crazy (You Are)/Stained Glass Eye The first two-track single of a new project by members of Deadphones and Cuckoo Chaos is a double dose of indie electro-pop lightly dusted with the avant-garde sensibilities of mid-career Serge Gainsbourg. Downbeat but never dull, these two tracks blend acoustic guitars, synthesizer loops, beats, ambient sounds and even a bit of piano into a prismatic sonic collage. If this is any indication of where Body Song is headed, they’ll be delivering more good stuff further down the road. bodysongband.bandcamp.com -Matt Baldwin Alone,” “We Can Go” and “Jive” and keep coming back like unsatisfiable munchies. Such a formulaic structure makes each song less surprising than the last. Best case scenario: He sounds like Atmosphere after a Xanax binge. soundcloud.com/user-473758038 -Torrey Bailey

Ball Turret Gunner

The Hanky Panky Yankee EP Ball Turret Gunner is Ian Beeson’s self-proclaimed “studio only” project. Thank goodness. These

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four tracks (with, no shit, titles like “Birthday Blowie”) are much better kept away from public consumption. soundcloud.com/hookersonstilts -Scott McDonald

What’s the difference between good zydeco and bad zydeco? I honestly don’t know—not being from Louisiana probably has something to do with that, though Bayou Brothers mostly sound like blues rock with accordion, which sounds more like bad zydeco than good zydeco, however hard to define. With a bunch of mostly interchangeable shuffles featuring lyrics like “Come on down” and “get on the floor,” this feels a bit like stumbling into a crawfish boil jam sesh. Which is probably the point? bayoubrothers.net -Jeff Terich

The Bearded Faux “Rest Assured”

Only one song here, but as far as Blueshammer-type “blues” bands go, this isn’t the worst I’ve ever heard. In fact, there’s some pretty sweet organ playing so the guys may wanna consider going the psych-rock route instead of trying to sound like they’re making music for pickup truck commercials.

Barbiturates

-Seth Combs

Fucking Epic

Despite the title, complete with a cover image of an Uzi-wielding bro at a gun range, this EP takes aim straight at the great wide bullseye of mediocrity and manages to miss even that. It’s the kind of middling

“Why Spells” is a pretty, psychedelic treat with saccharine vocals accompanied by busy guitar noodling. “Gun Mix1” (a working title?) is the complete opposite of “Why Spells” in terms of energy.

There are fast, dirty guitar riffs, fuzz bass, shouted vocals and spacey breakdowns. The trippy elements add cohesion, which in turn makes these two tracks sound that much better back-toback. bigbloom.bandcamp.com -Lara McCaffrey

-Jeff Terich

Black Oak Hymnal Blood Moon

A nicely sequenced collection, these ten solid tracks of gothic folk snake their way through an expansive, dusky pallet before closing on a well-executed twosong crescendo. Mandolin up!

-Scott McDonald

Bossfight

Daze of Gray There’s something to be said for gathering up your best songs, going into a studio and capturing them well. That’s what Bossfight has done on Daze of Gray, an 11-track collection of melodic punk rock that’s immaculately recorded.

(P.O.D.’s Marcos Curiel produced it, by the way.) The guitars chug, the drums rat-tat-tat and the melodies consistently stand apart from the din. Listening to Bossfight is like going a few rounds in the pit, just with fewer bruises the next morning. bossfight.band

Big Bloom

-Ben Salmon

Big Bloom

Big Bloom’s music ranges from punk to dream pop with psychedelic influences throughout.

beards, professional photos shot in Joshua Tree and plenty of impassioned lyrics sung in affected drawls to go around. It’s the Southern California rock ‘n’ roll starter pack. These motherfuckers can play, though. I might take issue with their aesthetic, which is really a matter of preference, but their talent is genuine. As rock music goes, this is a little too American Idol for my own tastes, but they got chops and (mostly) know how to use them. brokenstems.bandcamp.com

Broken Stems

Buck Zero

Blue Lit Temple Will San Diego ever get a break from the incursion of new-agers espousing trite “spiritual cognizance” and “universal love”? Probably not, especially with rappers like Buck Zero whose cliched lyrics such as “Followin’ my heart but still they see me as a villain” and “Lately I’ve been grindin’ in the third dimension” convey vacuous sentiments apparently inspired by a self-described “spiritual breakthrough.” The most contrived attempt at thoughtful reflection is when Buck Zero ponders, “How the fuck were human beings created?”

All in all, the lack of originality in his verses and beats is what brings this one down. soundcloud.com/ buck-zero -Sofia Mejias-Pascoe

The Bum Deals Demo

The Bum Deals’ bold and sassy music is immediately reminiscent of Television’s Marquee Moon and

What Are You Connected Broken Stems have cool hats,

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DEMO CONTINUED FROM PAGE 31 other late ’70s-’80s post-punk and garage rock. “Rise” is an especially strong track with its distorted, nasty-sounding bass and Johnny Rotten-esque sneer. “Welcome to the Future” has some pitchy vocal moments but also stands out with its fun drumming, catchy riffs and call-and-response vocals. One nitpicky criticism: This would sound a lot better with less banter from the musicians.

-Lara McCaffrey

The Cactus Project Diamond In The Rough

This dude seems earnest. But there are only two properly mastered songs on this 11-track album of acoustic jams, one of which is an ode to Irish fairies. There’s also a track with this chorus: “Long hair, a girl or a boy? But my hair, it fills me with joy.” liammcgraththecactusproject.bandcamp.com –Scott McDonald

CLEAN ROOM Bad Bad Dream

Listening to CLEAN ROOM’s primitive punk rock certainly does feel like a “Bad Bad Dream.” While the band has commendable instrumental talent, it’s quickly overshadowed by the predictable guitar riffs and halfbaked lyrics. Jeffrey Halleran was probably completely stoned when he wrote the lyrics for songs such as “Chocolate River” (apparently an ode to Willy Wonka) and “One Last Rip” which both epitomize the reason that this band should keep their songs confined to the dingy basement where they probably spend most of their time getting high. cleanroom.bandcamp. com -Sofia Mejias-Pascoe

Color Til Monday

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Rip Carson

Anywhere But Here Among the torrent of hip-hop beats and lo-fi rock that flows into the Great Demo Review, Rip Carson’s vintage-feeling surf-pop ‘n’ roll is a breath of fresh air. Channeling old-timers such as Buddy Holly and The Ventures, plus newer acts like Arctic Monkeys, Carson offers a likeable take on a well-worn formula. His songs are bouncy and hyper-melodic, his aesthetic somehow seamlessly floats between the ‘50s and the ‘80s, and the guy knows how to wrangle killer tone out of an electric guitar. Anywhere But Here feels like a throwback without feeling stuck in the past. Some might use the word “timeless.” ripcarson.com -Ben Salmon Jesus fuck that voice is grating.

They also have a song called “Not All Who Wander Are Lost” which is equally offensive (what, was “Coexist,” written in religious icons, taken?). I’m looking forward to the day Color Til Monday gets to their Springsteen-punk phase; until then the pop-punk cliches just aren’t going to cut it. colortilmonday.com -Jeff Terich

Demo

I’d like to find the person responsible for creating Pop-Punk/ Emo Voice, its patent filing likely stuffed into a dusty file cabinet somewhere in a windowless room in Delaware, and make them listen to what they’ve wrought, Clockwork Orange style, until they apologize. Color Til Monday uses PopPunk/Emo Voice to an offensive degree. They write fine enough songs with catchy choruses, but

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Tyler Daughn

“Three Silk Covered Thoughts” Spacey psych ballad for people with pink eye in their third eye or who believe that Tame Impala is actually doing something innovative. Not bad considering the lo-fi production, but the foreboding keyboards more closely resemble something out of an Andrew Lloyd

Webber musical than drug-induced states of delirium.

-Seth Combs

Deaf Child Near “On My Floor”

I was warned in advance that this song was recorded via smartphone and fairly rough, so it’s somewhat refreshing that it’s nowhere near the worst sounding demo I’ve ever reviewed. It’s definitely pretty unpolished, but the mixture of drummachine click and slacker narrative makes it sound most of all like one of the folkier tracks from Beck’s Mellow Gold. It’s hard not to find that charming in its own way, though it’s definitely a work in progress. I can hear where Deaf Child Near are going, however, and I like it.

-Jeff Terich

@SDCITYBEAT

JARED LENAHAN

your cousin. Because what’s more wicked than that? reverbnation. com/divadtheband -Seth Combs

Double Action Fucked Primavera Double Ice Cream Sad

“Indoor Soccer League”

“Don’t Fall Apart Like Brioche”

“dopetits666”

-Seth Combs

Dragon Fresh Demo

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DJ Pnutz

The Good Wife’s Guide to Beatmaking Sometimes a woman’s place really is in the kitchen, especially when it’s a DJ like Pnutz cooking up the 19 delicious tracks found here.

Using clever samples to call out hip-hop’s inherent misogyny without ever letting them get in the way of the music, she delivers 70 solid minutes of head-nod-inducing instrumentals that showcase her obvious love for—and expertise with—the male-dominated genre. Channeling the spirit of beat masters like Shadow, Premier and Dilla in equal measure, Pnutz seamlessly stitches the diverse collection into a cohesive whole that keeps its momentum from start to finish. And while any of the tracks included here would provide an excellent backdrop for a skilled MC, the sample-infused tapestry of sound more than stands on its own. djpnutz.bandcamp.com -Scott McDonald

Deep Blue Sea Five song demo

“When will we know love from hatred?” asks the singer of this schmaltz-rock band in her completely generic coo. And Christ on a cross! What the fuck is up with the guitarist doing a solo every chance he gets? It sounds like a poorman’s Joe Satriani fronting a drunk girl’s karaoke party. I bet he wears sunglasses on stage. Fuck this. reverbnation.com/deepbluesea4 -Seth Combs

Death Club “These Days”

Death Club’s name sounds pretty intense for what’s ultimately a pretty lo-fi folk project. Their sole

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submission is a gorgeous cover of Nico’s “These Days,” and admittedly, Nico has some goth cred.

This, however, is breezy and aesthetically appealing. No morbid Valkyrie dirges here. deathclubsd. bandcamp.com

A four-track collection of offkilter pop tunes that sounds like the bastard love child of Gary Numan, Vetiver and The Flaming Lips. Too little a sample to really go on, but I’m interested to hear more. facebook.com/music.dragonfresh -Scott McDonald

Dream Nova Dream Nova

I worry about what’ll happen to indie rock if there’s ever a reverb pedal shortage. The whole genre is likely to wither and die after everybody with a guitar forgets what other music sounds like. Dream Nova uses a lot of reverb, employs some familiar surf rock riffs and a lightly funky low end. It’s perfectly pleasant but will inevitably get swallowed up in a scene that already has too many bands that sound like this.

-Jeff Terich

-Jeff Terich

Divad

Three song demo This is the type of generic hardrock you might hear playing at a Dave & Busters in the deep south.

The musical equivalent of Truck Nuts and Calvin peeing stickers.

I’d highly recommend fist-pumping anthems such as “Every Death is a Suicide” (well, no, not really) and “Wicked Game” (sounds like Nickelback covering Chris Isaak) if you also like road rage and fucking

Graham Elliot Demos

Someone’s been listening to Daft Punk! Graham Elliot lays on the Auto-Tune thick against a backdrop of smooth disco pop, showing off influences both cool and painfully uncool. On “Midwest Muse,” he splits Bruno Mars-style funkpop and ’70s-era easy listening, with some throwaway lyrics about a “California girl on the inside”

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DEMO CONTINUED FROM PAGE 33 who’s 18 but has a fake ID. He name checks San Diego. He sure does.

“Psycho,” meanwhile, is a slanderous disco against Donald Trump.

It seems too upbeat to be effective protest music, especially when the lyrics could easily be replaced with some vapid bullshit without anyone noticing. These are slickly produced pop songs that groove well, but until Elliot ditches the lyrical cliches these songs feel like unreached potential. soundcloud. com/grahamelliotmusic -Jeff Terich

Parker Edison

one’s standards. Most of them are short, abstract sketches, however, built on experimental bass drones, feedback and ambient effects. It flows together as one continuous piece for the most part, with appearances by guests such as Doug Scharin of Codeine and Eugene S. Robinson of Oxbow. There aren’t many moments that feel like proper pop songs, but it’s all very cool, super eerie and moody. It’s like listening to a horror movie in space. faro1.bandcamp.com -Jeff Terich

Generik

79’ Pontiac Grand Prix EP

#AwardSeasonMixTape This is a sneak peek at an upcoming mixtape from brainy local rapper Parker Edison. The first track is a short take on Arcade Fire’s “Neon Bible,” and the closer features a woman singing the Cheers theme within its 18-second run time. In between are two excellent cuts: one where Parker raps about fools acting foolish against a super jazzy beat, the other a posse cut built on some airtight boom-bap that blazes so hard it’ll light up the night. Can’t wait to hear the rest. themightyinfamousparkeredison.bandcamp.com -Ben Salmon

Fanny and the Atta Boys Demo

You just know that the members of Fanny and the Atta Boys spend their free time snapping their suspenders, muddling handmade simple syrup into craft cocktails and lamenting the fact that we’re not living in the 1920s. However, despite the fact that the whole old-timey thing has been pillaged to death, Fanny and the Atta Boys are quite good. Their mix of Gypsy jazz, Americana and blues skews darker than most, which makes a song like “Eerie Lullaby” sound as if it was written in the bottom of a boat lost in the Bermuda triangle.

Plus, Fanny’s got some serious singing chops. facebook.com/fannyandtheattaboys -Ryan Bradford

Faro Roma

At first glance, Faro’s Roma is both overwhelming and intimidating. It has 36 tracks, which is a lot by any-

The local MC has received a lot of love from CityBeat over the last year (he was an “EXTRASPECIALGOOD” in last year’s music issue, and Jeff Terich loved the new LP with producer Tall Can aka Jesse Cannon), and after hearing this EP, I’d consider myself a fan as well. “Yung Lowkey” and the burn-it-all-down sentiments on “Bruce Lee” take me back to the golden days of Bush-era hip-hop where MCs were too busy being political to be politically correct. generiklnc.bandcamp.com -Seth Combs

Goat Foot Demos

“Imagine music with a mixture of Heavy Metal, Punk, and Hard Rock” reads this band’s bio. Well, I can imagine that because it’s been done ad nauseam, and this music sure as shit isn’t it. The four tracks on this demo sound more like a drunken Frank Zappa fronting a bad GWAR cover band. The vocals are horrendous, the transitions are nonexistent and the rhythm section is about as tight as JNCO jeans. goatfoot.rocks -Seth Combs

Gravvyard

a nice layer of shoegaze fuzz. I’d honestly love to hear more where this came from, since “Aural Stein” is such a promising start.

-Jeff Terich

Gustavo, Diego y Rogelio Demo

A demo is the skeleton of a song— an idea, a base to build something beautiful. After listening to Gustavo, Diego y Rogelio’s demo, it’s easy to imagine how their laidback vocals, jazzy electric guitars and quiet percussion could sound that much fuller with a fourpiece rock band. However, even if they kept the instrumentation as is, these simple songs are well thought-out and easy on the ears.

-Lara McCaffrey

The Hand of Gavrilo A name like The Hand of Gavrilo conjures up images of b-grade horror movies (maybe I’m just thinking of Manos: The Hands of Fate), but the band that bears this name is light on camp value. Instead they opt for meaty hard-rock riffs and songs that recall late ‘90s radio fare such as Tool, Smashing Pumpkins and Chevelle. It rocks pretty hard but feels too self-serious; The Hand of Gavrilo might want to take a page from Rob Zombie and just run wild with the camp. thehandofgavrilo.bandcamp.com -Jeff Terich

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LNC

Forbidden Fruit The post-Trump political climate will not suffer fools who make innocuous art, and even if hip-hop duo LNC’s (Left in Company) music isn’t outright political—well not all of it—it harbors a certain urgency that forces itself upon listeners, grabbing them by the ears, and saying, “Listen, motherfuckers.” With Forbidden Fruit, rappers Generik and Aneken have crafted something sneakily monumental: layered, complex, weird, but also damn smooth. “I don’t need to brag about how ill we are,” they rap on the first track, a song that sounds like a horde of warriors raiding Tesla’s laboratory. But audio/lyrical demolition only goes so far without charisma, and Aneken and Generik have it in spades—there’s catharsis in every traded verse. No matter what happens to society in the next couple years, we’re lucky to have artists like Left in Company creating meaningful, life-affirming music. soundcloud.com/leftincompany -Ryan Bradford

Headphone

Clouds of Scattered Noise Earnest pop music with heavy doses of electronic production, sassy vocal affectations and the occasional piano ballad for those moments when you need to hold your sweetheart close. It’s more Coldplay than Radiohead, but the music is well produced, and I can easily see this band becoming really popular. headphoneband.com -Jeff Terich

“Aural Stein”

I’ve always been sort of annoyed by the fact that there’s a festival called Beach Goth that has almost nothing to do with goth (and isn’t held at the beach—that’s flagrant false advertising). But Gravvyard has the kind of sound that qualifies as “beach goth.” It’s hazy indie rock music with dark effects and surfy riffs, with elements of The Cure and The Cramps draped in

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The Hand of Gavrilo

Rick Hines

“Atrocity Exhibition” This is not a track-by-track tribute to Danny Brown’s 2016 album, but a cover of the first song on Joy Division’s second album Closer— recorded for Donald Trump, Rick says in an email. To his credit, he successfully captures the tune’s ominous nature, swapping out the

original’s abrasive guitar parts for swooping, blooping synths that ebb and flow as Rick delivers Ian Curtis’ unnerving lines in a barely tonal spoken-style and a chorus of maniacal laughs close in. It’s all very strangely appropriate for these times, somehow.

-Ben Salmon

The Humble Crab

the last days of the election, the makeshift songs skewer conservative politics and conspiracy theory peddlers like Infowars. Let’s all consider ourselves blessed that the lyrics “I am pizzagate keeper.

Are you the pizza keymaster?” (a riff on Ghostbusters and the altright conspiracy) now exist.

–Ryan Bradford

Humble News Network

Imagery Machine

When “WTF” moments in the Trump administration occur almost daily, it makes sense that art will become crazier, weirder and more unhinged. The Humble Crab’s addictively entertaining record Humble News Network sounds like it was produced in a single night, probably under the influence of acid. Produced during

“Lost in Love,” “The Art of Letting Go” and “Just a Dream”? Current status: puking rainbows. Imagery Machine needs to find a way to separate themselves from the oversaturation of indie-girl vocals that are taking the world by shitstorm. But most importantly, 311 should never be quoted in a bio

Imagery Machine

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again. Nobody wants to hear about the color of your energy. Let me guess, is it amber? imagerymachine.bandcamp.com -Torrey Bailey

KÄMPFER

yet, the band’s demo is refreshingly free of rock ‘n’ roll cliches. With songs this strong, Madly should definitely keep ‘em coming. facebook.com/madlysd -Jeff Terich

Mango Habanero

KÄMPFER

What kind of music is this? Two clues: 1.

This EP consists of six songs that clock in at less than eight minutes in total. 2. Song titles include “Fire At Will,” “Drone Strike” and “Stomp Them Out.” DING DING DING! That’s right, it’s D-beat-style crust punk!

Anyway, this band wails. Buzzsaw guitars, carpet-bomb drums and a singer who’s probably saying good things but who knows ‘cuz he sounds like he has a mouth full of marbles. KÄMPFER is appropriately fast, crusty and confrontational. Fight on, dudes! kampfer.bandcamp.com -Ben Salmon

Demo

As I read through Mango Habanero’s press release, cringing at the descriptors “funk, rock reggae, fusion, alternative,” I had an epiphany. Maybe it’s not the music that I hate so much, I thought. Maybe I just hate myself.

What else could explain my disdain for the tried-and-true Sublime style that everyone else in So-Cal loves? I put in the CD. It was a little better than expected—mostly due to the presence of Haley Kasarda, who breaks up the white-boy-hangs-loose vibes with some mad guitar licks—but... nope. I’m fine with hating myself if I don’t have to hear this type of music again. facebook.com/mangohabaneromusic -Ryan Bradford

KillProcess

// The Time Is Now // Is this late ‘90s techno? Is it big beat? Is it In Flames-style cheese metal? Is it dubstep? Is it The Matrix soundtrack wearing a pleather trench coat? Is it a dream where you’re at a Metallica show, but it’s, like, not a Metallica show? Is this the feeling of being red-pilled?

Is this the sound of living the rest of your days in a post-apocalyptic hellscape with only your bitchin’ souped-up car to keep you alive? Or is the answer all of the above? Yes. -Ryan Bradford

LXVI

Matching Machine

It Doesn’t Have to Make Sense This appropriately-titled EP careens wildly from ethereal folk music to jangly roots rock to ambient psych-pop to rock on a track-bytrack basis, either eschewing vocals or employing Dadaist lyrics to further add to the odd idiosyncrasies. Catchy and wonderfully weird, the individual tracks are all quite good, but as a whole this feels like a handful of good ideas casting about for some focus.

Demerits, however, for dropping the racially insensitive term “Indian giver” in the lyrics.

-Matt Baldwin

Traga Luz A cover photo featuring cobalt, polka-dotted, fake eyeballs was enough to spike hope for this self-proclaimed drone album. “Delouse,” in particular, sounds like a car crash in slow motion, accompanied by a simplistic and uninspiring drum pattern. The rest of the EP keeps up the 20-car pileup score, including what seems to be the sound effects of people injured in said collision. illalchemy.bandcamp.com -Torrey Bailey

Madly

Melodic Destruction six songs

You know how great bands often have a few great players who feed off each others’ skills and energy when they’re making music?

Melodic Destruction is sort of the opposite of that. These six songs are interesting and well-crafted and, indeed, darkly melodic, but they sound like a few silent days in the studio spent meticulously layering on sound after sound in search of symphonic synth-pop-rock perfection. This heart beats but it needs more blood pumping through it.

Demo

Madly is a very good rock ‘n’ roll band featuring members of other rock ‘n’ roll bands past and present, including Black Hondo and The Marsupials. No surprise then that the four songs included in their demo are very good rock ‘n’ roll songs. The mixing feels a little off—I don’t know why the drums are so quiet when the band’s definitely got the chops to rock the fuck out— but that’s a minor problem at best. Lucina Gonzalez’s vocals are smoky and cool, while David Robles provides alternately trippy and badass guitar riffs throughout. Better

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-Ben Salmon

Might Be Taken Demo

Might Be Taken sounds like a competent band that can play its instruments. The singer can sing, and the songs will appeal to a wide swath of people, especially “Water Song,” which has a memorable chorus. This band exists somewhere in the comfort zone between funk, rock, folk and pop, just don’t

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DEMO CONTINUED FROM PAGE 35 hit “play” hoping to go on an adventure. Honestly, Might Be Taken should learn a bunch of hits of the past several decades and get tons of wedding gigs. soundcloud.com/ mightbetaken -Ben Salmon

Millionaire Beach Bums Demo

There’s no question that the kids in Millionaire Beach Bums are talented, which is impressive given that none of them are old enough to vote. And that’s why I’m going to take this opportunity to say: the world doesn’t need another Sublime-aping surf-rock band. You kids still have your whole lives to fix this! Get out and innovate before you become another sad, Pacific Beach bar band. Sorry for the tough love, but you’re too skilled to be playing this type of music. millionairebeachbums.com -Ryan Bradford

Mr. Foxx

Kingdom of Fear Any album that features two tracks in 45 minutes is going to be a bit of a slog to get through. Granted, my tolerance for ambient and drone is pretty high, but that’s still a lot to ask from a listener. Mr. Foxx’s drones are certainly epic, and often have something interesting going on, with low-end notes sustained for long periods of time or feedback shrieks offering a piercing counterpoint. It’s not until 15 minutes into the title track that things start to get exciting, with an explosion of drums that portends some kind of momentum and climax. It doesn’t stay that way, but it breaks up the bowel- and ear-shattering experimentation nicely. This is admirable for its ambition, though I don’t see myself listening to this kind of extended dronescape often. mrfoxx. bandcamp.com -Jeff Terich

NEUTRAL SHIRT 2016

NEUTRAL SHIRT’s album of jangly pop composed of keyboard, guitar and drums comes together in a heartening collection of songs. They don’t have the most original or advanced compositions, but what they lack in in-

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Mathias Kruse & Brenky Eustress

North County’s answer to the Bristol trip-hop sound that launched acts such as Massive Attack and Tricky, this EP is actually one half of a larger concept project. Drawing the title from a psychological term for life-changing stress, Kruse’s candidly self-analytical raps and spoken-word lyrics focus on internal struggles but sidestep the kind of navel-gazing which would have derailed a lesser recording.

An emceed poetry slam minus the pretense, Eustress is worth taking the time to listen to. soundcloud.com/mathias-kruse -Matt Baldwin

novation they make up for in cohesiveness. Overall the simple yet playful sentiment of their lyrics and mellow timbre deems their music worth a listen. neutralshirt. bandcamp.com -Sofia Mejias-Pascoe

Old Man Nate

Hammond Organ Stuff Nothing quite stirs up the ol’ nightmares than listening to a lone Hammond organ, which is definitely the spookiest instrument (come at me, theremin).

That’s not to say that the music Old Man Nate makes is bad, but there is a certain je ne sais quoi... soul-stabbing?... aspect of listening to covers of “California Dreaming” and Otis Redding’s “Pain in My Heart” played through a Hammond. But hey, I like my music spooky, and in most cases, I’ll take these dead and decaying versions over the originals any day.

-Ryan Bradford

John Pemberton 3 Instrumentals

This three-track demo features three tracks in four minutes: It barely exists. But it’s certainly pleasant, featuring some fingerpicked classical guitar, gypsy jazz and occasional experimental strum session. These sketches could certainly be fleshed out into something more substantial, but they’re nice enough as a teaser.

-Jeff Terich

Polish Polish

Any band with a sound influenced by the Pixies are ace in my book, and Polish conjures those indie rock heroes on nearly every song.

In the opening track “Taco Bout It,” a propulsive bass line supports wild, abrasive guitars in a way that’s nostalgic for “Debaser.”

But it would be a mistake to call this band derivative—they infuse a healthy dose of shoegaze and

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March 15, 2017 · San Diego CityBeat · 37

DEMO CONTINUED FROM PAGE 36 angular punk to become their own beast. With a little more tightening up (this demo was recorded live) I think this band is destined for greatness. polish2.bandcamp.com -Ryan Bradford

Quali

Awaken the Quietus Every band that I can compare Quali to are loud: Hum, My Bloody Valentine and Explosions in the Sky, to name a few. But Quali’s music is disarmingly delicate, which makes listening to them feels like a beautiful implosion, or a quiet panic attack. Shimmering guitars often float on a wall of noise, and the singer’s dreamlike voice conveys a deeper sadness. My only qualmi (qualm + Quali, eh? EH?) is that the songs tend to go long, especially the seven-minute jam session that nearly grounds the entire album. qualiband.com

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Of Ennui

All Things Bad and Mean

-Ryan Bradford

It’s not easy on first listen to tell what’s going on with “Trudge,” the first track on Of Ennui’s new EP. It sounds a bit like doom metal, and there are two overlapping vocal tracks that prove to be unusually disorienting. Yet while this psychedelic shoegaze band stretches the limits of their effects pedals and multitrack recording process, once everything clicks into place, it’s stunning. “Trudge” is a kind of test of the listener’s resolve; if one can get past the sludgy opening track, the reward is the hypnotic dream pop of “Sad Boy,” the hyperactive noise pop of “Checkstand” and the Cocteau Twins-like title track. Part of the appeal in Of Ennui’s music is in how well they’ve schooled themselves in the classic shoegaze canon. Yet another part of that is how they fuck it up, making pretty songs noisier and noisy songs prettier, occasionally taking on an oddball sound collage. All of the tracks on All Things Bad And Mean feel distant and a bit lo-fi, but that only seems to add to the hazy mystery of it all. It’s intoxicating. ofennui.bandcamp.com

Raggabond

-Jeff Terich

Raggabond Raggabond

No, I don’t want your music to “funk” me in the sand, and no, your “Brazilian swagger” does not ameliorate San Diego’s surf rock circle jerk. But, Raggabond does have one hidden talent. Unbeknownst to them, main singer Mario Marauak has become an office meme (see above). Since our Five-Minute

38 · SAN DIEGO CITYBEAT · MARCH 15, 2017

Film festival, a clip from their music video “So Nice” has circulated the internet any time a CityBeat broski felt “so niceeee.” And, while Raggabond’s love affair with San Diego is tourism repellent, we’ll let it slide for the sake of meme land. soundcloud.com/raggabondca -Torrey Bailey

The Rightovers Demos

If these demos are any indication, the new Rightovers album— whenever it comes out—is going to be great. Here, we have sketches of songs and skeletal tracks set to drum-machine rhythms, but what shines through are the

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off. If it was playing during a massage parlor rub-and-tug, I wouldn’t get off. shambhumusic.com -Seth Combs

Ali Shamon and the Fears Demo

Self-described as “My Fears. Your Fears. Our Fears,” Ali Shamon and the Fears lead one to believe their music attempts to reach some level of emotional depth, but the cacophony of shoddy acoustics, discordant vocals and overlay of drunken blabbering that constitutes their tracks is neither captivating nor enjoyable. The content of their lyrics lacks any sensical meaning and is mostly painful to listen to, but if there’s any upside to their music, it’s that most of the songs are short.

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-Sofia Mejias-Pascoe

The Oxen Demos

Three songs of excellent indie-pop that left me clamoring for more and asking “where did these guys come from?” Upon further research, it seems like the core of the band is a married couple from Nebraska who now live in Carlsbad. I thought I was in for some Julie Ruin-inspired fun upon hearing the choppedand-screwed punk-pop on “Even Keel,” but the band quickly changed it up with a blast of power-pop (“Fuzzy Muffer”) and a sexy ballad for good measure (“Summer’s Ending”). With the somnolent tempo, slick guitar play and co-ed vocals, the latter song sounds much like the band Low at their most content and playful. It’s a great thing when a band sends you three songs and, after listening to them, you immediately go to their webpage to see if there are more. Lucky for me, and for readers, there are. soundcloud. com/theoxen -Seth Combs

sly melodies, the sighed oohs and ahhs and some snappy new wave vibes. Bouncy pop-rock sits alongside shoegazey guitars and icy electro-grooves hum along at a motorik pace. This is cool, stylish stuff. therightovers.bandcamp. com -Ben Salmon

Lew Salem Shambles

Lew Salem’s latest recordings add some innovation and inspiration to contemporary hip-hop, which is occasionally in need of revitalization. Songs such as “Thunderous Introduction” and “Okay” espouse themes of black pride and optimism and while not making the most original statement, do make a candid and sincere impression. lewsalemmusic.weebly. com -Sofia Mejias-Pascoe

@SDCITYBEAT

The Screamin YeeHaws Demo

The Screamin YeeHaws sound like a band that hits the stage at 2 a.m., ignites the motherfucker and leaves a trail of scorched earth in their wake. This breakneck, dirty, roadhouse punk fits right in with the likes of Supersuckers and Nashville Pussy, and you practically get a Jim Beam buzz on just by listening to them. They’re not bringing anything new to the table, but I doubt they care. facebook.com/screaminyeehaws -Ryan Bradford

Se Vende

poor me some coffee “Full Circle” starts with the sound of melodic bass chords, then a fuzzy burst of power chords, then a giddy sequence of handclaps. In less than 30 seconds, I’m already sold on Se Vende, a peppy, poppy punk rock group in the vein of Jawbreaker. In terms of innova-

tion or originality, they’re far from the cutting edge; their reference points are all from 1977 or 1984 or 1994, and if I hadn’t been emailed this music directly, I would easily guess this record is at least 20 years old. That Se Vende do an oldschool punk sound so convincingly is what makes them so much damn fun. Screw cutting edge, let’s get in the pit! sevende.bandcamp.com -Jeff Terich

Shambhu Soothe

The leader of this band describes himself as an “intuitive guitarist” and, truth be told, he has some excellent plucking skills. Where his intuition may have failed him, however, is that no one wants to hear this ghastly new-age music peppered with Kenny G-inspired sax playing and flute solos that would even make Ron Burgundy wince. If this was playing in a yoga studio, I’d “accidentally” fart. If this was playing in an elevator, I’d get

Skinny Veny EP

Trap beats, deep sub bass, eerieas-fuck synthesizer loops and an emcee that manages to come super hard in spite of the North Park name drop. Skinny Veny’s EP manages to sound both contemporary and unsettling. Skinny Veny switches up styles throughout, occasionally dropping the hardcore sound for something dreamier, but regardless of the approach this is a short but impressive set of West Coast hip-hop bangers, complete with a fresh 808 snap. theskinnyone.bandcamp.com -Jeff Terich

Slay Dean

Do Not Resuscitate There are so many bands doing the whole surfy garage rock thing in San Diego—including this one.

However, Slay Dean has a memorable take on it, reminiscent of easy-to-like groups such as the jangly The Allah-Las and the harder rocking The Sess. There’s lots of strong songwriting and musicianship here especially on “Omen.”

An engaging track with an ominous feel, it features fast and fancy guitar work, dirty bass and reverbdrenched vocals. slaydean.com -Lara McCaffrey

it’s hard to make electronic music sound raw and lo-fi—though it’s certainly possible. Small Culture’s five-track EP feels slick and professional, with gauzy synths and an impressively booming bass sound. That being said, it sounds less like contemporary EDM than the scruffy laptop-twee of The Postal Service (or occasionally a beat-driven Vampire Weekend), with vocals that are earnest and charmingly imperfect (in spite of what sounds like a light layer of Auto-Tune). This is pop of a nottoo-distant past, but it’s hard not to like. soundcloud.com/smallculture -Jeff Terich

Sometimes Julie In My Bones

This song submitted by Americana band Sometimes Julie is sometimes derivative with its unoriginal, familiar riffs, sometimes aggravatingly corny with its superficial lyrics and sometimes even a little catchy. But most of the time it just sounds like the ensemble is trying to bring depth to an uninspired country-rock sound. That being said, I’ll award them credit for the decent execution of an otherwise unremarkable song. sometimesjulie.com -Sofia Mejias-Pascoe

Spitfire Torpedo Spitfire Torpedo

Based on the list of personnel on Spitfire Torpedo’s full-length debut—featuring members of The Dragons, The Phantoms, Creedle and Manual Scan—there’s a strong indication going into it that the record is bound to be a fiery rock ‘n’ roll monster. And boy, oh boy, it sure is. The sounds of sirens and explosions in the intro track are a bit heavy handed, and the lyrics are little more than butt-rock cliches, but that’s pretty easy to get past when you consider how hard these old-schoolers rock. At times they harness the wild, chaotic riffs of The Stooges, and at others they’re shouting at the devil like vintage Motley Crue. And the hairmetal fury of “I Don’t Know” is on cowbell overload. I’m not saying this is going to turn the scene upside down, but if the leather pants fit, wear ‘em.

-Jeff Terich

Small Culture Small Culture

If you know what you’re doing,

DEMO CONTINUED ON PAGE 40

MARCH 15, 2017 · SAN DIEGO CITYBEAT · 39

DEMO CONTINUED FROM PAGE 39

STANZ

Audio Card The first track on this six-track hip-hop and R&B mixtape opens with a fat synthesizer bassline, laying down a sweet synth-funk backdrop over which STANZ croons his effects-heavy loverman croon.

This EP is sex with an 808, all deep grooves for making sweet love or just setting a mood. Even “Grimm Reaper,” a song about death, is pretty sexy. The man’s got a gift.

-Jeff Terich

Steven on the First Floor Untitled Demos

Steven on the First Floor is a “collective of musicians spread across (America)” who write and play and record music together when they find themselves within driving distance of each other. Which makes me wonder if these guys maybe met on a message board for folks who deeply love and appreciate the shifting rhythms and double-helix guitargasms of math-rock. Because there’s lots of that in these three songs. And this band does it well! stevenonthefirstfloor.bandcamp.com -Ben Salmon

Stoik

Senescence On the electronic-music scale from tolerable to downright insufferable, Stoik’s music rates somewhere in the middle, right between vexing and disturbing. The most appropriate place to hear Stoik’s self-described “spiritual gangster style” songs such as “Sweat Lodge” or “Techy Nickly” would be (a) an intensely cult-like yoga sesh; (b) a UFO-summoning ritual; or possibly (c) a climatic showdown between two enemy robots. soundcloud.com/stoiksounds -Sofia Mejias-Pascoe

Stranger Ranger Demo

This pair of rough demos comes from a band that’s appeared in the Great Demo Review before, though while I can’t remember what they sounded like before, what they’re doing now is pretty cool. “Aeons of Sleep” is a dark and moody instrumental piece that’s a dead ringer for Joy Division’s handful of vocal-free tracks, while “Milo” is a

fuzzier, more immediate groover.

The attached note says that there are “no vocals yet,” which High Fidelity’s Rob Gordon might interpret as intent to add them later. If these are indeed unfinished tracks, they’re going in the right direction.

-Jeff Terich

Sueda Sueda

*turns on laptop* *opens email from Sueda band member* *reads song titles* 1. Romeo Kissed Juliet 2. The Dance 3. Eddie’s Girl 4. Hey Bartender! *strains to understand lyrics through nasal overkill* *hears Cheap Trick reference* *turns off laptop* suedamusic.com -Torrey Bailey

The Tascams Album Orange

Oh, slack rock. You don’t have to try very hard to be appealing.

Which is not to say The Tascams don’t try hard, just that they’ve hit upon a formula where mumbled vocals, messy guitars and muffled production are marks in a band’s favor. Album Orange is one part Pavement’s meandering spirit, one part Smashing Pumpkins’ distorted beauty and one part Dinosaur Jr.’s adenoidal poetry. No way the whole can be greater than the sum of those parts, but it’s still pretty enjoyable.

-Ben Salmon

Tracey and the Sands home recordings

I had high hopes for Tracey and the Sands based on the spooky woodcut bat art that accompanied this three-track demo. But it’s not very spooky. It’s rootsy, bluesy rock music with a heavy dose of reverb, bringing to mind a scruffier My Morning Jacket. I can hear a kernel of something original in what they’re doing, particularly in “Sweat from a Palm,” a drunkenly detuned folk-rock jaunt that sounds a bit like a fucked-up version of The Band. Mostly this is bar-band rock, though. You can almost smell the Budweiser. trac-

40 · SAN DIEGO CITYBEAT · MARCH 15, 2017

eyandthesands.bandcamp.com -Jeff Terich

Traffic Bear

The Death of Traffic Bear Within seconds of playing Traffic Bear, I’m struck with a feeling of nostalgia. This band recalls any number of indie rock bands from the ‘90s with math-rock riffs and dreamy melodies, from Slint to Braid and Rainer Maria. The thing is, though, it’s a hard style to pull off and keep it accessible, which is exactly what Traffic Bear does so well. These are not just showcases for fancy fretwork; there are excellent melodies here. Long live Traffic Bear. trafficbear.bandcamp.com –Jeff Terich

Trip Advisor Highest Views

If “shoegaze techno” wasn’t a thing before, it is now. Culling its musical DNA from the early 1980s-era obsession with looping overlaid synthesizers, this EP plays like the would-be soundtrack for Stranger Things if the principal cast were mopey adolescents instead of bright kids. It’s not bad, but other than the standout track “Duality,” the general monotony of both lyrics and music make it unremarkable save for as a throwback novelty.

-Matt Baldwin

Trunk Slammers

HEXTRASPECIALGOODH

Svelte

Svelte EP Described as a “sonic autopsy for primordial wounds,” Svelte might seem to have a gift for pretentious statements, but they have an even greater gift for making noise rock with a visceral punch. The second track on their self-titled EP, “auto-da-fe,” has the kind of intense explosion of distortion and high-end that nods to My Bloody Valentine’s Isn’t Anything or Big Black’s Songs About Fucking. Unlike some of the bands in town that aim for a similar aesthetic, Svelte rarely indulge in smoothed edges or pop fluff. This is post-punk and shoegaze that thrives on thick walls of sound and psychedelic chaos. When they’re hitting hardest and firing on all cylinders, as they do on “Improved Means to Unimproved Ends,” they sound like the kind of band that could burn holes through venue walls. This is fucking awesome. ssvelte.bandcamp.com -Jeff Terich

cellent range and the trippy beats on tracks such as “I Choose You” and “Get Away,” but stick around for the Tiny Doo cameo on “Wake Up.” The whole thing is dark, heavy, empowering and fierce AF. tru7h.bandcamp.com

Demos

Trunk Slammers’ amateurish attempt to integrate country, rock and funk into a singular style is nothing short of an epic miscalculation. The predictable combination of guitar-bass-drum arrangements, trite lyrical phrases and euphemisms such as “I’m looking for more than just a greenlight, greenlight, I need a dance that’s gonna last all life long” professed in “Greenlight” illuminate the extreme shallowness in both the lyrics and the music. soundcloud.com/ trunk-slammers -Sofia Mejias-Pascoe

-Seth Combs

Vulcan Tapes Vulcan Tapes

The latest project from local emcee Tall Can, Vulcan Tapes is dope from every angle. Dope cover art (by Mathias Kruse). Dope beats (by U.K. producer Midyawn and mysterious local El Meow1). And dope rhymes from Tall Can, whose fried poetry and sturdy flow really pops against a patchwork of lysergic hip-hop built from weird bits of funk, jazz, pop, global music and found sounds. The result? Yup: It’s dope. vulcantapes.bandcamp.com -Ben Salmon

Tru7h EP

This one was this close to being an “EXTRASPECIALGOOD.” Head-bobbing, tear-inducing R&B about fuckboys and jilted lovers from a female singer with some serious pipes. Check out her ex-

The Wind Playing Tricks Close Phase

The music on Close Phase can be most accurately described as a mix between instrumental rock and elevator music. Although the pianist

isn’t half bad, drums are sporadic and untimely, like a 16-year-old boy who was just gifted his first drum set from Mom and Dad. The Wind Playing Tricks definitely should work on creating a more balanced sound, but the novelty shown in “Rift and Repossess” proves that the innovation and talent is there waiting to be harnessed. soundcloud.com/thewindplayingtricks -Sofia Mejias-Pascoe

With Feeling 2017

Take the cock-rock swagger of any band from the mid-2000s Roadrunner and Wind-Up Records stables, mix in a dose of Creed’s self-congratulatory backslapping religiosity, and add lyrics written by a freshman-year poetry major who confuses possessing a large vocabulary for having any actual emotional depth, and you get this six-track EP. While the music is technically proficient, it’s also derivative to the core. There’s nothing here you haven’t heard before, done much better by somebody else. And what the hell are “satire eyes,” anyway?

-Matt Baldwin

@SDCITYBEAT

@SDCityBeat

March 15, 2017 · San Diego CityBeat · 41

MUSIC

JEFF TERICH SATURDAY, MARCH 18

IF I WERE U A music insider’s weekly agenda WEDNESDAY, MARCH 15

PLAN A: Anna Meredith, Media Jeweler @ Soda Bar. Anna Meredith rightfully earned accolades for the innovative electronic sounds on her 2016 album Varmints.

Something like modern classical composition with knocking beats, Meredith takes a very strange and unconventional route toward something amazing. PLAN B: The Oxen, Vakoum, Chill Pill @ The Casbah.

One of our EXTRASPECIALGOOD picks in this year’s Great Demo Review, The Oxen are a Carlsbad band with members that hail from Nebraska. They play a blend of eclectic indie-rock styles we can’t get enough of.

THURSDAY, MARCH 16

PLAN A: Teenage Fanclub, Britta Phillips @ Belly Up Tavern. Glaswegian jangle-pop heroes Teenage Fanclub have been playing immaculate three-chord tunes longer than most of your favorite indie bands. Their catalog runs deep, and their 1991 album Bandwagonesque is a good place to start for

those curious about The Fannies (as their fans call them). PLAN B: Mittens, Le Chateau, Ypsitucky, Grizzly Business @ The Casbah. Who wants to go to a free show?

Better question: Who doesn’t want to go to a free show? This one is a showcase of San Diego Music Award-nominated bands, who you should definitely acquaint yourself with before Tuesday.

FRIDAY, MARCH 17

PLAN A: Xiu Xiu, kid606 @ A Ship in the Woods. Ready for a drive up to North County for some experimental pop music? I should hope so. The next Ship in the Woods show, which also features cutting-edge visual art and an environmental science aspect, brings to town art pop provocateurs Xiu Xiu and former local, beat-making anarchist kid606.

42 · SAN DIEGO CITYBEAT · MARCH 15, 2017

Anna Meredith

PLAN A: James Chance and the Contortions, Naked Lights, Keepers @ The Hideout. One of the best things to come out of the no-wave movement is the combination of punk with saxophone, and one person to thank for that is James Chance. Since the late ‘70s, Chance and the Contortions have been mangling punk and free jazz into strange and amazing shapes. Contort yourself! PLAN B: Jungle Fire, Krass Bros., DJ SK @ The Casbah. If you dig saxophone but not so much the twisted melodies, check out Afro-Latin funk group Jungle Fire, who have grooves for days. BACKUP PLAN: Fartbarf, Buddy Banter, Stalins of Sound @ Soda Bar.

SUNDAY, MARCH 19

PLAN A: Andy Shauf, Aldous Harding @ The Casbah. Andy Shauf’s 2016 album The Party is a lovely indie pop record, full of pianos, horns, strings and impeccably performed ballads. Most of his songs move at a pretty slow pace, but you’d hate to rush yourself when the melodies are this pretty. PLAN B: Boytoy, New Evil, Vakoum @ Blonde. This latest GRRRL Independent Ladies showcase is headlined by New York group Boytoy, whose music is taut and sinewy post-punk with

a touch of mystery and darkness. Get there early for dreamy local outfit Vakoum (especially if you missed them on Wednesday).

MONDAY, MARCH 20

PLAN A: Wu-Tang Clan @ Observatory North Park. Wu-Tang Clan ain’t nuttin’ ta fuck wit. Now, that being said, because he’s touring separately, Ghostface probably won’t be on this tour. Still, should readers pass up the chance to hear “C.R.E.A.M.” or “Protect Ya Neck”? I don’t think so. PLAN B: Kate Tempest @ The Casbah. Kate Tempest is ostensibly a hip-hop artist, but the UK producer and vocalist has a delivery that’s almost more like spoken-word poetry over big electronic beats. It’s art that bumps.

TUESDAY, MARCH 21

PLAN A: Allison Crutchfield and The Fizz, Vagabon, Big Bloom @ Blonde. Before I get shit for putting the music awards as Plan B, I’d like to note that Allison Crutchfield is an awesome singer/songwriter who hails from Philadelphia, and thus doesn’t come here often. Her recently released debut album, Tourist in This Town is an early 2017 highlight. PLAN B: San Diego Music Awards @ House of Blues. If you’re in a local band or are invested in local music, you’ll probably already be planning on coming here, where San Diego talent is honored and The Schizophonics, The Creepy Creeps and The Verigolds will be performing. Come say hi. I’m very nice.

@SDCITYBEAT

MUSIC

CONCERTS HOT! NEW! FRESH!

‘Bob Wilson Benefit’ w/ Beat Farmers (Music Box, 3/22), Dayshell (Brick

by Brick, 4/13), Ab-Soul (Observatory, 4/21), Trap Them (Brick by Brick, 4/21), Superjoint (Brick by Brick, 4/29), Crystal Bowersox (BUT, 5/1), Sorority Noise (HOB, 5/2), The Expendables (Observatory, 5/5), Author & Punisher (Soda Bar, 5/13), Brother Ali (Observatory, 5/15), Rubblebucket (Casbah, 5/20), John Brown’s Body (Music Box, 5/26), Paul van Dyk (HOB, 5/26), Animals as Leaders (Observatory, 6/3), Samothrace (Soda Bar, 6/9), Earthless (Casbah, 6/10), The Anniversary (Irenic, 6/10), Toby Keith (Del Mar Fairgrounds, 6/10), Unwed Sailor (Soda Bar, 6/11), ‘91X XFest’ w/ Phoenix, Empire of the Sun (Qualcomm Stadium, 6/11), North Mississippi Allstars (BUT, 6/13), A Giant Dog (Soda Bar, 6/15), Darius Rucker (Del Mar Fairgrounds, 6/16), Morbid Angel (HOB, 6/18), Delta Rae (BUT, 7/25), 311 (Open Air Theatre, 8/20), Florida Georgia Line (Mattress Firm Amphitheatre, 9/9), Sublime With Rome, The Offspring (Mattress Firm Amphitheatre, 9/26), Hanson (HOB, 10/24).

GET YER TICKETS Dwight Yoakam (Observatory, 3/29), Wire (Casbah, 3/29), Why? (Irenic, 3/30), The Old 97s (BUT, 3/31), Richard Ashcroft (Spreckels, 4/1), Squir-

@SDCITYBEAT

rel Nut Zippers (Music Box, 4/1), The Damned (HOB, 4/7), Green Day (Valley View Casino Center, 4/8), Desiigner (Observatory, 4/9), Kristin Kontrol (Hideout, 4/10), Mount Eerie (Irenic, 4/10), Cage the Elephant (California Center for the Arts, 4/10), Of Montreal (Music Box, 4/10), Power Trip (Casbah, 4/10), A Perfect Circle (Open Air Theatre, 4/11), Father John Misty (Humphreys, 4/12), Preoccupations (Casbah, 4/13), Lupe Fiasco (Observatory, 4/13), Little Dragon (Observatory, 4/16), Local Natives (Observatory, 4/17), Steely Dan (Humphreys, 4/17), Toots and the Maytals (BUT, 4/17), Snoop Dogg, Cypress Hill (Open Air Theatre, 4/18), Mitski (Irenic, 4/19), Beach Slang (Casbah 4/20), Lil Wayne (Open Air Theatre, 4/20), Lee Fields and the Expressions (Music Box, 4/20), David Crosby (Humphreys, 4/23), Vieux Farka Toure (Casbah, 4/24), Chance the Rapper (Valley View Casino Center, 4/24), The 1975 (Open Air Theatre, 4/25), Jamey Johnson, Margo Price (Observatory, 4/25), Willie Nelson (Humphreys, 4/26), DMX (Observatory, 4/27), Kings of Leon (Mattress Firm Amphitheatre, 4/28), Flaming Lips (Observatory, 5/7), Lionel Richie (Viejas Arena, 5/8), At the Drive-In (SOMA, 5/9), Com Truise, Clark (BUT, 5/12), Conor Oberst (Observatory, 5/14), Train (Mattress Firm Amphitheatre, 5/14), Chris Stapleton (Mattress Firm Amphitheatre, 5/18), Thundercat (Observatory, 5/19), Bryan Adams (Open Air Theatre, 5/22), Rodriguez (Humphreys, 5/23), Modest Mouse (Open Air Theatre, 5/30), NKOTB, Paula Abdul, Boyz II Men (Viejas Arena, 6/1), Little Hurricane (BUT, 6/2), Lady Antebellum (Mat-

tress Firm Amphitheatre, 6/4), Justin Townes Earle (Music Box, 6/4), Valerie June (BUT, 6/8), Def Leppard (Mattress Firm Amphitheatre, 6/16), Boston, Joan Jett (Mattress Firm Amphitheatre, 6/18), The Revolution (HOB, 6/22), Nick Cave and the Bad Seeds (Civic Theatre, 6/26), Deftones, Rise Against (Mattress Firm Amphitheatre, 7/7), Natalie Merchant (Copley Symphony Hall, 7/18), Hall & Oates, Tears for Fears (Valley View Casino Center, 7/19), Third Eye Blind (Open Air Theatre, 7/21), Metallica (Petco Park, 8/6), Diana Krall (Humphreys, 8/8), Incubus, Jimmy Eat World (Mattress Firm Amphitheatre, 8/11), Steve Martin and Martin Short (Open Air Theatre, 8/12), Sylvan Esso (Observatory, 8/26), Goo Goo Dolls (Open Air Theatre, 9/12), Green Day (Mattress Firm Amphitheatre, 9/13), Depeche Mode (Mattress Firm Amphitheatre, 10/6), Coldplay (Qualcomm Stadium, 10/8).

MARCH WEDNESDAY, MARCH 15 Matisyahu at Belly Up Tavern (sold out). Anna Meredith at Soda Bar. Bela Fleck and Abigail Washburn at California Center for the Arts. Truckfighters at Brick by Brick. The Oxen at The Casbah.

THURSDAY, MARCH 16 Portugal. The Man at Observatory North Park. The Cadillac Three at House of Blues. Teenage Fanclub at Belly Up Tavern. Mike Wojniak at Soda Bar. San Diego Music Awards showcase w/ Mittens at The Casbah.

FRIDAY, MARCH 17

THURSDAY, MARCH 23

Jay And Silent Bob Get Old at House of Blues. The Routine at Soda Bar. Julieta Venegas at House of Blues. California Honeydrops at Belly Up Tavern.

The Downs Family at The Casbah.

SATURDAY, MARCH 18

Omni at The Hideout. Electric Guest at The Casbah (sold out). Cro-Mags at Soda Bar. Blockhead at Music Box. Rainbow Kitten Surprise at The Irenic (sold out).

FRIDAY, MARCH 24

Jungle Fire at The Casbah. James Chance and the Contortions at The Hideout. California Honeydrops at Belly Up Tavern. Fartbarf at Soda Bar.

SUNDAY, MARCH 19 Lake Street Dive at Belly Up Tavern (sold out). John 5 and the Creatures at Brick by Brick. Bob Log III at Soda Bar. Umphrey’s McGee at Observatory North Park. Lettuce at music Box. Andy Shauf at The Casbah.

MONDAY, MARCH 20 Maggie Rogers at The Irenic (sold out).

Kate Tempest at The Casbah. Wu-Tang Clan at Observatory North Park.

TUESDAY, MARCH 21 San Diego Music Awards at House of Blues. Palo Duro at Soda Bar. Allison Crutchfield at Blonde. Red Hot Chili Peppers at Valley View Casino Center.

Ganja White Night at The Casbah.

WEDNESDAY, MARCH 22 Modern English at The Casbah.

WAND at Soda Bar. Inspired and the Sleep at Belly Up Tavern. ‘Bob Wilson Benefit’ w/ Beat Farmers at Music Box.

Polyphia at The Irenic. Josh Abbott Band at House of Blues. Common at Observatory North Park. Fu Manchu at The Casbah (sold out). Partybaby at The Che Café. Colony House at House of Blues. Slothrust at The Hideout. Super Diamond at Belly Up Tavern. Horse the Band at Soda Bar.

SATURDAY, MARCH 25 The Hood Internet at The Hideout. Clap Your Hands Say Yeah at The Casbah.

Through the Roots at Music Box. Super Diamond at Belly Up Tavern. The Main Squeeze at Soda Bar.

SUNDAY, MARCH 26 Newsboys at Civic Theatre. Panic! At the Disco at Viejas Arena. Warbringer at Brick by Brick. Omega 3 at The Casbah. Jeremy Enigk at Soda Bar. Dwight Yoakam at Observatory North Park.

MONDAY, MARCH 27 Oathbreaker, Khemmis at Soda Bar. In the Whale at The Casbah.

TUESDAY, MARCH 28 Eisley at House of Blues.

MUSIC CONTINUED ON PAGE 44

MARCH 15, 2017 · SAN DIEGO CITYBEAT · 43

MUSIC CLUBS CONTINUED FROM PAGE 43 WEDNESDAY, MARCH 29 Methyl Ethel at Soda Bar. Crystal Fighters at Belly Up Tavern. The Dollyrots at The Hideout. Wire at The Casbah.

THURSDAY, MARCH 30 Tinariwen, Dengue Fever at Belly Up Tavern (sold out). Why? at The Irenic.

Electric Six at The Casbah. Dead Man Winter at Soda Bar. Mild High Club at The Hideout. Trouble in the Wind at Music Box.

FRIDAY, MARCH 31 Nashville Pussy at Brick by Brick. The Old 97s at Belly Up Tavern. The Orwells at The Irenic. Dog Party at Che Café.

Kane Strang at Soda Bar. Bosswitch at The Casbah.

rCLUBSr

710 Beach Club, 710 Garnet Ave., Pacific Beach. Wed: Open Mic. Thu: Karaoke.

Fri: Van Goat, Monkeys in Space. Sat: ‘Super Karaoke’. Tue: Melapelus.

Air Conditioned Lounge, 4673 30th St., Normal Heights. Wed: ‘Love Notes’. Thu: ‘Libertine’ w/ DJs Jon Wesley, 1979. Sat: ‘Juicy’ w/ DJ Mike Czech. Sun: ‘Chvrch’ w/ DJs Karma, Alice.

American Comedy Co., 818 B Sixth Ave., Downtown. Thu: April Macie. Fri: April Macie. Sat: April Macie.

The Bancroft, 9143 Campo Road, Spring Valley. Thu: SIRSY, Imagery Ma-

44 · SAN DIEGO CITYBEAT · MARCH 15, 2017

chine, Same as Yesterday. Fri: Species Unknown, The Rays, Girl Fry. Sat: The Deep End. Sun: Order 66, Decayer, Albert The Cannibal, Sleepless Under the Earth.

quired. Sun: John 5 and the Creatures, Dirty Puppets, Aniridia, Taz Taylor. Mon: Archspire, Arkaik, Lord Of War, Gravespell.

Bar Pink, 3829 30th St., North Park.

Wed: Temple Party. Thu: DJ Ikah Love.

Fri: ‘Class Project’ w/ DJs Grimm, Old Man Johnson. Sat: ‘Neon Beat’. Sun: ‘Rat Sabbath’. Mon: ‘Motown on Monday’. Tue: Alvino and the Dwells.

The Casbah, 2501 Kettner Blvd., Midtown. Thu: Mittens, Le Chateau, Ypsitucky, Grizzly Business. Fri: The Downs Family, Screamin Yeehaws. Sat: Jungle Fire, Krass Bros., DJ SK. Sun: Andy Shauf, Aldous Harding. Mon: Kate Tempest. Tue: Ganja White Night, Boogie T.

Bang Bang, 526 Market St., Downtown.

Fri: Grum. Sat: K?D.

Dirk’s Nightclub, 7662 Broadway, Lemon Grove. Fri: FX5. Sat: DJ Alex.

Beaumont’s, 5665 La Jolla Blvd., La Jolla. Thu: Adam Block Duo. Fri: Cougar Canyon Band. Sat: Sofa King Bueno.

Dizzy’s, 4275 Mission Bay Drive, Downtown. Wed: Thu: Fri: Sat: Sun: Mon: Tue:

Belly Up Tavern, 143 S. Cedros Ave., Solana Beach. Wed: Matisyahu (sold out). Thu: Teenage Fanclub, Britta Phillips. Fri: The California Honeydrops. Sat: The California Honeydrops. Sun: Lake Street Dive, Joey Dosik (sold out). Mon: Keola Beamer and Jeff Peterson. Tue: Inspired and the Sleep, Aviator Stash.

Black Cat Bar, 4246 University Ave., City Heights. Fri: Gone Baby Gone. Sat: Dirty Pennies, Slum Summer, Super Buffet.

Blonde, 1808 W. Washington St., Mission Hills. Thu: ‘Keep Safe Concert’ w/ DELMA, The Liquorsmiths, Sol Orchid. Sat: Fever Creep, Qui, Cryptaliens, Psychomagic. Tue: Allison Crutchfield, The Fizz.

Boar Cross’n, 390 Grand Ave., Carlsbad. Thu: The Purple Haze Experience.

Fri: ‘Club Musae’.

Brick 15, 915 Camino del Mar, Del Mar. Sat: Jack Tempchin and Jeff Berkley.

Brick by Brick, 1130 Buenos Ave., Bay Park. Wed: Truckfighters, Yawning Man, DESERT SUNS. Sat: A Wilhelm Scream, Pour Habit, Runaway Kids, No Skill Re-

The Field Irish Pub, 544 Fifth Ave., Downtown. Wed: SIRSY. Thu: Adara Rae & The Homewreckers. Sat: Lifelike. Sun: Deyvid Hosburg. Mon: Jimbo Trout. Tue: Chris Del Priore.

F6ix, 526 F St., Downtown. Fri: DJ Scooter. Sat: DJ Beatnick. Sun: ‘Reggae Sunday’.

Fluxx, 500 Fourth Ave., Downtown. Fri: Dela Chappelle. Sat: Brett Bodley.

Henry’s Pub, 618 Fifth Ave., Downtown.

Wed: Ride the Mule. Thu: DJ Yodah. Tue: ‘50s/60s Dance Party’.

The Hideout, 3519 El Cajon Blvd., City Heights. Sat: James Chance and the Contortions, Naked Lights, Keepers.

The Holding Company, 5046 Newport Ave., Ocean Beach. Wed: Hey Monea, Paul Pfau. Thu: Quel Bordel. Fri: The Fooks, Clint Westwood, DJ Mancat. Sat: Quel Bordel, Black Irish Texas, DJ Chelu.

Sun: Sweet Deal, Super Triple. Tue: Tunnel Vision.

Hooley’s, 5500 Grossmont Center Drive, La Mesa. Fri: Tony Cummins. Sat: The Heart Band.

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MUSIC House of Blues, 1055 Fifth Ave., Downtown. Thu: Cadillac Three, Quaker City Night Hawks. Fri: Julieta Venegas. Sat: Bad Religion, The Bombpops. Sun: Wrabel. Tue: ‘San Diego Music Awards’.

Humphreys Backstage, 2241 Shelter Island Drive, Shelter Island. Wed: Rosy Dawn. Thu: Bayou Brothers. Fri: Rising Star, Trade Winds. Sat: Funk’s Most Wanted, The Fabulous Undertones. Sun: Marvin Banks and Tyghtship, Mercedes Moore. Mon: Mercedes Moore. Tue: Taryn Donath.

Kava Lounge, 2812 Kettner Blvd., Midtown. Thu: ‘Acid Varsity’. Fri: ‘Progress’.

Sat: Memo Rex. Tue: ‘Midnight (In a Perfect World)’.

Kensington Club, 4079 Adams Ave., Kensington. Fri: Batlords, Sculpins, Neckdown, Christ Killer.

Lestat’s Coffee House, 3343 Adams Ave., Normal Heights. Fri: Ernie Halter, Savannah King. Sat: Soul Ablaze.

Loft @ UCSD, Price Center East, La Jolla. Wed: Matthew Stevens. Thu: Sam Lachow and Dave B. Sun: Charenee Wade.

Mc P’s Irish Pub, 1107 Orange Ave., Coronado. Wed: JG Duo. Thu: Ron’s Trio. Fri: Stefe Brewer, Midlife Crisis, Flipside Burners. Sat: Manic Bros. Sun: Ron’s Garage.

Martinis Above Fourth, 3940 Fourth Ave., Hillcrest. Wed: ‘Send in the Sounds’ w/ David Geist. Thu: ‘The Girl from Oz’ w/ Courtney Act. Fri: Janice and the Band.

Sat: Janet Hammer and Nathan Fry. Sun: Ria Carey and Don L. The Merrow, 1271 University Ave., Hillcrest. Fri: Hard to Hit, The Montell Jordans, Ready Set Survive, Bossfight. Sat: Theosis, Nightshadow, Aghori, Malison.

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Sun: ‘Back Alley’. Tue: Second Hand, Privileged, The Midnight Block.

Mother’s Saloon, 2228 Bacon St., Ocean Beach. Thu: DJ Dub B. Fri: DJ Dub B. Sat: DJ K Reed.

Music Box, 1337 India St., Little Italy.

Wed: Dread Mar I, Piracy Conspiracy, DJ Queendom Tribe. Thu: Roni Lee, Eve Selis. Fri: Fortunate Youth, Josh Heinrichs, Iya Terra. Sun: Lettuce, Russ Liquid.

Mon: Shane Koyczan, Jamie Dewolf.

Numbers, 3811 Park Blvd., Hillcrest. Fri: ‘Vogue Decadence’. Tue: Karaoke Latino.

The Office, 3936 30th St., North Park.

Thu: ‘No Limits’ w/ DJ Myson King. Fri: ‘Strictly Business’. Sun: ‘Uptown Top Ranking’. Mon: ‘Metal Monday’.

OMNIA Nightclub, 454 Sixth Ave., Downtown. Wed: Marshmello. Thu: Claude VonStroke. Fri: ATB. Sat: Mark Eteson.

Panama 66, 1450 El Prado, Balboa Park.

Wed: Gilbert Castellanos. Fri: Cedrice and the Addictions. Sat: Montalban Quintet.

Parq, 615 Broadway, Downtown. Fri: Kirill Was Here, Turbulence. Sat: Karma.

Plaza Bar at Westgate Hotel, 1055 2nd Ave., Downtown. Fri: Gilbert Castellanos.

Sat: Allison Tucker. Mon: Julio de la Huerta.

Seven Grand, 3054 University Ave., San Diego. Wed: The Waylon Hicks Project.

Fri: Forkroot. Sat: Mrs. Henry. Sun: Mon: ‘Makossa Monday’ w/ DJ Tah Rei. Tue: Trio Gadjo.

Soda Bar, 3615 El Cajon Blvd., City Heights. Wed: Anna Meredith. Thu: Mike Wojniak, Star Halo, Justin Werner, Ian McCartor. Fri: The Routine, AJ Froman, Kid Wilderness. Sat: Farbarf, Stalins of

Sound, Buddy Banter. Sun: Bob Log III, Badabing, The Bassics. Mon: Palo Duro.

Tue: WAND. SOMA, 3350 Sports Arena Blvd., Midway.

Fri: Cosmics, The Monsoon, The Thens, Some Kind of Lizard, Spooky Cigarette.

Sat: Stick Bitz, Hard To Hit, Hideouts, Manifest Illusion, Bad Kids.

Spin, 2028 Hancock St., Midtown. Fri: Metrika.

Sycamore Den, 3391 Adams Ave., Normal Heights. Thu: Corey Leal, Creature and the Woods. Sun: A Human Family, Dillon Casey.

Til-Two Club, 4746 El Cajon Blvd., City Heights. Thu: Spell, Witchstone. Sun: Pants Karaoke. Tue: The Roman Watchdogs, The Mandoshanks, Not A Part of It, Potbelly, The Scatterbombs.

Tio Leo’s, 5302 Napa St., Bay Park. Wed: ‘SDMA Blues Showcase’. Thu: Mercedes Moore. Sat: Colour. Mon: Greg Benusa.

Tue: Sue Palmer.

Tower Bar, 4757 University Ave., City Heights. Fri: Subsurfer, Bad Vibes, Dream Burglar. Sat: Las Munjitas Del Fuzz, The Loons, Schizophonics. Tue: Mercy Brown.

U-31, 3112 University Ave., North Park.

Thu: ‘Thursdaze’. Fri: Kid Wonder. Sat: DJ Qenoe. Sun: SoCal Vibes, Livn, Roots Dr. Tue: Afroman.

Whistle Stop, 2236 Fern St., South Park.

Wed: ‘Femme Forme’. Fri: ‘F-ing in the Bushes’. Sat: ‘80s vs. 90s’. Sun: The Sea Life, Den Mate.

Winstons, 1921 Bacon St., Ocean Beach. Wed: 3 Wise, DJ Carlos Culture.

Thu: Jerry Duty. Fri: OHM’. Sat: Midnight North, Chugboat. Mon: Electric Waste Band. Tue: ‘Meeting of the Meyends’.

MARCH 15, 2017 · SAN DIEGO CITYBEAT · 45

LAST WORDS | ADVICE

AMY ALKON

ADVICE

GODDESS Pleaser Burn My problem is that I’ll go on one or two dates with a girl and then get the whole “I just wanna be friends.” And they really mean that. They want me to do lunch and go shopping and talk on the phone about their guy problems. How can I nicely tell these girls, “I don’t want to hurt your feelings, but no, I’m not going to be your friend—and I especially don’t want to hear about your new guy”? I guess the problem boils down to the fact that I don’t want to make a woman mad.

—Frustrated Over and over, you hear the same thing— basically, “Sorry…we have to turn down your application for CEO, but we’d love to have you as our parking attendant.”

By the way, your first problem is that you’re wrong about what your problem is.

It isn’t how to tell a woman you aren’t up for the role of pet eunuch. It’s how to be the man holding her in his arms instead of the

one holding her purse while she’s exploring her options in the tampon section.

Consider what the ladies tend to want— whether the ladies are hermit crabs or humans.

Evolutionary biologist Robert Trivers’ theory of “parental investment” explains that in species that provide continuing care for their young after they’re born, females have evolved to go for “dominant” males. Dominance translates to being more able to “provide protection and material support” (through physical ability, as well as high social status).

However, the term “dominant” is a little… uh…unrefined. Women aren’t looking to be dragged off into the sunset by some thug.

Social psychologist Jerry M. Burger and one of his students, Mica Cosby, took a nuanced look at dominance and found that women overwhelmingly want a man who is “confident” and “assertive” as their ideal date or romantic partner. And though most also want a man who’s “sensitive” and “easygoing,” none—not one—of the 118 women they surveyed wanted a man who is “submissive.”

46 · SAN DIEGO CITYBEAT · MARCH 15, 2017

Chances are, “submissive” is exactly how you’re coming off. Your pleaserboy bottom line—“I don’t want to make a woman mad”—suggests a hunger for women’s approval and probably leads you to wilt like a man-daisy to avoid even the slightest conflict. Unfortunately, that won’t get you out of the friend zone. What will is self-respect— and the assertiveness that comes out of it: showing that you have opinions, needs and preferences, and tough tostadas if a woman doesn’t like them. This, of course, doesn’t mean being rigidly uncompromising. However, when you do sacrifice your needs, it should be because you feel good about doing something nice—not because you’re dreaming of a day when your “Well, hellooo, gorgeous!” won’t be followed by “Thanks! And I seriously appreciate your watching Senor Fluffyface while I’m on my date.”

“How Do I Love Three?”

I’m a 40-something woman, living with my 50-something male partner. Our relationship is slightly open, in that every Tuesday, we each go out separately and “do whatever with whomever.” I have lived up to my part of this, but I recently discovered that my partner has not. On Tuesdays, he stays home by himself. Beyond being irritated that he’s effectively been lying, I feel weird being the only one doing the open relationship thing. How do I get him to live up to our agreement?

—Poly-Annoyed

There’s no fun like mandated fun. What’s next, holding him at gunpoint and demanding that he enjoy miniature golf?

Chances are, his lying and your feeling “weird” that things aren’t all even-steven in the sexual snacking domain come out of the same place—the evolution of cooperation and the sense of fairness that fostered it. Fairness comes down to how benefits or resources get divided between people— whether in a balanced or imbalanced way.

We evolved to get all freaked out about imbalances—even when they’re in our favor— explain population biologist Sarah Brosnan and primatologist Frans de Waal. In fact, we are driven to equalize things “to our own detriment.” But, don’t get too misty-eyed about human moral nobility. They point out that it’s in our self-interest to take the long view—trying to avoid being perceived as unfair, which could kill the possibility of “continued cooperation” between ourselves and a partner.

Understanding the likely evolutionary psychology behind your feeling upset could help you focus on why your partner is saying (a silent) “nope!” to the sex buffet. My guess? He loves you and wants you to have what you need. And he doesn’t want you to feel uncomfortable about going out and getting it—even if the only taboo things he’s doing in bed are allowing the dog on it and clipping his fingernails and letting them ricochet around the room.

(c)2017, Amy Alkon, all rights reserved.

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March 15, 2017 · San Diego CityBeat · 47