By Gustavo Arellano
By Aimee Murillo
By Matt Coker
By Vickie Chang
By Matt Coker
By LP Hastings
By Michael Goldstein
By R. Scott Moxley
'Shock, Violence, Devil Chairs, Killer Zombie Clowns and Lesbian Battle Princesses'
Letters may be edited for clarity and length. E-mail to firstname.lastname@example.org, or mail to Letters to the Editor, c/o OC Weekly, 1666 N. Main St., Ste. 500, Santa Ana, CA 92701. Or fax to (714) 550-5908.
Perhaps Mr. Rueben Martinez could adopt a model like that which many charities have been pursuing to ensure a steady, predictable income [Gustavo Arellano's "Book End," May 2]. That is, sign subscribers up to donate a fixed amount per month via their credit cards. In his case, the money would be spent on books, which could be sent to the subscribers or donated to local schools or nonprofits. We would be happy to have $25 per month charged to us if Mr. Martinez would select books to donate to schools. No doubt he would make better selections than we could.
Thank you for the great review of my all-time-favorite band [Ryan Ritchie's "The Eternal Teenagers," May 9]. The Anaheim House of Blues show will be the 29th B-52s concert for me. I go with my best friend Kathy from high school to most of their concerts; this is across a 26-year time span, our first concert being at the Hollywood Palladium in 1982. The B's are the best and just keep getting better. Thanks again for appreciating them as we do.
Michael and Kathy, via e-mail
WHEN ARE THOSE LESBIAN BATTLE PRINCESSES GOING TO MEET SOME NICE GIRLS AND SETTLE DOWN?
Just read your Rocky Costanzo article [Luke Y. Thompson's "Rocky's Road," May 9], and it motivated me to respond. I just want to make a case for some of the actual filmmakers out there—the ones crafting real stories, not just horror films featuring the gratuitous fantasies of directors. The quote that got to me was "Costanzo decided to attempt his first feature in 2000. Recalling another film school lesson that 'if you're not going to do a horror film, you need to do something that's going to be controversial or disturbing.'" That, or you could just get really good at telling a worthy story and not just saturating the indie-film world with cheap crap and shock.
Mind you, there is nothing wrong with suspense. I like suspense. You can learn a lot about a character who is in a suspenseful situation. But when the line is crossed into horror, character development and story weaknesses are covered with shock, violence, devil chairs, killer zombie clowns and lesbian battle princesses.
I realize that I'm generalizing, and I'm sure there are some good horror filmmakers out there. Maybe Rocky is good—I don't know. But I feel a lot of these "filmmakers" with a couple of thousand dollars and some fantasies should be in the video-gaming industry, not saturating my industry with lousy, half-assed-at-best storytelling.
Vern Moen, via e-mail
DON'T MAKE ME TELL YOU AGAIN
A very astute individual already informed R. Scott Moxley about the reality of children trafficked into prostitution. After reading his "The 'Freak Accident' Murder" [May 9] article, I am not sure he got the message. Moxley still calls Hanna Montessori "a Georgia runaway turned Southern California prostitute."
When the person is a minor, more apt examples are "victim of child trafficking" or "victim of child commercial sexual exploitation." In order to better inform the public on these heinous crimes committed against children, using the aforementioned examples is a must. Thank you for raising awareness.
Chris, via e-mail
UPON FURTHER REVIEW
Is this article about Sally Storch or Edward Hopper [Greg Stacy's "In With the Out Crowd," May 15]? Very poor and biased review. I'm not reading the articles to find out what artist the writer likes. One thing is for sure: Whoever wrote it really likes Edward Hopper.
Space Dog, via e-mail
I wanted to follow up with information regarding Greg Stacy, a past movie reviewer turned art expert who seems to have offended quite a few artists in the SoCal scene through his reviews in OC Weekly. It is my understanding that he went to an art school yet has never actually been able to pursue the arts himself. I have been to many of the shows that were reviewed by Mr. Stacy and have to say that his writing makes it very obvious that he does not spend time looking at the art. The reviews end up reading like a movie review. I just wanted to send in my 2 cents, as I have met many artists who have complained about the Weekly's reviews.
RT, via e-mail
SAY IT, DON'T SPRAY IT
Good article [Daffodil Altan's "Let Us Spray," April 25]. I'm a longtime friend of Jessie Hernandez—known him for a number of years. He's a talented artist who was just given a chance by George Pichardo—a decent guy all around. Yeah, his parole officer didn't want him working there, but George gave him a chance to make money and pay his bills, as well as help out his mom, who's always been there for him, no matter what trouble he's gotten into.
Eric, via e-mail
DUCK SEASON! WABBIT SEASON! CONTEST SEASON!
Two Weekly writers are finalists for the Association of Alternative Newsweeklies awards. In our circulation category, R. Scott Moxley's coverage of ex-Sheriff Mike Carona is up for the Public Service award, and Gustavo Arellano's ¡Ask a Mexican! for Best Column. Closer to home, the Weekly has several finalists in the LA Press Club's Southern California Journalism Awards. In our weight class, Moxley is a finalist for Journalist of the Year, Nick Schou's "Just a Random Female" is up for News Feature, Luke Y. Thompson's "Fight Club" for Signed Commentary, Arellano's ¡Ask a Mexican! for Column, Thompson's "Rock 'Em, Sock 'Em" for Entertainment Reviews/Criticism/Column, [deep breath] Derek Olson's "Chicken Babies, Bondage Nights and Severed Monkey Heads" for Entertainment Feature, and Daffodil J. Altan's "Ronny" for Sports. [Whew!]
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