September 29, 2016 – OC Weekly

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inside » 09/30-10/06 » 2016 VOLUME 22 | NUMBER 05 » OCWEEKLY.COM

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The County

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06 | NEWS | Supporters of

Proposition 64 hope voters will end the state’s reefer madness.

By Mary Carreon 09 | ¡ASK A MEXICAN! | Why don’t Mexicans like the great outdoors?

By Gustavo Arellano 09 | HEY, YOU! | Big Brother is watching. By Anonymous

| | | OCWEEKLY.COM | 14

ROCKOGRAPHY

Feature

11 | NEWS | Cal State Fullerton’s math department has more problems than just overpriced, mandatory textbooks. By Steve Lowery

in back

Calendar

16 | EVENTS | Things to do while

fighting termites, both literal and metaphorical.

Food FULLERTON: 215 N. Harbor Blvd.

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20 | REVIEW | Fullerton’s Tomato Café and Grill serves Italian food, Korean-style. By Edwin Goei 20 | HOLE IN THE WALL | Rincón Argentino in Costa Mesa.

By Gustavo Arellano 21 | EAT THIS NOW | Lobster eloté at Dos Chinos. By Taylor Hamby 21 | DRINK OF THE WEEK |

Blinking Owl Aquavit.

By Gustavo Arellano 22 | LONG BEACH LUNCH | Great

Society Cider & Mead is Long Beach’s ode to America’s forgotten hooch.

By Sarah Bennett

Film

23 | ESSAY | Why we should celebrate Hollywoood’s current/ eternal overdose on narcos.

By Gustavo Arellano

Culture

24 | THEATER | Storyteller extraordinaire Mike Daisey takes on Donald Trump. By Joel Beers 24 | TRENDZILLA | Globitos makes balloons for la raza. By Aimee Murillo

Music

26 | PROFILE | How Malvina Reynolds immortalized an OC teacher in song. By Gabriel San Román 27 | PREVIEW | DJ Great Daine and his Red Alert crew keep OC turntablism alive.

By Denise De La Cruz 28 | LOCALS ONLY | Guess what Neonderthal play? By Kim Conlan

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29 | CONCERT GUIDE 31 | SAVAGE LOVE | By Dan Savage

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It’s High Time

Supporters of Proposition 64 hope California voters will end the state’s reefer madness this November

BY MARY CARREON

T

he stigma plaguing the cannabis plant ever since the 1936 release of Reefer Madness is all but over. The most recent evidence? As of last week, polls show that 58 percent of California voters support Proposition 64, or the Adult Use Marijuana Act (AUMA)—the statewide initiative that, if passed this November, will legalize the recreational use of marijuana for everyone at least 21 years old in California.

But California is hard to predict when it comes to pot legalization. In 2010, 54 percent of voters rejected Proposition 19, the last cannabis-legalization measure.

And according to Diane Goldstein, an executive board member of Law Enforcement Against Prohibition (LEAP), an unlikely coalition of law-enforcement brass and medical-marijuana groups including the Stoners Against Legalization still opposes AUMA. If Prop. 64 passes, legal adults will be allowed to possess up to 28.5 grams of marijuana, 8 grams of concentrated cannabis or edibles, and up to six living cannabis plants. The proposal will also place a 15 percent tax on the sale of marijuana products. But don’t confuse AUMA with the Medical Cannabis Regulation and Safety Act (MCRSA), formerly known as the Medical Marijuana Regulation and Safety Act. The MCRSA is the comprehensive state licensing system for the commercial cultivation, manufacture, retail sale, transportation, distribution, delivery and testing of medical cannabis.

“AUMA builds on the infrastructure of [MCRSA] legislation passed about a year ago for medical-marijuana regulation,” says Goldstein. “One of the reasons they did a recreational measure so close to the MCRSA is because it’s cheaper, more efficient and easier to build a system for adult and medical marijuana regulation at the same time—but they are very different.”

The state has said it will need until January 2018 to set up the necessary structures to begin issuing licenses for both medical- and adult-use cannabis businesses. In the interim, however, local governments have been given the opportunity to choose whether to adopt ordinances to permit or ban such businesses in preparation for state licensing.

Although rolling cannabis bans have been the trend across Orange County over the past year, several cities have decided to put measures on their local ballots.

Costa Mesa residents, for instance, will see three medical-marijuana initiatives on their ballots—two of which are citizensupported initiatives, and the other a city-approved measure. All three prohibit

BOB AUL

anyone under the age of 18 from working in dispensaries or purchasing medical marijuana, and all employees are required to pass a background check.

Measure W would amend the Costa Mesa municipal code to authorize up to four licensed medical-marijuana businesses in the city, allowing the cultivation, distribution or delivery of medical marijuana. Such businesses would be allowed to operate between 7 a.m. and 10 p.m. seven days per week and will be required to be at least 1,000 feet away from any school and 600 feet from public parks, libraries or any licensed childcare facility. They’ll also need to be at least 200 feet away from residential zones and can’t be located within 1,000 feet of any other medical-marijuana business.

Costa Mesa’s Measure V, on the other hand, would allow up to eight medicalmarijuana businesses to operate within the city. They could engage in retail sales, planting, cultivation, harvesting, transferring, manufacturing, processing, prepar-

ing, storing and packing of medical marijuana. These facilities are allowed to operate in specific commercial and industrial zones, but not in residential zones. Hours of operation will be from 9 a.m. to 10 p.m. seven days per week. Cannabis businesses must be at least 600 feet away from public schools and can’t be within 1,000 feet of another medical-marijuana business.

Measure X is Costa Mesa’s city-sponsored medical-marijuana measure. It would amend city codes to allow medical marijuana distributing, manufacturing, processing and transporting businesses, as well as for testing labs to enhance research standards and the development of cannabis.

However, retail sales or distribution of medical marijuana and related products would be prohibited, along with dispensaries and cultivation sites.

Meanwhile, Long Beach will see a pair of initiatives competing on the November ballot, both of which would permit between 26 and 32 medical cannabis storefronts to operate, with similar geo-

graphic restrictions as those envisioned in Costa Mesa. Where the Long Beach initiatives differ from each other, however, is on the issue of taxation. Measure MM, known as the Regulation of Medical Marijuana Businesses, would change the 10 percent rate on gross receipts of cannabis sales to 6 percent. The tax for cultivation would reduce from $50 per square foot to $10 per square foot.

The Long Beach City Council opposes MM because it believes the city would lose money, so officials wrote up their own tax initiative, Measure MA, also known as the Long Beach Marijuana Taxation Measure.

Under MA, the tax on medical-marijuana products would be between 8 percent and 12 percent of gross receipts; between 6 percent and 8 percent for distributing, transporting or testing marijuana and related products; and add a cultivation tax between $12 per square foot and $15 per square foot. The city has calculated that MA would provide Long Beach with $13 million in additional tax revenue.

The fact that Prop. 64 will do nothing to force cities to allow dispensaries to operate in cities that have banned them is just one of the criticisms some longtime medical-marijuana supporters have about the initiative. Activist Ron Deziel argues that AUMA has “hijacked” Proposition 215, the Compassionate Use Act of 1996.

“The rights of personal cultivation, privacy in choice of doctor, and safe and affordable access cannot be abrogated by the legislature, yet that is exactly what’s going to happen,” Deziel says.

But legalization advocates such as Goldstein counter that Prop. 64 is a crucial step forward in ending the illicit black market that continues to plague California, which badly needs the revenue the initiative will create. During the first five years of legal recreational marijuana, California will earn $10 million, she says, which would go to communities that have been impacted by the disparities of law enforcement around the issue of the drug war.

After that time, $50 million annually will go to these communities, she adds, neighborhoods that are predominantly communities of color, and will help to create jobs, infrastructure, training and other programs. “[AUMA] has the goldstandard social-justice component to it, and people often don’t know that,” says Goldstein. “[It] isn’t perfect, but it leaves lots of open space for improvement.”

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DEAR POCHO: I can’t answer for chinitos because the most Celestial thing about me is my love for an orange chicken/chow mein/ brown rice lunch combo. But you’re falling into the same trap that many Mexicans fall into on Facebook: namely, that Mexicans never go homeless because they’d rather sell oranges and flowers on street corners than hold up a sign begging for food like a lazy gabacho. The answer is more complex than a pinche meme.

Percentage-wise, Latinos are over-represented on a national level: The U.S. Department of Housing and Urban Development’s 2015 Annual Homeless Assessment Report found about 20 percent of the homeless are Latino, just a tick above the 17 percent of Latinos that make up the American population. But the survey doesn’t break down the Latino homeless— whether the population is more immigrant or assimilated, Salvadoran or Mexican. A better indicator of whether Mexican immigrants are less averse to homelessness is in a 2015 study by the Institute for the Study of Homelessness and Poverty at the Weingart Center examining the homeless community in Los Angeles County. It found that Latinos (who make up 47 percent of LA County’s population) accounted for only 33 percent of homeless. More tellingly, “about 14 percent to 18 percent of homeless adults in Los Angeles County are not U.S. citizens compared with 29 percent of adults overall,” suggesting undocumented Mexicans would rather hustle than live outside. But there’s nothing to brag about here—don’t be a

heartless pendejo, and help out the homeless, regardless of raza.

DEAR MEXICAN: Why aren’t there more Mexicans in outdoor-type jobs? I’m referring to camp guides, naturalists, river-rafting guides, etc. My theory is that the outdoors haven’t always been a safe space for us, and most times, that is where we were working, not relaxing.

Tomás, But Not a Tío DEAR TOM, BUT NOT AN UNCLE: A 2009 survey by the University of Wyoming and the National Park Service (NPS) found that Latinos (read: Mexicans) actually made up the largest percentage of minorities who visited national parks—a whole 9 percent! And pochos like you are even rarer: Only 5 percent of NPS workers were Latinos (read: Mexicans). This aversion to the grand outdoors is logical, actually. Gabachos have the luxury of enjoying backpacking for weeks at a time and rafting down the Withlacoochee (quick aside: since this Florida river sounds like huitlacoche, is this further proof for armchair Aztecs that the Nahuatl empire went all the way to the Sunshine State the way it extended to Michigan, a.k.a. Michoacán?). Mexicans, meanwhile, view nature much the way Manifest Destiny did: something to tame, not to revel in. The Mexican has many fond memories of spending days with his Papa Je in the beautiful cerros of Zacatecas—but that’s to find logs to chop down for his campesino life. Once he came to el Norte, no way would my grandpa—or I, or most non-assimilated Mexicans who know rural life—want to camp on purpose.

ASK THE MEXICAN at themexican@askamexican.net, be his fan on Facebook, follow him on Twitter, or ask him a video question at youtube.com/askamexicano!

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» ANONYMOUS Big Brother Is Watching

Y

ou are the bazillionaire cable-TV company who emailed a warning early one morning that I had committed copyright theft. Apparently, a “third party” doing “random” IP monitoring discovered I’d downloaded an entire season of a show I have never seen. That seemed bizarre until I mentioned the email to a Middle Eastern college student renting a room from me. He apologized, ’fessing up that he thought he had legally downloaded the program from a site in his home country (a U.S. ally).

The next day, while preparing something for work related to 9/11, I temporarily lost control of my computer as my cursor returned to the top of the document and scanned each word I had written. I’m watching you, too, Big Brother.

BOB AUL

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

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DEAR MEXICAN: I have seen black people and white people being homeless. How come I have never seen a Mexican or a Chinese person being homeless?

Get a Trabajo, Bum

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06, 2 0 16 ON30 TH- OctOb X X–X Xer , 2014 | cOntentS CONTENTS | the THE cOunty COUNTY | feature FEATURE | calendar CALENDAR | fOOd FOOD |film FILM |culture CULTURE |muSic MUSIC claSSifiedS | CLASSIFIEDS S | eptem bMer

| | | | | | | | Cal State Fullerton’s math department has more problems than overpriced, mandatory textbooks

N

Fullerton Math Department chairman Stephen Goode and vice chairman Scott Annin, right? That brought accusations of conflicts of interest and greed and, soon after, a frostiness in the department toward Bourget that extends to the present. “My colleagues basically don’t talk to me,” he says. “I’ve gotten used to it.”

But a few months ago, the silence, not to mention the quasi-Orwellian signs that mysteriously appeared outside offices basically telling him to clear out, still stung him as well as his wife, Gulhan, who also teaches in the department. So when the school year ended, they decided to seek refuge for a few weeks in an environment more peaceful and placid, so the couple decided to vacation in—wait for it—Turkey.

“We didn’t see the coup coming,” Bourget says. “My wife is Turkish, and this was a family thing. I was sleeping when her sister knocked on our door and said there was something going on, a civil war.

I couldn’t sleep that night. It turned out it wasn’t as bad as we thought; it could have been much worse.”

He laughs as he talks about his Turkish surprise, but when the subject turns back to the new school year at Cal State Fullerton, any lightness in him fades.

It’s just a few days until the fall semester begins, and he’s eating a hamburger across the street from campus. He looks tired, very tired, and the prospect of going back to school seems to hold no excitement for him.

Bourget doesn’t think what he was asking to do was so noteworthy; he simply wanted to teach from a different book.

And though his stand gave him hero status with some, it’s clear he’s uncomfortable with that. “My husband really is a quiet, nonconfrontational person,” Gulhan says.

“He didn’t expect all this; his goal was not to get this attention. For him, he’s just doing his job, doing what’s best for his students. I’m proud that he did, but I

know he’s suffering.”

When asked how he will handle the year ahead, especially when it comes to being shunned by those in his department, he begins, “I’ve learned how to live with it in a sense, you know . . .” And then he takes a long pause.

“Let me be very honest with you,” he says. “If I could find a job somewhere else for me and my wife, I would move.”

But he’s here, eating a hamburger, resigned to the fact that it will be another year in Fullerton for the Bourgets. Before he goes back, though, there are a few things he wants to set straight, misnomers and misunderstandings about his intentions and ultimate goal. Likewise, there are others on campus who discovered this summer that Bourget’s textbook stand continues to resonate across not only the country, but also the world, possibly to the long-term detriment of Cal State Fullerton.

» CONTINUED ON PAGE 12

ocweekly.com | | OCWEEKLY.COM

o Cal State Fullerton professor in recent memory ever needed a summer vacation more than Alain Bourget.

Bourget is the math professor whose refusal to use the required textbook for his Math 250B course, “Introduction to Linear Algebra and Differential Equations,” to instead teach from one about $100 cheaper created headlines across the nation. He earned enmity from university officials but was celebrated by colleagues across the country for standing up for academic freedom while garnering the gratitude of many students who increasingly view higher education as a high-priced shakedown. In the comments section of one story about Bourget, it read, “The professor is a hero. The greedy pigs he has the misfortune to work under are scum.”

Oh, you did know that the book Bourget was required to teach—Differential Equations and Linear Algebra, the one $100 more expensive—was written by Cal State

BY STEVE LOWERY

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JOHN GILHOOLEY

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BOURGET (LEFT) AND MCMILLEN: ALL THEY WANT TO DO IS TEACH

JOHN GILHOOLEY

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A MUCH, MUCH BETTER BOOK

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“Strang is the most beautiful text we have.

No one in mathmatics writes like Strang; people try, but it’s a pale imitation.”

The most common tack for stories dealing with Bourget’s stand was to put it in the context of exploding college costs, specifically textbooks, a near-$9 billion industry that has seen prices increase over the past couple of decades at EpiPen-like rates.

It’s estimated that the typical American college student now spends a whopping $1,200 on textbooks, what amounts to nearly 15 percent of tuition at a traditional, four-year university. Things are no different at Cal State Fullerton, a part of a system originally and specifically designed to be accessible financially to families who traditionally would not be able to send their kids to college.

By the time Bourget said he preferred teaching from Gilbert Strang’s Introduction to Linear Algebra materials, things had gotten so bad at Cal State Fullerton that stories about the professor were usually rife with details about students having to share textbooks or simply choosing for

which classes they would actually buy books. One even had an extreme example of a young student who said she had taken to photographing required pages each week from textbooks in the bookstore and reading from her phone.

Amidst that, the story of a young professor acting to save his students money when he didn’t have to, at the expense of his own professional career, was a gripping narrative that allowed publications to write about a serious issue in American education.

But the thing of it is, cost was not the reason Bourget chose the book. As he says now, the fact that the Strang book was less—significantly less—than the Goode text was merely a “happy coincidence.”

He would have still chosen the Strang book if it were the same price or a little more expensive than the Goode book.

“The fact that the book was cheaper was nice,” Bourget says, “but the most important thing, the reason I wanted to teach it, is that it was a better book, and I don’t mean a much better book, but a much, much better book.”

That’s not a controversial opinion. In the math world, Strang is something of a rock star, a dude who has been around forever (like Neil Young), who started teaching at MIT in 1959 (about the time Young was forming the Jades in Winnipeg). Much of his reputation has been made on his textbooks (he has published eight): Witness not only the fact that he

was awarded the Chauvenet Prize, mathematics’ highest award for writing, but also that math colleagues get absolutely frothy when talking about them.

In a review of the fourth edition of Introduction to Linear Algebra, George W. Cobb, professor emeritus of mathematics and statistics at Mount Holyoke College, shared a personal note he’d sent to Strang: “I’ve admired your book ever since the first edition came out. . . . It’s hard to put into words how much I’m enjoying it.

In 35 years, I’ve nearly always ended up feeling deeply disappointed with almost any textbook I’ve tried to teach from.

However, I’ve had the good fortune to find two books I really admire. Yours is one of those two inspiring books.”

Those sentiments are not unique, as the Strang book is often described as “seminal.” Tyler McMillen, who Bourget describes as his “only friend in the [math] department,” gets equally rapturous, saying, “Strang is the most beautiful text we have. No one in mathematics writes like Strang; people try, but it’s a pale imitation.”

Which brings us to Bourget’s opinion of Goode and Annin’s book, which he says offers students an abstract view of the subject without any applications, applications being critical because the majority of his students are engineers who need to actually apply what they are learning. “The way [Goode’s] is written, it’s just a book with a list of topics, one after each

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“SHUT UP OR GET OUT” When you talk to people in authority at Cal State Fullerton, they are quick to point out that the textbook controversy produced University Policy Statement 300.011, “Faculty Selection of Instructional Materials.” The policy, which runs four pages, is a pretty milquetoast document that says, among other things, that academic freedom is important, instructors should be aware of existing policies, and that when choosing textbooks, some consideration should be paid toward cost.

What is not addressed is the central point of Bourget’s case: that there was a significant conflict of interest when the department’s chairman and vice chairman

» CONTINUED ON PAGE 14

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GULHAN BOURGET

other,” Bourget says. “They didn’t make the effort to connect these topics; they didn’t explain the subject so that students would get something out of it. You read Strang, and you feel like you’re interacting with him—it’s very lively. He has a perfect understanding of the subject; when you read his explanation of the subject, you feel, ‘Oh, I get this.’

“I know there are people who say I did this because I was jealous [of Goode and Annin] or had something personally against them,” he continues. “Look, at the beginning, I gave the book a chance. I used it 12 times. Twelve times! I really gave it a try, best I could. But at some point, it was enough. I felt like I was cheating my students. When you know there is something better out there, you’ve got to use it.

It’s like if I play tennis and you ask me to go play in tournaments, but you say I have to play with a wood racket. I might try one tournament, two tournaments, three tournaments, but at some point, I’m going to say, ‘Enough!’ I want to have the best possible tool to play with.”

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MCMILLEN: BOURGET’S SOLE SUPPORTER IN THE MATH DEPARTMENT

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required that their text—and only their text—be used for course 250B. “I was very disappointed because it did not address any of the conflict-of-interest issues; textbooks written by faculty were completely absent from the policy,” Bourget says. “We were hoping there would be some amendments to make it stronger, hoping the university would come up with some solutions, but what we’re left with is a policy that is completely useless because even if it did exist, we would still be in the same situation. In fact, having a policy now kind of validates the situation we’re in.”

It’s important to note that Bourget never demanded that only the Strang book be taught in 250B. He simply wanted the option of using it while allowing other professors to choose the book they felt most comfortable with. While this is common for single, stand-alone courses, defenders of the university’s math department point out that when a rather basic course such as linear algebra is taught in multiple sections by multiple teachers, it is critical everyone be learning from a common source.

“Allowing Dr. Bourget to use different texts would have meant I would presumably have had to extend the same option to all instructors of the course and, even more daunting, to all instructors of our other 20 coordinated courses [more than 150 sections],” Goode says. “This was a precedent I was not prepared to set without department input.”

But it’s a precedent throughout the university. Nancy Fitch, chairwoman

of Cal State Fullerton’s history department, said the practice of offering just one text in a multisectional class “ended a long time ago” in many departments. “[Professors] want to emphasize different things; they have different styles, and certain books fit better with certain styles,” she says. “The book is not as important as the specific learning goals we have—that everyone has. The most important things are reaching those learning goals, not the book.”

In fact, Fitch, who has been at the school 30 years, says that offering multiple books goes back a long way, that she was part of a contentious discussion regarding texts for a multisectional course in world civilization. “We decided on two textbooks that people could choose from, and that kind of made everyone happy,” she recalls. “There was some tense meetings, but we got a solution. And that was in the early 1990s.”

From the description of the Bourgets and McMillen, Cal State Fullerton’s math department seems like your typical passive-aggressive family unwilling to have those uncomfortable conversations. Bourget says that meaningful conversations about offering an alternative text were always shot down immediately.

Reasons for this may go deeper than just not wanting to have a distasteful discussion and may get to the heart of the conflict of interest of having a department chairman and vice chairman offer their book as an exclusive text. “You have to understand, a lot of the authority of the chair is based on this book,” McMillen says. “It’s one of the things he points to, says, ‘Yes, we’ve been using this for 30 years.’ Whenever we tried to discuss

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Now, you may be saying to yourself, “Well, that’s too bad, but then again, it’s just a math thing.”

But that’s not the way professors on the Cal State Fullerton campus see it. Many of them either have contacted Bourget to offer support or signed statements doing so. Many feel that forcing students to spend double for a textbook when a more than suitable—many would argue superior—option is available is a horrible message to send to students.

“The nature of the math department problem is that it reflects the larger pervading attitude that students are just ATM cash cows for the university,” said one professor, who asked to not be identified since he or she is in a position of authority. “I’m concerned that it looks like financial gain was the ultimate deter-

aggressively, with no expenses spared.

Other universities will likely bring up the textbook debacle if they are competing with Fullerton for a prized instructor.

“We already have a few strikes against us,” Fitch says. “We have high teaching loads, and the cost of living here is high, so if someone says, ‘Oh, Fullerton, they won’t let you teach what you want,’ that’s just another strike against us.”

Bourget has a particularly two-strikesagainst-him look as he finishes his burger.

He’s not hopeful anything will change.

Well, not at Cal State Fullerton, not any time soon. Down the road at UC Irvine, that school’s Academic Senate, clearly reacting to Bourget’s case, recommended that faculty members forgo any profits they derive from assigning their students textbooks or other course materials they’ve produced.

But no such recommendation has been made at Cal State Fullerton, and Bourget doesn’t expect one to be made. Maybe it’s because of the vibe he gets from his math colleagues, which is no vibe—maybe because he’s seen and heard any attempt to just talk about solutions to a seeming conflict of interest is met with immediate calls to order.

Or maybe he thinks things won’t change this year because of what happened right at the end of last year. It was then, during finals, that Cal State Fullerton announced its Outstanding Professor Award. The winner? Scott Annin.

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“MINING THE STUDENTS”

minant, that if sound academic policy was at work, there would have been an alternative book. What we’ve been left with instead is a horrible conflict of interest that reinforces the perception that the faculty are just mining the students for money.”

Many professors have come faceto-face with rather angry reactions off campus from peers and colleagues. Several interviewed for this story say they basically hear the same question: “What the hell is going on over there?” (None of them wished to be quoted.) Some of the most pointed/angry responses have come from colleagues at other Cal State institutions who believe that l’affair Fullerton reinforces the perception that the entire system is some sort of simple-minded stepchild to its UC counterpart.

Fitch told the Academic Senate, of which she is a member, that she was ashamed to be approached at a conference in Chicago by academics from all over the country and the world who asked her, “’You’re from Cal State Fullerton? That’s the school where they tell you what book to use, right?’ I kept telling them that’s not the practice in my department, but I could tell [the Bourget story] had made us look pretty bad.”

But any anger or embarrassment has now been effectively replaced with a concern that the incident could have longterm effects on Cal State Fullerton’s ability to attract top-flight talent. Universities compete for superstar professors in the same way they go after superstar athletes:

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perhaps, an approval of the text.

“But they’re violating their own policy here,” McMillen says. “Our coordinator was supposed to make an announcement in a meeting to see if there was any objection to using this new book. The coordinator never made that announcement.”

Who is the coordinator? Scott Annin.

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the textbook in meetings, you could tell the moment you brought up the subject, people began to get very nervous. It’s a very touchy subject. The feeling is if you say this is not the best book, you’re criticizing a department practice for the last 30 years, as well as the chair and the [vice] chair themselves. Since most of the faculty have gone along with this, they all feel personally attacked if you speak up. ” Rather graphically supporting McMillen’s point was that not long after Bourget’s story came to light, there also came the sudden, silent appearance of printed signs on bulletin boards outside math professors’ offices that read, “The Math Faculty Supports the CSUF Department of Mathematics”—which had a distinctly “If you’re not with us, you’re agin’ us” feel to them.

“Those freaked me out the first time I saw them,” Bourget says. “People were not willing to talk to me, but they were willing to put up a sign that basically said, ‘Shut up or get out.’”

That sentiment was driven home again just about a week before fall classes began.

Those teaching 250B were informed by the college bookstore that copies of the textbook [Goode-Annin (Fourth Edition)] were available. The problem with that is that the last time Cal State Fullerton’s math department approved an edition was in 2014; it was the third, McMillen says, and there was no discussion of it, as policy dictates. Normally, instructors would find out months in advance if a new book was to be used to facilitate a discussion and,

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sat/10/01 [FILM]

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‘An Evening of Magic & Wine’ If David Minkin being a Magic Castle attraction, TV’s Magic Outlaws star and creator of a show Johnny Depp called “the greatest thing I’ve ever seen” are not enough to get you out, there is also wine. Minkin’s “Magic & Wine” shows treat each audience member to curated tastings; yummy hors d’oeuvres and desserts; and close-up views of tricks, illusions and—at intermission—Disneyland fireworks across the street. Open a bottle of wine for sale to make the magic, comedy and date night even better. Anaheim Majestic Garden Hotel cuts room rates for showgoers using the promotion code “magic.”

“An Evening of Magic & Wine” at Anaheim Majestic Garden Hotel, 900 Disneyland Dr., Anaheim, (844) 227-8535; www. magicandwine.com. 7:30 p.m. Through Dec. 16. $70-$85. —MATT COKER

Two words: Soledad Miranda. The scintillating Spanish actress and singer at the center of Jess Franco’s ’70s erotic horror flick could have made Bela and every other movie vampire blush at her smoldering performance. But alas, Miranda’s MORE career and life ONLINE were tragically OCWEEKLY.COM cut short in a car accident in Lisbon at the age of 27. So what remains today is a cinematic preservation of Miranda in which she is as immortal as her blood-drinking, femme-fatale counterpart. But more than just baring skin, Miranda’s staying power resides in her portrayal of Countess Nadine, played up with authority and sexual confidence that set her leagues apart from other filmic lesbian vampires of the time. Get intimate with this psychedelic-scored gem from the groovy age of horror.

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ODDBALL OUT

Oddball Comedy Festival

Over the past few years, the Oddball Comedy Fest has become a reliable staple on the Irvine Meadows calendar.

In the past, the fest has featured a slew of rising alt comedians, most notably Amy Schumer and Aziz Ansari. With “Roastmaster General” Jeff Ross providing the comedic interludes as host, this year’s event leans on more established stars in the comedy world to bring out the yuks.

Dane Cook, Sebastian Maniscalco and Nick Swardson top the bill, but there’s also a slew of up-and-comers, including Silicon Valley’s Kumail Nanjiani, Ali Wong and Separation Anxiety host Iliza Shlesinger, filling out the lineup.The Oddball Fest has been consistent in bringing comedy to a larger audience, and if this event matches those of past years, then expect a slew of laughs from a hodgepodge of talented jesters.

Oddball Comedy and Curiosity Festival at Irvine Meadows Amphitheatre, 8808 Irvine Center Dr., Irvine, (949) 855-8095; www.irvineamp.com. 5 p.m. $47-$923.

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KNOTT’S BERRY FARM

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For the Kiddies

Knott’s Spooky Farm Before the big kids shriek around Knott’s Scary Farm this October, the wee ones get their own Halloween haunts in Knott’s Spooky Farm, a family-friendly celebration for children ages 3 to 11. These special weekend events honor the 50th anniversary of the classic Peanuts TV special It’s the Great Pumpkin, Charlie Brown! and offer Ghost Town Trick-or-Treating, Snoopy’s Costume Contest and Dance Party, Linus’ Great Pumpkin Patch (with appearances by Linus and Sally), the Spooky Hollow Maze with enormous jacko’-lanterns and the Headless Horseman, and Fiesta Village’s Dia de los Muertos celebration. So, cart the kiddies here this month and let them go peanuts.

Knott’s Spooky Farm at Knott’s Berry Farm, 8039 Beach Blvd., Buena Park, (714) 220-5200; www.knotts.com. 10 a.m.

Through Oct. 31. $42-$72. —SR DAVIES

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sun/10/02 [CONVENTIONS]

We Can Dig It Grave Harvest

Get your ghoul on at the Grave Harvest Halloween, Horror and Haunt Convention extravaganza, featuring more than 60 dark vendors and exhibitors selling everything from monstrous masks to macabre jewelry, sweet treats to gory goods, and spine-tingling art to spooktacular decorations. There’s no better

place for the fiendishly frightful fans of All Hollow’s Eve! Haunt classes occur throughout the day, and actors Douglas Tait (Freddy vs. Jason) and Phil Friedman (Insidious and Shadow of the Blair Witch) are on hand to sign autographs (ticket price includes a photo with Friedman)—and parking is free! Don’t miss this terror-iffic party!

Grave Harvest at Hotel Fullerton, 1500 S. Raymond Ave., Fullerton, (714) 635-9000; www.abracadaverevents.com. 11 a.m. $15.

—SR DAVIES

[CONCERT]

Boogaloo Joe Joe Bataan

Joe Bataan’s prayer came in the form of music. The Afro-Filipino grew up in the mean streets of Spanish Harlem; led the Dragons, a Puerto Rican gang, as a teenager; and spent years in prison for grand theft auto. When he got out, Bataan discovered his musical talents, blending doo-wop and boogaloo sounds

in becoming a king of Latin Soul by the 1960s. Performing well into his ’70s, the “Salsoul” singer isn’t passing the baton any time soon, doing the Art Laboe concert circuit as well as local shows.

Oldie-but-goodies lovers will enjoy classic cuts such as “Sad Girl” and his soulful renditions of the “Our Father” and “The Prayer.” Homies, take your hynas out for a firme date!

Joe Bataan at Original Mike’s, 100 S. Main St., Santa Ana, (714) 550-7764; originalmikes. com. 3 p.m. $30. —GABRIEL SAN ROMÁN

mon/10/03 [COMEDY]

Laughs ‘R’ Us

Make ’Em Laugh Monday It’s Monday, and in the grand tradition of Mondays, unwinding after a long day is highly in order. Head to Bixby Knolls coffee spot DRNK Coffee + Tea for its weekly, free comedy night, Make ’Em Laugh Monday. Tonight, Long Beach improv troupe the Shady Bunch brings games, tricks and audience-suggested situational comedy to an intimate coffeehouse setting. Factor in a sweet treat or drink from the friendly baristas, and you’ve got the makings of a fun Monday-night hangout.

Make ’Em Laugh Monday at DRNK Coffee + Tea, 4245 Atlantic Ave., Long Beach, (562) 981-0028; www.facebook.com/drnkBixbyKnolls. 7:30 p.m. Free. —AIMEE MURILLO

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GET YOUR SAD ON

Simple Plan

Pull out your favorite studded belt and your darkest shade of eyeliner! Simple Plan is bringing back 2004 for one night.The Canadian pop/punkers released their first album in five years in February and are sure to help you recall those middle-school feels with tunes such as “Welcome to My Life,” “I’d Do Anything” and “Addicted.” Don’t even try to pretend you didn’t lock yourself in your room and cry to “Perfect” at least once.Your parents just didn’t understand your pain, but Simple Plan sure did.

Simple Plan with Hit the Lights and Story Untold at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; www.observatoryoc.com. 8 p.m. $25.

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Saturday only!

See why this tenor saxophonist has taken the world by storm with his audacious and ambitious jazz-funk fusion!

They’re a Scream When it comes to the kooky and contrarian, the Addams Family has all other fictional families beat. This demented dynasty celebrates the odd and macabre, but can it survive every family’s worst nightmare: losing their beloved daughter Wednesday to love with—gasp!—a normal person from a traditional family?! Will Gomez and Morticia, Fester, Pugsley, Thing and the rest of the gang be able to welcome a nice boy and his parents into their dark family fold? Or will their weirdness push Wednesday’s one true love into an early grave?

The Addams Family: A New Musical at the Attic Theater, 2834 S. Fairview St., Santa Ana, (714) 662-2525; www.ocact. com. 7:30 p.m. Through Oct. 16. $15-$20.

&

with

CELEBRATING THE 100TH BIRTHDAYS OF DIZZY, MONGO, ELLA AND THELONIOUS

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[THEATER]

The Sisterhood

AIMEE MURILLO

[ART]

Memento mori is Latin for “all must die,” approximately, so let’s also throw in some omnia vanitas (“all is vanity”) to really get in the mood for this exhibition celebrating the one thing everybody has in common. But this “Memento Mori” show isn’t supposed to be grim—instead, it’s a catalog of humanity’s grappling with the finite, including a Día de los Muertos celebration at the end of October and a lot of art using skulls and bones to explore the space between mortality and immortality. Expect plenty of hip skeletal beauty (death-y skateboard decks by Roberto “Beto” Janz, for example) and toothy smiles from both the patrons and the exhibits.

“Memento Mori: Skulls and Bones in Art” at Huntington Beach Art Center, 538 Main St., Huntington Beach, (714) 3741650; www.huntingtonbeachartcenter.org.

Noon. Through Nov. 5. Free. —CHRIS ZIEGLER

SOUL SISTERS

their mutual love of California-esque singer/ songwriters of the ’70s, as well as folk chanteuse Joni Mitchell. Calling themselves the Sisterhood, they have been enchanting audiences across the globe with their blend of sweet melodies and folk-rock styling— proving creative synergy will inevitably bring success.

The Sisterhood with the Morgan Leigh Band at the Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; www.wayfarercm. com. 7:30 p.m. $8. 21+. —AIMEE MURILLO

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Carole King is so gifted at putting romantic poetry to music that she was the lyricist for some of American music’s biggest pop songs on rotation in jukeboxes across the country.

So it’s fitting that her story comes full circle as a Broadway musical. Beautiful chronicles the

*

[CONCERT]

county

Beautiful: The Carole King Musical

life of the woman born Carol Klein, an ambitious Brooklyn teenager whose drive led her to write songs for Aretha Franklin, the Shirelles and other ’60s acts, some with her thenhusband Gerry Goffin. Personal struggles and adversity would give way to King’ becoming a legendary singer in her own right. See her inspiring story unfold at the Segerstrom.

Beautiful: The Carole King Musical at Segerstrom Hall, 650 Town Center Dr., Costa Mesa, (714) 556-2787; www.scfta. org. 7:30 p.m. Through Oct. 16. $29-$129. —

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[THEATER]

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HOLEINTHEWALL

» GUSTAVO ARELLANO

Cowboy Arriba RINCÓN ARGENTINO 2346 Newport Blvd., Costa Mesa, (949) 642-3299.

T

BRIAN FEINZIMER

The Seoul of Italian Cooking

Fullerton’s Tomato Café and Grill serves Italian food, Korean-style

T

cherry tomatoes, mozzarella, basil, balsamic and pesto—was an ingenious union of two Italian appetizers. And when we ordered the stir-fried spaghetti with bacon and pineapple, we heard the chef tossing the ingredients in an unseen wok, the sizzling audible in the dining room.

When it was delivered, the aromas wafting from the dish had that distinctive smoky whiff of a good Chinese stir-fry and a flavor that nailed the perilous balance between grease and soy.

The kimchi-and-bacon fried rice— tinted red from the kimchi juice, embedded with enoki mushrooms, onions and bell peppers—came in a hill giant enough for four. And though we found the strange texture of the meatballs in the spaghetti infringed upon those served at Ikea, we thought the beehive twirl of its pasta was worlds better than anything encountered at Olive Garden. It was full of sliced garlic and served so piping-hot it burned the roof of my mouth.

It should be noted that since the customer base is predominantly Korean and presumably lactose-intolerant, each of the dozen pasta dishes are marked whether it’s “light” or “heavy” on the dairy—or not at all. Among the heaviest: the seafood carbonara, which was so creamy it could’ve frosted a cake.

If it’s your first time, I recommend two dishes above all others: the pork cutlet and the spicy seafood soup. The former is covered in panko, fried thin and crispy, then smothered as though it were a chicken-fried steak with a house-made sauce tangy of Worcestershire. And since the sauce works quickly against the crisp-

ness of the pork, you want to consume the dish as fast as possible with its mound of rice, fries and side salad.

The seafood soup, on the other hand, was to be sipped slowly. It wasn’t so much a cioppino, as our waiter described it, but something closer to a throat-burning Thai tom yum. I found dried chile pods floating in the white-wine broth, along with spinach and a trawler’s worth of clams and mussels, shrimp, and bits of squid. And when it’s brought out, it simmers and fumes in a miniature wok heated from below by Sterno.

There were a few unworthy distractions, such as the Buffalo wings, if only because they tasted ordinary and absent of the signs of effort the kitchen staff invested in the other dishes. And though the okonomiyaki sounds tempting—served roiling-hot on a cast-iron skillet and oozing as much cheese as a Chicago deep dish—the Japanese pancake was about the only thing that felt oddly out of place in a restaurant where everything goes.

But I liked Tomato Café and Grill a lot better than Itriya Cafe, which closed not long after I wrote about it. Unlike Itriya, I felt more at ease at Tomato, especially when I can secure a seat in one of the giant couches. There’s even a pint-sized seating area just for children. And at all times, the Cooking Channel is projected onto a giant screen, which somehow creates the welcoming effect of home—and what is a good restaurant if not just an extension of it.

TOMATO CAFÉ AND GRILL 1712 W. Orangethorpe Ave., Fullerton, (714) 5193385. Open daily, 10:30 a.m.-10 p.m. Dinner for two, $15-$30, food only. Beer and wine.

GARELLANO@OCWEEKLY.COM

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he new Tomato Café and Grill in Fullerton reminds me of another restaurant I reviewed five years ago called Itriya Cafe.

Both boasted a menu that had Korean dishes as well as Italian. If you couldn’t decide between Korean spicy pork barbecue and pizza, you could have both, then chase it with something using kimchi or a bowl of pasta smothered in marinara.

But that’s pretty much where the similarities ended. Itriya approached its Spaghetti Eastern concept from the point of view of an ex-Cheesecake Factory vice president, who had chain-building aspirations and even filed trademarks for certain items. Tomato Café and Grill, on the other hand, feels more like a mom-and-pop diner. It sits in a building that, at one time, used to be a Dairy Queen and, after that, a burger joint. And Tomato Café’s menu, as with the Korean neighborhood that surrounds it, doesn’t feel like the product of a deliberate plan; it seems to evolve naturally from week to week.

A few days after my first visit, I noticed a new page with glossy pics of the most popular dishes. The week after that, more entrées appeared on a laminated insert: barbecue pork ribs shellacked in two kinds of sauce and smoked Cornish game hen offered either deep-fried or charbroiled. If I didn’t already know the randomness of what I would find here, I would’ve thought the chef schizophrenic. Yet, for a kitchen that tries to do anything and everything, there are more hits than misses.

My tablemates and I agreed the bruschetta caprese—toasted rafts of baguette arranged in a pinwheel and topped with

BY EDWIN GOEI

he South American milanesa a caballo was food porn before Instagram: a massive cutlet of breaded beef topped with two fried eggs. It got its name (milanesa on horseback) not just for the visual of an anthropomorphic egg straddling the meat, but because its heftiness is presumably suited for a gaucho off for an afternoon in the pampas.

Milanesa a caballo is a dish you can ask for in most Argentine restaurants in OC; it’s usually accompanied by fries since Argentines never met a starch or protein they didn’t pile onto plates. But at Rincón Argentino, milanesa a caballo gets stuffed into a sandwich and becomes the stuff of food contests. It’s nearly a foot long, wide as it is tall, slathered in tomato sauce and covered with ham, mozzarella and pointless lettuce. The warm sauce heats everything up so that yolk, cheese and tomato melt onto the plate, producing drippings so rich they nearly make a meal unto itself. But the point is the sandwich, and whoever’s working the counter at this tiny Costa Mesa spot wisely splits the milanesa a caballo into three, since you’ll only eat one part and save the rest for the next week.

Rincón Argentino only sells sandwiches, pizzas and empanadas, even though it has a kitchen that’s nearly six times the size of its dining room.

Everything’s delicious, tried-and-true if you’ve ever visited an Argentine deli. The empanadas are flaky and fat; the sandwiches on sturdy bread and composed of meat and more meat; the pizzas fine.

It has, however, two things working for it besides the caballo that put it above competitors. The chimichurri is the best you’ll taste in OC, tart and a tad spicy and perfectly oily; it could enliven drywall. And unlike nearly every Argentine restaurant in OC, this spot bakes its own pastries, and they’re superb. The alfajores are dense and sweet and come in small or gigantic sizes—you’ll swear off macarons after eating these. Even better are the pepas, shortbread cookies smeared with quince paste. It’s not the sweetest thing you’ll taste because it’s better: crunchy, comforting, chido, che.

M ON TH X X–X X , 2014

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A CONSTELLATION OF YUMMY

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BECOME AN

CORN ON THE LOBSTA

INSIDER WIN FREE STUFF

TAYLOR HAMBY

Pinchy Would Approve

Lobster eloté at Dos Chinos

H

op Phan, hot damn! Leave it to Phan and the crew at Dos Chinos’ 4th Street Market location in SanTana to create a majestic marriage of Asian and Mexican cuisine, time after time. Their latest offering has taken Instagram by storm: lobster eloté.

The beautiful mess of a dish is undoubtedly deserving of the buzz, the wait (it’s cooked to order) and the $27.75 price tag.

You get a whole Maine lobster, halved and covered with copious roasted-corn kernels and melted Monterey cheese.

And then there’s the seasonings: cayenne, cilantro, fried shallots, blackened scallions and garlic aioli. It has a kick, but it’s not spicy. Dig through the mountain of roasted eloté, shamelessly savor the Monterey, and finally, you’ll arrive at the pearl of this meal: that sweet, sweet lobster meat. It has that mild sweetness and snap

EATTHISNOW » TAYLOR HAMBY

you can only get from fresh lobster.

Don’t stop at the lobster tail either— there’s plenty of meat left in this seabeast, including the brain candy. Beyond the meat itself, the seasonings and oil that’s left in the shell are so good it took all of our will power to not pick up the shell and lick out the residual juices. Ah, who are we kidding? We have no shame— you know we licked the sucker clean. This ain’t the Ritz, you know?

DOS CHINOS at 4th Street Market, 201 E. Fourth St., Ste. 139, Santa Ana, (714) 383-0414; www.doschinos.com.

PARLAY CARD JERSEY RAFFLES BREWCO RETAIL RAFFLES $4 PINTS • $5 WELLS

HAPPY HOUR M-F 3PM - 6:30PM

$4 PINTS • $5 WELLS

EVERYDAY 9PM-11PM

$3 PINTS • $4 WELLS

Blinking Owl Distillery Aquavit

$8 CRAFT PINT & SHOT FRI & SAT | 9PM-1AM

ANNE MARIE PANORINGAN

BLINKING OWL DISTILLERY 802 E. Washington Ave., Santa Ana, (714) 542-5928; blinkingowldistillery.com.

2920 NEWPORT BLVD, NEWPORT BEACH, CA (949) 675 8449 WWW.NBBREWCO.COM

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would admit to a tipple or two of the legendary herbaceous liqueur. But the Christensons have distilled a winner: starts strong, ends sweet, best sipped but can make deeply complex cocktails. Caraway and dill are the main stars here, and there’s a surprising flourish of hibiscus because even the official drink of the North needs a Mexi flourish! Congrats to Blinking Owl for an already great start—just remember us little people when your spirits are sold at Hi-Time . . . HA!

THE DRINK

OC ain’t Minnesota: The most prominent Scandinavians ’round these parts are the Segerstroms, and I wonder if any of them

MONDAY NIGHT FOOTBALL

S eptem b er 30 - OctOb er 06, 2 0 16

» GUSTAVO ARELLANO

O

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

LATE NIGHT HAPPY HOUR

DRINKOFTHEWEEK

h, happy day! Blinking Owl Distillery has finally opened in SanTana, Orange County’s first hoochery since the days of Prohibition.

The bar is gorgeous, the stills imposing, the outdoor area perfect for private events—and the booze! Owners Brian and Robin Christenson plan to offer rye, bourbon and other whiskeys once they age. Gin’s coming in November; the orange-flavored vodka, crafted with Valencias from the Heritage Museum of Orange County’s trees, tastes like a boozy Orange Bang!

But for the first official release, Blinking Owl released a wild card: aquavit.

P

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21

THE REAL HARD CIDER

| OCWEEKLY.COM | 22

SARAH BENNETT

Apple On

Great Society Cider & Mead is Long Beach’s ode to America’s forgotten hooch

Fall Into Whiskey New Releases Hi-Time Selections Now In Stock!

S EPT EM BE R 30- OC TO BE R 06, 20 1 6

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food»

Hi-Time Wine Cellars 250 OGLE STREET - COSTA MESA, CA 949.650.8463 - HITIMEWINE.NET

H

ave you ever had a hard apple cider dry-hopped with Cascade and Centennial hops?

How about one rich in local terroir, made from pressed fruit grown in the San Bernardino Mountains? Or what about any of the number of new-wave versions of America’s historic boozy beverage, some fermented with wild yeast, others infused with adjuncts such as prickly pear, charcoal and sage? If your palate has not yet had the pleasure of such fascinating liquids, get thee to Long Beach’s Great Society Cider & Mead, the only place in Southern California that takes cider and mead as seriously as gastropubs take beer.

Here, an entire taplist is dedicated to the current innovations happening in the world of fermented apples and honey, and in this glorious place, the gluten-free crowd and curious drinkers alike can finally explore the wide range of flavors being made by small-batch cideries and meaderies up and down the West Coast. It’s all a far cry from the sweet-and-sappy liquid candies of Angry Orchard and Stella Artois Cidre you see on supermarket shelves.

And when you do go beyond the Bud Lights of cider—made easy by Great Society’s ever-rotating taps and endless bottle selection—you’ll discover a small but intense scene of cider makers that’s been running parallel (albeit at a much smaller scale) to craft beer for years. Now is their time to rise up from the bottom of beer menus and take control of the respect that is rightfully theirs.

In SoCal, there’s Honest Abe in Gardena (even a barrel-aged cider!) and 101 Cider in Westlake Village farther north (try the Piña Menta!). Beyond that, there’s

LONGBEACHLUNCH » SARAH BENNETT

Troy in San Francisco, Golden State in Sebastopol, Wandering Aengus in Oregon and more. On the mead end, Golden Coast Mead in Oceanside is SoCal’s only makers of the ancient honey-based drink, but there are plenty of other contemporary meaderies, from Nectar Creek in Oregon to Sky River in Washington and beyond.

In addition to curating tap takeovers, special one-off pours and other events to rally together the nascent “cider nation,” Great Society owners Otto and Brenda Radtke (Otto is the former general manager of import-centric Alpine Village in Torrance) have also put together an eclectic menu of small plates, grilled skewers, salads and burgers to soak up the endless taster flights. It’s all a nice change for the architecturally striking East Village building that has been sitting in a prime corner for half a century, but for some reason was plagued by mediocre diners and lame restaurants, each one closing after only a few years.

Where does all this cider and mead love leave beer? Right at the bottom of the menu, where cider had been relegated for so long. But the Radtkes aren’t trying to be mean. There are 10 bottles and cans that fit the weirdness, from Solarc’s Belgianstyle gruit Dunes to Clown Shoes’ imperial stout with ancho chiles. Enjoy!

GREAT SOCIETY CIDER & MEAD 601 E. Broadway, Long Beach, (562) 2705625; www.greatsocietycider.com.

Viva the Hollywood Narco!

It’s no surprise Hollywood is overdosing on Latino drug lords anew—and it’s not wrong, either

BY GUSTAVO ARELLANO

O

PABLO ESCOBAR, HANDSOMER THAN EVER

JUAN PABLO GUTIERREZ/NETFLIX

For Mexican audiences, on the other hand, the narco has always been received as a hero, a perverse Horatio Alger story who shoots his way to the top by channeling another Mexican stock character: the valiente, the rural Übermensch.

Drug users and purveyors were reviled in pre-1970s Mexico—a famous stanza in “La Cucaracha” ridiculed the alleged marijuana use of President Victoriano Huerta, while the first narcocorrido, “El Contrabando del Paso,” is a 1920s-era smuggler son’s lament to his mother for his criminal ways.

But by the 1970s, as the American government gave millions of dollars to Mexico to eradicate poppy and marijuana fields in the Pacific states of Sinaloa and Sonora and narco empires began to grow in response to increased American demand, the narco figure became the modern-day Villa and Zapata: perpetual thorns to Yankee intruders. Their lavish lifestyles became aspirational stories; an entire movie genre, the narcopelícula, rose to document the ultraviolence, along with the narcocorrido. In a country in which the traditional corridors of power were closed to only the elite, seeing drug lords gain riches through sheer will of personality—and at the expense of el Norte— proved irresistible to Mexicans at large.

So while Hollywood demonized narcos for the American audience, the over-thetop depictions of wealth and charisma were catnip to Mexican audiences. That’s why you can go to swap meets across Southern California and see T-shirts featuring Michael Corleone, Walter White and Tony Montana alongside homages to Chapo, Chalino Sanchez and narcocultura gods. Mexican audiences want to see narcos succeed because that’s the only way Hollywood allows Mexicans to win, even if only for a couple of hours or episodes.

None of what I write, of course, is to justify the continued aversion to noncriminal, non-slutty Latinos on film and television. But ultimately, the popularity of the narco genre is an indictment of all of us—after all, Hollywood doesn’t make things that don’t sell. Americans can’t accept drug films that point the finger at them; Latinos love that narcos are wrapped in bravado or luxury, and they don’t bother to think about the devastation left in their wake. With cartels continuing to occupy large swaths of Mexico, Americans overdosing on cheap heroin in record numbers, both governments offering no answers, and audiences on both sides of la frontera eating up those wily anti-heroes, we deserve the hell we binge-watch.

GARELLANO@OCWEEKLY.COM

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the Hollywood imagination were actually Chinese; indeed, the earliest known depiction of drug use on film is the Edison 1894 reeler Chinese Opium Den. Hollywood wouldn’t get around to depicting Mexican narcos until Borderline, a 1950 yarn starring Fred MacMurray and Don Bren’s stepmom, Claire Trevor.

The B-movie came at a crucial point in American-Mexican relations; the border, historically far away for most Americans, suddenly became a danger that threatened to spill into Anglo communities.

Swarthy smugglers had generally received a free pass from studio depictions—perhaps because they had hooked up stars with things to smoke, drink and fuck ever since Douglas Fairbanks and friends were caravanning down to Tijuana during Prohibition? But almost as if to make up for lost time, the Mexican drug lord became a new avatar of evil in the 1950s and has been ever since (the Cheech and Chong films don’t count because they relied on another Mexican stereotype: the buffoon). The choice allows Hollywood to offer American audiences an easy way out for their complicity in the War On Drugs: Instead of accepting responsibility for their consumption, they just blame the Mexicans (and later on, of course, Colombians and Cubans).

S eptem bMO er N30 06, 2 0 16 TH- OctOb X X–X Xer , 2 014

riginally, I was going to devote this essay to trashing Hollywood for its everpresent Latino laziness. I was going to focus on the current fad of networks and streaming services approving anything and everything narco-related, rip apart clueless execs, and lead a storming of the Bronson Gate afterward—or something like that. After all, it has gotten out of control!

Netflix, for instance, just approved two extra seasons of Narcos, even though protagonist Pablo Escobar gets killed at the end of this season (oops, forgot to say: spoiler alert!). Amazon is doing a remake of Martin Scorsese’s The Departed, updating the plot so that it happens in Chicago among Mexican-Americans. USA Network renewed Queen of the South, its adaptation of the Telemundo novela La Reina del Sur, itself a follow-up of sorts to the network’s El Señor de los Cielos, based on the life of legendary Mexican drug lord Amado Carrillo Fuentes. And this, of course, follows years of television shows such as Breaking Bad and The Bridge, as well as coming attractions such as Univisión’s dramatization of the life of El Chapo and Jennifer Lopez producing a limited series on infamous Colombian narco queen Griselda Blanco.

Too many narcos, not enough positive Mexis, ¿que no? But then cool popculture website Fusion beat me to my rant with an essay titled, “The Problem With Hollywood’s Obsession Over Latino Drug Lords.” And as I read it, I had an epiphany. The piece predictably argued— as I was planning to—that such typecasting at the expense of other depictions is harmful to the popular image of Latinos and an indictment of Tinseltown’s persistent lack of diversity. That’s all true, but author Caitlin Cruz also missed a fundamental point that I finally realized: The narco will never disappear from the big and small screens, nor should it. See, Mexicans and Americans need him (or the occasional her): its eternal popularity is an unlikely Cassandra of the War On Drugs, exposing each side’s sins, ones no one wants to admit.

As film archetypes go, the narco is a somewhat recent development with deep roots. It’s a modern-day interpretation of the gangster, itself a take on the bandito, itself a distillation of the original dirty Mexican: the “greaser,” the intoxicated, violent, sneaky, half-breed villain of American letters that dates back to the Mexican-American War. Though cinema has depicted Mexicans as greasers from the start, the first drug smugglers in

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He Trumps, We Trump, Everyone Trumps

» AIMEE MURILLO

Balloons for La Raza

Storyteller extraordinaire Mike Daisey takes on the biggest liar around—but we ain’t innocent, either

M

TELL US A STORY, MAN

COURTESY MIKE DAISEY

and recognition. He needs to be seen incessantly, and in most people’s psychology, that points to a terrible emptiness, and it’s also a problem that afflicts [many] people who turn to performance. And [Trump] is a particularly virulent example of that.”

The piece begins with a prologue, of sorts, centered on an evening in which Daisey invited friends over to his apartment to play Trump: The Game, a shameless rip-off of Monopoly with some Trumpian twists (whenever someone lands on a property you own, you don’t take money from them; you take it directly from the bank!), but then relates Trump’s biography (with some Daisey digressions), including his slumlord, penny-pinching father Fred and Trump’s taking over Daddy’s business at age 27 and changing the focus from building shitholes in Brooklyn and Queens and not renting to black folks to building gold-plated shitholes in Manhattan. It also examines his corporate bankruptcies, emergence as a reality TV celebrity, the Republican primaries and current state of the election, and, most pointedly, his relationship with Roy Cohn, Senator Joseph McCarthy’s Iago, a homosexual-hating homosexual, anti-Semitic Jewish person and, in Daisey’s words, a “terrible . . . bad . . . strange, horrible, conflicted person . . . an unrelenting asshole.”

He was also Trump’s lawyer, confidant and personal adviser for 13 years—or, as Daisey

puts it, Trump was his apprentice. “While that story has been covered by The New York Times and some other outlets, it can’t be [covered enough],” Daisey says. “It’s unbelievably important in understanding how that helped shape Trump into who he is.”

While Trump is the basis of the show, there’s another subject: Daisey’s audience, which, he says, tend to be white, affluent liberal people who love the theater. “I’m interested in people having a human experience of this story and possibly [thinking] about what it says about this country that so many people are hungry for something that isn’t the establishment,” he says. “But it’s also an indictment on the audience.

There is a lot of turning the lens on the audience, asking them how we got into the position where a person like Trump can take advantage of the system and how we’re all complicit. And maybe thinking about how both the right and the left have forgotten about the center for the past 30 years. I think those are important things to think about.”

THE TRUMP CARD plays somewhere in downtown SanTana.

Seriously, it’s a secret, and it’s already sold out. But you can read the play by visiting www.mikedaisey.blogspots.com and clicking on the hyperlink. It also plays at the La Jolla Playhouse; www.lajollaplayhouse.org. Oct. 4-9.

o other object elicits such childlike joy as a balloon, but up-and-coming balloon company Globitos is taking that feeling to the next level. By imbuing a Latino sense of humor with funky designs, the company’s creations are reinvigorating interest in the festive decoration as a new form of expression as well as a medium for cultural pride.

Globitos is Spanish for “little balloons,” but it also serves as a double entendre; when elders tell you to practice safe sex, they tell you to pack some globitos (condoms) to protect yourself. “Essentially, we’re protecting you from getting plain old balloons,” says company founder Luis Aguilar.

The idea for Globitos hatched when Aguilar was looking for a balloon shaped like a pan dulce concha for a co-worker, but his quest came up empty. He radio jockey Donaji from K-LOVE whether she had seen any anywhere. “She said, ‘I’m sure there has to be some; somebody has to have it,’” the SanTana native recalls. But after more than a month searching, the two found none, so they decided to become business partners and start the trend.

Their first design was a limited edition commemorating the anniversary of Tejana singer Selena Quintanilla’s death.

It features a stenciled image of the singer with the words “Anything for Salinas,” referencing the 1997 film Selena. The balloon sold rapidly, funding a second design: a pink concha. Aguilar says Globitos has more than 200 ideas, but because the company is small, it can only produce so many at a time. However, Aguilar says, one design that has been fast-tracked will address Donald Trump and Latinos for Trump founder Marco Gutierrez’s “taco trucks on every corner” comment. “[We want to] release balloons that are inspired by our cultura and speak to Latinos,” Aguilar explains, “and not just Latinos but people who understand and can take the time to understand our Latino-ness.”

To buy your very own Globito, contact the sellers directly through their Instagram (@gl0bit0s), where you can also find hints on the next release, news of upcoming pop-ups and more. But no popping— unless you’re into that sort of thing.

AMURILLO@OCWEEKLY.COM

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ike Daisey admits it. He’s a liar. No, not because of that dust-up in 2012 over a theatrical monologue he wrote and performed about horrid working conditions in Chinese factories churning out Apple products and how that piece of theater was adapted into a radio piece for a journalism program on NPR, and it turned out there were embellishments in Daisey’s story, and then there was a retraction from NPR and Daisey caught hell for not apologizing soon enough or enough enough or whatever the fuck, and then journalists and the social-media herd started calling him an unethical liar and he had to do the internet walk of shame, and on and on and on.

No, Daisey calls himself a liar because he is a storyteller in an artistic medium, a performer. And performance, not lying or being accused of lying, is why his latest monologue examines the prince of liars in America circa 2016—Donald J. Trump— and, just as important, those people who have helped propel that liar to one vote away from the White House: you and me.

“Fundamentally, he’s a performer like I’m a performer, and that forms the central thread of this monologue,” Daisey says from Portland, where he was set to perform The Trump Card, which he’ll do in Santa Ana on Saturday. “It’s built around the fact that I understand the way he works in a way that most people, certainly in the media, are not doing a very good job of understanding.

“So while it was challenging in some ways . . . [such as] that in the thousands and thousands of words written about Trump over the years, there are almost no personal anecdotes and exceedingly little information that points to an interior life. It was also illuminating to see how Trump performs and why his performances work.”

The Trump Card isn’t an 80-minute skewering of Trump. That would be easy to do, Daisey admits in his script (which is open-sourced and downloadable for anyone who wants to read or perform it).

While his research on Trump found plenty to pillory, he also found things that humanized the man. Such as how he grew up destined for a career “in real estate, sculpted by his unbelievably deeply racist father to take over the job he had,” Daisey says. “It makes one wonder how much choice he had in his development and what he actually wanted to do in life.” Or the fact that he is “possessed by deep hungers for fame

BY JOEL BEERS

N

M ON TH X X–X X , 2014

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Ruth Bishop’s Broom

How Malvina Reynolds immortalized an OC schoolteacher in song

BY GABRIEL SAN ROMÁN

A

s mentioned in my cover story, “Granny Red” (Sept. 2), legendary folk singer Malvina Reynolds wrote more than 400 songs. Buried deep in the musician’s “songs not in use” files is a rare tune about Ruth Bishop, a kindergarten teacher whom she befriended while living in Long Beach. With Reynolds’ signature wit, “Ruth Bishop’s Broom” recounts the little-known story about how the teacher shooed a policeman away from her home after having been served with a subpoena to appear before the House Un-American Activities Committee (HUAC).

On the morning of June 5, 1959, officer Grant Lewis knocked on the door of Bishop’s Long Beach home.

The 54-year-old schoolteacher had been one of 110 educators in the state called to testify before HUAC. Bishop’s opposition to the Korean War aroused the committee’s suspicions of communist sympathies. Grant served HUAC’s subpoena, but not without the schoolteacher grabbing her porch broom and giving him a piece of her mind.

Bishop taught kindergarten later that morning at Los Alamitos Elementary in Orange County, where two other Long Beach police officers arrested her in an empty classroom. She posted a $500 bond after being booked at the city jail for battery, disorderly conduct and resisting a police officer. The Long Beach Independent ran an article the following morning in which Lewis claimed Bishop threw the summons back and ran him off with a “barrage of blows” to his shoulders and legs from her broom handle.

In her own defense, Bishop provided a statement to the Independent in which she hammered away at HUAC. “This committee destroys people’s reputations by merely making such charges,” Bishop stated. “I fully agree with Harry Truman’s recent statement that ‘the Un-American Activities Committee is the most unAmerican thing in America.’”

The Independent neglected to pull quotes from Bishop’s statement, in which she wrote about being disgusted by the whole Un-American Activities ordeal and telling Lewis to take his subpoena back to the committee. When the cop threatened to summon her at Los Alamitos Elementary, she said, she grabbed a broom by the door, warning him that if he came to her school, she’d strike him with anything handy. Lewis served the summons next. “I threw both the subpoena and the broom down on the porch, and went into the

LONG BEACH INDEPENDENT, 1959

house,” Bishop wrote. “At no time did the broom handle touch the officer, nor did I use profanity.”

Reynolds carried a copy of Bishop’s full statement to the Independent, as well as a United Press International newspaper clipping about the incident. “Ruth and her husband, George, visited back and forth with my parents while her son and I climbed fences, roofs and trees,” says Reynolds’ daughter Nancy Schimmel, who unearthed the song. “They were a tall family, and I can well imagine her chasing a policeman with a broom!”

The singer/songwriter was inspired to take a stand for her friend. Reynolds hilariously idolized her friend’s infamous broom: Ruth Bishop has a fine old broom, I’ll love it all my days,

Bishop of all three charges, and the judge handed down a $500 fine.

By that time, HUAC’s act had grown old, even in conservative OC. The Los Alamitos School District backed up Bishop, conviction and all. The school board unanimously adopted a motion following the trial that shored up its “confidence in her professional ability and conduct.”

DID YOU READ She returned to the classroom and THIS COVER? YOU her career, retiring in 1969 after 42 DIDN’T? HMM . . . years of teaching.

Much like Reynolds, Bishop DUSTIN AMES lived a long life of social justice.

When she died in 1999 at the age of 95, Ruth Bishop has a darling broom, the Los Angeles Times ran an obituary I’ll always sing its praise. calling her a “teacher” and “antiwar She uses it to sweep the house activist.” The newspaper recounted the And keep the kitchen clean.

HUAC ordeal and the trial but noted But the way she used it the other day, Bishop “was also a social activist and, Was the best I’ve ever seen. in later years, was involved in protests against the conflicts in Korea, Vietnam HUAC’s probe of California teachers and Nicaragua.” with suspected communist sympathies “I guess there were no other witnesses, had been scheduled to take place a few and the jury believed the cop, so I think weeks after the broom incident, but it was my mother never used the song,” says canceled. Bishop still had the trouble of Schimmel. “That’s show biz.” three misdemeanor criminal charges that Had Reynolds sang “Ruth Bishop’s even her storied broom couldn’t sweep Broom” at concerts, audiences might have away. Her defense attorney attempted to taken up the song’s suggestion on how to turn the tables by requesting a delay in immortalize her friend: “Ruth Bishop’s the trial so that he could subpoena HUAC broom, it’s story I will tell/And after, we’ll members themselves. hang it in Freedom Hall, along with the The trial finally began in early October Liberty Bell.”

1959 and lasted a few short days. The GSANROMAN@OCWEEKLY.COM jury believed Lewis’ story and convicted

TURN, TURN, TURN

Big Dog DJ

COURTESY DJ GREAT DAINE

DJ Great Daine and Red Alert crew keep OC turntablism alive

D

RED ALERT RADIO DJS will be spinning at Gallagher’s, 2751 E. Broadway, Long Beach, (562) 865-8000; www.gallagherslongbeach.com. Fri., 9 p.m.

Listen to and watch Red Alert Radio via redalertradio.blogspot.com. Every other Tues., 8 p.m.-midnight.

| ocweekly.com |

with the turntables—we’re all about vinyl,” Daine says.

Notable Red Alert Radio guests have included such local musicians as Pecks, Sly Boogie, Black Nights West Coast “WuTang,” and others such as DJ Icy Ice from Beat Junkies, DJ P-Trix, Aceylone.

“I just do it for the love. I don’t get paid for this. Most of us DJs don’t get paid for this. It’s good to have a job. Please have a job—it’s an expensive hobby,” Daine says with a laugh.

So what’s a DJ without his crew? In addition to the aforementioned Danny V and Prime Meridian are Tribe Called Deps, Abel, Stimulus, People Mover, Yuji, Yohie, LD, InDJnous, Mr. Kees, Chuyo, Dennis P. Jonny 5, Elvis, Enok, DJ YNOT and Mr. Kees. Then there’s the crew’s official photographer, Nadia Jakhar Vera-Tudela, as well as the late Devin V and Poyndexter.

The latter two were close friends of Daine, and Devin was Kenos’ cousin.

Devin V and Poyndexter were part of the crew until they passed away in July 2011 and 2012, respectively. The evening Poyndexter finished his album with Danny V, he died in a car accident.

“We’re all intertwined together,” Daine says somberly. “We still keep it going because of these two guys.”

S ep te m ber 3 0- O c tOb er 06 , 2 0 16

J Great Daine is one of the pioneers of OC hip-hop, doing everything over the past 20-plus years from underground cyphers to house parties and club shows to spinning for house parties hosted by rival Asian gangs across SoCal. The Hawaii native has backed legendary and contemporary MCs including Redman, Method Man, Pyscho Realm, A$AP Ferg, Kurrupt, Hopsin and others, openly crediting his success to meeting Keith Sugimura, more famously known as DJ Havik from the Beat Junkies. “He was one of my teachers, and from there, I just took off,” says Daine, whose DJ name plays on his middle name and the majestic dog breed. “I owe everything to him for what I do today.”

But in 2009, in collaboration with OC graffiti artist Kenos One’s Acknowledge Productions, DJs Danny V, Devin V and Daine of Red Alert Productions started Red Alert Radio, broadcasting live every other Tuesday night since. “We were the first streaming [hip-hop] Internet radio show,” Daine says.

Nowadays, Internet hip-hop shows such as B-Real TV are prevalent in the interwebs. But Red Alert Radio is still at it, currently recording from DJ Great Daine’s garage in Buena Park after Kenos’ landlords no longer welcomed the hiphop collective. Kenos’ art covers the walls; there are metal decks holding cords and mics, crates, laptops, and shelves full of new and classic vinyl. For every show, DJs set up their turntables and spin on the air; on a recent Tuesday, it was DJ Prime Meridian, DJ Danny V and guest DJ Realizm. “We keep the culture alive

BY DENISE DE LA CRUZ

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New Wave Knuckle Draggers

LOCALSONLY

A

That’s a pretty loaded question. . . . Just to make it quick and obvious, I listen to a lot of Roxy Music, Bryan Ferry, David Bowie, Iggy Pop, but then I also dabble in stuff like Joy Division and the Bee Gees—all kinds of shit.

Can you tell me about your video for “The Ride”?

The video was with a guy we’ve been working with for years, Jeremy Eichenbaum. He reached out to us about the opportunity to make a video because some other project he was working on fell through, and it opened up the gates for us to work with some really cool industry people.

It’s been really well-received, and [Vice-owned music channel] Noisey wrote some good words about us and shared the video.

How was working with the late Ikey Owens on the full-length release?

We were super-blessed and honored to work with him. I think he was a driving factor in getting us all on the same page and helping us trim off the fat when coming up with these songs. It’s easy to get carried away when you’re in the studio. He’s a no-frills type of producer, and I really liked his old-school mentality, and for him to take a risk on a brand-new band [was] pretty cool.

ccording to the Merriam-Webster Dictionary, a neanderthal is “one who suggests a caveman in appearance, mentality or behavior; a person who has very old-fashioned ideas and who does not like change.” Then there’s Neonderthal, a four-piece ensemble of developed species from Long Beach that implement strains of ’80s new wave, disco and rock in a modern way. Their music hooks first with catchy rhythms and driving beats, then Steven Mathews’ vocal melodies, complemented by Tone Blair on bass, Anthony Bentancourt on keys and vocals, and Branden Murray’s mechanical beat on the drums. We talked with Mathews about the band’s background and their breakout year.

OC WEEKLY: What’s your aesthetic?

STEVEN MATHEWS: It’s kind of a darker aesthetic, but we do use a little bit more of a brighter vibe and sound. It’s like dark electro.

How did you start?

This is actually my first project as a front man; I’ve just been a guitarist for a really long time and been in bands since I was a teenager.

Somehow, it just randomly worked out where the singer left from the last band, and we were sitting on top of some production money that we had to utilize, and it just so happened that I had finished writing about 10 songs—just enough for us to press an album. We went ahead and moved forward with this project, and voilà, there you have it: Neonderthal.

What inspirations are you drawing from?

» KIM CONLAN

Hey, Orange County/Long Beach musicians & bands! Mail your music, contact info, high-res photos & impending show dates for possible review to: Locals Only, OC Weekly, 18475 Bandilier Cir., Fountain Valley, CA, 92708. Or email your link to: localsonly@ocweekly.com.

THIS WEEK FRIDAY, SEPT. 30

AGENT ORANGE: 9 p.m., $15. Underground DTSA,

220 E. Third St., Santa Ana, (888) 862-9573; underground-dtsa.com.

BENISE: 8 p.m., $29. City National Grove of Anaheim, 2200 E. Katella Ave., Anaheim, (714) 712-2750; citynationalgroveofanaheim.com.

CYMBALS EAT GUITARS: 10 p.m., $10-$12.

Acerogami at the Glass House, 228 W. Second St., Pomona, (909) 865-0979.

ECHO & THE BUNNYMEN: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

ERIC SARDINAS: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com.

KIMO: 6 p.m., free. Don the Beachcomber, 16278 Pacific Coast Hwy., Huntington Beach, (562) 592-1321; donthebeachcomber.com.

MODERN BASEBALL: 8 p.m., $21-$24. The Glass House, 200 W. Second St., Pomona, (909) 865-3802; theglasshouse.us.

ORANGE BLOSSOM: 9 p.m., $10. OC Tavern, 2369 S. El Camino Real, San Clemente, (949) 542-8877; octavern.com.

TERMINALLY ILL: 7 p.m., $10. Doll Hut, 107 S. Adams St., Anaheim, (714) 533-1286.

WASI: 7:30 p.m., $6. OC DIY, 22651 Lambert St., Ste. 109, Lake Forest; orangecountydiy.org.

WIKI WITH DJ LUCAS: 9 p.m., $12. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com.

YOUNG CREATURES: 8 p.m., free. The Slidebar RockN-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com.

SATURDAY, OCT. 1

BOYO: 10 p.m., free. Acerogami at the Glass House,

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

CEASEFIRE: 4 p.m., free. Chapman University, Wells

Fargo Stage, 1 University Dr., Orange, (714) 997-6815; chapman.edu/copa/index.aspx.

CRUCIAL: DJs spinning reggae, dub and dancehall, 9 p.m., $5. The Prospector, 2400 E. Seventh St., Long Beach, (562) 438-3839; prospectorlongbeach.com.

THE DIRTY NIL: 8 p.m., free. The Slidebar Rock-N-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com.

Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com.

HIP-HOP HOORAY: 9 p.m., free. Kitsch Bar, 891 Baker St., Ste. A10, Costa Mesa, (714) 546-8580; kitschbar.com.

HORIZON & G-EAZY: 1 p.m., $25-$50. Newport Dunes, Back Bay Drive and Jamboree, Newport Beach.

MUSIQ SOULCHILD: 8 p.m., $87. City National Grove of Anaheim, 2200 E. Katella Ave., Anaheim, (714) 7122750; citynationalgroveofanaheim.com.

PUMP: tribute to Aerosmith, 3 p.m., free. The Slidebar Rock-N-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469; slidebarfullerton.com.

SEEDLESS: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

SPRINGSTEEN EXPERIENCE: 6:30 p.m., $15-$20.

The Strawberry Bowl Amphitheater, 12762 Main St., Garden Grove, (714) 928-3894; thestrawberrybowl.com.

TAL WILKENFELD: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com.

CAFÉ LUDWIG: BRAHMS & THE ROMANTICS:

3 p.m., $63-$88. Samueli Theater, 600 Town Center Dr., Costa Mesa, (714) 556-2122; scfta.org.

CONOR OBERST: 8 p.m., $30. The Glass House, 200 W. Second St., Pomona, (909) 865-3802; theglasshouse.us.

FUCKING INVINCIBLE; DEADBEAT; HUMAN GARBAGE; SKULLCRACK: 1:30 p.m., $5.

Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com.

$59. Segerstrom Hall, 600 Town Center Dr., Costa Mesa, (714) 556-2787; scfta.org.

IYA TERRA: 5 p.m., free. The Slidebar Rock-N-Roll Kitchen, 122 E. Commonwealth Ave., Fullerton, (714) 871-7469, slidebarfullerton.com.

PHANTOGRAM: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

SHOOTER JENNINGS: 7 p.m., $20. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com.

XIBALBA: 7 p.m., $10. OC DIY, 22651 Lambert St., Ste. 109, Lake Forest; orangecountydiy.org.

MONDAY, OCT. 3

CARNAL BLISS: 7 p.m., free. Doll Hut, 107 S. Adams

St., Anaheim, (714) 533-1286.

DIZZY WRIGHT: 8 p.m., $20. The Observatory,

3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

KILL THE INTERNET WITH DJ CARDIGAN & DESIRABLE D: 8:30 p.m. Que Sera, 1923 E. Seventh

St., Long Beach, (562) 599-6170; queseralb.wix.com.

TUESDAY, OCT. 4

BUCK CHERRY: 8 p.m., $27. City National Grove of

Anaheim, 2200 E. Katella Ave., Anaheim, (714) 7122750; citynationalgroveofanaheim.com.

NORTH BY NORTH: 7 p.m., $5. Doll Hut, 107 S. Adams St., Anaheim, (714) 533-1286.

SIMPLE PLAN: 7 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

SONGWRITERS @ SUNSET: 8 p.m., $10. Schooner at Sunset, 16821 Pacific Coast Hwy., Huntington Beach, (562) 430-3495; schooneratsunset.com.

THE TIME JUMPERS, FEATURING VINCE GILL, KENNY SEARS AND “RANGER DOUG” GREEN: 7:30 p.m., $30-$75. Musco Center for the Arts,

1 University Dr., Orange, (844) 626-8726; muscocenter.org.

WEDNESDAY, OCT. 5

ALICE IN CHAINS: 8 p.m., $55-$60. Fox Theater

Pomona, 301 S. Garey Ave., Pomona, (877) 283-6976; foxpomona.com.

ERICA FREAS: 7 p.m., $5. Beatnik Bandito Music Emporium, 417 N. Broadway, Santa Ana, (714) 8353313; beatnikbandito.com.

FAILURE—20TH ANNIVERSARY OF FANTASTIC PLANET: 8 p.m., $30. The Glass House, 200 W.

Second St., Pomona, (909) 865-3802; theglasshouse.us.

MDA WEDNESDAYS WITH LEON VYNEHALL:

10 p.m., $12. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com.

OC’S GOTH/INDUSTRIAL KICKBACK HOSTED BY 7VEN: 7 p.m., free before 9:30 p.m.; $5 after. Doll

Hut, 107 S. Adams St., Anaheim, (714) 533-1286.

PETER SERKIN & JULIA HSU: 7:30 p.m., $30-$50.

Musco Center for the Arts, 1 University Dr., Orange, (844) 626-8726; muscocenter.org.

RAW BLOW WEDNESDAYS—METAL SHOW & MOVIE: 9 p.m., free. Que Sera, 1923 E. Seventh St.,

Long Beach, (562) 599-6170; queseralb.wix.com.

TROYBOI: 8 p.m. The Observatory, 3503 S. Harbor Blvd.,

Santa Ana, (714) 957-0600; observatoryoc.com.

THURSDAY, OCT. 6

BAND WARS: 7 p.m., $10. Malones, 604 E. Dyer Rd.,

Santa Ana, (714) 979-6000.

CUTE IS WHAT WE AIM FOR: 7:30 p.m., $16-$18. The

Glass House, 200 W. Second St., Pomona, (909) 8653802; theglasshouse.us.

HAVOC THURSDAYS, FEATURING JACKAL; LUCA LUSH: 9:30 p.m., $15. The Yost Theater, 307 N.

Spurgeon St., Santa Ana, (888) 862-9573; yosttheater.com.

THE INTERRUPTERS WITH SPECIAL GUESTS LEFT ALONE; BAD COP BAD COP; J: 9 p.m.,

$12. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com.

MONTANA OF 300: 8:30 p.m., $15. Underground DTSA, 220 E. Third St., Santa Ana, (888) 862-9573; underground-dtsa.com.

THRICE: 7:30 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

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SUNDAY, OCT. 2

GLORIA TREVI EL AMOR WORLD TOUR: 7 p.m.,

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ERIKA WENNERSTROM (OF HEARTLESS BASTARDS): 9 p.m., $13. Constellation Room at the

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Cheats I’m a guy, 35 and a cheating piece of shit. I’m engaged to a woman I love, but earlier this year, I cheated on her. I have no excuse. She discovered the dating app I used, and we worked through that. But she doesn’t know that shortly after her discovery, I went ahead and cheated. To my meager, meager credit, I did seek out only women who were looking for NSA hookups. But I quickly came to realize how big of a mistake this was, how much I love my fiancée, and that I’m a shitty person.

I see a therapist, and he advised that— if I’m certain this was a one-time thing, and if I’m convinced that I’m happy with my fiancée—I should keep quiet. I shouldn’t burden my fiancée with this knowledge. I’m inclined to agree but, dear God, the guilt. I feel like I’m not the person my fiancée thought I was. What do I do? Should I just accept this as a lesson learned and keep it to myself? Perhaps there’s selfishness at play here, since I’m trying to make myself feel better, but I’m struggling.

Can’t Personally Overlook Selfishness

If this isn’t that big of a deal, UGHERS, why are you calling him out on it? Why are you monitoring his online activities/fantasies at all?

What your boyfriend is doing sounds relatively harmless—he’s pretending to be someone he’s not while flirting with other people online who are most likely pretending to be someone they’re not. (I promise you most of the “snowbunnies” he’s chatted with were other men.) The world is full of people who enjoy pretending to be someone they’re not, from cosplayers pretending to be Captain America or Poison Ivy to creative anachronists pretending to be knights and ladies to Donald Trump Jr. pretending to be a human being.

We can’t gloss over the racial/racist cultural forces that shaped your boyfriend’s kinks, of course, but it’s possible to explore those kinds of fantasies online or IRL without being a racist piece of shit. And a person can pretend to be someone of another race online—because it turns them on—without injecting racial hate into online spaces and/or thoughtlessly reinforcing damaging stereotypes about people of other races. You’ve seen your boyfriend’s online chats, UGHERS, so you’re in a better position to judge whether he’s exploring his fantasies without making the world a worse place than it already is for actual black men.

If he’s being a racist piece of shit online, UGHERS, call him out on that. If he isn’t, stop policing his fantasies.

I am a 36-year-old Italian straight man. I love my girlfriend endlessly. One month ago, she told me she has thoughts about missing out on the things she didn’t get to do in her teens. She is 29 years old now. Also, she says she feels only a mild love for me now and is curious about other men. Yesterday, we met and cried and talked and made love, and it felt like she still loves me passionately. But she also told me she had sex with a stranger a week ago, and she is going for one and a half months to Los Angeles on her own. Now I feel confused. I should hate her for what she did to me, I should tell her to fuck off, but I can’t do it. I am so in love, and I want to be together again after her trip. How do I exit this turmoil?

Pensive And Insecure Now You exit this turmoil by breaking up with your girlfriend.

She wants to get out there and do “things she didn’t get to do in her teens,” i.e., fuck other guys and most likely date other guys. This isn’t what you want, PAIN, you’ve made that clear to her, but she’s gonna fuck other guys anyway. You don’t have to pretend to hate her, PAIN, and you don’t have to tell her to fuck off.

But you do have to tell her that it’s over—at least for now.

And once she goes, PAIN, don’t lie around tormenting yourself with mental images of all the things/men she’s doing in Los Angeles. Don’t put your life on hold—love life included—while she’s gone. You’re going to be single. So get out there, date other women, do some things/women you haven’t done. If she wants to get back together when she returns, and if you still want to get back together with her, you can pick things up where you left off.

But you should act like it’s over while she’s gone, PAIN, because it most likely is.

On the Lovecast (savagelovecast.com), Cheryl Strayed schools Dan on hiking sex. Contact Dan via email at mail@savagelove.net, and follow him on Twitter: @fakedansavage.

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My boyfriend of five years is a sweet, smart, handsome, loving, supportive, middle-aged, chubby white guy. We have a fulfilling sex life. When we first met, he shared a fantasy he had about watching me get fucked by a black guy. (He knows it’s not something I’m interested in IRL.) I’ve caught him several times posing online as a young, buff, handsome black guy looking for a “snowbunny.”

I call him out on it every time, and it causes huge fights. He says he’ll stop, but he never does. Weighed against all his other good qualities, this isn’t that big of a deal. Clearly, he’s not going to meet up with the women he’s chatting with. What makes me sad is that I adore him as he is—I love his big white belly, his bald head and his rosy cheeks. I think I do a good job of communicating this to him.

I guess I’m writing to you for some reassurance that I’m doing the right thing by letting this behavior go and also for some insight into why he’s doing it in the first place.

Upset Girlfriend Hates Eroticized Racial Secrets

» DAN SAVAGE

S eptem b er 30 - OctOb er 06, 2 0 16

I’m with your therapist, CPOS—and, hey, it’s nice to see “keep your mouth shut about a one-time infidelity” make the jump from our finer advice columns (Dear Prudence, Dear Sugar, Savage Love) to some of our actual therapists.

While honesty (best policy) and confession (good for the soul) get all the positive press, there are times when unburdening yourself is absolutely the wrong thing to do. The person who confesses may wind up feeling better—because at least now they’re being honest—but the person to whom they’ve confessed can wind up feeling a whole lot worse. Some burdens should be borne, not shifted. If your fiancée is going to inevitably find out, CPOS, better she find out about it from you. But if the secret can be kept, and if living with the guilt motivates you not to cheat again, then you can keep your mouth shut with a semi-clear-ish conscience.

This advice is not a license for serial adulterers.

If you can’t be faithful to someone—if that’s what you discovered when you had the affair—then you should extract yourself from the monogamous commitment you’ve already made to your fiancée and refrain from making monogamous commitments to anyone else in the future. But if you honestly believe you can be faithful, CPOS, then you don’t have to see yourself as a cheating piece of shit. A serial adulterer/betrayer/liar is a cheating piece of shit; someone who cheated once, regrets it and makes a good-faith, multidecade effort not to do it again is a fallible human being.

SAVAGELOVE

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31

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services Digital Account Executive OC Weekly is seeking an energetic and outgoing individual for a new digital sales position. In this role, you will help small, mid-sized and large businesses with an array of digital services and strategies designed to increase web and mobile presence, generate leads to expand their customer base, and deliver significant ROI & increased revenues.

We develop customized digital marketing campaigns that achieve our clients’ marketing goals. Our portfolio of innovative advertising solutions are targeted and affordable. We offer a variety of digital products that are designed to get results such as SEO, PPC, Paid Media, Display Advertising, Social Media, Programmatic, Retargeting, IP Targeting, Email, Mobile Advertising, Web Design, Content Production and more. We are looking for a superstar who wants to be part of a dynamic sales team. Applicants should be motivated, smart-on-their-feet, outgoing, personable, competitive, able to thrive in a fastpaced environment and posses a strong work ethic.

Candidates must also have a clean driving record and must pass a background check. We provide a portfolio of solutions for every clients needs with precision targeting, a fun and exciting work environment, base salary + commission + bonus, unlimited earning potential, ongoing sales training, a career path in sales and management, Medical, Dental, Vision, Life, Disability Insurance and 401(k). Interested candidates should submit a letter of interest and resume to smabry@ocweekly.com.

SAFE ACCESS DIRECTORY

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CONDITIONS: All advertisements are published upon the representation by the advertiser and/or agency that the agency and advertiser are authorized to publish the entire contents and subject matter thereof, that the contents are not unlawful, and do not infringe on the rights of any person or entity and that the agency and advertiser have obtained all necessary permission and releases.

Upon the OC Weekly’s request, the agent or advertiser will produce all necessary permission and releases. In consideration of the publication of advertisements, the advertiser and agency will indemnify and save the OC Weekly harmless from and against any loss or expenses arising out of publication of such advertisements. The publisher reserves the right to revise, reject or omit without notice any advertisement at any time. The OC Weekly accepts no liability for it’s failure, for any cause, to insert an advertisement. Publication and placement of advertisements are not guaranteed. Liability for any error appearing in an advertisement is limited to the cost of the space actually occupied. No allowance, however, will be granted for an error that does not materially affect the value of an advertisement. To qualify for an adjustment, any error must be reported within 15 days of publication date. Credit for errors is limited to first insertion. Drawings, artwork and articles for reproduction are accepted only at the advertiser’s risk and should be clearly marked to facilitate their return. The OC Weekly reserves the right to revise its advertising rates at any time.

Announcements of an increase shall be made four weeks in advance to contract advertisers. No verbal agreement altering the rates and/or the terms of this rate card shall be recognized.

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2975 Red Hill Avenue, SuiteBandilier 150 | Costa Mesa, CAValley, 92626CA|92708 714.550.5940 | free online |ads & photos at oc.backpage.com 18475 Cir, Fountain | www.ocweekly.com 714.550.5900

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