Police respond to an incident in Garden Grove in which a man fired a shot at police officers from inside a police car Tuesday, Feb. 13. (Photo by Southern Counties News Service)
An officer secures the area in Garden Grove in which a man barricaded inside a police car fired a shot. No injuries were reported as of 11 p.m. Tuesday, Feb. 13. (Photo by Southern Counties News Service)
An officer helps secure the area around 13th and Brookhurst in Garden Grove during an incident in which a man barricaded inside a police vehicle fired a shot. Tuesday, Feb. 13. (Photo by Southern Counties News Service)
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GARDEN GROVE A man who had barricaded himself in a police vehicle and fired a shot surrendered to police early Wednesday, authorities said.
At around 9:15 p.m., officers were called by mental health officials to an addiction-recovery home to assist with a case of a man who was showing signs of psychosis, according to Lt. Carl Whitney, spokesman for the Garden Grove Police Department.
While officials waited for an ambulance to transport the man, he was put inside a patrol vehicle.
“He was able to get access from the rear passenger side to the front side …and a high-powered (AR-15) rifle,” Whitney said.
The suspect fired one round inside the vehicle but did not hit anyone, Whitney said, adding that it was unclear whether he fired toward an officer.
Officers evacuated surrounding buildings, including apartment complexes, Whitney said. “ At the moment he is armed inside (the vehicle) … We don’t want him to be mobile.”
Shortly before 12:30 a.m. Wednesday, the suspect surrendered to officers without incident.
“We surrounded the car with (armored vehicles) … to prevent it from leaving,” Whitney said. “They negotiated with the suspect and opened the back door. More negotiations took place and they were able to take the suspect into custody.”
During the standoff the suspect had the rifle in his hands but did not fire other shots after the first lone shot. No injuries were reported during the incident. The suspect’s name has not been released, but Whitney said the man is in his early 30s.
With plenty of national championship trophies to prove it, the Cal State Fullerton Dance Team has earned the reputation as one of the top college dance teams in the country.
And it’s not a stretch to assume that the 75 Tiny Titans who performed with the Titan dancers at a recent CSUF basketball game included some future national champions.
The Tiny Titans perform with the Titan dancers at halftime during a UCI vs Cal State Fullerton Big West Conference game Saturday Feb. 3, 2018 at Fullerton. (Photo by Michael Fernandez, Contributing Photographer)
The Tiny Titans perform with the Titan dancers at halftime during a UCI vs Cal State Fullerton Big West Conference game Saturday Feb. 3, 2018 at Fullerton. (Photo by Michael Fernandez, Contributing Photographer)
Tiny Titan dancers, Mia Sandoval, 10, right, Brooklyn Burton, 10, Madelyn Laussade, 10, and Quinn Sandoval, 8, left, watch the game before performing with the Titan dancers at halftime during a UCI vs Cal State Fullerton Big West Conference game Saturday Feb. 3, 2018 at Fullerton. (Photo by Michael Fernandez, Contributing Photographer)
The Tiny Titans perform with the Titan dancers at halftime during a UCI vs Cal State Fullerton Big West Conference game Saturday Feb. 3, 2018 at Fullerton. (Photo by Michael Fernandez, Contributing Photographer)
The Tiny Titans perform with the Titan dancers during a UCI vs Cal State Fullerton Big West Conference game Saturday Feb. 3, 2018 at Fullerton. (Photo by Michael Fernandez, Contributing Photographer)
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Titan Dance coach Jennie Volkert, a Titan dance dancer herself from 1992-97, started the Tiny Titan Spirit Clinic six years ago, inspired by a cheer clinic her daughter had attended.
With Titan dancers and their coaches serving as instructors, girls ranging in age from 5 to 12 learned a cheer and a dance during this year’s afternoon clinic on Feb. 3.
“You can tell they are all trying and they are taking home skills that they can use in their future dance classes and apply what they have learned here,” said Titan dancer Valerie Gaitan, who served as an instructor. “I think it’s a great experience for them overall.”
The highlight came during halftime of the CSUF-UC Irvine basketball game that evening, when the Tiny Titans joined the Titan dancers on the court to perform their newly learned routine.
“She had a blast,” said Laura Vanderhook of Newport Beach, whose 6-year-old daughter Stella participated in the clinic. “She said she is going to Cal State Fullerton and be on the dance team.”
Darlene Martinez, mother of Tiny Titan Daelynn Martinez, 9, said the coaches were “amazing” and the clinic was “the best thing we’ve ever done.”
“I love coming and she (Daelynn) loves doing it,” Martinez said.
The clinic is as rewarding for the Titan dancers as it is for their pupils, Volkert said.
“They love it because they remember being that young and looking up to college dancers,” Volkert said.
DETROIT — Kevin Bieksa played in his 800th career game Sunday and that’s a number he takes pride in.
But there is a caveat to that. Those are games that are counted for the regular season only, which is what the NHL determines as official. And in his mind, Bieksa feels so many more should be recognized.
“The preseason and playoff games are twice as hard,” Bieksa said Tuesday, ahead of the Ducks’ game against Detroit. “You need to get rewarded for the more playoff games you play. Obviously you’ve been doing something all right.”
Bieksa has played in 85 of those to date. Given the Ducks’ 2-1 loss to Detroit that keeps them outside the playoff picture, there is no certainty that the defenseman will add to that this season. But there is satisfaction in logging as many games as he has while playing a physical brand of hockey for 13 seasons.
As a defender who often plays above his modest size for his position, Bieksa has gone through plenty of pain and sacrifice in order to get to 800.
“I think I’ve played the game a certain way,” said Bieksa, now in his third season with the Ducks after playing his first 10 with Vancouver. “I play it hard and I’ve had some injuries along the way. Most of my long-term injuries have been freak injuries.
“I’ve been cut by a skate twice and missed four months and three months. I’ve shattered my hand blocking a shot. Broken my foot two or three times. Those would probably be my major injuries. But other than that, I’ve been pretty fortunate, if you can look at it that way.
Bieksa wasn’t a high-end prospect coming out of his native Grimsby, Ontario. The player who is called “Juice” by teammates and coaches throughout his career was a fifth-round selection of the Canucks who went the route of the NCAA and played four years at Bowling Green.
By his third year, Bieksa was thinking ahead if the NHL wasn’t going to be in his picture. A job at a financial firm in Milwaukee was seriously considered, so much so that he didn’t put in a full commitment of training during his senior year.
“I wasn’t packing it in but not dedicating and giving myself a chance afterward,” Bieksa said. “My dad actually wanted me to take the job and it took a lot of convincing to talk him out of letting me come home and train and give hockey one last chance.
“Nothing was guaranteed for sure. After college, I had to work my way up from the AHL. There was a lockout at the time, which made it even more difficult. But I’ve definitely earned everything I’ve gotten.”
The fallback plan has been put off for 13 years. Bieksa said he’s been around long enough to see players come into the league and go. He notes that some of his teammates in the early years “are either GMs or presidents of the team or coaches.
“A lot of coaches that I’ve played against,” Bieksa added. “Our coach in the minors, Dallas Eakins, was my first (defense) partner in pro hockey.”
While he thinks he’s closer to 1,000 games played than the NHL will officially acknowledge, Bieksa wants to take a shot at that recognized milestone.
“I want to play as long as I can,” he said. “As long as I’m having fun. As long as I’m able to contribute. That’s basically the only thing. If I can continue to contribute and play well and move well and not be hampered by injury, then, yeah, I’d love to keep playing.
“I don’t think I’m going to be Jaromir Jagr. I don’t think my wife will let me play past 40. But I’d certainly like to try to get there – 1,000.”
PETTERSSON BROUGHT UP
Marcus Pettersson earned his first promotion to the Ducks as the team called up the defenseman prospect, who has had a solid first pro season in North America.
Pettersson, 21, has been one of the San Diego Gulls’ better blue-liners in American Hockey League action. A defensive-minded 2014 draft pick in the second round, the Swede had not scored a goal but chipped in 14 assists in 44 games with the Gulls.
Having arrived from San Diego on Tuesday afternoon, Pettersson did not make his NHL debut as Ducks coach Randy Carlyle kept the same lineup from Sunday.
TIME’S UP FOR RASMUSSEN
Dennis Rasmussen was not claimed off waivers by another NHL team and the Ducks terminated the remainder of his one-year contract, paving the way for the Swedish forward to seek employment elsewhere.
Rasmussen likely will return to his native Sweden as he reportedly prefers that to playing in the American Hockey League. He had four goals and six assists in 17 games with the San Diego Gulls after being assigned there Dec. 29 after playing in 27 contests with the Ducks.
Fernando Garcia and Laura Kim chose to present their fall Monse collection via a short film by Fabien Constant and a party Tuesday night at the Gramercy Park Hotel instead of on the runway. Who could blame them? They already had one runway show under their belt as of Monday for Oscar de la Renta, and a party theoretically seemed like less pressure. Except, apparently they thrive on deadline: They shot the film and look book on Erin Wasson in the torrential rain in Coney Island on Sunday. Constant used the strange nostalgia of the amusement park set to artfully convey the collection’s message.
Garcia and Kim wanted to tap into the Fifties, drawn to the suiting and colors of the era. “It’s funny how women have changed so much from the Fifties,” Kim said. “We wanted to take things from then but make them for today’s girls who are working and moving all the time.” They made the retro gal more comfortable, brought her up to speed in terms of borrowing from the boys to create strong female tension. Oversize men’s blazers and cardigans were worked into hybrid and trompe l’oeil constructions, for example, a plaid blazer melded with a
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Some show venues are like abstract art: You get it or you don’t. That there is apparently a creative thrill in having guests arrive to a pitch-black show space and worry about tripping while feeling their way to their seats continues to confound after many years of pondering.
That out of the way, guests to Stuart Vevers’ Coach 1941 show at Basketball City on the East River found themselves in a weird forest, its trees devoid of greenery and any signs of life but for video monitors projecting the trees, which would go haywire once the show started. “A spectral charm,” the show notes promised. And charm it did, in its moody-broody way. Soon, the wooded den was populated by a brigade of goth prairie girls, glum but ever so stylish, joined by layered up male companions, their own disaffected-youth getups integrating some sports-derived pieces here and there.
Since his arrival at Coach, Vevers has built a strong, engaging identity for the brand, grounded in his outsider’s fascination with the American West, which he interprets in a manner suited to urban realities. “I love the American West,” he said during a preview. “But it’s seen through the eyes of a house that’s
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Even after covering Rosie Assoulin for many seasons, it’s difficult to pinpoint exactly what her brand is about. That’s not necessarily a criticism, just an observation. Her collections feel like explosions of nonlinear thoughts, the result of a giant free-association session where ideas morph and bleed into one thing after the other rather than a singular concept. The yield is always happy, exuberant and sophisticated clothes laden with thoughtful details. Assoulin’s fabrics are very fine; her finishes flaunt craft and the hand-touch. Yet while the collections reflect intense effort, there’s chaos to them, charming though it is.
Such was the case for fall, where a color-saturated marbling theme acted as the gravitational center of a lineup that also had crushed pleated eveningwear; a darling white ruffled cotton dress with folksy smocking around the waist, cuffs and neck; a pair of moss-green flared micro corduroy pants inspired by Giorgio Morandi still-lifes, and a Sixties go-go champagne gold silk shirtdress with Swarovki crystals in its orbit. That’s just a taste.
Assoulin found the marble theme — used on incredible scarf dresses, a gorgeous reversible quilted velvet puffer jacket, amorphous clay bracelets and jewelry that looked like marbles and jacks — while doing research at a
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It’s official: Gigi and Bella could have been runway stars in any era. Kaia, too. (Big surprise there.) Some of the other girls, not so much. The Hadid sisters opened Anna Sui’s show — Gigi first, then Bella, done up in looks that riffed on couture while strutting the runway the old-fashioned way: Spin! Stop! Shoulder thrust! Hip thrust! Killer gaze! When some of their colleagues experimented in kind, they looked about as comfortable as if they’d been asked to recite poetry in ancient Sanskrit.
Sui’s opening proved more than witty amusement. It introduced her fall ode to the fashion she somehow became aware of, and obsessed with, during her formative years, “the old Balenciaga shows, the old Seventh-Avenue-in-the-showroom runway shows,” she noted during a preview. Back then, she pored over magazines and became obsessed with illustrators — Anne Marie Barden, “who did the big eyes and thumbprint cheeks;” and early Antonio Lopez.
Various works by them inspired Sui’s color stories — oranges and yellows; blues and greens. As for the purples, they’re signature. From these, Sui created a range of characters, Millennial descendants of Sixties-Seventies-era ladies and librarians; sirens, secretaries and snow bunnies, all in compilations of her trademark intense prints
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Gabriela Hearst launched her brand three years ago on the principles of uncompromising quality and durable, elegant design. Independent but well-funded (she married into the Hearst publishing empire), she has the luxury of doing luxury at a level that is rare to find anywhere in fashion these days and especially in New York. Hearst has only intensified her commitment to the finest-made things to accompany the life well-lived, and she served up examples of both, quite literally, at her fall show.
One of the greatest indulgences on the fashion week circuit is finding time for proper food, water. Hearst built sustenance into her show format, taking over Café Altro Paradiso to serve a quick three-course lunch to her guests in a setting that allowed for intimate, though not unobstructed, viewing of the clothes. Nothing gives a sense of this collection like touching the cashmere, wools and silks firsthand, but the private restaurant experience enhanced Hearst’s brand message for those who might not know it.
During a preview, Hearst explained that her seasonal inspiration was “women that have to dress like men to go to work,” she said. Specifically, women coal miners during the Victorian era. She was interested in how social movements,
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LONDON — Anya Hindmarch may not be staging a show this month in London, but that doesn’t mean she’s standing still. On Feb. 14, Valentine’s Day, the designer known for her cheeky sense of humor and quirky designs, plans to fill London’s skies — and monuments — with enormous red chubby heart balloons.
Hindmarch has teamed with the Mayor of London, the British Fashion Council, the City of Westminster, the Civil Aviation Authority and a host of businesses and councils across the British capital to plant the giant heart balloons in 29 locations around town.
Starting on Feb. 14 and continuing through London Fashion Week, the balloons will be suspended over — or squashed within — famous London landmarks and locations across the city.
The balloons are set to float near places including Battersea Power Station; Chelsea Barracks in Knightsbridge; 80 the Strand, home of the British Fashion Council’s runways and showrooms; near Central Saint Martins, Leicester Square, The Dorchester, The Ritz and Wellington Arch, and at Westfield London.
They will appear above different locations over seven days, while Ocean Outdoor will screen the campaign throughout the city, including Piccadilly Circus at 7:20 p.m. on Valentine’s Day. People will also be encouraged to follow the campaign
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SCORE BOARD: Moments after the Badgley Mischka fashion show ended at Spring Studios, a group of people had gathered in front of the leader board in the lobby to see the company’s new Badgley Mischka Runway app in action. The board listed the audience’s top 10 favorite looks from those that were just shown on the runway. Although results are still in flux, at that moment in first place was a crimson silk and Lurex brocade gown, followed by a white crepe cape gown and ebony wool lace dress.
“We are capturing sentiment in real time,” said Tom Savoie, retail solution director of SAP, which collaborated with Badgley Mischka to include beacon technology in each of the looks going down the runway throughout the show. Savoie said as the show was in progress, audience members could vote on whether they “liked” the look or “loved” the look, and loves were weighted heavier than likes. The app was available to those in the room, as well as globally, so people could vote anywhere, he said.
Later in the afternoon, Mark Badgley and James Mischka said what they found most interesting was the favorite gown was the most “old school traditional ballgown,” which was the
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