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The County

06 | MOXLEY CONFIDENTIAL |

Even the DA’s own investigators are turning on him. By R. Scott Moxley 07 | ¡ASK A MEXICAN! | Why are Mexican men so prudish in the bathroom? By Gustavo Arellano 07 | HEY, YOU! | Got them babypossum blues. By Anonymous

J UN E XX–X 02- 08, M ON TH X, 22017 0 14

Feature

09 | MUSIC | How Chalino Sánchez

From The Inside Out

n Prove to Work

changed the Mexican game. By Gustavo Arellano

in back

Calendar

15 | EVENTS | Things to do while

eating Burritos La Palma.

Food

20 | LONG BEACH LUNCH | The

Public Beer Wine Shop goes Mexican. By Sarah Bennett

Film

21 | REVIEW | Alberto Barboza’s Cry Now dives deep into Chicano culture. By Aimee Murillo

Culture

24 | THEATER | Peter and the

Starcatcher hits STAGEStheatre. By Joel Beers 24 | TRENDZILLA | Check out the LibroMobile Bookstore while you can. By Aimee Murillo

Music

26 | FESTIVAL | Get ready for Santa

Ana’s East End Block Party. By Nate Jackson 28 | PROFILE | Post-hardcore heavyweights Eighteen Visions stage a comeback. By Eran Ryan 29 | LOCALS ONLY | Absolute Merch has your band art. Josh Chesler

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the county»news|issues|commentary

Private Eyes Are Watching Him Tony Rackauckas’ own investigators are turning on the district attorney

ecause he has encased himself in a cramped, delusional cocoon, protected by competing sycophantic advisers and his own warped inclinations, Tony Rackauckas couldn’t see that one recent week permanently guaranteed his loss of legitimacy as the guardian of justice in Orange County, a region with a population larger than 20 states. Rackauckas used a May 21 broadcast of confidential CBS’s 60 Minutes to utter easily provable lies denying law-enforcement corruption. Thirtysix hours later, a Superior Court r scott judge launched moxley a third round of special evidentiary hearings into systemic government cheating to win criminal convictions. Then, at week’s end, another disaster struck, as a crack formed within the four-term DA’s own ranks. Tom Conklin and Abraham Santos, two well-respected veteran investigators, filed complaints describing an agency plagued by adulterous affairs, petty infighting and, most alarming, ethical standards befitting a Third World banana republic. According to Conklin and his partner Santos, their refusals to participate in corruption cover-ups have made them targets of retaliatory management on the prowl for excuses to fire them. “Both investigators Conklin and Santos have recently been subjected to adverse employment actions because of their heroic actions in protecting the citizenry against the well-known and topical violations of state and federal law of the Orange County district attorney’s office,” Joel W. Baruch, the Irvine-based attorney who represents the officers, told reporters upon filing the May 26 complaints. “They are both ‘whistleblowers’ in the strictest sense. They have placed their law-enforcement careers in jeopardy by ensuring the DA’s office follows the law in protecting the constitutional and statutory rights of all of us, including defendants charged with crimes who are entitled to the presumption of innocence.” Those of you who have followed the county’s ongoing jailhouse-informant scandal won’t be surprised that Conklin and Santos identified senior prosecutors Dan Wagner and Ebrahim Baytieh, two members of Rackauckas’ inner circle, as villains in three additional cases. According to Santos’ complaint, his investigation of a late-2016 DUI crash caused by an

moxley

» .

intoxicated Fullerton city manager Joe Felz discovered the existence of a seedy good-ol’-boys’ club. Then-Fullerton police chief Dan Hughes, now a Disneyland security officer, allowed Felz to avoid arrest by calling in a favor from Sergeant Jeff Corbett, whom he’d dispatched to the scene to “criminally obstruct justice,” the complaint asserts. Corbett owed Hughes for covering up an incident of him “having sexual relations” in his police vehicle behind a business while on duty, Santos claims. When the DA investigator reported his findings to Baytieh in January, the prosecutor threatened to take the case away from him, saying, “I am friends with Chief Hughes, and we are only going to be investigating the DUI and not anything else.” Conklin and Santos allege management demonstrated its contempt for their professionalism by playing mind-numbing administrative games even when public safety was at risk. For example, the investigators believe defendant Daniel Gidanian, who’d stalked a Superior Court judge with a gun in November and December 2016, was plotting “a Sandy Hook Elementarytype shooting and suicide” this year, according to their complaints. The duo repeatedly received contradictory messages about their assignment from bosses, a ploy they say involved Baytieh. But the most troubling matter involves Stephenson Choi Kim, a gangster featured on numerous occasions in the Weekly for his unusual in-custody exploits. Kim helped embarrass Sheriff Sandra Hutchens’ department by having at least 30 sex dates with a non-inmate female and shooting a homemade porno in the public visitation area, just feet from a deputies’ station. He also got the woman to use her vagina to smuggle into the jail such contraband as cigarettes, marijuana, a cellphone, food, razor blades and sex toys. To win Kim’s conviction for a 2004 murder at a Cypress restaurant, police officer Susan White hid exculpatory evidence and committed perjury, testifying that multiple witnesses positively identified the defendant as the shooter, but that audio recordings she’d made

WITH THE LIKES OF BAYTIEH, WAGNER AND RACKAUCKAS STEERING THE SHIP, WHAT COULD GO WRONG?

BOB AUL

of interviews were mysteriously lost, according to court records. In fact, neither assertion was truthful. After Judge John Conley, a former deputy DA known for his pro-prosecution bias, refused to grant a mistrial, defense attorneys complained to the DA’s office (OCDA), where Conklin received orders to investigate. He found the recordings, determined they proved White lied on the witness stand, and then alerted Wagner, who heads the agency’s homicide unit. But his 2011 report, written before Kim’s sentence for life without the possibility of parole, got buried. “Conklin assumed that his completed investigation, along with all the digital audio recordings of witness statements and other records in the Susan White matter, had been turned over to defense counsel in the Kim case, pursuant to the obligations imposed on the prosecution in the Brady v. Maryland case and its progeny,” Baruch wrote. “In November 2015, however, Conklin reviewed an article in the OC Weekly stating that Kim had filed an appeal for a new trial. The article did not make any mention of his investigation into the White matter, so Conklin became immediately suspicious that the OCDA had not turned over the completed investigation to the defense. He was doubly suspicious because the person handling the jailhouse-informant scandal [in which officials hid evidence and solicited perjured testimony to win at least 15 murder and attempted-murder convictions] was none other than Assistant DA Wagner.” In December 2015, Conklin advised a

shoulder-shrugging Baytieh of his concerns and later confirmed with Kim’s lawyers, Leonard Levine and Michael Chaney, that they’d never received his investigation report on White’s conduct. “Having been caught in this constitutional due-process violation, the OCDA, acting through Wagner, in or about February 2016, concocted a scheme to make it look like the OCDA did nothing wrong and, instead, attempted to place the blame on defense counsel’s purported negligence,” according to Baruch. Wagner—who has tried to explain away numerous ethical breaches in other murder cases by improvising ham-fisted, postcheating tales that require the suspension of reality—wrote a letter to Levine and Chaney claiming he’d miraculously found their package containing Conklin’s 2011 investigation report and asserting they were at fault for not retrieving it when notified five years earlier. Baruch calls the story an “effort to dupe the defense” and avoid publicity for yet another scandal. “The fact that Conklin persisted in ensuring that the OCDA’s office fulfilled its constitutional and statutory obligations to provide exculpatory evidence to the defense in the Kim case ultimately caused him to be marginalized, harassed and subjected to adverse actions by his superiors at the highest levels of the DA’s office,” he added. “The culture in the DA’s office is one of punishing disloyalty.” RSCOTTMOXLEY@OCWEEKLY.COM

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» gustavo arellano DEAR MEXICAN: I find Mexican women to be very prejudiced. Is it their lack of education or the fact they don’t assimilate well? Is anyone schooling them on appropriate behavior, and are they being told that racial prejudice has reached the point it’s barely tolerated in the USA? I’m offended by their racist stares—I call this “racist stares” because it reminds me of the 1950s, when the white folks were doing it—as well as how many people live in one house with the multitude of trucks, leaving all the daily trash in front of their houses for the trash pick-up day from the business they run out of their houses. Do we pay for this in our monthly water bills? Because the trash debris fee is higher than the usage of water. I now live across from such a female who gives racist stares every chance she gets—she looks like a giant Godzilla. A shemale, with her tiny husband she probably picked up at the border and beats to keep him in line (no joke: it looks that way) and her 10 kids—five by the one that left her, and five by her border husband. When she is “dressed up” in her jeans and body shirt, she looks like a fat sausage. I called another a racist because her kids were in the back yard calling out the “n” word—and no, they weren’t talking to one another. Guess what she did: She invited the only black person she has ever had over to her house to show she is not a racist. Typical. . . . I’m just curious because you go in the Mexican stores and everything is in Spanish, yet American stores label everything in dual languages. Americans have been most accommodating to all immigrants, not just Mexicans. You can’t go anywhere outside of the USA and live unless you are able to support yourself and

not take jobs from the native population. Toby Keith Is Mine DEAR GABACHA: There is not one thing you mentioned that makes me think your Mexican female neighbor is racist. You, on the other hand . . . From the “giant Godzilla” to the “border husband” to describing her as a “fat sausage” and speculating about her husband, you sound like a bitter gabacha whose man left her for a Mexican woman long ago. Get over it, honey. Besides, Mexican women are only racist to Mexican women—you can look it up!

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DEAR MEXICAN: What’s the deal with hanging 15 feet of toilet paper in el baño to cover the gaps in the stall walls? I only see this coming from Mexican men because I only frequent men’s restrooms—and only in the restrooms predominantly frequented by my Mexican co-workers. But frankly, what kind of man—other than the occasional Idaho Republican—wants to peek through the gap or catch a fleeting glimpse of another man taking a dump? Is this kind of male-on-male bathroom voyeurism a problem in Mexico, or are Mexican men simply more self-conscious than gabachos? Degenerate John DEAR GABACHO: Assimilation at work. In Mexico, we freely shit in the barnyard, the better to mix with other manure. In the U.S., we become as prudish as Jeff Sessions. Then again, staring through gaps is a habit for Mexican men—how else do you think we’re able to get over walls and fences so easily? ASK THE MEXICAN at themexican@askamexican.net, be his fan on Facebook, follow him on Twitter, or ask him a video question at youtube.com/askamexicano!

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ou were the weirdly innocent face staring at me from between some leaves on my fence as my dog barked excitedly at you in my back yard. I couldn’t tell what you were at first. I went to get my dog leash so I could keep him away from you, but by the time I returned, he was running around with you in his mouth. Then he saw the leash and dropped you on the ground. You looked like a big dead rat. I brought the dog inside and

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ecat the inters r e trembles ou ad F . al n sc to E n c ta la S venue in lack Cadil A b s g to ite in h ri m w er ea d C he gl ersize rd and cuts and ov from a stint ch Bouleva zz u b l al e, tion of Bea t d si ou ican men in e two days nyoung Mex ttoos, look as if they’r es while clow r n o h tp ta ar d ei an sm n th ts o ir m h o ay -s fr T e aw e as far away y. They typ at Theo Lac ther in English—a scen ano kers ing on one alade’s spea salad. co from the Esc ext lane. It’s ta sh a ru as ls ts il o tr the n Mexican ro Accordion ry, idling in njunto the music. athetic Cam Deck of Cards”), a co p y Except for m f o s to ow en d en ld in o m w G o e (“ w and rattle th tes to “Baraja de Oro” ars ago that compares dest ad o b n e ye g 5 th 4 in f o the open more than llows one sic written ere. Next fo r-raid siren norteño clas more macho from th e. ds like an ai n u so at th ts l Marvin Gay ge ow ke d h poker an ts sound li on tape, a t ai u W p at h m er o /T ev T es es men singing voic er, that mak . “Because I’m of the gs ugh sandpap filtered thro h, well,” the singer bra remains. se, o o” Sánchez in al h “And if I lo “C ” ear o y. n of Rosali , I don’t cr ; once you h when I lose eeds off, but the voice es even 100 feet away s m ru he d echo The SUV sp ery sense. T e song still songs jar ev e lyrics are threebecause th is st H ju . t et o n rg d fo An to d s. Th s impossible ose on note respect—an Chalino, he’ ace; accordions overd l or die for revenge or ns io ct u d ro p il en k ish, the an p S snap with m peras about men who ow n k u don’t lo minute rura o of all four. Even if yo ans b m co hing Mexic a ly usual entysomet n to duel. tw o y n ti h ce ta w a vi n o in an feel like an logical reas ’s music. For more th seemingly o old country There’s no blast Chalin ld tuals of the u ri o e w th ty males ff n o u o k y such as ta This ave shoo in Orange C lic ethnicit mericans h o al. b -A tu m an ri sy ic f as o ex r tury, M to linge ith traces ed w , w : It’s lo ew al n e es an th ti ental ch ge nidad to embrace and mariachis for par ne fundam a o ic h ex it m w as r s, m ei st for Chri still happen isplay as much of th n io t to u at o il m ed si d ck full-scale as exican-Americans to nials un-ironically ro le, in daily n M ib r le ss il fo o now cool oachella m pkin way p GE 10 t. It’s as if C e most bum ED ON PA as they wan edo” performed in th CONTINU » ar L “Streets of est. the Wild W homage to

HIS R E T F A S IVE YEAR NCHEZ F Y T N E TW O SÁ N I L A H C , IAL AS T MURDER N E U L F N AS I RSE O W D N REMAINS A ETTER B R O F — R EVE |

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10 10

Chalino Lives! » FROM PAGE 9 And it’s all gracias to Chalino. He’s the most influential musician in the United States of the past quarter-century—no one comes even close. Jay Z and Dr. Dre launched empires and protégés; Nirvana and Pearl Jam defined a genre and fashion; Tupac and Biggie got gunned down before their time and became immortal; Green Day and Weezer spawned waves of imitators. All of them transcended music. Chalino did all of this, without the help of a music label or media hype or seed money—in Spanish, in los Estados Unidos. He’s also one of the most important Southern Californians in decades, someone who deserves mention in the same conversations about region-changing titans as the Chandler family and Don Bren. Yet Chalino remains criminally, unsurprisingly unmentioned in the mainstream, in both the United States and Mexico. The 25th anniversary of his murder after a concert in Mexico came and went this past May, with no public commemoration, no media coverage, no nada. Just like the 20th anniversary, the 15th, the 10th and the fifth . . . The repeated snubs are no mystery: The gatekeepers of American and Mexican popular culture remain disgusted by Chalino, aghast at the profound changes he brought not only to music, but also to an entire generation of Mexicans on both sides of the border—for better and for worse.

’m at the Cypress College swap meet, looking for Chalino. Sure, I can stream his hundreds of corridos on Pandora, Spotify and YouTube, but it’s the swap meets where the compa lives. Here, he’s everywhere. The car-accessories booth sells a black-andwhite window decal of a grim Chalino, Stetson on his head, which is cocked to the side. A vendor sells a T-shirt with an overcontrasted photo of him on top of “CHALINO” done up like the Supreme logo. Another hawks a poster of him loading a gun, with just one word: SINALOA. And then there are the CD booths. In addition to the official releases, they stock the Chalino CD on which he was backed by a banda that wasn’t around during his lifetime. Chalino in duets with people he never met. Chalino backed by mariachi, a style he never recorded while alive. Chalino singing with norteño star Cornelio Reyna, even though both were already dead when their album was released. Chalino trading off with his son Adán, who was only 8 when his apa passed. Surrounding those CDs are what Mexicans call chalinillos: Little Chalinos, artists who continue to rip off their idol’s storylines, voice and style. Even his CDcover poses, which never varied much from him in front of a truck, or with a gun, or in a western-style jacket and shirt—or a combination of all three. Anything to be like Chalino. “He’ll always sell,” says the CD ven-

dor in Spanish. More than half of his booth are either Chalino or chalinillos. “He was a chingón—and who doesn’t want to be a chingón?”

e was born in a tiny rancho in the coastal state of Sinaloa in 1960, into poverty that worsened after his father died when Chalino was only 6. Small-town life in Mexico then made life in Appalachia seem as cosmopolitan as a brownstone in Brooklyn. The government was far away, clans were dominant, and grudges were passed from grandfather to father to son. Looming over rancho life were the valientes, “the brave men,” archetypical bad hombres who dispensed equal parts grace and terror. One of them, nicknamed “El Chapo” (though not the drug lord by the same name), raped Chalino’s sister and got away with it—or so he thought. When Chalino was about 15, during a party in the rancho, he silently went up to El Chapo and killed him. Soon after, he left for Los Angeles and never looked back. Mexican identity has demanded that its men be badasses, from both the Aztec and Spanish branches of their ancestry, for hundreds of years. But for most of the 20th century, the Mexican male’s ideal was the charro: the man on horseback in a mariachi suit who defended the weak and wooed the ladies and hailed from Jalisco, birthplace of tequila. The country’s culture makers exported the charro image across the globe while scorning his flip side: the paisas, the rough hillbillies who toiled and partied to excess and spoke funny and loved weird music. The Chalinos. But they were about to have their day. With no education and no papers, Chalino took whatever job was available—farm work in the Coachella Valley and Oregon, dishwashing and small-time drug dealing across Los Angeles. He eventually joined his brother, Armando, as a coyote and smuggled hundreds of immigrants through Tijuana. That career ended when Armando was murdered in a motel room in 1984. In his grief, Chalino wrote a corrido that payed homage to his hermano and shared it with friends. The murder made no news; the song itself was more personal than memorable. Nevertheless, it represented something never done before in commercial Mexican music: It celebrated the life of a paisa. And now, in the United States, other paisas wanted the same mythmaking treatment for themselves. Chalino soon began to compose corridos on commission, tailored to their buyers. They were a defiant middle finger to a Mexican music industry that, by the late 1980s, veered toward pop and fluff and largely ignored the increasing number of paisas migrating to el Norte and their way of life. Chalino’s protagonists have baroque names out of an Ancestry.com search: Loreto Mendoza. Prajedes Félix. Toledo Félix. Cano Zazueta. Tino Quintero. “El Güilo Rivera” features all the Chalino lyrical trademarks: A date of death (Jan. 6, 1970), a location (Tierra Blanca, Culi-

acán), the valiente’s preferred gun (M14 rifle), how he died (in a shootout), why (betrayed by friends), a shoutout to Güilo’s home rancho, and why people continue to honor his memory: “Among the valientes/ el Güilo was distinguished/He was a man of few words/Of undisputed valor.” Demand became so great that in 1989, Chalino recorded a cassette of 15 songs. Then another. And more. He stocked tapes

at mercados, panaderías and swap meets across Southern California. He’d even sell them out of his car trunk. Chalino eventually connected with another Mexican immigrant. Pedro Rivera had set up Cintas Acuario in Long Beach, a small recording studio where aspiring musicians could record for cheap. The two became pioneers of the corrido prohibido—“prohibited corridos,” songs

that mythologized the bad, whether drug smugglers, murderers or just plain valientes. The Cintas Acuario roster (which later included Pedro’s children, Lupillo, Juan and the late Jenni Rivera) received no radio airplay at first, but it didn’t matter; they were becoming the soundtrack of Latino Los Angeles and beyond. Promoters across the Southland quickly sought to book Chalino at their clubs. He also appeared on El Show de Keystone Ford, a legendary Saturdaymorning music showcase that aired on KWHY-TV Channel 22 that Mexican

» CONTINUED ON PAGE 12

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he dead Chalino became a hero to a community in need of one. The Los Angeles riots happened just two weeks before Chalino’s death. Anti-immigrant politicians were already demonizing Mexican migrants and their children as threats and unassimilable. Into this assault on Mexicans swooped Chalino. His corridos never addressed politics; there are no known interviews in which

J U NE 02mo n th x08, x–x2x017 , 2 014

immigrant families watched every weekend to hear a snippet of home. The 1980s had seen Mexicans swoop into Southern California from areas that had never previously sent many people to el Norte: the Tierra Caliente of Michoacán and Guerrero, Oaxaca, Mexico City, but especially Sinaloa. Chalino sang their songs, in their cadence and slang, something no big singer had ever bothered to do. The buzz made Chalino a cult figure. And then came January 1992. During a concert at a nightclub in Coachella, a drug-fueled man jumped onstage and shot Chalino in the side. Chalino not only survived, but he also returned fire with a gun he had strapped on him; he flashed the sidearm at all of his performances to show crowds he meant business. The

OC WEEKLY FILE PHOTO

shooting went national, and a new valiente was born. He returned that May to Sinaloa, to play in the capital of Culiacán. The audience of more than 2,000 was his largest he’d ever play to—as well as his last. Later that night, armed men posing as federales took Chalino from a car occupied by him, his brother and friends. His body was found the next day in an irrigation canal, blindfolded and with two bullets in the back of his head. I remember that day well. I was only 13 years old at the time, and I was perplexed why my older cousins from East Los Angeles and Montebello—who until then were quickly losing their Spanish and mostly bumped the oldies-but-goodies, old-school funk and hip-hop that any Chicano of that era would—now dressed and swaggered like our dads. They suddenly rocked tejanas and cowboy boots, with elaborately crafted cintos piteados that my uncles couldn’t pay them to wear even five years earlier; at my rancho’s many quinceañeras, baptisms and weddings across Anaheim and Buena Park, prim-and-proper pochas now looked like a mix of Daisy Duke and a Teen Angel spread. These teenage fans were crushed by Chalino’s murder; our parents were pleased that this ill-mannered paisa was gone and wouldn’t corrupt their children anymore. I didn’t care much for him, but even then, I knew he had changed Mexican-American identity forever. I just didn’t realize then we had gotten Chalino all wrong.

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he tried to put his work in a larger context. But a tough, no-apologies Mexican immigrant such as Chalino was a perfect response to American society in the 1990s. Even if his fan base never became woke, like those who followed Rage Against the Machine, the very act of playing Chalino’s corridos loudly in cars or dressing like him was radical enough. Be a paisa like Chalino, and people had to respect you. “When I was in junior high and my dad would play the banda music, I’d be like, ‘Turn it down. My friends are going to hear,’” says Saul Viera, a chalinillo who achieved fame as “El Gavilancillo” (“The Little Hawk”) in a 1998 interview. He’d be assassinated before the story got published. “Now it’s the other way around. I’m turning it up, and my parents are turning it down. When I was younger, I was ashamed of Mexican music. Now I know who I am. I’m not afraid of my race.” Chalino ushered in and embodied a demographic, cultural and generational shift--from a second-generation-dominant Chicano LA to a migrant-dominant Mexican Los Angeles. Central to the phenomenon’s rise was the Sinaloan paisa. The Mexican imagination had considered the state as Americans do the Ozarks, a wild land of beauty and insular, proud people that birthed a bounty of musical talent— the brassy sounds of banda sinaloense is from here, as well as Los Tigres del Norte and ranchera icons Pedro Infante, Luís Pérez Meza and Lola Beltrán. But it was most notorious as the center of Mexico’s drug trade. Chalino’s verses iconicized the state’s men as modern-day valientes who did what needed to be done—and if it meant dabbling in the drug trade or offing your enemies, so be it. His death cemented Sinaloan identity as the indomitable “Mexican” all young Mexican-Americans in Southern California wanted to be. It would’ve been fine if Chalino’s lasting gifts were a surge in Mexican pride to fight xenophobia, an uptick in Stetson sales and a songbook of timeless tracks. It’s also great that Southern California’s Sinaloan obsession also spread the popularity of banda sinaloense, música sierreña (harshly plucked-and-strummed guitar music from the mountains), and dishes such as aguachile and Mexican-style sushi. But Chalino also uncorked a musical movement of ever-diminishing returns that wrecked Mexican society. Narcocorridos had always existed in Mexican music, dating back to “La Cucaracha,” which has a stanza about a marijuana-smoking cockroach. But they were morality tales, and criminals always got their comeuppance in the end. That changed in 1971, with the release of “Contrabando y Traición” by Los Tigres. The protagonists, Emilio and Camelia, cross the border in Tijuana in a car with tires “filled with hierba mala” (weed). Emilio gets murdered in the end by Camelia (after a brief cameo in San Clemente), but

the punishment is for his infidelity, not drugs. Add an irresistible beat, and “Contrabando y Traición” was not only a charttopper that led to two sequels and a film, but also a tectonic shift in how Mexicans would go on to depict narcocultura. Chalino’s corridos prohibidos helped narcocorridos become legitimate. Once they became a business, musicians who once might’ve sung about love now had to one-up one another in ultra-violence, as everyone tried to out-Chalino one another. He sounds tame to his heirs, the corridos pesados (heavy corridos) of the 2000s and the corridos enfermos (sick corridos) of el movimiento alterado (altered movement) of this decade. “With AK-47s and bazookas/Making the heads fly of those who get in the way,” begins “Sanguinarios del M1” (“The Bloodthirsty Ones”), a 2010 collaboration between artists from Los Angeles and Sinaloa who openly pledged their allegiance to the Sinaloa Cartel. “We’re bloodthirsty ones, coked-up and crazy/We like to kill.”

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power. And doomed, he still continued to fight and die. Now, the corrido is about applauding the most powerful, the most money, the best armed. It’s propaganda. And part of that is Chalino’s legacy. “I tend to hope that his legacy is also what I learned from punk,” Quinones adds. “You go do whatever you think you can do and wanna do and will love with, and don’t let other people tell you—but you gotta put in the work. It’s an enormously liberating legacy, if people will see it.” But that’s not the legacy that’s winning right now. After talking to Quinones, I queued up Chalino’s only mainstream hit, his remake of “Las Nieves de Enero” (“The Snows of March”). It’s a song I particularly hated in the past because it featured Chalino as a chavala. Now, I actually listened to what he was saying. It’s the antiChalino, the macho reduced to pleading with his beloved to explain why she continues to spurn him despite seasons of faithful devotion. “Las Nieves de Enero” isn’t his; it was first popularized by Miguel Aceves Mejía—a charro. It’s not even Chalino’s best song. Or is it? Now, I hear it as a lament to fans from beyond: You betrayed me. You focused too much on what I said, instead of what I did. And here we are today. “I can’t stand your lies anymore/This wait is tearing me apart,” he wails. “To see that years have passed by/And I don’t plan to die waiting.”

QUINONES

Chalino Sánchez.” He’s now working on “an epic of Mexican migration” for Bloomsbury that will use Chalino’s saga as its primary framing device. The author remains a fan of the man and agrees Chalino has few peers in American music. “Southern California had three great, do-it-yourself music explosions. First was the white kids in Hollywood and punk. Then came Compton and gangster rap—kids in their garages on drum kits creating music. And the third one was Chalino and the corridos. Those stories touched a nerve. There were great stories. They were magnificent stories.” Though the mainstream press—including Univisión and La Opinión, the country’s largest Spanish-language newspaper—continue to ignore Chalino, he’s appeared in documentaries and academic papers and books. But Quinones feels fans miss the most important point about the singer. “The guy was totally punk rock,” Quinones says. “They’re missing the essence of Chalino. If you really want to be like Chalino, don’t get a cowboy hat with a gun by your side.” The former Los Angeles Times staff writer particularly hates the devolution of the corrido scene, which he dismisses as “extraordinarily non-creative. . . . They’ve imitated the superficial. That’s not his lesson. “The corrido has become corrupted in a very sinister way. What he was writing about and what the corrido had been was about a lone guy going up against

“T

he guy is such a ranchero dude,” says Sam Quinones about Chalino. “He’s got that unpolished ranchero sound, and no one [in the media or elite society]

wants that. No one cares about that.” The acclaimed author of the awardwinning Dreamland: The True Tale of America’s Opiate Epidemic was the first American author to tell the story of Chalino, in a 1998 LA Weekly cover—six years after the musician’s death. The American media didn’t report on his murder and was so clueless that articles about the Coachella club shootout incorrectly called him “Marcelino.” Even more laughable, a 1997 San Jose Mercury News dispatch from Culiacán on the city’s narcocultura scene said Chalino died in 1989 and identified a 24-year-old singer nicknamed Chalinillo as the late singer’s son, even though Chalino would’ve been 11 when he supposedly became a dad. “When I was doing that [LA Weekly] story, I immediately began to understand what a cool story it was,” says Quinones. He first heard Chalino’s music while on assignment in the mid-1990s in Michoacán, where he profiled a group of wannabe cholos. “They kept talking about him. There was one guy who had a lowrider bike in which he had a place for beer and a speaker that would play Chalino all the time.” Quinones traveled to Sinaloa, where he was surprised how few people cared about Chalino. He then traveled to Los Angeles in 1997, “and everyone wanted to talk about him. His story had really taken place in LA.” That LA Weekly story made it into Quinones’ first book, True Tales From Another Mexico, as “The Ballad of

Chalino’s musical children normalized narcocultura; his spiritual descendants tolerate it. When crusading journalist Javier Valdez was assassinated in Culiacán, just one day before the anniversary of Chalino’s death, only reporters cared. The rest of Mexican society did what they almost universally do with every death in the Drug War: shrugged and continued.

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fri/06/02

[FOOD & DRINK]

CLEAN YOUR PLATE

Frida Fiesta Fridays

[CONCERT]

Jazz on a Pre-Summer’s Day

Newport Beach Jazz Festival While the summer season hasn’t officially hit, the heat will be especially felt this weekend with the numerous artists playing their sultry and infectious jazz music on the beach. Since 2013, the annual Newport Beach Jazz Festival has brought an impressive lineup of local and legendary jazz acts, ranging from the local mainstays DW3 and the Derek Bordeaux Group to mainstream recording artists Chaka Khan, Michael McDonald and the Average White Band. This year’s headliners include Vanessa Williams, Bobby Caldwell and soul trio the O’Jays along with up-and-coming stars Jeanette Harris, Kandace Springs, Adam Hawley, West Coast Jam, Lindsey Webster and others for a beatific musical weekender. Newport Beach Jazz Festival at Back Bay Amphitheater at Hyatt Regency Newport Beach, 1107 Jamboree Rd., Newport Beach, (949) 729-1234; festivals.hyattconcerts. com. 5 p.m.; also Sat.-Sun. at the Back Bay Golf Course. $65-$150. —AIMEE MURILLO

[AUTO]

THESE VANS ARE ROCKIN’

VW d’Elegance

If Orange County is heaven for classic Volkswagen vehicles, then the Rare Vintage Air VW Club is like the 12 apostles, a group of guys and gals dedicated to the gospel of life at less than 65 mph. At the second VW show at Old World Village, you can expect to see Karmann Ghias and Kombis, Squarebacks andThings, all beautiful, restored and flashing so much pristine chrome that you can take their collective reflection and nuke North Korea into the Stone Age. But don’t talk such nonsense here: Admire, dream and eat some yummy burgers from Grinderz. Then go on Craigslist and desperately try to find some rusted bucket out in Beaumont you can possibly fix up. . . . Rare Vintage Air VW d’Elegance at Old World Village, 7561 Center Ave., Huntington Beach, (714) 895-8020; www. rarevintageairvwclub.com. Free to attend; $30 registration. —GUSTAVO ARELLANO

[CONCERT]

El Maestro

John Williams Tribute The iconic composer of more than 100 movie themes turned 85 this year and is still at it, penning the soundtracks to the upcoming Star Wars installments and a new Indiana Jones film. This tribute, conducted by Richard Kaufman with the Pacific Symphony, features John Williams’ most recognizable works, including the themes to Jaws, Star Wars, Raiders of the Lost Ark, E.T. The Extra Terrestrial, Harry Potter and the stellar ChrisMORE topher Reeves ONLINE Superman film. OCWEEKLY.COM They might even throw in Close Encounters and the Witches of Eastwick, but probably not Williams’ 1966 composition for the Tony Curtis film Not With My Wife, You Don’t!—but that would be epic! John Williams Tribute at Segerstrom Center for the Arts, 600 Town Center Dr., Costa Mesa, (714) 556-2787; www.scfta.org. 8 p.m. $35-$167. —SR DAVIES

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If you haven’t quite made the trip to Bowers Museum to check out the “Frida Kahlo: Her Photos” exhibit, tonight is the perfect excuse to do so—along with a chance to dinner party it up, Frida-style! For a special Frida Fiesta Friday, Bowers’Tangata restaurant hosts a special meal based on the surrealist artist’s favorite homemade dishes, pulled from Frida’s Fiestas: Recipes and Reminiscences of Life With Frida Kahlo by Diego Rivera’s daughter Guadalupe and Marie-Pierre Colle. After the meal, tour the exhibit, have a cocktail, participate in the flower-headdress-making work station and listen to live music by the stellar Mariachi Divas. Definitely make reservations for this unique experience! Frida Fiesta Fridays at Bowers Museum, 2002 N. Main St., Santa Ana, (714) 567-3600; www.bowers.org. 6 & 7:30 p.m. $65-$75; reservations required by noon on June 2. —AIMEE MURILLO

sat/06/03

| | contents county

[COMEDY]

Now Headlining Jimmy Pardo

For years, Jimmy Pardo was known as the warm-up guy for the Conan show. His online “The Pardo Patrol” segment was one of the more underrated sketches affiliated with the show and brought him a wider sense of notoriety. But it’s his Never Not Funny podcast, on which the pioneering podcaster

riffs with many of the biggest names in alternative comedy, that has garnered the Chicago-born, Los Angeles-based comedian his largest fan base, showcasing Pardo’s high-energy, quick-witted, observational material. If you’re in the front few rows, be careful: Not paying attention can result in your being the next victim of Pardo’s snappy insults. Jimmy Pardo at the Irvine Improv, 527 Spectrum Center Dr., Irvine, (949) 854-5455; irvine.improv.com. 7 p.m. $15. —DANIEL KOHN

[THEATER]

Schadenfreude! Avenue Q

Our best recent musicals are irreverent and ironic, whether singing-and-dancing Mormons, telekinetic anarchist girls, or presidential assassins. Avenue Q may not yet be a classic, but among smart, darkly funny efforts, its cringingly hilarious send-up of life lessons offered on a public-TV street knows its audience. Indeed, the now-pointless and archaic

ethos of happy preschool socialization is awkward for people and puppets (!), finding fatalism among powerless, futureless young adults; it’s a dead end of student loans, living at home, nonpaying internships and a president who resembles a scary puppet himself. Avenue Q at UC Irvine Claire Trevor Theatre, 4002 Mesa Rd., Irvine, (949) 8242787; www.arts.uci.edu. 2 p.m. Through June 10. $11-$15. —ANDREW TONKOVICH

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The Man, the Legend Burden

The late artist Chris Burden is as famous for Urban Light, the Instagram-ubiquitous garden of streetlamps outside the Los Angeles County Museum of Art, as he is for Shoot (in which he was shot) or TransFixed (in which he was crucified on the back of a Volkswagen Beetle)—so really, he’s famous for both his ambitious ideas and his complete commitment to those ideas, with piece after piece pushing past where anyone else dared to go. The documentary Burden tracks the artist from his early OC days as one of UC Irvine’s debut MFA students to international fame, with direct-from-the-artist archival revelations and a close examination of a complex personality whose vision never wavered. Burden at UC Irvine McCormick Screening Room, 4000 Mesa Rd., Irvine; www. arts.uci.edu. 6 p.m. Free. —CHRIS ZIEGLER

tue/06/06 [CONCERT]

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South African rock band Seether have amassed widespread popularity in the United States for more than a decade now, releasing numerous albums and opening for contemporaries such as Evanescence and Three Doors Down. You can credit their appeal to their heavy grunge-rock sound, but the real reason behind their fans’ devotion is the content of their lyrics. Having helped generations of disenchanted youths get through their most angst-filled phases with earlier albums Finding Beauty in Negative Spaces, One Cold Night and Disclaimer, the trio continue their trail of darkly emotional songs with their latest release, Poison the Parish. Seether at House of Blues at Anaheim GardenWalk, 400 Disney Way, Ste. 337, Anaheim, (714) 778-2583; www.houseofblues.com/anaheim. 6:30 p.m. $32.50. —AIMEE MURILLO

THEYARDBIRDS.COM

[CONCERT] FATALJAMZ.BANDCAMP.COM

[CONCERT]

GlAm JAmz Fatal Jamz

In case you’re thinking the band name Fatal Jamz sounds a little, well . . . deadly, that’s not the case at all. As the latest musical project by LA pop raconteur Marion Belle, Fatal Jamz is all about playing music like they mean it, or not at all, in a true do-or-die spirit. Their album Coverboy espouses “Ashes to Ashes”era Bowie, playfully vibing on glam, pop, Goth and ’80s-romance synth sounds, easily passing as the soundtrack to a late-’80s teen drama. Joining Belle and the group are Costa Mesa boys Tomorrows Tulips, with their sunny, reverbtinged surf rock, and the highly energetic electro pop of Cowgirl Clue, with tracks partly produced with Garden member Wyatt Shears. Fatal Jamz, Tomorrows Tulips and Cowgirl Clue at the Constellation Room, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; www.constellationroom. com. 8 p.m. Free. —AIMEE MURILLO [SCIENCE]

Spread Your Wings

—SCOTT FEINBLATT

The Yardbirds’ experimental fusion of R&B, psych rock, and pop rock is responsible for bringing about the electrifying sounds on songs such as “For Your Love,” “Over Under Sideways Down” and “Heart Full of Soul,” which have influenced generations of musicians and fans. The legendary supergroup also served as the starting point for a few guitar players who became famous in their own right: Eric Clapton, Jeff Beck and Jimmy Page. The Yardbirds continue their legacy with original drummer Jim McCarty (co-founder) and their famed lead guitarist, Johnny A, for a rare show in Orange County at Don the Beachcomber. Enjoy some classic tunes while sipping on a rum barrel in the Tiki Ballroom. The Yardbirds at Don the Beachcomber, 16278 Pacific Coast Hwy., Huntington Beach, (562) 592-1321; www.donthebeachcomber. com. 8 p.m. $29-$79. —CYNTHIA REBOLLEDO

[ART]

Art With A VieW

2017 CaliforniaPacific triennial

Solidifying Orange County’s place in southern California’s fine-art scene, the Orange County Museum of Art brings another series of site-specific exhibitions for the much-talked about and widely anticipated California-PacificTriennial. As the secondTriennial, “Building As Ever” features nearly 30 contemporary artists from in and around the Pacific Rim presenting work focused on architecture and such relevant topics as global construction, preservation, economics and displacement. Many of these works are being made public for the first time and include a handy audio component to better help each visitor understand the dialogues being raised in each piece. 2017 California-PacificTriennial, “Building As Ever,” at the Orange County Museum of Art, 850 San Clemente Dr., Newport Beach, (949) 759-1122; www. ocma.net. 11 a.m.Through Sept. 3. $7.50$10; free on Fridays. —AIMEE MURILLO

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Have you ever wanted to fly without paying an exorbitant fee? How about travel to space without working for NASA? Well, now, wannabe pilots and astronauts of all ages can experience aeronautic innovations and space exploration through “Above and Beyond,” a traveling aerospace exhibition presented by Boeing in celebration of its 100th anniversary. Interactive simulations will allow visitors to experience the aerodynamics of avian flight, design and test their own supersonic jets, pilot a drone into the eye of a hurricane, and take an elevator into outer space. Gaze into the future of space travel at the ultimate interactive flight exhibition. “Above and Beyond” at Discovery Cube Orange County, 2500 N. Main St., Santa Ana, (714) 542-2823; oc.discoverycube.org. 10 a.m. Through Sept. 10. $12.75-$17.95.

The Yardbirds

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‘Above and Beyond’

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Loncheras At Their Best EL CALENTANO on the corner of Bristol Street and Central Avenue, Santa Ana.

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BRIAN FEINZIMER

Mhat Korean Restaurant’s hospitality and food comfort and heal By Edwin GoEi

weight as she set the pot down. Then, as she dialed the stove to high, I attempted to go in for a taste. She waved me off. “Not yet,” she said with a wink. “Almost ready.” Within the next few minutes, the brick-red brew started to bubble under its mountain of greens. And just as the leaves began to wilt and sink, she returned to mix it all together. “Now it’s ready!” she said, smiling as she pushed the gurgling pot closer. We ate it slowly, taking care to blow on each steaming morsel. And the more we ate, the more we realized how addictive it was. This is one of those dishes that no matter how much your lip throbs from the spice or how full you are, you can’t stop. I don’t know how many times I said to myself “Just one more bowl,” only to dish up more. Even factoring our gusto, the two of us couldn’t put a dent on the massive portion served. One order is supposed to feed two people, but it could’ve easily fed four. For a nominal fee, the dish is customizable: Udon noodles, dumplings, more vegetables, or even cheese can be added to the pot. On another night, we realized these addictive properties also exist in Mhat’s second-most-popular dish: the bulgogi and octopus casserole, which isn’t a casserole at all, but another soup meant to serve two. To start the dish, one of the ladies snipped an octopus into tiny pieces with scissors in front of us. And just as

she did before, she told us to wait a few minutes while it finished cooking at a low simmer. When it did, she came to ladle the savory broth—which was chock-full of thinly sliced bulgogi beef and king oyster mushrooms—into our bowls like a mom. Whatever we ordered here, whether it’s something as elaborate as the dahk galbi or as simple as the galbi tang (massive beef ribs simmered in clear broth with floating ribbons of egg in it), the ladies serve at least seven free panchan side dishes to eat along with it. These dishes have a wide spectrum of flavors—briny, pungent, acidic, sweet. The selection changes nightly, but there’s always a panchan dish in which the women take special pride. One Friday evening, it was a braised salmon that could’ve been dinner unto itself. Another night, it was simmered potato so sweet and endearing we asked for multiple refills. But really, everything here is good. And after every meal I’ve had, I always find myself scooping out a triple-decker ice cream cone for dessert at the communal freezer. It could be said that the free ice cream is just another part of Mhat’s over-the-top hospitality. But for me, it’s the final phase of my mood-altering therapy session. Better than a scratchy couch, you know? MHAT KOREAN RESTAURANT 8412 Moody St., La Palma, (714) 252-5033. Open Tues.-Sun., 11 a.m.-10 p.m. Dinner for two, $20-$45, food only. Beer and soju.

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he two middle-aged women who work the dining room at Mhat Korean Restaurant in La Palma can always change my mood for the better. Whether I’m having a bad day, feeling hungry or just plain tired, I know I’m going to be doted upon, fed well and made whole again. Their presence says, “There, there, it’ll be all right. You’re here now, and after dinner, you can get yourself a free ice cream cone.” I almost want to say it doesn’t matter what these ladies actually serve, but that wouldn’t be true—the food here is an extension of their personalities. Mhat offers Korean home-style dishes—comforting soups and stews and things that warm you from the inside out. The signature dish is dahk galbi, a stew that morphs into at least three other dishes as you’re eating it. Big morsels of dark-meat chicken swim in a gochujang-tinted soup with sliced potatoes, cabbage, chewy rice cakes, hardboiled eggs and perilla leaves. But as the soup reduces and thickens, it turns into a spicy concentrate of garlic and Korean chili that coats the chicken and everything else around it. After it’s finished, rice is added to the dregs and stir-fried to make a risotto-like dish to conclude the meal. The evening I ordered the dahk galbi, one of the ladies set up a small camp stove on our table—a signal of its imminent arrival. The other woman brought the dish out from the kitchen in a pot as wide as a hubcap, both hands gripping the handles. The table seemed to groan under its

our complaints are working, gentle cabrones: After promising a tacotruck holocaust, the Santa Ana City Council has been virtually silent on the issue for the past two months, as they continue talks with loncheros ready to sue if their way of life is endangered. In the meanwhile, continue to try the newer generation of SanTana’s loncheras. One of the best spots right now is also one of the rarest: El Calentano. It serves food from the Tierra Caliente—a.k.a. the Hot Lands, which span the states of Michoacán and Guerrero—in full meals, which is a rarity in OC’s taco-truck scene. Here, you can get a plate of five Michoacán-style enchiladas (folded in half instead of rolled up) filled with beans, topped by a gargantuan slice of cecina or chicken: spicy, and hella filling. Even better is the mole, which exists nowhere else in la naranja. It’s almost like a Sri Lankan curry, so astringent and furtively hellish yet delicious it is. And El Calentano also makes the largest quesadilla I’ve ever seen in Southern California: an expanse of masa as long as your forearm. The woman who runs the truck makes all the tortillas herself, which means the quesadilla is as cheesy as it is a corn dream. I’ve actually never had tacos here because I get proper meal after proper meal (also fabulous: the potato tacos, as crunchy as a chicharrón). It can be hard eating the heaping servings on the spot because the only seating is milk crates, but whatever: Learn how to eat like a paisa already! Here is SanTana’s lonchera scene at its best. A man always has a broom to clean the asphalt and dirt in front of the truck; the salsa station (with seven salsas, ranging from a light green to a smoky red to a hellish oil one better suited to a Sichuan eatery) is behind glass doors, the better to be neat. El Calentano is American entrepreneurship at its finest, and the Santa Ana City Council should give it and its peers all the tax breaks and subsidies they deserve. Better yet: Leave them the fuck alone.

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JUST LIKE AUNTIE MAKES IT

food»reviews | listings

BETTER THAN AUSTIN

GUSTAVO ARELLANO

Best in SoCal The brisket from Bartz Barbecue

ack in December, before his annual Holiday Party From Hell, talk-show legend Tom Leykis and his crew were treated to a bunch of brisket, pork ribs and more from Bartz Barbecue, the catering service of loyal listener Dustin Bartz. I’ve had Tom’s ’cue, and he’s a master—but he was wowed by Bartz’s Texas-style brisket, which he described as the “softest brisket I’ve ever had in my life.” So I had Bartz show off his sorcery for the Weeklings. He trotted out his brisket, smoked for 18 hours, and it was everything Tom had raved about: buttery, tangy and in no need of any sauce whatsoever. The pork ribs were fabulous, the mac and cheese divine. And the creamed corn was the finest I’ve had in my life.

EATTHISNOW

» GUSTAVO ARELLANO Before Bartz, I’d only had about two or three even passable briskets in Southern California—sorry, kids, but we ain’t Texas, no matter how many times our chefs or hipster cousins lined up at Franklin Barbecue. But Bartz is the real deal, and he’s slowly starting to get more invites to OC breweries such as Anaheim sudsters Legends Craft Brewery (June 10) and Asylum Brewing (June 24). Follow him on Facebook (www. facebook.com/bartzbbq) for any future events or to order some barbecue for your party. And Tom: Take us out, Kobe-style! GARELLANO@OCWEEKLY.COM

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Chamomile is like Fargo the film (and the television show, for that matter): you know it’s good, but you realize it’s actually great the more you encounter it, and you excitedly seek it out whenever possible. I’ve been drinking chamomile tea my entire life, but having it as a booze

COURTESY HI-TIME WINE CELLARS

unveiled a different side to the flower. You still get the dark beauty of the chamomile, but now it sticks to you longer thanks to the grappa base; the two together zing taste buds and settle stomachs—a true curative. I’m sure it’s great in a cocktail, but I’m drinking Sibona straight and chilled. Gracias for yet another winner, Mr. Hi-Time—until the next extravaganza! GARELLANO@OCWEEKLY.COM

Available at Hi-Time Wine Cellars, 250 Ogle St., Costa Mesa, (949) 650-8463; www.hitimewine.net.

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couple of weeks ago, I was lucky enough to score tickets to Hi-Time Wine Cellars’ Italian Extravaganza wine tasting at the Newport Dunes. The sold-out crowd of about 300 was able to taste more than 150 Italian vinos. I enjoyed the lot of them, but my favorite table was the one with the amaros and grappas—BOOM. There were ones of aloe vera and ones aged and others with the consistency of tar— all wonderful. But my favorite was Sibona’s Liquore Alla Chamomilia, a grappa liqueur infused with chamomile flowers.

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SARAH BENNETT

Corazón de Playa Larga

Chef Eddie Ruiz is bringing more modern Mexican to a Long Beach taproom and bottle shop

hen chef Eddie Ruiz attached his name to Public Beer Wine Shop in downtown Long Beach with two friends last April, he’d only lived in the city for a year. As the owner of Corazón y Miel in Bell, the LA native made a name for himself as one of the young, inspiring Chicanos spearheading a new movement in elevated Mexican food in Southern California, a trend now being dubbed Alta California cuisine. His upscale flagship restaurant was in an unlikely location—on the main drag in a deeply working-class community—but Ruiz loved educating people on what traditional dishes could be when put in the hands of a creative mind. “If you’re at my house, I’m always cooking and handing you stuff, saying, ‘Here want to try this?’ It’s just part of my upbringing,” he says. So when Ruiz took over the kitchen at Public, a small combination taproom and bottle shop on the bottom floor of the Walker Lofts, he decided to use the small cold-prep kitchen to house a raw ceviche bar. Plus, in the early days of Ruiz’s ownership, Public held on weekends what equated to a Corazón y Miel pop-up, offering selections from his restaurant’s antojitos menu. “We were getting to know the neighborhood,” Ruiz says. “They didn’t want ceviche with their beer. They wanted barmenu stuff and more approachable fare, so that’s what we did.” Ruiz added things such as baconwrapped hot dogs, brisket sandwiches, and macaroni and cheese to the weekend food menu. Since closing Corazón y Miel last summer to focus on a new gig with Chicas Tacos and SLS Hotels, however, the chef says he has been treating Public like his

LongBeachLunch » sarah bennett

home kitchen and is ready to debut yet another menu revamp, one that goes back to his roots with barbacoa burritos, lengua tacos and the triumphant return of the ceviche de corazón. “We really want to change the misconceptions that downtown is all clubs for 18-to-24-year-olds,” Ruiz says. “These are things I’d want to serve you if you were in my house, and we were drinking a beer together.” In addition to the new menu, Ruiz and co-owners and partners Gino and Annaliese Espinosa have started hosting collaborative beer dinners with far-out, funky local breweries and have let several up-and-coming chefs use the small kitchen—which lacks a fryer, a grill and other chef luxuries—for occasional popups. The first quarterly beer dinner earlier this year was with Cellador Ales, a San Fernando Valley barrel-aging experiment; Ruiz paired ceviches and braised meats with the brewery’s latest sour releases. A dinner with Pomona’s Homage Brewing is planned for June 24. Another exciting change: Instead of only being available Wednesday through Sunday, food will now be an option every day of the week. “Public is becoming our take on what a bar should be in downtown Long Beach now that we’ve learned more about the neighborhood,” Ruiz says. “We want to do bar food, but do it our way.” PUBLIC BEER WINE SHO P 121 W. Fourth St., Long Beach, (562) 4990415; publicbeerwineshop.com.

TROMPETISTA

CINÉTICO PRODUCTIONS

Smile Much Later

Alberto Barboza’s Cry Now provides a deep dive into Chicano culture

ters are. As a result, their chemistry feels a little tacked-on and forced, as does Luzy’s relationship with Pete. The only real reason we know why Luzy feels devoted to Pete is because he shilled out a whopping $20,000 to help her open her own tattoo parlor. And while we know that Vincent is an artist with a socio-political bent to his work with a bold-lined, graphic-illustration technique, there’s hardly anything to know about Luzy—hell, we don’t even know her tattoo aesthetic. Surely, there must have been an East LA-born-andraised Xicana tattooer who would’ve been down to lend a sheet of flash for this film. Cry Now took years to make, as the filmmaking team needed time to raise funds and shoot, raise funds and shoot again. So it’s impressive that Barboza was able to bring in editor Luis Carballar, who worked on the Ariel Award-winning Amores Perros and Cary Fukunaga’s Sin Nombre. Sal Lopez (previously seen in Selena, Born In East LA, Zoot Suit and American Me) plays Lobo, a norteño musician whom Vincent befriends, and amplifies his scenes with a naturalism that only a veteran actor of his level can deliver. And how can I not marvel at the always-wonderful Lupe Ontiveros, who plays Lobo’s sister Rosario

in her last film appearance? Known to wider audiences as Yolanda Saldivar in Selena, Ontiveros shines as an elderly, wise counsel to Vincent and provides an extra layer of soul to the film. For the limited screen time she gets, Ontiveros’ warmth looms large. Naturally, as a Latina from Southern California, I’m game for any film that aims to immerse the viewer in my world, as well as, I’m sure, that of the parties involved in making it—including artist El Mac; the cast; and the bands Very Be Careful, Irene Diaz, the Delirians and Hermanos Herrera, all of whom provided music and/or perform in the film. Barboza and his budding production team Cinetico Productions clearly have the knowledge to show what makes East LA so unique; I’m curious to see what other stories the writer/director is hoping to bring. AMURILLO@OCWEEKLY.COM CRY NOW was written and directed by Alberto Barboza; and stars Miguel Angel Caballero, Iliana Carter and Mina Olivera. Screens at the Frida Cinema, 305 E. Fourth St., Santa Ana, (714) 285-9422; thefridacinema.org. Sun., 11:30 a.m., 2, 4 & 7 p.m. $7-$10.

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The star-crossed lovers at the corazon of this film are Vincent (Miguel Angel Caballero, a striking Mexican James Franco look alike if there ever was one) and Luzy (the fetching Iliana Carter). Vincent is a messenger boy by day and graphic street artist craving inspiration by night. His creative production thus far has been screenprinting ominous posters with the slogan, “Cry Now”—a riff on the cholo saying “Smile now, cry later.” The police try to catch Vincent in the act of hanging posters, but he evades them by crashing a backyard party. There, he meets Luzy, a tattoo artist. They dance and have a chat about art and inspiration until they’re interrupted by Luzy’s policeman boyfriend, Pete (Rick Quintero). Vincent’s ex-girlfriend Sofia (Mina Olivera) also comes back into his life, effectively working to thwart his chances with Luzy and to seek vengeance for being dumped unceremoniously. As much as I love this film for representing Southern California Latinos so well and real, Cry Now runs a little too close to one of the main problems of youth-culture flicks: a focus on style over substance. Vincent and Luzy’s attraction and romance develops way too quickly, before we even know who these charac-

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atino rockabillies! Street art! Love triangles! Paisa bars! If I were marketing Alberto Barboza’s Cry Now, I’d flash these main elements from the film as if it were a 1950s American International Pictures rock & roll production. Set in the heavily Latino east Los Angeles—most notably Boyle Heights and Echo Park—Cry Now perfectly encapsulates the energy and vibrancy of these locations and the youth cultures that inhabit it like a Roger Corman-produced teen-delinquent flick from six decades ago, only filtered through a contemporary, hipster Chicano lens. As Barboza’s debut film, Cry Now is a story about love and artistic passion, with all the major signifiers of Latino culture and subcultures that permeate LA: street art and murals, some provided by famed artist El Mac; the Latina rockabilly aesthetic, which combines chola and classic pinup styles; the inclusion of real Mexican slang and dialect in the dialogue—something that almost never happens in Latino cinema; backyard parties, either played up with norteño groups (ajua!) or rock music; and the eclecticism of these worlds coexisting, in danger of being lost thanks to the ongoing gentrification battles in the areas.

By AIMEE MURILLO

film»reviews|screenings

21 1

All Grown Up

» aimee murillo

Finally getting Peter and the Starcatcher’s carpe diem message By Joel Beers

BETTER THAN CATHY RIGBY

COURTESY OF STAGESTHEATRE

of the real trunk washing into the water. At the heart of all this is the connection between Molly Aster (a perfectly cast Kalinda Gray), the daughter of the English lord whose mission is to throw the contents of the mysterious trunk into a volcano to prevent it from falling into evil hands, and Boy/Peter (a yearningly believable Edgar Andrew Torrens), one of three orphans sold into slavery. Molly is a thoroughly practical young English girl on the cusp of maturity who realizes she can’t be a child forever; Boy/Peter is a scarred adolescent who hates grown-ups and wants to stay a boy forever. Both grow in the course of their journey, but only one actually grows up. The bulk of the comedy is supplied via an inept, dastardly pirate captain Black Stache (Adam Bradley Clinton, who is both understated and over-the-top—no mean feat) and his hyper henchman, Smee (Robert Dean Nunez), along with the antics of the two other orphans, Prentiss (Zachary Bane) and Ted (Sterling Gates). But everyone in the 12-member ensemble, most of whom play multiple parts, get in on the action—particularly in the musical number that opens the second act, in which a most frightening collection of “mermaids” serenades the audience.

Though this production does flirt with naughtiness at times (particularly in Nunez’s hilariously campy performance), it’s still basically a children’s novel adapted to the stage. So things never get too deep. But there is a definite grown-up moment at the end, when one character tells another that the hurt one feels when enduring loss is important because it’s telling us that what was lost mattered. And that might be the chief point this production reinforces: that the more we fret about the clock ticking and losing time, the more we diminish what all children instinctually know matters the most—the moment. It’s not the lame nourish-your-innerchild bullshit that so many armchair shrinks promote; it’s about regaining some sense of that childish sense of wonder and imagination that grows more elusive the older we get—and the more we find ourselves staring into a ubiquitous digital wasteland where distraction, not dreaming, matters. PETER AND THE STARCATCHER at STAGEStheatre, 400 E. Commonwealth Ave., Fullerton, (714) 525-4484; www. stagesoc.org. Fri.-Sat., 8 p.m.; Sun., 2:30 p.m. $28-$30.

n her ongoing mission to keep the people of SanTana reading, Sarah Rafael Garcia is doubling down by expanding on her LibroMobile project with a tiny bookstore popup in a stairway between Alta Baja Market and 4th Street Market. The LibroMobile Bookstore is barely large enough for more than one visitor at a time, but that’s part of the charm for Garcia. “The only difficult thing in this space is that I have friends who hang out on the stoop,” the Santa Ana native says, “and when there’s more than two of them, it gets too crowded.” Since its May debut, LibroMobile Bookstore has drawn curious onlookers and sidewalk traffic. Garcia has had many memorable interactions with visitors, but her Spanish-speaking patrons “affirm that we need to reach out to build community through literature.” The LibroMobile cart is parked outside the door, and more books are available in the staircase, in crates marked by genre. You can find writers of color and local authors who pen topics on social justice, history, mental health, poetry, zines and comics, all priced reasonably or for a donation of two books or more. There are also artist donations to make the walls of the space feel cozy. Garcia’s landlord plans to start construction above 4th Street Market for new apartments in the next four to six months, at which time she will move her literary concept elsewhere. In the meantime, she’s putting aside books for her upcoming Little Free Libraries, a project organized with Community Engagement and the Santa Ana Public Library to bring books to working-class communities in the city. Keep in the know about the LibroMobile and the LibroMobile Bookstore’s upcoming events and plans by following Garcia’s Instagram (@Libromobile). AMURILLO@OCWEEKLY.COM LIBROMOBILE BOOKSTORE 201 E. Fourth St., Santa Ana; www. libromobile.com. Open Mon., Wed. & Fri., 11 a.m-3 p.m.; and by appointment.

AIMEE MURILLO

online » amore ocweekly.com

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aybe it was Bob Dylan’s 76th birthday recently, but I couldn’t help thinking of the chorus from “My Back Pages” while watching Peter and the Starcatcher: “Oh, but I was so much older then/I’m younger than that now.” How else to explain why a show that filled me with such loathing two years ago—nearly to the day—at South Coast Repertory, one of the country’s best regional theaters, entertained, entranced and, for the briefest of moments, tugged on this cold, dark heart? True, this time, it was at STAGEStheatre, the county’s longest established storefront at 20 years. But still, all things being equal, the resource, production value and talent divide between a top-notch professional theater and a storefront theater would seem to suggest that the former’s show would be vastly better, right? Wrong. And also wrong that I am in any kind of place that would suggest a younger and more idealistic spirit—a central concern of this quasi-musical play. No, the reason this production steamrolls SCR’s is that unlike that one, which seemed so smug and enamored with itself, director Patti Cumby focuses on the most important thing in telling any story: telling it. There are very few bells or whistles to this show, no attempt to dazzle the audience with theatrical sleight-of-hand. Most of the effects are done in full view of the audience, with actors holding various instruments, from flashlights to rubber gloves slapping around to mimic birds. Yes, much of the affair, a prequel to J.M. Barrie’s 1904 play, which he turned into a novel a few years later, is still dumb. There are plot holes large enough to accommodate Queen Victoria’s XXXL figure, and the Dave Barry-Ridley Pearson script has too much clunky, cutesy dialogue. But this streamlined, if still fanciful, production overcomes the built-in deficiencies by focusing on the relationships between the characters and, again, relating the story. Two English ships, the faster Wasp and the decrepit Neverland, are setting off for the kingdom of Rangoon. Two identical trunks arrive at the port: one filled with something quite important to the crown, the other a decoy filled with sand. The captain of the Neverland switches the trunks, and all kinds of mischief ensue, particularly when the Wasp is overtaken by pirates. Both ships are swept up in a hurricane and the inhabitants eventually spill onto an island filled with natives who speak a sort of pidgin English punctuated by Italian-food references and fish turned into mermaids by the mysterious contents

Stairway to Book Heaven

m ont h x x–xx , 20 14

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music»artists|sounds|shows GETTING THERE EARLY FOR KONSEPT? FO’ SHO’!

East End Block Party Blows Up

Santa Ana’s community summer fest sets its sights on big things

he dining area inside Mexican restaurant La Riconada is unusually packed. But instead of munching on sopes and shredded chicken enchiladas on this Saturday night, most of the rappers, DJs and producers are busy networking and feeding off some friendly conversation. This year, Santa Ana hip-hop crew Konsept Collective—the driving force behind downtown Santa Ana’s East End Block Party—decided to embrace the spirit of collaboration with artists beyond the Orange Curtain. Konsept founder Tyson Pruong realized that if they were going to attract more talent to the lineup, they first had to reach out. Though the festival has relied on cooperation between various factions of the Santa Ana scene—from rappers to punk bands to producers—for its third year, organizers decided to supplement the roster of local artists. “I wanted to bring more attention to Santa Ana by bringing people from other places to the city before I decide to do big, headlining artists next year,” says Pruong. Pruong says 75 percent of the artists he booked this year have never played the Block Party before, and many have never played anywhere in OC, despite being neighbors in their respective scenes in LA, the Inland Empire and San Diego. This year has been one of evolution

By NatE Jackso N for Konsept, starting with the collective creating its own record label, Konsept Records. Pruong explains that growing his brand meant putting more time into his artists’ marketing and music production and less time on throwing monthly events. That allowed him to store up resources for the Block Party. Plus, Konsept and their collaborators—promoters OC Music League (OCML), Top Acid, Curious Entertainment and Beat Swap Meet— agreed to scale back the East End Block Party from two events (winter and summer) to just one blowout on June 3. “We wanted to make sure that the summer one is the one we put all of our focus and money into,” Pruong says. However, each promoter involved in the fest will still produce their own stages and curate their own lineups. Beat Swap Meet will host a stage for DJs and beat-scene producers in the parking lot in front of the Yost Theater, while Curious Entertainment is doing a lowrider car show on Third Street. Top Acid has its punk-andgarage-band bonanza on the corner of Fourth and French streets. OCML will serve up alt-rock in the 4th Street Market, and Konsept’s hip-hop lineup takes over the corner of Fourth and Spurgeon. “The other groups always bring great music that I have never heard,” says OCML founder John Safari. “Collaborat-

ing with all different scenes, genres and fans, we create an event people can feel free to express themselves.” While most of the time it feels as if everyone is in a rush to get bigger and better, Pruong says, before they can really do that, they have to get the rest of SoCal engaged and excited about them and talking to one another. “It’s not about labels and stuff anymore,” he says. “It’s about collaboration and providing opportunity for one another. Artists aren’t going to promoters for shows anymore; they’re doing it themselves.” For rapper Roby Supreme of IE rap group Y.L.$.N.M.T. (You’re Lucky She’s Not My Type), playing the festival will give them the ability to connect with new artists, which is a huge asset as they continue to make inroads into OC’s music scene. “A lot of times, artists don’t feel like they can approach other artists because it’s a competition or everyone’s trying to get theirs,” Supreme says. “But you need that because you grow off each other. Some of the best advice and things that I’ve been getting that [have helped our career] have come from other artists.” That included an artist media event at La Riconada, at which various press outlets conducted video, print and podcast interviews. It was a scene reminiscent of SXSW, which is not surprising since Pruong visited

Austin this spring and gained a lot of inspiration for his own event. “It opened up my eyes to doing things a bit more organized and working harder toward everything I’m doing now,” Pruong says. “This block party is a good reflection of everything I learned over there at SXSW.” While there’s definitely a possibility for future East End Block Parties to land major sponsors and add marquee talent to its roster, one thing that sets it apart from pop-up festivals that can be capitalist and self-serving is the fest’s roots in the local community. The spirit of fostering up-and-coming artists and creating a dialogue among those in the Santa Ana scene and beyond is the key to its longevity. “We want the locals to come out and realize this is a festival put on by actual Santa Ana people,” Pruong says. “Chris Gonzalez [founder of Top Acid] and I were born and raised here. And those that come here from other places do their part for the city, so it’s like supporting people who do things for the community, instead of for money.” NJACKSON@OCWEEKLY.COM EAST END BLOCK PARTY happens throughout Downtown Santa Ana, centered on Fourth and Spurgeon streets, Santa Ana; www.facebook.com/ konseptproject. Sat., noon-10 p.m. Free. All ages.

TONIGHT!

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Post-hardcore heavyweights Eighteen Visions rise again BY ERAN RYAN

eith Barney clearly recalls the night of April 20, 2007. Eighteen Visions played their final show as a band at Anaheim’s historic Chain Reaction, which the OC natives likened to their second home, even after they seemingly outgrew its small interior. “It just felt right,” guitarist Barney says. “It was intimate; all of our friends would be there. I remember it being an amazing show and getting off the stage, and then I just totally broke down. There’s a photo I posted on Instagram of myself and Trevor [Friedrich, drummer] where we’re just kind of hugging. . . . It was a big deal for all of us, as we hugged and thanked one another. It felt really special.” Exactly a decade later, Barney, lead singer James Hart and Friedrich announced not only the triumphant return of Eighteen Visions, but also a new album, XVIII, and a record-release show at the Observatory on Friday. Missing from the reunion will be bassist Mick Morris, who passed away unexpectedly in 2013, and rhythm guitarist Ken Floyd, whose career as a tour manager wouldn’t allow him to rejoin the group. “With 10 years in between, I can now look back with 20/20 vision and say, ‘Okay, here’s all of the records and things that we did. What are our strengths, and what doesn’t hold up?’” Barney says. “I can pick and choose from a diverse catalogue that morphed over the years and use that as a bit of a guide on how to move forward on this record. I still love making heavy music—and we’ve done that in the

past—but I think that anyone who listens to this record will recognize those bits and pieces from all of our albums.” To announce their return to their loyal fans, the band members utilized the power of social media. An old photo of the band, setlists or sound clips would appear every few days—totaling 18 teasers in all. As suspicions grew, word spread, and music sites began paying closer attention to what was happening. Although the reception has been nothing short of welcoming, the guys say their new lives take precedence. They’ve grown up and started families, work ordinary jobs, and embrace much calmer lifestyles away from the spotlight. “I’m a creative director at a company and have a career in design,” Barney says. “James has a career as a hairstylist, and Trevor has his own company. Doing any long-term touring would be impossible, but what we might do is little stints of shows, and I think that’ll accomplish a few things.” For now, Eighteen Visions plans on taking their revival one step at a time. “Less is more,” Barney explains. “If we play here and there, it keeps it special since we aren’t playing every weekend or anything like that. It also reduces a bit of the pressure of having to think that we have to be out there for months and months.” EIGHTEEN VISIONS perform with Retox and the Seizures at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; www.observatoryoc. com. Fri., 6:30 p.m. $20. All ages.

MERCH MASTERS CANDLER AND RUSSELL ABSOLUTE MERCH

band that really helped set Absolute Merch apart from many of its competitors. “Benji and Joel [Madden] from Good Charlotte hit us up and said they loved what we were doing, so we partnered with them and took over all of their stuff,” Candler says. “It’s cool because all of these bands that I used to listen to when I was younger have been reaching out to us like, ‘Hey, make us cool.’ It’s definitely been a little bit humbling.” Candler and Russell want to see Absolute Merch become a recognizable name in both fashion and music—a more modernized and fashionable version of what Hot Topic was in the pre-internet days, where people look for the latest styles and collections. “The idea behind what we’re doing is for Absolute Merch to be its own brand or its own lifestyle, rather than just looking for a specific band on our website,” Candler says. “We want to create almost like a PacSun for kids who are in this alternative music scene.”

hen Absolute Merch’s Billy Candler met his business partner Noah Russell, he never imagined their future would be in replacing your favorite band tee. It was only after the OC-based concert promoters and managers had merged their efforts that they realized how mundane the merch world had become. When one of their more stylish clients requested a few items beyond the standard T-shirts and hoodies, Candler went in search of a company that could handle the more fashionable request. “We were reaching out to all of the normal merch companies, and everyone was telling us to get fucked, in a sense,” Candler says. “We started sourcing everything locally and figuring out how to make it for the band. Then that band went out on tour with the merch no one had ever made before, and they started introducing us to other bands. I don’t know whether it was good timing or what, but that demand for non-standard band merch started growing, and we were the only ones who could do it at the time.” Over the past three years, Absolute Merch has become the go-to source for bands looking for cooler clothing—particularly in the rockfocused circles of Warped Tour regulars. The company’s clients include Set It Off, 3OH!3 and Neck Deep, but if you ask Candler, there’s one

» JOSH CHESLER

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 Circle, Fountain Valley, CA 92708. Or email your link to: localsonly@ocweekly.com.

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Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. CASEY JAMES: 7 p.m., $15. The Parish at House of Blues at Anaheim GardenWalk, 400 W. Disney Way, Ste. 337, Anaheim; houseofblues.com/anaheim. COCO MONTOYA: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. EIGHTEEN VISIONS: 7:30 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com. FIGHT CLUB LBC: 9 p.m., $5. Que Sera, 1923 E. Seventh St., Long Beach, (562) 599-6170; queseralb.wix.com. JIM FISK JAZZTET: 8 p.m., free. Portfolio Coffee House, 2300 Fourth St., Long Beach, (562) 434-2486; portfoliocoffeehouse.com. MODEST MOUSE: 7 p.m., $45. House of Blues at Anaheim GardenWalk, 400 W. Disney Way, Ste. 337, Anaheim, (714) 778-2583; houseofblues.com/anaheim. NEWPORT BEACH JAZZ FESTIVAL: 6 p.m., $65$150. The Back Bay Amphitheater, Hyatt Regency Newport Beach, 1107 Jamboree Rd., Newport Beach, (949) 729-1234. PURPLE MOUNTAINS MAJESTIES: 8 p.m., $5. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. RON KOBAYASHI: 10 p.m., free. Bayside Restaurant, 900 Bayside Dr., Newport Beach, (949) 721-1222; baysiderestaurant.com. SEGA GENECIDE: 10 p.m., free. La Cave, 1695 Irvine Ave., Costa Mesa, (949) 646-7944; lacaverestaurant.com. THE SLY DIGS: 9 p.m., free. The Karman Bar, 26022 Cape Dr., Laguna Niguel, (949) 582-5909; thekarmanbar.com.

com. Baja Beach Cafe, 2332 W. Coast Hwy., Newport Beach, (949) 673-8444; bajabeachcafe.com. CATSIGNS; BILLY CHANGER: 8 p.m., $10. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. THE COMO LA FLOR BAND: Selena tribute, 9:30 p.m. Gaslamp Restaurant & Bar, 6251 E. Pacific Coast Hwy., Long Beach, (562) 596-4718; thegaslamprestaurant.com. EAST END BLOCK PARTY: presented by Konsept and Top Acid, noon, free. Downtown Santa Ana, 300 E. Fourth St., Santa Ana. EROTIC CITY—A TRIBUTE TO PRINCE: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. GOT THAT SWING!: 7:30 p.m., $15. Dance United LH, 23461 Ridge Route Dr., Ste D, Laguna Hills, (949) 3700523; danceunitedlagunahills.com. NEWPORT BEACH JAZZ FESTIVAL: 10:30 a.m., $65-$150. The Back Bay Amphitheater, Hyatt Regency Newport Beach, 1107 Jamboree Rd., Newport Beach, (949) 729-1234. ROYAL MACHINES: presented by the Queen Mary’s Rock the Queen, 4 p.m., $39-$99. Queen Mary Park, 1126 Queens Hwy., Long Beach, (562) 435-5311; atpfestival.com.

SUNDAY

CHRIS QUILALA: 7 p.m., $20. House of Blues at

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Anaheim GardenWalk, 400 W. Disney Way, Ste. 337, Anaheim, (714) 778-2583; houseofblues.com/anaheim. FULLY FULLWOOD REGGAE SUNDAYS: 3 p.m., $5. Don the Beachcomber, 16278 Pacific Coast Hwy., Huntington Beach, (562) 592-1321; donthebeachcomber.com.

GOODBYE JUNE; BADFLOWER: 8 p.m., $10.

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

IRESS; SPARE PARTS FOR BROKEN HEARTS; THE KYOTEES: 9 p.m., free. The Continental Room,

115 W. Santa Fe Ave., Fullerton, (714) 469-1879; facebook.com/ContinentalRoom. JAKE HAMILTON: 10:30 a.m., free. REIGN Christian Fellowship, 32261 Camino Capistrano, San Juan Capistrano; reignchristianfellowship.org. JUDY COLLINS: 7 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. NEWPORT BEACH JAZZ FESTIVAL: 10:30 a.m., $65-$150. The Back Bay Amphitheater, Hyatt Regency Newport Beach, 1107 Jamboree Rd., Newport Beach, (949) 729-1234. THE SOUNDS OF MUSIC: 3 p.m., $15. Lake Forest Sun and Sail Club, 24752 Toledo Way, Lake Forest, (949) 586-0860; lf2.org. VULFPECK: 8 p.m. The Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; observatoryoc.com.

MONDAY

BIRTHDAY: 8 p.m., free. The Wayfarer, 843 W. 19th St.,

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DOUG LACY: 6 p.m., free. Ralph Brennan’s Jazz

Kitchen, 1590 S. Disneyland Dr., Anaheim, (714) 7765200; rbjazzkitchen.com.

KILL THE INTERNET WITH DJ CARDIGAN & DESIRABLE D: 8:30 p.m.-1:30 a.m. Que Sera,

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TUESDAY

BOOGARINS: 9 p.m. Constellation Room at the

Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. SEETHER: 6:30 p.m., $32.50. House of Blues at Anaheim GardenWalk, 400 W. Disney Way, Ste. 337, Anaheim, (714) 778-2583; houseofblues.com/anaheim.

WEDNESDAY

DEREK BORDEAUX BAND: 7 p.m., free. Original

Mike’s, 100 S. Main St., Santa Ana, (714) 550-7764; originalmikes.com.

FATAL JAMZ; TOMORROWS TULIPS; COWGURL CLUE: 8 p.m., $10. Constellation Room at the

Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. HIP-HOP WEDNESDAY: 9 p.m., free. The Karman Bar, 26022 Cape Dr., Laguna Niguel, (949) 582-5909; thekarmanbar.com. JEAN LUC PONTY: 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. LINDI ORTEGA; ELIJAH OCEAN: 8 p.m., $15. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. VERONICA BIANQUI; MISS CHIEF: 9 p.m., free. The Continental Room, 115 W. Santa Fe Ave., Fullerton, (714) 469-1879; facebook.com/ContinentalRoom.

THURSDAY, JUNE 8

GRN+GLD: 9 p.m., $3. Que Sera, 1923 E. Seventh St.,

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KROOKED TREEZ; EL DUB: 8:30 p.m. The Federal

Bar, 102 Pine Ave., Long Beach, (562) 435-2000; lb.thefederalbar.com. SKATING POLLY: 8 p.m. Constellation Room at the Observatory, 3503 S. Harbor Blvd., Santa Ana, (714) 957-0600; constellationroom.com. STRICTLY COUNTRY THURSDAYS: 6 p.m., $5 after 8 p.m. Gaslamp Restaurant & Bar, 6251 E. Pacific Coast Hwy., Long Beach, (562) 596-4718; thegaslamprestaurant.com. VICTORIA BAILEY: 8 p.m., $5. The Wayfarer, 843 W. 19th St., Costa Mesa, (949) 764-0039; wayfarercm.com. XEB: with the original members, 8 p.m. The Coach House, 33157 Camino Capistrano, Ste. C, San Juan Capistrano, (949) 496-8930; thecoachhouse.com. XXXTENTACION; SKI MASK; THE SLUMP GOD:

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I’m a middle-aged homo trying to figure out Grindr. Is it impolite to go on Grindr if you’re not looking for an immediate hookup? My preferred form of sexual relationship is the friendwith-benefits situation. I go on Grindr looking to make friends who could, at least potentially, be sex partners, but I like to do the friend thing before the sex. I’ve had guys call me an asshole because I exchanged messages with them for 20 minutes, and then didn’t come right over and fuck them. Do they have a point? Does logging into a hookup app like Grindr imply openness to an immediate sexual encounter? Talking Online Repulses Some Others

change. The girl I’m speaking with gets flustered. She says something like “Oh, I’m not good at describing things,” seemingly feeling pressured to give me an intellectual response, like I’m giving her a quiz. I’m not sure what to do about this. I am having trouble maintaining casual and fun conversations despite my intentions. I come off as intense. I think I’m a pretty attractive person, but my dating life is starting to make me feel differently. I work out regularly and take good care of myself. How can I find a woman I jibe with? A Lesbian Obviously Needs Excitement

I’m a married woman whose hot, hung husband is into “beautiful women and pretty boys” (his words—and he means boyish men of legal age, of course). It took a dozen years to get that out of him. I’d watched him drool over pretty male baristas and waiters, but it wasn’t until I found twink porn on his computer that he came out about his “narrow slice of bisexuality.” (Again, his words.) Now that it’s out—now that he’s out—he’s anxious to have a three-way with me and a femme guy. I’m up for it, but the pretty boys we’re finding online who are into my husband aren’t into me. My husband says he would feel too guilty doing it without me, which means he may not be able to do it at all. I want him to do it. It turns me on to think about. I don’t have to be there. Hubby’s Underlying Bi Biological Yearnings Let your hot, hung husband find a pretty boy he likes, HUBBY, then ask for the boy’s email or phone number or IG handle or whatever, and have a quick back-channel convo with him. Let him know your hot, hung husband (HHH) wants his ass and that you’ll be there—but only at the start. Once drinks have been served, the ice has been broken and a little spit has been swapped (between him and HHH), tell him you’ll invent a reason to excuse yourself (your period, bad clams, whatever), leaving him alone with your HHH. At that point, HHH can decide for himself if he wishes to proceed without you, but with your blessing (which you can toss over your shoulder on your way out of the room). Good luck! On the Lovecast (savagelovecast.com), Rachel Lark and the Damaged Goods. Contact Dan via email at mail@savagelove.net, follow him on Twitter (@fakedansavage), and visit ITMFA.org.

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I’m a 25-year-old gay woman, and I’ve been looking for a girlfriend for the past two years. I post on dating websites, go to the lesbian club, take part in the LGBTQ+ scene at my university, and put myself in places where I might meet women. But I’m worried that my persona deters women: I’m extremely analytic, a doctoral student and university instructor. Whenever I meet a girl, our conversation always goes in the same direction: She thinks it’s cool I work with literature, and then brings up her favorite pop-culture novel, like Harry Potter. I say something like “I’ve never read Harry Potter, but people rave about it. What do you like about it? I took an online Harry Potter test once for a friend, and it said I was a Slytherin.” At this point, things

You’re doing all the right things—almost. You’re getting out there, you’re not shy about initiating conversation, and you’re moving on multiple fronts— online, club nights, LGBTQTSLFNBQGQIA+++ groups. Join a women’s athletic organization— such as a softball league—and you’ll be moving on every lesbo front. That said, ALONE, I’m surprised this hasn’t popped into your extremely analytic head: If Y happens whenever I do X, and Y isn’t the desired outcome, then maybe I should knock this X shit the fuck off. Your response to the mention of Harry Potter drips with what I trust is unintentional condescension. (“I’ve never read it. . . . What do you like about it? . . . I took an online test once for a friend. . . .”) Don’t want women to think you’re administering a quiz? Don’t want women to get the impression you’re too intellectual for them? Don’t want to seem like someone incapable of keeping things casual and fun? Don’t administer quizzes, don’t subtly telegraph your disgust, and keep things casual by offering a little info about yourself instead of probing. (“I haven’t read the Harry Potter books, but I’m a huge Emma Watson fangirl. Who isn’t, right?”) And maybe go ahead and read Harry Potter already.

naughty!

J u ne 02- 08, 2 017

Always be up front about your intentions, TORSO. The best way to do that is by creating a profile— on Grindr or elsewhere—that clearly describes what you want and what you’re up for because good partners (sexual or otherwise) communicate their wants clearly. Adding something like this to your profile should do it: “My preferred form of sexual relationship is the friend-with-benefits situation. I go on Grindr looking to make friends who could, at least potentially, be sex partners, but I like to do the friend thing before the sex.” Grindr is an app designed and marketed to facilitate hookups, but some people have found friends, lovers and husbands on the app (usually after hooking up first). So being on a hookup app doesn’t automatically mean you’re looking for “right now,” and it certainly doesn’t obligate you to fuck every guy you swap messages with. But if you’re not clear in your profile or very first message about what you’re doing there, TORSO, guys looking for a hookup on that hookup app will be rightly annoyed with you. (The time and energy he sunk into you could have been sunk into someone looking for right now.) If you are clear, guys seeking instacock have only themselves to blame for wasting their time on you. Your timing could also have something to do with guys calling you an asshole. Are you exchanging messages at 2 in the morning for 20 minutes? Because most guys on Grindr at that hour are seeking immediate sexual encounters. If you’re just chatting in the middle of the night, then you’re probably wasting someone’s time— if, again, you’re not being absolutely clear about what you’re doing there. Also, TORSO, Grindr is location-based, which means you’re going to get a different experience based on where you’re using it. Some neighborhoods seem to be filled with messy guys looking for chemsex, bless their hearts. In others, you’ll find unwoke twinks who are on Grindr to swap (highly problematic) GIFs of black women pulling faces. And if you’re in a rural area, it’s likely you’ll message your full cast of Grindr torsos within a few days. Think of Grindr as a giant gay bar—most guys are there to hook up, a few just want to hang out and chat, some dudes are really messed up (avoid them), and no one is at their best around closing time.

» dan savage

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MCARREON@OCWEEKLY.COM

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195 Position Wanted

Interested candidates send resume to: Google Inc., PO Box 26184 San Francisco, CA 94126 Attn: A. Johnson. Please reference job # below: Software Engineer (Irvine, CA) Design, develop, modify, &/or test software needed for various Google projects. #1615.21807 Exp Incl: Java; distr sys; low-latency & high-throughput apps; databases, data modelg, & indexg; sw dsgn patts & obj orient dsgn; big data & parallel data process frameworks, MapReduce; & prob solv skills & data structures. Restaurant General Mgr: Responsible for managing overall day-to-day operation & supervision of entire staff, ensure high level of customer satisfaction, etc. Req:BS in Hospitality Mgmt; must have taken “Hospitality Mktg Mgmt” and “Hospitality Industry Managerial Accounting” courses. Send resume to:Two Two Fried Chicken, Inc.Attn: James Ha 1707 E. Del Amo Blvd. Carson, CA 90746

Chief Engineer (Irvine, CA). Engineering mgt of design and production mechanical engineering heat exchange units for manufacturing of cans. M.S. Mechanical Engineering & 24 months exp. Exp. to include heat exchange units, Fluent, Ansys, & Solidworks. Resume to Mitchell Joseph, Joseph Manufacturing Company, 1711 Langley Ave., Irvine, CA 92614.

Graphic Designer Apply by mail only to Primevalue Technology Corp., 1590 N. Batavia St., #2, Orange, CA 92867, attn. President.

Youth Minister Apply by mail to SC Hebron Church, 2221 Colchester Dr., Anaheim, CA 92804, attn. Pastor. Director of Reimbursement Management Prime Healthcare Anaheim,LLC d/b/a West Anaheim Medical Center in Anaheim, CA seeks a Director of Reimbursement Management to be responsible for day-to-day management of coding, CDI, HIM & reimbursement issues. Travel required throughout Orange County, CA on a weekly basis. Mail your resume with a copy of this ad to Aditya Stanam, 3300 E. Guasti Road, Ontario, CA 91761.

FINANCIAL CONTROLLER Full-service printer seeks a f/t financial controller. Req. Master degree in accounting with 1 yr prior accounting experience, plus experience using Microsoft Office Suite. Must also have passed all four CPA examinations. Jobsite: Irvine CA. Send resume to: Tony Liu, Manager, R.D. Yin, Inc., 17352 Murphy Ave., Irvine, CA 92614.

Graphic Designer Apply by mail only to Made By Johnny Group, Inc., 1751 E. Del Amo Blvd., Carson, CA 90746, attn. President. Audio/Speech Processing Algorithm Engineers Certified Public Accountant (Irvine, CA) Perform financial statement audits for CPA firm clients. California CPA license req'd. Resume to: PK LLP, 2100 Main St., #200, Irvine, CA 92614.

Market Research Analyst Apply by mail only to Remote Control Systems, Inc., 3900 Prospect Ave., #B, Yorba Linda, CA 92886, attn. President.

Marketing Specialist (Irvine, CA)Research demographics/age of potential clients & analyze data for market targeting; Act as liaison between company and clients, mainly within Asian communities in Orange County; Perform data collection/research on current & future market trends. 40hrs/wk Bachelor in Business Economics or related req’d. Resume to US Arts & Design, Inc. Attn: Whitney Sheu 690 Roosevelt, Irvine, CA 92620

Market Research Analyst (Job Site: Irvine, CA), BaDa International, Inc. B.A. req’d. Send resume to 16590 Aston Irvine, CA 92606

SecureAuth Corporation has an opening for a Public Relations Specialist at its office in Irvine, CA to manage the Company’s public communication with audiences including: consumers, investors, reporters, and other media specialists. Requires 5% international and 15% domestic travel, which is covered by Company.Please mail resume to: HR Team, 8845 Irvine Center Drive, Irvine, CA 92618. EOE.

Montessori Teacher, except special education sought by LePort Educational Institute, Inc. in Irvine, CA. Tech kndrgrtn stdnt using the Mntessri mthd, incldng: teach dvlpmntlly appropriate skills. Aply @ www.jobpostingtoday.com # 44934.

Market Research Analysts: Collect & analyze market data to predict & assess company’s position in solar panel bus. & report to mgmt. Req’d: BA/BS in Econ., Int’l Bus.. or Bus. Admin. Mail resume: WEGEN SOLAR INC. 1511 E. Orangethorpe Ave. #D Fullerton, CA 92831

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195 Position Wanted

Chemical Engineer Recon Engineering & Construction, Inc. is hiring in Los Alamitos. Must have at least 2 years of progressive experience as a Chemical Engineer. Assess chemical equipment and processes to improve performance while ensuring compliance with safety and environmental regulations. Fulltime. Mail Resume to P.O. Box 93120, Long Beach, CA 90809

Sr. Software Engineering Manager sought by Autobytel Inc. for company's software dvlpmt & delivery efforts for Irvine, CA location. Min. Req.: BS + 5 yrs exp. Please email resume to joselync@autobytel.com

Project Manager (Master’s degree w/ 5 yrs exp or Bachelor’s degree w/ 7 yrs exp; Major: CS, Engg, Math or equiv.; Other suitable qualifications acceptable) – Irvine, CA. Job entails working w/ & exp to incl 3 yrs as a PMO Manager or Head. Exp in using PMP standards & protocols, MS Project, MS Project Server, Visio, AnyChart, WBSPro, Celoxis, Resource Guru, FinancialForce PSA, FastTrack Schedule, MS Windows Server 2008, Excel & Powerpoint to build complex Macros & Pivot tables, JIRA, CA Technologies Open Workbench, SmartSheet, Microsoft Onepager Pro, WorkPlan by Sescoi, OmniPlan, Artemis Project view, Open VMS & TCP/ IP. Relocation & travel to unanticipated locations w/in USA possible. Send resumes to HTN Wireless Inc., Attn: HR, 20 Truman St, Suite 211, Irvine, California 92620.

Sr. SAP MM Consultant, MS deg. in CIS, IT, MIS or related & 1 yr exp. Exp. in Supply Chain Optimization. Skills: SAP MM, Tableau Reporting & Analysis ,VBA, SQL, MS Visio, Six Sigma Methodology. Travel &/or reloc. throughout the US req'd. Mail resume to Morris & Willner Partners, Inc., 201 Sandpointe Ave, Ste. 200, Santa Ana, CA, 92707

Software Engineer (Multiple Openings) to develop, implement and maintain client-server applications and business logic layers using Microsoft Visual Studio, Microsoft SQL, Server and stored procedures. Code software components in C#, C++, Visual Basic, NET, SQL, and related scripting languages. Perform web development using HTML5, JavaScript, and related technologies. Requires Bachelor's degree in Computer Science. Job site and interview: Irvine, CA. Mail your resume to Human Resources at Prism Software Corporation at 15500-C Rockfield Blvd. Irvine, CA 92618.

Market Research Analyst Analyze statistical data to forecast future market trends & FPD industry, gather info. re: company customers/competitors, analyze conditions that may impact sales by researching market conditions, changes in industry. Must be able to perform job duties. Bachelor's degree in Economics req'd. Resume: Signet FPD, Inc. 75 Columbia, Aliso Viejo CA 92656. Accountant B.A. in Acct. or Bus. Admin. req’d. Job Site: Santa Ana, CA 92707. Send resumes to: Ony Glo, Inc., 3250 Wilshire Bl., # 1600, LA, CA 90010, Attn: J. Oh.

Computer Network Support Specialist (Irvine, CA). Analyze network data to improve website functionality, define network usage and server function. Bachelor’s or higher degree in computer science. 1 year experience. Experience may be completed before or after university degree. Resume to Allen Anthonysamy, SOLO Business Systems, Inc., 15041-A Bake Parkway, Irvine, CA 92618.

Development Chef (Oceanside, CA). Develop superfood recipes that are rich in compounds considered beneficial to a person’s health and vitality. 2 years of experience as Head Chef. Mail resume to Mark Olson, CEO, Chemi-Source, Inc., 2665 Vista Pacific Drive, Oceanside, CA 92056.

CFO (Garden Grove, CA) Supervise employees performing financial reporting, accounting, billing, collections, payroll&budgeting duties; Coordinate&direct the financial planning, budgeting, procurement/ investment activities of all/ part of an organization; Develop internal control policies, guidelines&procedures for activities such as budget administration, cash&credit management/accounting. 40 hrs/wk, Bachelor’s in Business Administration or related req’d and Min 5 yrs of experience as a CFO or related req’d. Resume to Chun-Ha Insurance Services, Inc. Attn. Minsung Ko, 9122 Garden Grove Blvd, Garden Grove, CA 92844

Bioinformatics Associate, Irvine, CA. Designing analysis strategies, algorithms, and tools for genome-wide DNA methylation and next-generation sequencing. MS in Bioinformatics & 1 yr experience. Mail resume to Angela Kim, HR Mgr, Zymo Research Corporation, 17062 Murphy Ave., Irvine, CA 92614.

Landscape Architectural Drafter: Prepare landscape architectural designs. Req’d: BA in Landscape Architecture or related. Mail resume to Lifescapes International, Inc., 4930 Campus Drive, Newport Beach, CA 92660

Software Engineer Jobsite Newport Beach, CA, apply to HR at Phunware, Inc., tnolazco@phunware. com.

Ericsson Inc. Customer Project Manager, Irvine, CA. Telecomm & RF Eng project & Financial Mgmt. Up to 10% domestic travel required. Mail resume to Ericsson Inc. 6300 Legacy Drive, R1-C12 Plano, TX 75024, Job #17-CA-3581.

Turbo Ion, Inc. located in Buena Park is looking for a Vice President of Business Development to add to our team. Applicants must have at least three years experience and completed a bachelor degree in business and/or finance and knowledge of the beauty industry. Please send a cover letter and resume to Elyssia Musolino at 6800 8th Street, Buena Park, CA 90620.

Montessori Teacher: Teach kindergarteners using Montessori methods; 40hrs/ wk; Send resume to LePort Schools, Attn: Jean Chung, 1 Technology Dr., Bldg H, Irvine, CA 92618

services

195 Position Wanted

Certified Public Accountant (Irvine, CA) Perform financial statement audits for CPA firm clients. California CPA license req'd. Resume to: PK LLP, 2100 Main St., #200, Irvine, CA 92614.

Business Development Specialist: Conduct market research to identify potential market sales for insurance company. Req’d: Bachelor’s in Mktng., Bus. Econ., or related. Mail Resume: Golden Bells Insurance Agency, Inc. 1151 N. Magnolia Ave. #101, Anaheim, CA 92801

Community Service Manager: f/t; Nonprofit Community Org.; Perform Community Service mgr's duty; M.A. in Social Work or Related; Place of Employment: 7212 Orangethorpe Ave., Ste 9A, Buena Park, CA 90621; Resume: Korean Community Services, Inc. @ 8633 Knott Ave., Buena Park, CA 90620

Market Research Analyst: Apply by mail only to Pacmet International, Inc., 26040 Acero, #214, Mission Viejo, CA 92691, attn. President.

Administrative Assistant: Perform admin. assistant functions, answer calls, provide info to clients, process mails/emails, draft letters/invoices, record info into database. Req’d: Bachelor’s in Business Admin. or related. Mail Resume: M+D PROPERTIES, 6940 Beach Blvd. #D-501, Buena Park, CA 90621

Market Research Analyst (La Palma, CA) Perform market research/analysis for logistics services. Master's in communication/marketing related. Resume to: Korchina Logistics USA, Inc. 4 Centerpointe Dr. #120, La Palma, CA 90623

Accountant (Anaheim, CA) Perform financial and managerial accounting duties. Master's in Accounting or related req'd. Resume to: Interlog Corp. 1295 N Knollwood Cir, Anaheim, CA 92801

ENGINEERING Staff Process Eng’r in Foothill Ranch, CA. Review & modify prod. schedules, eng’g specifications, orders, & related info regarding mfg methods, procedures, & activities in the indus. manufacture of optica prod. Reqs: Master’s + 2 yrs exp. Apply: Oakley, Inc., Attn: S. Shrivastav, Job ID# SE1031, 1 Icon, Foothill Ranch, CA 92610

ASTROLOGERS, PSYCHICS, TAROT READERS NEEDED! P/T F/T $12-$36 per hour. tambien en Espanol. 954-524-9029 MARKET RESEARCH ANALYST Research market conditions, competitors & forecast sales trends; Master’s Degree in related fields; Mail resume to: ACI LAW GROUP, PC (J.J.KIM & ASSOCIATES) Attn: Jin Kim, 6 Centerpointe Dr., Ste. 630, La Palma, CA 90623

Marketing Specialist (Costa Mesa, CA). Conduct market research for sign company. Three years of experience. Experience must include online marketing and cost management. Mail resume to Azadeh Orouji, owner, United Marketing and Advertising, LLC, 3303 Harbor Blvd., Suite E-6, Costa Mesa, CA 92626. Family Support Worker: Research & locate pgms. to assist families with the mentally disabled. Req’d: BA/BS in Social Work, HR, or Bus. Admin. Mail resume: Mental Health Family Mission 9778 Katella Ave. #102 Anaheim, CA 92804 Food Services Manager 2 yrs. of college level edu. in Gen. Studies, Mkting, or Advert. req’d. Send resumes to: Jack’s Fusion, Inc., 427 E 17th St. Ste. D, Costa Mesa, CA 92627, Attn: J. Cho. Accountant (Buena Park, CA) Perform accounting duties for food service business. Associate’s in Accounting/Business related. Resume to: D&J Ko Ko Inc. 8532 Commonwealth Ave, Buena Park, CA 90621

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Application Engineer sought by Standard Cable USA Inc. to design mechanical & electromechanical outlay for fabrication of wires, cables, power cords, etc. Job site: Rancho Santa Margarita, CA. Resume to 23126 Arroyo Vista Ave., Rancho Santa Margarita, CA 92688. Attn. Ann Tai

195 Position Wanted

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WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

195 Position Wanted

services

Sales Engineer: Oversee product dev’t process & perform final product inspec to identify tech issues b/f product launch; prepare sales eng reports, etc. Req: BS in Polymer Science & Eng; must have taken “Polymerization Chemistry” & “Polymerization Reaction Engineering” courses. Send resume to:MMD Int’l, Inc. Attn: Woo Suh. 2500 W. Orangethorpe Ave. # 122 Fullerton, CA 92833

services

services

county

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5 STRAINS AT $15 AN 1/8TH $15 1/2 GRAMS

OF NUG RUN SHATTER

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OF WAX AND CRUMBLE

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@cookiesoc

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1 ST LICENSED MEDICAL MARIJUANA DISPENSARY IN ORANGE COUNTY

NEW

$35.00 1/8’s CAP SHELF

see store for details

Largest Showroom & Biggest Selection in OC

FTP: 8 GRAM 1/8

25% VETERANS DISCOUNT 10% DISABILITY DISCOUNT 10% SENIOR DISCOUNT

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VOTED

Christopher Glew

BEST LAWYER

2016

Christopher Glew

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Best Of winner • 2016 •

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