Submerge Magazine: Issue 83 (April 18 - May 2, 2011)

Dive into Sacramento & its Surrounding Areas

april 18 – May 2, 2011

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Issue 83 • April 18 – May 2, 2011

Dive Into Sacramento & Its Surrounding Areas

24

contents

Submerge: an independently owned entertainment/lifestyle publication available for free biweekly throughout the greater Sacramento area.

03 04 07 08 09

09 12

cofounder/ Editor in Chief/Art Director

Melissa Welliver melissa@submergemag.com cofounder/ Advertising Director

Jonathan Carabba jonathan@submergemag.com Advertising sales

16 Contributing Writers

Robin Bacior, Josselin Basaldu, Corey Bloom, Bocephus Chigger, Brad Fuhrman, Anthony Giannotti, Blake Gillespie, Vince Girimonte, Bobby S. Gulshan, Ryan L. Prado, Adam Saake, Amy Serna, Jenn Walker Samantha Saturday, Amy Scott Dennis Scott

senior editor

Blake Gillespie, Monica McStotts

James Barone Contributing editor

Mandy Johnston

distribution

SubmergeMag.com

Dive in The Stream Submerge your senses The Optimistic Pessimist CapitAl Capture

Off the Cuff

J*Ras

22

Album spotlight

23 24 26

refined tastes

Submerge Magazine

2308 J Street, Suite F Sacramento, Calif. 95816

916.441.3803 info@submergemag.com

printed on recycled paper

www.submergemag.com Follow us on Twitter! @SubmergeMag

april 18 May 2

10 12 16 18 22

Contributing photographers

Josselin Basaldu josselin@submergemag.com

83 2011 Mike Watt Roach Gigz

calendar the grindhouse Atlas Shrugged: Part I

Automatic Static Friends & Lovers

Tequila Museo Mayahuel

Ellis Rodriguez the shallow end All content is property of Submerge and may not be reproduced without permission. Visit Submergemag.com to view more material you can’t have. Submerge is both owned and published by Submerge Network. All opinions expressed throughout Submerge are those of the author and do not necessarily mean we all share those opinions. Feel free to take a copy or two for free, but please don’t remove our papers or throw them away. Submerge welcomes letters of all kinds, whether they are full of love or hate. We want to know what is on your mind, so feel free to contact us via snail mail at 2308 J Street, Suite F Sacramento, Calif. 95816.

Or you can e-mail us at info@submergemag.com. Your opinion matters to us, believe it or not, so please feel free to speak your mind and we just might listen.

Thanks for reading Submerge!

front cover of Ellis Rodriguez by Igor Kondraya - MaverickPhotography.us

dive in Passion pit Melissa welliver melissa@submergemag.com The features that are in this (and every) issue of Submerge are full of passion. From all of the subjects we interview, the artists, comedians, athletes, etc., to all of our writers and photographers.

I’m indebted to our writers because of their enthusiasm about their craft. We wouldn’t have some of the most interesting stories available to read on the streets of Sacramento if it weren’t for them.

Blake Gillespie, a contributing writer for Submerge for more than two years, wrote one of my favorite features ever for this issue. I recently connected him with Ellis Rodriguez, a local comedian who I’ve seen quite a few times opening or hosting comedy shows around the area. When I discovered Rodriguez was to be taping for his DVD on April 28 at Tommy T’s, I thought it would be the perfect time to finally feature him. On page 24 Gillespie gives you, the reader, a breakdown of Rodriguez’s life and how dedicated he is when it comes to being a full-time comedian. Our feature gives you a sense of what his days and nights have been like for the past five years. One word: grinding.

Corey Bloom, a contributor since our first issue, recently hit me up about Roach Gigz, a hip-hop artist he has been all about lately. When Bloom discovered Roach Gigz is coming to Sacramento to perform at the Colonial Theatre on April 22 he proclaimed, “We must feature him.” To be honest, before he approached me for this feature story I’d never heard of Roach Gigz, but knowing how passionate Bloom was about this Bay Area rapper, I knew it would be a perfect fit for Submerge.

Whether you are familiar with Roach Gigz or not, be sure to read our interview on page 12 with this up-and-comer who no doubt will be going places in no time.

Our senior editor, James Barone, also approached me back in January when it was first announced that Mike Watt would be playing The Blue Lamp on April 30 and said he wanted to interview him. Months later the interview finally took place and even though it was scheduled for a Sunday, it took place randomly the next day. Despite the scheduling drama, James said it was up there on his favorite interviews of all-time right alongside Tori Amos. On page 10 check out Barone’s interview with one of the most passionate middle-aged punk rockers still touring today.

Through one of our contributing photographers, Samantha Saturday, we came across one of our newest contributors, Amy Serna. While she has written several show reviews, this is just her second feature for Submerge. Regardless, it turned out damn fine! Serna does a great job interviewing J*Ras—a singer, rapper, DJ, producer, father and husband. J*Ras is extremely passionate about having a positive influence whether it be through his songs or the organization he devotes a lot of time to, Auburn Hip-hop Congress. Get schooled on J*Ras because on April 29 he will be celebrating the release of his first solo album at the Sol Collective, and it will be a show not to miss.

Every other week we fill our pages with a few reviews. In this issue we have a review of the new film Atlas Shrugged: Part I. It couldn’t be clearer after reading the review that our contributor Joe Atkins passionately despised the movie! Read his insightful opinion on page 22. Then, see the film, form your own opinion.

Also on page 22, Barone breaks down Automatic Statics’ new EP Friends & Lovers. Produced and performed mostly by music enthusiast Zac Diebles (with exception of Matt Franks who played bass) this record, in short, rocks!

Last but not least, our brilliant food and beverage writer Adam Saake and his ever-so-talented photographer acquaintance, Nicholas Wray, give us an introduction to a new restaurant on K Street called Tequila Museo Mayahuel, which will celebrate its grand opening on Cinco de Mayo. Half review/half interview, Saake touches on everything from their chips and salsa situation (they charge), to ingredients in certain dishes to their many tequilas and beers with owner Ernesto Delgado and other servers. This mouthwatering review can be found on page 23.

Also in issue 83 you’ll find our regular entertaining reads with a passion for fashion as well as our opinionated columns.

Enjoy issue 83, Melissa-Dubs

Issue 83 • April 18 – May 2, 2011

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Issue 83 • April 18 – May 2, 2011

Bon Iver to release a new album in June? Could happen. In an interview with Rolling Stone, Bon Iver’s Justin Vernon discussed writing a new Bon Iver record. “Somewhere along the line, I forgot how to write songs,” he told Rolling Stone. “I couldn’t do it anymore with a guitar. It wasn’t happening. I brought in a lot of people to change my voice—not my singing voice, but my role as the author of this band, this project.” Vernon, of course, wrote and recorded Bon Iver’s epic 2007 debut album holed up in a cabin in a Wisconsin forest. In the article, he described several of the still-untitled album’s 10 songs, saying one of which had “a marching drum beat, a childrens’ choir and wailing guitars,” and that it was “a Civil War-sounding heavy metal song.” The song deals with his childhood and features finger-picked guitars, double bass drums and distorted bass saxophone. The song Vernon is most proud of is the album’s finale, the horn-heavy “Beth/Rest,” saying, “It’s definitely the part where you pick up your joint and re-light it.” No concrete release information has surfaced, other than a 50-second instrumental video clip posted on April 14 that most suspect is an album teaser. Justin Vernon walks a thin line in his attempt to follow up For Emma, Forever Ago and the Blood Bank EP, but fans like myself can’t wait.

Seattle’s Soundgarden is working on its first album in 15 years, and fans of the grunge material that made the band famous may be surprised. Guitarist Kim Thayil told Kerrang!, “We want to make sure the material excites us. The last thing we want to make is another grunge or metal record.” Thayil says the band wants to record and release the album as soon as possible but that Chris Cornell’s solo tour and drummer Matt Cameron’s commitments with Pearl Jam are priority. Soundgarden has announced four dates thus far for their summer reunion tour. Expect more to come soon.

Brad Fuhrman

The successful Rock of Ages Broadway musical will be turned into a feature film, directed by Adam Shankman, whose credits include cinematic gems like A Walk to Remember, The Wedding Planner, Step Up and Hairspray, which he also adapted from Broadway. Rock of Ages features classic rock and heavy metal songs and characters named Drew Bowie and Stacee Jaxx.

Russell Brand was the latest actor to sign on, playing the role of Lonny the narrator. Tom Cruise, Alec Baldwin, Julianne Hough and Mary J Blige round out the star-studded cast.

After releasing the eight-song The King of Limbs album, many speculated Radiohead was setting up for a follow-up later this year. Radiohead guitarist Ed O’Brien shot down rumors that the band had a sequel to The King of Limbs ready to surface this year. Two new songs became available on a limited edition pressing for Record Store Day (April 16), but O’Brien told BBC 6 Music, “There are songs that we have started, that we never finished, but there’s not like seven or eight finished songs waiting in the wings to be released now, or in the autumn.” Radiohead fans will have to milk the latest 40 minutes of goodness for at least another year.

And in other news...

Rebecca Black, the girl who recently became a YouTube sensation, has now topped 100 million views of her homemade music video of her song “Friday.” She quickly signed with a new manager and publicist after the video went viral, but may have her biggest break soon.

Glee is reportedly going to cover “Friday” for a prom-themed episode. Amazing.

Dive Into Sacramento & Its Surrounding Areas

REGIONAL

Distillery 2107 L Street • Sacramento • (916) 443-8815 HELLA’S NEW RECORD IS DONE! TWO LOCAL BANDS SIGN DEALS! Jonathan Carabba Send regional news tips to info@submergemag.com

Fri, April 22 Acoustic FridAy: Hans Eberbach, Carly DuHaine, Gerard Fragamino, Kellie Hoover $5 10pm SAT, April 23 Jason & The Punknecks (TN), The Cheatin’ Hearts, Dry County Drinkers, Matt Gage Band $6 10pm

Fri, April 29 The Golden Cadillacs, Infamous Swanks, Whiskey & Stitches $7 10pm SAT, April 30 White Minorities, Blownload, Skinhammer $6 10pm

Fri, MAy 6 Acoustic FridAy: Autumn Sky, Dick Larson, Andy Harrison, Mark Earnest $6 10pm SAT MAy 7 Knife Thru Head, MDL, Armed Forces Radio, Beer Lords (Benefit show for Clayton//Kenny B. & Priscilla’s B-day!) $6 10pm Fri, MAy 13 Whiskey Pills Fiasco (CD Release Party), The Cock Fight Kings, The Afterlife $8 10pm

Karaoke Every Sun-Thurs 9pm Free

When Sacramento drummer Zach Hill recently posted on his Facebook page, “Finished the new Hella album,” it caused a shit storm of excitement amongst his fans. As of press time for this issue, the post had a monstrous 359 “likes” and nearly 100 comments. Jose Sanchez said, “Woooooo OMG that shits gonna be on replay for months on end, I love you Zach Hill.” Richie Saldivar chimed in with, “Fuck yeah! I can’t wait to hear it!” and Heath Sousa took it to a whole other sexual-yet-sortof-disturbing level by saying, “Just cummed my pants.” Yes, it’s clear that Hella fans near and far are excited at the news of the instrumental spazrock band’s return. So is Submerge. We caught up with Hill last week to pick his brain about the new album, which is still yet to be titled, and he had this to say: “We recorded the album in Oak Park with Andy Morin. He recorded it and we all mixed it together. It’s pretty raw and just two of us again. Primarily drums and guitar but Spencer [Seim, guitar] also played bass on every track.

It’s instrumental and loud. It’s like a very raging band practice that was recorded and played very well.” Hill mentioned that they are looking at two possible release dates, July 26 or Aug. 2 and that it will be released via Sargent House.

Speaking of Sargent House, rumor has it local videographer Sean Stout of Terroreyes.tv is teaming up with them to become their “main video dude,” a gig he described to me as a sort of “dream job” outside the recent !!! show at Townhouse. Stout’s heading down to Los Angeles in May, and Nick Reinhart of esteemed Sacramento band Tera Melos (also signed to Sargent House) is apparently moving with him. Sargent House is absolutely killing it; they are one of the best indie labels out there, boasting a great lineup of artists that they work with including, but not limited to, Omar Rodriguez Lopez (of The Mars Volta), Native, Russian Circles, This Town Needs Guns, RX Bandits, Red Sparowes, Good Old War, Zach Hill’s solo stuff and tons of other rad bands. Come to think of it, Stout was even rocking a Sargent House hoodie that night at ToHo. That’s a good look on you!

COMiNG SOON!

May 20: Get Shot, Inferno of Joy, Stalking Distance $8 10pm

(CD Release Party)

May 21: Awaiting The Apocalypse, Jack Ketch, Ashkira, Dissipate $6 10pm May 27: Courtesy Call, Terra Ferno, Rue The Night $6 10pm May 28: 30.06, Funeral Stain, Barbarous Cock, Escapement $6 10pm (Benefit show for Clayton)

Open For Lunch & Dinner

I know I just wrote about them in this column last issue, but since then Sacramento-based progressive/hardcore band A Lot Like Birds has announced some exciting news. They’ve officially inked a deal with Doghouse Records, who over the years has released material from bands like Say Anything, Meg & Dia, The All-American Rejects and many more. ALLB also announced they are now being managed by Sacramentobased Artery Foundation. The group is recording its debut album in June with producer/engineer Kris Crummett (Alesana, Jonny Craig, Dance Gavin Dance), a match sure to be made in sonic heaven.

Another great local band Attwater recently announced their signing with Nashvillebased Twenty Ten Music, an artistdevelopment, music publishing and film/ TV music placement company cofounded by Grammy award-winning record producer Charlie Peacock, a man with strong Northern California ties. In the company’s press release, Peacock stated that he found Attwater via Twitter after noticing their hometown was Sacramento. “I got my start there and love the people of Nor Cal. The least I could do was check Attwater out, maybe send them a note of encouragement. Then I heard Erika’s [Attwater, vocals/guitar] amazing voice singing these great songs, and I thought: I’m the luckiest man in the world—I just found a diamond in my old backyard!

I’m a big fan of Twitter right about now.” Earlier this year Peacock and Attwater (made up of songwriting team and principal members Erika Attwater and Jonathan Richards) started working on the band’s debut project, tentatively titled Still Me Still You. The record features some great players, including people that have gigged and/ or recorded with mega-acts like Taylor Swift, Lady Antebellum, Faith Hill and more. Label and release date are still pending, but this is definitely exciting news for Sacramento music.

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Issue 83 • April 18 – May 2, 2011

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Dive Into Sacramento & Its Surrounding Areas Audio Express — Sacramento Submerge — 4/18/2011

Your Senses SEE HEAR TASTE Touch

The Golden Ghosts The Golden Ghosts are a buzzing new Los Angeles-based duo consisting of Riley Bray on guitar and vocals and Justin Goings, who has strong Sacramento music scene ties having played in bands like Mister Metaphor and Jeepster. Their music is groovy and really quite infectious; and with them touring through the area soon you’ll have quite a few chances to check them out live. On April 24, they’re playing a house show in Davis, on April 25 they’re playing at Luigi’s Fungarden, April 26 they’ll be in Nevada City at Café Mekka, April 27 they are at Luke’s Lounge in Dixon and on April 28 they will be at Plainfield Station in Woodland. Also, you can catch them on May 20 alongside Agent Ribbons and Roman Funerals at Cesar Chavez Park in downtown Sacramento as part of the annual Friday Night Concerts in the Park series.

D U A R T E

Homemade Dog Treats and Cool Pet Buys at Nerdy Dogs Midtown has a new specialty pet store, and if you’re anything like us (aka big softies for dogs, cats and anything cute and furry), you’re going to love it. Nerdy Dogs, which is quite possibly the best name ever for a pet store, is located at 1118 19th Street and has been open just a little over a week. We stopped in the other day with Submerge “shop dog” Panda Bear, an energetic 18-month-old Boston Terrier, and co-owner Caitlyn Shortt was so welcoming and friendly she even let us close the door behind us so we could take off Panda’s leash to let her run around. Shortt and fiancé MDavid Low’s 4-year-old “super nerd” Catahoula, Churro, greeted us (and Panda Bear) with respect and showed a high level of maturity. Our dog, on the other hand, didn’t do so well. She bolted straight up the stairs and into the owners’ apartment overhead. Sorry again about that guys! Anyway, back to the shop. They have really great stuff. Homemade, healthy dog treats, top-notch dog food from Orijen, cute and unique toys, skateboard dog bowls (one of our favorite items) and tons more great finds. Another note: the handmade treats come in nerdy shapes like Pac-Man, Legos, Tetris and neckties. Nerdy Dogs is open Monday through Friday from 11 a.m. to 7 p.m., Saturdays from 11 a.m. to 6 p.m. They will stay open a little later on Second Saturdays as well. Call them at (916) 706-0209, visit them online at Nerdydogs.com and follow them on Twitter where their handle is @Nerdydogs.

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A Family of Artists in One Gallery Brickhouse Gallery’s current exhibition is a bit of a special one.

The father, son, daughter trio of Fernando, Benjamin and Veronica Duarte are all showing their artwork under one roof. Submerge featured the brilliant abstract, surreal and dadaist artwork of Fernando Duarte years ago, so when we got word his kids were artists too and they were all showing together, we knew we had to shine a light on this exhibit. When asked if his kids always showed interests in the arts, Fernando responded with, “Yes, both. Benjamin always played with 3-D stuff, paper cutouts, models, etc., and Veronica with drawings and paintings.” Veronica, now 23, moved to Brooklyn, N.Y., when she was 18 to attend Pratt Institute where she fell in love with printmaking. In this show she has experimented with etchings, lithographs, linocuts and woodcuts. Benjamin, now 24, also moved to Brooklyn when he was 18 to attend Pratt Institute, only he turned toward architecture. In his artist statement, Benjamin says, “Since moving to New York City from the suburb of Davis at the age of 18 in 2004, I continuously grow without notice into a more powerful individual. This is because I have been automatically and unwillingly absorbing the present life from the place where I reside. The greatest reward in this city is the opportunity to be more deeply connected to it, by creating something and placing it in its history.” The exhibit, which features about 40 total pieces between the three artists, will be viewable until April 30 at Brickhouse Gallery, located at 2837 36th Street. On April 28 there will be a closing reception from 6 p.m. to 9 p.m.

SubmergeMag.com

TASTE

The Yamazaki Whisky Cocktail Tasting at Ella On Thursday, April 28, Ella Dining Room and Bar will hold a one-timeonly tasting of original artisinal cocktails featuring Yamazaki Whisky.

Neyah White, an expert mixologist and well-known figure in the food/ spirits world, will be on hand representing Yamazaki, Japan’s oldest distillery. Ella’s own Bar Manager and mixologist Rene Dominguez will co-host. Between the two of them, you’re sure to taste some spectacular, smooth and balanced whisky cocktails. You can also taste Yamazaki’s fine whiskies on their own to compare their subtle differences. Also, on the day of the event, White and Dominguez will be breaking down a 300-pound block of ice into manageable pieces that they will then use to do traditional “Ice Ball Carving,” according the restaurant’s press release.

The tasting will be held from 5:30 p.m. to 7:30 p.m. and is $45 per person for six drink tickets. Proceeds will benefit Second Harvest Japan’s disaster relief efforts. As of press time for this issue the tasting was about half full, so call and make reservations right away to guarantee your spot at this tasty event. Call Ella Dining Room and Bar at (916) 443-3772.

Issue 83 • April 18 – May 2, 2011

7

The Optimistic Pessimist Singled Out Bocephus Chigger bocephus@submergemag.com

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Music is my life. It’s more than just songs to me. It speaks a truth that is frankly missing from everything else these days. That truth is only made clearer when taken in the context of the album as a whole. Unfortunately, it’s getting harder to find a good album. There are still good ones out there, but you have to shovel through a lot of shit to get to them.

Record labels used to help with some of this searching. It was their job to sell the album. The labels didn’t always act with the best of intentions; clearly, the world has seen more than its share of Vanilla Ices and Hansons. But every once in a while we’d hear something truly amazing, and when that happened, all the bullshit we went through seemed worthwhile. Over the past few Trivia: 9:30pm • Movie: 10pm years, however, the focus has shifted. Labels Specials: $3 Drinks • $4 shots stopped pushing albums and instead switched their focus to singles.

In the late ‘90s something happened that would change the course of music and turn the record industry on its head. It was called Napster. Up to that point, the Internet was basically a place for AOL chat rooms, news and porn. Suddenly, we were able to freely share music over the ‘Net, and the populous never looked back. Everyone was downloading and trading music with everyone else. Even your grandma got in the game, and who could blame her? Paying $20 for a CD seemed like a shitty idea when you could get the same album for free in a matter of minutes.

The labels noticed their revenue slipping and quickly formulated a plan to put themselves back on top. Of course, that plan didn’t involve reasonably altering their business models to make buying an album more worthwhile. Instead the focus became recovery of money through legal action.

So they hauled your grandma into court, determined to figure out just how many Engelbert Humperdinck albums she had stolen and who exactly she gave them to. The legal strategy was simple: sue someone with nothing for an obscene sum that they could never afford while pushing for a settlement that they still couldn’t afford by using the threat of prolonged and expensive litigation.

The road to profit was set.

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The Recording Industry Association of America (RIAA) was suing people left and right on behalf of the big labels, and the settlements were rolling in. In the midst of all these lawsuits, the labels forgot what their role was supposed to be, the filter and facilitator. To them, it no longer made sense to spend money trying to convince someone to buy an album when you can make them buy the equivalent of a thousand albums through a legal settlement.

With their newfound model, albums didn’t matter to the labels much anymore. Albums had to be nurtured. They had to be given space to grow and evolve over time. Labels didn’t want a project that would have to be built from the ground up. They weren’t interested in investing time or money in a message. They wanted a quick return at little to no expense. The one-hit wonders that used to be the exception now became the rule.

The game was all about dropping singles now. An artist used to spend a couple years crafting an album, whittling it down to the 12 best tracks. When it was done the artist would present to the public a concept that, when heard as a whole, was so much more than the sum of its individual songs. But the labels weren’t interested in that anymore.

The single was quick to produce and easy to promote. Labels didn’t need to spend money convincing you that the rest of the album would be great. You could just go on iTunes and grab that song you heard on the radio yesterday for 99 cents. There was no more waiting two years at a time for an artist to put something cohesive together. Now an artist could release every song he recorded.

Is this better? Some argue that it is because the filter has been removed. We get to hear everything an artist makes. I just don’t see it that way. To me, the filter served a purpose. Any great musician will tell you that half of what they record is garbage. It takes a great artist and his label to wade through that garbage and find the gems. Focusing on singles has stripped music of its intrinsic value and made it just another commodity. If we treat music as a commodity then where will we get our truth?

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Issue 83 • April 18 – May 2, 2011

Dive Into Sacramento & Its Surrounding Areas

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Issue 83 • April 18 – May 2, 2011

9

Mike Watt in the Middle

Life as a middle-aged punk rocker a lot better than it sounds Words James Barone

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t’s possible to age gracefully, even if you’re a punk rocker. It may not be the norm, but Mike Watt stands proof that punk isn’t exclusively a young man’s game. Seemingly ageless, Watt continues to make vital contributions to the punk rock lexicon.

Perhaps his indelible character has played some part in his longevity. Much like the Internet, Watt has his own language. You won’t hear a lot of LOLs and OMGs or things of that nature, but he’ll call his albums “operas” or his desire to “keep the peace” at his live shows (he seems to perform perpetually). It’s best not to fumble over semantics, just do your best to keep up.

“You said you had questions?” he asked five minutes into our interview. “Because I don’t want to bum rush you.”

It was kind of late for that, but that’s not necessarily a bad thing. It’s an honor to hitch a ride with Watt. At 53 years old, he seems to have the energy and creative prowess of a man half his age. He made a name for himself as bassist for esteemed art-punk bands Minutemen and fIREHOSE, but Watt has shown a tireless work ethic over the course of his storied career that has translated into numerous projects such as Dos (with fellow bassist and Black Flag alum Kira Roessler), a handful of solo releases and tenure with the reunited Stooges. And there’s a whole lot more to come, which is why he recently started his own label, Clenchedwrench Records.

“My next album is going to be about work,” Watt said of the album he’s planning to write next, a fitting topic that he would seem to know a lot about. “It’s going to be with the Secondmen [Pete Mazich on organ and Jerry Trebotic on drums]. It’s going to be called Pick It Up and Put It Over There. It’s the band I used for the second opera, but it’s not going to be an opera. It’s going to be a concept album. It’s going to be a collection of songs dealing with work, but I have many things I’ve recorded in the pipeline.” Watt says there are about nine or 10 projects currently in that “pipeline,” including the fourth Dos album, which he says will be released in May. Currently, Watt is on tour (his 65th tour by his count) with his band The Missingmen (Tom Watson on guitar and Raul Morales on drums). He’s on the road in support of his latest release, Hyphenated-man, a solo album and first for Clenchedwrench. Watt calls the album “one song in 30 parts.” It’s his first solo release in seven years and draws from a variety of influences including middle age; Minutemen guitarist/vocalist D. Boon, who died in a van accident in 1985; and the paintings of Hieronymus Bosch—specifically the triptych, The Garden of Earthly Delights, where Watt found the characters for which he named each part of the “one song.” Though Watt normally writes his songs on bass, Hyphenated-man was written on Boon’s own Fender Telecaster guitar.

“I was afraid to talk about certain things,” Watt said. “I thought it would give me courage.”

Though it looks to his past, Hyphenated-man captures Watt in the very moment of his life when he wrote it. We spoke with Watt about his latest creation as he was driving from Pittsburgh, Penn., to Cleveland, Ohio. (“I have one of those Bluetooth fucking things in my head,” he assured us.)

It should be noted that our interview with Watt was scheduled for a Sunday at 3 p.m. After an hour of sitting by the phone, there was no call. He called Monday around noon, entirely unannounced.

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Hold on, I have to get set up. I wasn’t expecting your call…

You’re giggling!

Yeah, I laugh a lot. It’s a nervous twitch.

That’s OK! Laughing is OK. How was Pittsburgh last night?

It was a sold-out show, and everyone was very respectful. You could hear a pin drop.

One man was very impressed that Tom was working a Fender and not a Gibson. I shit thee not!

Do you get a lot of crowds like that?

No. Usually they want to hear songs from the first opera—they want me to be a jukebox.

They’re commenting on my unmanliness.

So you prefer it if…

No. No. There are enough cops in people’s lives. I’m not going to be a policeman. We just deliver the peace and whatever is, is. I did ask the soundman to take the guitar out of the monitor, because he was fucking killing me. And that really bothered me, because I want to keep the peace whole, you know what I mean? I don’t want to break it up. I don’t want to break the spell.

You’ve been on the road for over a month already…

Last night was the 33rd gig in a row.

How do you keep up that kind of pace?

James, I try to keep it in perspective. I think working in a salt mine and having five starving kids is a lot tougher. I look at the “O” word, opportunity, not the “B” word, burden. I got into music to be with my friends.

Everything’s hard, like you’ve got to eat chow, and then shit it. Sometimes you can get too much in a reductionist mode. I mean, God damn. I can get too cynical, like how I almost ended the piece. I was going to end it with “Man-shitting-man,” but I said, no. That was too down. I have to acknowledge those things, because that’s part of the world, but I put a middle song at the end at the last minute.

I read that you decided to do that in a different article, that you wrote the songs in order, but…

Yeah, that’s right but I had to make a change.

I normally don’t second-guess anything, but I did in that case.

I loved the last track, “Wheel-Bound Man,” was it difficult to pick that one to stick at the end since the songs seem to have a specific order?

No, it was in the middle. This was different than the other two operas that were beginning, middle and end; this one was all middle so it made sense to me.

As someone who’s always working on other projects and with other musicians, do you have a different approach to your solo career?

Hmm… As opposed to being a Minuteman?

Well, with the Stooges, I take direction. With the Missingmen, I give direction. Now, I have other collaborations where I write all the songs on the bass, but I describe them as collaborations where it’s more them than me.

The politics of bass is about you look good by making others look good. I like that.

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A lot of your career you’ve written on the bass…

This opera was different. I wrote it on D. Boon’s Telecaster. That was a lot different for me. I like writing on bass guitar, because it leaves a lot of room for the guys I’m playing with.

Is that your comfort zone—being upfront but giving the guys you’re working with a lot of room to do their own thing?

That’s my tradition. That’s how D. Boon molded me. That’s how I learned how to play. He wanted political ideas in music. He thought it should be equal—the bass player shouldn’t be lower in the hierarchy, kind of like right field in little league, where you put your retarded friend. I put my drummer right up front. So Boon has had a big effect on how I see music, even though he’s been gone for 25 years.

You mention D. Boon as a big part in your career and this album. Why did you write these songs now, some 25 years after his death?

Oh no, no, no. I wanted to write about middle age. I’m 53 now, but I wrote these songs when I was 52. I wanted to write about being a 52-year-old punk rocker. I wanted to write about now using something from my past, but I didn’t want it to be some sentimental Happy Days bullshit, using ideas from the old days: a painter I liked as a boy, Mr. Bosch; even Dorothy from The Wizard of Oz. I was thinking of her. In the movie, she’s tripping on what men do to be men. I think that’s a big part of being middle aged, maybe. These are all devices to talk about me right now, different than the other two operas, which were beginning, middle and end. This is all middle.

How did the Bosch paintings play in?

I saw them at the Prada in Spain. But I was fascinated as a boy seeing them in the encyclopedia. My mother had the World Book thing. I was into dinosaurs and astronauts too. I think it was just fucking way out shit.

Was seeing his work in person what triggered you to write the songs?

I start with titles, because I need focus. Then I write the music, and then I write the spiel.

I used his little creatures to get me focused

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so I could talk about things in my life. Some things are difficult for me to talk about literal, so I have to use analogy and metaphor. D. Boon said my words were too spacey.

You said that the album’s about being a 52-year-old punk rocker. Was that something you ever thought was possible when you started out?

No. I thought I’d be dead. I never thought about these times. It’s very strange. That’s why I wanted to write about it. It’s OK, though. My body’s lamer, but I have stories now. It’s an interesting place. I know we’re all taught to really dread this place, but it’s not that bad. It’s all a part of the journey.

You’re so busy with all your projects…

James, I don’t know how much time I have left.

Oh, I’m sorry. We can end the interview now if you have to…

No, I’m talking about my life. That’s why I’m so busy. That’s one thing about middle age.

The glass is more half-empty than half-full.

Does that make sense to you?

It does.

You feel your mortality. I never had children.

The closest things I have to children are the albums.

Is that something you regret—not having children?

My father was a sailor, and I never saw him.

My life is like a sailor’s, so I didn’t Mike Watt and the want to do that to Missingmen will play The a child—never be Blue Lamp in Sacramento on there.

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Issue 83 • April 18 – May 2, 2011

11

A Name to Remember Roach Gigz, Poised to Go Far Words Corey Bloom

R

oach Gigz makes you press rewind. He says stuff so ill and out there like, “So I was picking the vegetables out of my Cup O Noodles/Feeling like a pit you fucking poodle,” on a regular

basis; you hear something new with each listen. Rhymes aside, he

knows how to write catchy songs and construct them properly. He’s got all the tools and the formula for success in his possession; it’s just a matter of time before it comes together. The crazy part is, he’s 21. Needless to say, the future is bright for the San Francisco rhymer.

While there have a been a handful of releases over the past couple of years, the most notable are his two-part Roachy Balboa mixtape series, both released within the last year. Off the two projects, he has gone from being a local talent to generating a national buzz, with outlets like MTV taking heed of his skills. For fans of Bay Area rap this may sound like a familiar story: infinite potential and promise, being dubbed the one who’s going to make it, ending in eventual obscurity when the stage gets bigger. No promises can be made, but damn, it feels different when talking about Roach Gigz. His strengths are rooted in his individuality, but on the flip, it’s not what he relies upon. It’s his versatility and adaptability that will take him to the next level.

His ultimate fate awaits, but in the meantime he will be making a stop at the Colonial Theater on April 22 alongside J Stalin.

The same energy you hear on record is only multiplied live, and that is a guarantee.

12

Issue 83 • April 18 – May 2, 2011

What’s happening man? How you doing?

I’m chillin’, just listening to some beats trying to figure out what I’m going to do. I’m working on finishing up this EP, and just recording a couple more songs for it.

How’s it shaping up right now?

It’s good. I hella like it. I don’t want to put out any average shit, it’s all got to be the stuff I like the best. I never know what anyone else is going to like. It’s funny because they like the ones you don’t really like that much, and that’s when it gets complicated.

On that note, my favorite song is “Pop Off.” Where does that one stand with you?

“Pop Off” is one of my favorite songs that I ever made. I love that song. I put that beat on and was like, ‘Whoa, this shit is crazy!’” I remember just listening to it over and over.

And see, the video came later. The song wasn’t about Oscar Grant [an unarmed civilian shot dead by a BART officer in Oakland] when I laid the song. I don’t think I wrote that one down actually, it just flowed right.

Are you more of a writer or do a lot of your songs come from freestyles?

I do both. Really it just depends on the situation. I do write, but when I’m recording by myself I usually just think out a part and memorize it, and then put it down.

Then think about the next part, put it down and piece it together like that.

Do you find yourself getting looser when you record by yourself?

I can get loose anywhere, but it is more of a freedom to take your time. You don’t have to worry about other people’s schedules, or who’s coming into the studio next. I do like to record by myself a lot, though. It’s cheaper, and it’s on my own time.

Things are picking up for you, and it feels like you’re on the brink of something bigger. How are you personally and artistically dealing with that and the changes it’s bringing?

It’s crazy because it’s what I’ve worked so hard for. To start to get there is like, ‘Awwww shit.’ But I mean, as far the music, I’m just pushing on, making more music and not slowing down. Personally, I don’t know, not much has changed. I mean, I know the deal. I have to deal with the stuff of having my own family, and also living this life and things come up. And you know, that is hard. It doesn’t feel like it came out of the blue though. I’ve been working hard for this. I’ve been prepared for what’s coming my way. I’m just working hard and am happy and humbled that things have gotten this far, and I just hope that they keep going.

Have you been getting label interest and going to meetings?

I don’t know if I’m supposed to talk about it, but they know who I am.

Without saying names, what have the meetings been like?

Any funny label stuff?

It’s been pretty relaxed, and all I’ve heard are positive things. But I’m not even thinking about that at this point. I feel like I could make things much bigger down the road just doing what I’m doing now before I make that next big step.

Do you feel being a Bay Area dude, just being laced with that independent mindset, that it prepares you better for those situations?

I always say it’s inbred in Bay Area music, we don’t need anyone else to make it work, but at the same time that can slow us up. People get stuck just trying to do things by themselves, and not take that next step. I’m trying to do that. The Bay Area scene has made me be able to do what I’m doing now. You see how the ones before you did it. I’m just going a new route, as far as Internet and all that, instead of selling it out the trunk.

You embody the Bay Area sound and energy, but it’s also not confined to that. It’s like your content is broad but you spit it like a Bay cat. Is that a conscious move?

It’s not really conscious. The delivery, I don’t have much control over that. It just comes out of me like that. I don’t think, "OK, I’m going to make a song for the ladies so I got to change my voice or rap like this." Content-wise, I want to reach as many as possible, but I’m not thinking that way. It’s just whatever shit is on my mind. That’s why it’s random at times—that was just where my mind was going at the time.

You’re not a political rapper, but you do definitely sprinkle some things in. Do you see yourself delving into that a little more?

Political things come up when I feel personally pressured into something. It’s more important than anything else I’m talking about, but at the same time I’m not a political rapper, or trying to be one.

Roach Gigz will play the I’m not going to give you a Colonial Theatre on April 22. history lesson, but yeah, I Tickets are $20 with J Stalin as want to speak my opinion and part of the Bay to the Future let you know how I feel about Tour. Special guests will also something. So yeah, I’m not be in attendance. Tickets going to be Talib Kweli, but I are available at all Dimple won’t ever stop saying how Records locations and online at I feel.

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Issue 83 • April 18 – May 2, 2011

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Issue 83 • April 18 – May 2, 2011

Higher Ground

J*Ras of SouLifted strikes out on his own with City of Trees Words Amy Serna

A

t first glance, J*Ras is a tall, friendly and relaxed looking guy with long brown dreadlocks. But after meeting him, you quickly learn he is a hardworking musician who takes on the roles of DJ, singer, rapper, multiinstrumentalist, producer, songwriter, husband and father. The hip-hop and reggae lover from SouLifted who has been in the music industry for more than a decade is ready to unleash his first solo album, City of Trees.

Unlike some mainstream hip-hop and reggae artist, J*Ras wants his music to serve as a call of awareness and individualism to people of all ages in the community.

“You can hear in a lot of the songs the message to be your own individual and keep going against the grain, doing your own thing,” said J*Ras, sitting on a chair in the green music lesson room at the ZuhG Life Store. “But that can also help to give them inspiration to get through things in life.”

When the Sacramento State alum travels and performs, he likes to bring the whole family with him, including his wife, Lady Grace from SouLifted and his two children. Even though his children might be considered youngsters they are already starting to follow in their dad’s footsteps. His 10-year-old son, Chase, is a songwriter and rapper and, according to his father, “tears it up” while performing on stage.

His daughter Jossalin is only 2 years old but has to be given her own mini microphone at the live shows or else she will attempt to grab a mic from mom and dad.

“She was singing Bob Marley at a show the other day,” J*Ras said with a smile. “It’s just natural to her.”

On top of traveling with his family, J*Ras is active in the Auburn Hip-hop Congress, a local organization that provides youth with the opportunity and tools to help make a change in their society. At the nonprofit organization, J*Ras acts as the Artist Development Coordinator and works with and teaches young kids creative writing and the history of hip-hop. “[We’re] working with the kids, giving them what we didn’t have when I was growing up in Auburn and that community, which is an outlet to express your creativity,” J*Ras explained.

Meeting up with him downtown at the ZuhG Life Store seemed like the perfect place to get to know J*Ras, since we were surrounded by music and art by local artists.

Dive Into Sacramento & Its Surrounding Areas

Your new album is City of Trees. I’m guessing that it’s about Sacramento?

Yeah, it’s a reference to Sacramento. That’s one of the tracks on the album… It just has to do with Sacramento kind of being overlooked and it’s really a good place to be. I don’t live in Sac right now. I moved to Grass Valley up in the hills.

But I was born in Sac, went to Sacramento State, and I got to show love for Sacramento.

You are a very talented guy: a vocalist, a DJ, rapper, producer, basically everything. Did you have all of those roles with your new album?

Yeah, in the new album, I produced the whole album and I play the majority of instruments.

There are guests from SouLifted: Brian Fleshman helped to produce some of the tunes, Steven Leonard played some of the guitar and bass. So, we did add some those elements from SouLifted.

But I played pretty much everything on all of the tunes, even turntables. [I] do a lot of the vocals, besides some of the backing vocals.

And there are some other guests on the album, including Prezident Brown, who is one of my favorite reggae artists, Soulmedic and Jahworks the Revolutionary. We do have a few guests on there but mainly this is just something that I’ve been working on for the last couple of years.

Do you have a certain theme that you are going for in the album, a certain meaning behind the lyrics?

We’ve always carried a positive message in the music. And with SouLifted, we’ve always had the music to lift you up. It’s conscious music with a message. It’s not just about the things that you normally hear in hip-hop music or even reggae.

It’s things that you’re going through and how we struggle and how we overcome those things.

One of the songs is called “Champ for Life,” and it’s really just a reflection of life and what’s got me here now. It kind of tells a story of where I’m at now. I guess the theme still would be conscious music that does have a message, a positive message for the people.

Do you have a target audience?

What I’ve always liked is that at our shows we always get people dancing. Whether they’re little kids that are 2 years old or the 80-yearold grandmas. And that’s what it’s all about, is getting the people involved. I work with the Auburn Hip-hop Congress as well, and it’s all about trying to help with the youth and giving the youth positive music that they can listen to. Not just the hip-hop that they’re hearing on the radio or the things that are out there easily accessible for them. It’s about giving them something with a message. Mainly our majority of listeners and my majority of listeners are college aged, a little bit of older. But the music is for everyone for sure.

“What I’ve always liked is that at our shows we always get people dancing. Whether they’re little kids that are 2 years old or the 80-year-old grandmas.

And that’s what it’s all about, is getting the people involved.” – J*Ras What were some of the challenges working on your solo album—going from a big band to just you?

One of the main challenges is doing it myself and being so critical of my own music. Instead of being able to have that input from everybody to make it that collected thing. But that’s also given me the freedom to make it exactly how I want it. So some of those challenges also become strengths of the album. Mixing and mastering, just some of those fine tuning things, were probably the hardest challenges. It was so hard for me to be happy for where the album was, making it perfect.

What made you want to work on your own album?

I’ve played in multiple bands from Heart Life and Soul to SouLifted. I’ve always written my own music, and I have so many songs that haven’t been recorded because I focus so much energy on the band… I love that collective energy of the people when we unite. It’s just stronger and I love it, so really just kind of realizing where I am now and seeing what I need to put some energy into this solo album so I could really get it out there. I’ve been doing a lot more solo shows myself touring more and just trying to get the music out there. I knew that this was the next logical step in the progression. And having the ability to work with some of these reggae artists and other artists that I aspire to work with on my solo stuff [has] kind helped me push it and get the album out.

SubmergeMag.com

Do you see more solo work for your future?

Absolutely, we have a lot of projects going on, which is great and we are doing a lot of collaborations. Right now, I’m working on an album with Soulmedic and a lot of music with him. He is a great reggae artist out of the Nevada City area and Hawaii—he is kind of half and half. I’m also doing a tour with some of the artists from Thizz Nation, which is kind of funny, because it’s totally anti what our music is about. But they’re trying to bring that consciousness and educate some of the people and their audience. We got to try and reach every target audience we can. So, I’ll definitely be pretty busy doing some solo work, but I also hope to include some more SouLifted shows. And doing a lot of collaborations with artists, a lot of hip-hop artists in Sacramento and working with the Auburn Hip-Hop Congress right now a lot too.

I’ve read that you have been performing since 1999… over 10 years!

Yeah, that’s when I actually threw my first show. I was 15 years old and I got approached because we had been doing parties, where we just pull out in the woods and set up our turntables and generator. And so the word got out. We had a little hip-hop crew when I was still in high school and one of the local bars actually asked us to throw a show and that was in May in 1999. That was the first show that I threw myself, made the flier and all that, cutting stuff out, old school. It’s come a long way since then and we put a lot into it. I’m real happy with where I’m at now and where it’s moving along.

What is the best part of performing live?

The energy from the people. Just the feeling that I get from performing, it’s not like anything else. I know I’m meant to be doing that when I’m up there… And I love getting the people involved and the energy and getting that love back from all of the love that you put into the music.

J*Ras will celebrate the release of his solo album City of Trees at Sol Collective on April 29.

Lady Grace, Task1ne and many others will also be on-hand.

Expect special guests and some big surprises. The show is all-ages and gets underway at 8 p.m.

Issue 83 • April 18 – May 2, 2011

17

april 18– May 2

904 15th Street 443.2797

Between I & J • Downtown Sacramento

submergemag.com/calendar

m usic

april/May TUES

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Autumn Sky 5:30Pm the DiPPin’SAuce 9Pm AcouStic oPen mic 5:30Pm WAlkingSPAniSh 9Pm X tRio 5Pm

hARleyWhiteJR.

feAtuRingAARon king 9Pm PAileR & fRAtiS 5:30Pm

cAfé R &B 9PM

Johnny guitAR knoX 5Pm

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4.18 Monday

Fox & Goose Open Mic Night, 7:30 p.m.

Luigi’s Fun Garden Branches, The Bell Boys, Johnny B, 8 p.m.

Old Ironsides Strapped for Cash w/ Nuance, 7:30 p.m.

Powerhouse Pub Artist In You, 7 p.m.

Press Club Calling Morocco, The Neighbors, 9 p.m.

4.19 Tuesday

Ace of Spades Afroman, Ill Effect, Pref1x, Who Ride, Quette Daddie, 6 p.m.

Capitol Garage Open Jazz Session, 9 p.m.

Distillery Karaoke, 9 p.m.

Fox & Goose Traditional Irish Jam Session, 7 p.m.

Marilyn’s Wires & Wood, 8 p.m.

MVP’s The Arcade w/ DJ Los, 7 p.m.

Old Ironsides Frisky, 9 p.m.

Powerhouse Pub DJs Rigatony, Alazzawi, 9 p.m.

Press Club Pressing Forward w/ Ross Hammond and Guests, 8 p.m.

Red Hawk Casino Audioboxx, 6 p.m.

Shine Coffee Open Mic Night hosted

by Early Brooks, 6 p.m.

T2 Nightclub & Lounge Karaoke, 9 p.m.

Torch Club Autumn Sky, 5:30 p.m.; The Dippin Sauce, 9 p.m.

4.20 Wednesday

Blackwater Cafe Open Mic, 7 p.m.

Club Car The Double Shots, 7:30 p.m.

Club Retro Built By Stereo, 7 p.m.

Distillery Karaoke, 9 p.m.

District 30 TGIW w/ DJ Benzi, DJ Nate D, 9 p.m.

The Fire Escape Bar and Grill Rewind, 8 p.m.

Fox & Goose Traditional Irish Jam Session, 7 p.m.

The Hub Wampire, Nick Reinhart (of Tera Melos), Religious Girls, 9 p.m.

Luigi’s Fungarden Deer Park Avenue, Endoxi, The Repair, 8 p.m.

Marilyn’s Misamore, System & Station, 9 p.m.

Mix DJ JB’s B-Day Blowout, DJ Gabe Xavier, 9 p.m.

Naked Lounge Downtown Live Jackson Griffith, The Speak Low, Mike Diaz, Heather Rose, 8:30 p.m.

Old Ironsides Open Mic w/ host Lare Crawley, 8:30 p.m.

Press Club HUMP w/ CHLLNGR, Dibiase, Dusty Brown, DJ Whores, 9 p.m.

Red Hawk Casino Audioboxx, 6 p.m.

Shady Lady Straight, No Chaser w/ CrookOne, 10 p.m.

Sophia’s Thai Kitchen KDVS Fundraiser Night w/ DJ’s, 5 p.m.

Tacos & Beer (Davis) Funk Night w/ Wooster, Seamoose, 9:30 p.m.

Torch Club Acoustic Open Mic, 5:30 p.m.; Walking Spanish, 9 p.m.

Townhouse 916 Junglist 4-20 w/ CRS?, Ross B, ESEF, Erock B, Crescendo, Billy Lane, Evolve, 9 p.m.

Uncle Vitos (Davis) Boom Bip w/ The Flower Vato, 10 p.m.

University Union Serna Plaza, CSUS Rin Tin Tiger, 12 p.m.

4.21 thursday

Ace of Spades Murderdolls, Blownload, Misamore, Avenue Saints, Spider City, 6:30 p.m.

The Blue Lamp The Resurrection Men, 8:30 p.m.

The Boardwalk Pythagora, South of Sunshine, City of Salt, 7 p.m.

Club Car Songwriters Showcase, 8 p.m.

The Coffee Garden Open Mic Night, 8 p.m.

District 30 I Love House w/ Ron Reeser, 9 p.m.

Dive Bar Duel Thursdays w/ Greg & Jason, 9 p.m.

Fox & Goose Poetic Justis, 8 p.m.

Golden Bear Shaun Slaughter, 10 p.m.

Harlow’s The Devil Makes Three, 8 p.m.

Liquid Nightclub DJ Eddie Edul, 9 p.m.

Marilyn’s RockOn Live Band Karaoke, 9 p.m.

Mix Andy Caldwell, Vince Lombardi, 9 p.m.

Naked Lounge Downtown Live Gillian Underwood, Dena Maccabee, Allyson Seconds, 8:30 p.m.

Old Ironsides Puzzletree, 9 p.m.

Press Club Mondo Deco, Weird Harold, 9 p.m.

Red Hawk Casino Audioboxx, 6 p.m.

Torch Club X Trio, 5 p.m.; Harley White Jr. feat. Aaron King, 9 p.m.

Vega’s Blues Jam, 7 p.m.

4.22 Friday

Ace of Spades Arden Park Roots, Dogfood, Simple Creation, Eazy Dub, Official Response, Layst, 6 p.m.

Blue Cue Live Band Karaoke, 9 p.m.

The Blue Lamp Joe Firstman, Mildrid, Walking Spanish (Acoustic), 9 p.m.

The Boardwalk Dead City Sunday, Wesley Avery, Litchfield, Sensual Saint, 7 p.m.

Capitol Garage Get Down to the Champion Sound w/ DJ ESEF & Selector KDK, 10 p.m.

Colonial Theatre Bay to the Future Tour w/ Roach Gigz, J Stalin, 7 p.m.

Distillery Acoustic Friday w/ Hans Eberbach, Carly DuHanie, Gerard Fragamino, Kellie Hoover, 10 p.m.

District 30 Sam Isaac, 9 p.m.

The Fire Escape Bar and Grill MDC, Don’t Care!, American Habit, City of Vain, Twitch Angry, Global Disgust, 6 p.m.

Fox & Goose Honyock, Bypassing Oblivion, 9 p.m.

Golden Bear DJ Crook, 10 p.m.

Harlow’s Tom Rigney & Flambeau, 7 p.m.

Luigi’s Fungarden Lite Brite, I’m Dirty Too, Der Spazm, Mr.Loveless, 8 p.m.

Marilyn’s Smirker, The Stone Ghosts, 9 p.m.

Miners Foundry (Nevada City) Exquisite Corps, Low Son, The Trap Miners, 8 p.m.

Mix DJ David X, 9 p.m.

Naked Lounge Downtown Live Not An Airplane, Caught In Motion, Early and Often, 8:30 p.m.

Old Ironsides BOMBA! w/ DJs Adam J, Shaun Slaughter, 10 p.m.

On The Y Kennedy Veil, Decomposition, Cursed, Divination of the Damned, 9 p.m.

Press Club DJ Rue, 9 p.m.

Red Hawk Casino Kristy Osmunson, 5 p.m.; Superlicious, 9:30 p.m.

Shenanigans Havenside, Sinister Scene, Hugo Stiglitz, 8 p.m.

Sophia’s Thai Kitchen Boca Do Rio, 10 p.m.

T2 Nightclub & Lounge DJs & Dancing, 9 p.m.

Torch Club Pailer & Fratis, 5:30 p.m.; Cafe R&B, 9 p.m.

ZuhG Life Store Christopher John, Rich Krieger, Neil Irani, Jesi Naomi, 4 p.m.

4.23 Saturday

Ace of Spades Amon Amarth, 7 p.m.

Beatnik Studios C Plus (Album Release), Illecism & Fly High, Chuuwee, DLRN, DJ Oasis, Matt Cali, A.V., DJ Flow, 9 p.m.

The Blue Lamp O St Dub, Whiskey Avengers 9 p.m.

The Boardwalk Mystic Roots Band, Block Mob, Cause & Effect, La Noche Oskura, California Kid, MC Dirty Sanchez, 7 p.m.

Callison’s Bar Instagon, 9:30 p.m.

Club Car Kiss N Tell, 9 p.m.

Club Retro Causa Mortis, Maltreated, Mountain Movers, Galatia, Foundations In the Sand, Critical Limit, Beyond All Ends, Bulltrue, And Came Back Brutal, Through The Threshold, 3:30 p.m.

Distillery Jason & the Punknecks, The Cheatin’ Hearts, Dry County Drinkers, Matt Gage Band, 10 p.m.

7431 Madison ave CitRus HeigHts happy hour mon-fri 3-6pm: $2 wELLS & domEStic drAftS 7 days a week 2pm-close:

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Dive Into Sacramento & Its Surrounding Areas

District 30 DJ Fabian, 9 p.m.

The Fire Escape Bar and Grill The Strange Party, Kill Devil, Support the Rabid, Get Shot!, Neptunes Folly, Okami, Crunchees, Future Daydream, Drastic Actions, 5 p.m.

Golden Bear Sweaty w/ DJ Whores, 10 p.m.

Harlow’s N Dambi, 10 p.m.

Laughs Unlimited Road Test, 4 p.m.

Luigi’s Fungarden Goodness Gracious Me, Okay Jose, 8 p.m.

Luna’s Cafe Allyson Seconds, The Sanders Brothers (of The Hot Tar Roofers), Marc Del Chiaro, Matt Woodcheke, 9 p.m.

Marilyn’s Quinn Hedges Band, Hans Eberbach, 9 p.m.

Mix Wonderland w/ DJ Mike Moss, 9 p.m.

Naked Lounge Downtown Live 2 Or 3 Guys, The Impotent Ninja, 8:30 p.m.

Old Ironsides Island of Black & White, Gerald Please, 9 p.m.

The Park Ultra Lounge DJ Spider, DJ Peeti-V, 9 p.m.

Phono Select Dead Western, 6 p.m.

Press Club Top 40 Dance w/ DJ Larry Rodriguez, 9 p.m.

Red Hawk Casino Kristy Osmunson, 5 p.m.; Superlicious, 9:30 p.m.

Shine Coffee Surface Tension, Mark & George Richardson, John Malcom Cuthbertson, 6 p.m.

Sophia’s Thai Kitchen Diego’s Umbrella, 10 p.m.

T2 Nightclub & Lounge DJs & Dancing, 9 p.m.

Torch Club Johnny Guitar Knox, 5 p.m.; Ron Hacker, 9 p.m.

Luigi’s Fungarden Paper Pistols, The Dreaded Diamond, The Golden Ghosts, 8 p.m.

Old Ironsides Strapped for Cash w/ Nuance, 7:30 p.m.

Powerhouse Pub Karaoke, 9 p.m.

Press Club Jet Black Popes, March Into Paris, 9 p.m.

4.26 Tuesday

Capitol Garage Open Jazz Session, 9 p.m.

Distillery Karaoke, 9 p.m.

Laughs Unlimited Acoustic Open Mic w/ Sandra Dolores and Friends, 7 p.m.

Luna’s Cafe Mike Eller, Rob Heath, Larry Potts, 7:30, p.m.

Marilyn’s Wires & Wood, 8 p.m.

Miners Foundry (Nevada City) Dark Dark Dark, Y La Bamba, Why Are We Building Such A Big Ship?, 7 p.m.

MVP’s The Arcade w/ DJ Los, 7 p.m.

Old Ironsides Frisky, 9 p.m.

Powerhouse Pub DJs Rigatony, Alazzawi, 9 p.m.

Red Hawk Casino Audioboxx, 6 p.m.

Shine Coffee Open Mic Night hosted

by Early Brooks, 6 p.m.

T2 Nightclub & Lounge Karaoke, 9 p.m.

Torch Club Alex Nelson, 5:30 p.m.; The Dippin’ Sauce, 9 p.m.

Townhouse GRIMEY w/ Mimosa, Deathface, Paper Diamond, BOGL, T Dub, Whores, Crescendo, Jaytwo, emcees Skurge, Bru Lei, 9 p.m.

4.24 4.27 Sunday

Ace of Spades In This Moment, Straight Line Stitch, System Divide, Sister Sin, Represa, Princess Die, 5:30 p.m.

The Blue Lamp Reggae Bashment w/ DJ Wokstar!, 9:30 p.m.

Distillery Karaoke, 8 p.m.

Dive Bar Clash of the iPods, 9 p.m.

The Fire Escape Bar and Grill Red Red Kroovies, Creature Colony, HDHD, 6 p.m.

Harlow’s (Momo Lounge) Soulfood, 10 p.m.

Laughs Unlimited Four Barrel, 3 p.m.

Mix Bunny Hop w/ DJ Gabe Xavier, 9 p.m.

Naked Lounge Downtown Live At the Edge, Streetlight Fire, The American Scene, Troubled Coast, 8:30 p.m.

Powerhouse Pub Powerhouse of Blues, 3 p.m.; Blues Jam, 7 p.m.

Press Club Sunday Night Soul Party w/ DJ Larry & DJ Hailey, 9 p.m.

Red Hawk Casino Erin McKinney, 7 p.m.

Sol Collective Northern California Beat Swap Meet w/ Antriks, Aries, Cellski, Chuuwee, Epik (Northstar Zulu), Jawa (Scratch Academy LA), Jus Jones (Rock Force), Nocturnal, Rated R, Teeko, Lee Bannon, Four Five, 12 p.m.

Torch Club Blues Jam, 4 p.m.; Tess Sell, 8 p.m.

4.25 Monday

Distillery Karaoke, 9 p.m.

Fox & Goose Open Mic Night, 7:30 p.m.

Harlow’s Hugo, Damato, 7 p.m.

The Hub G.Green, Uzi Rash, Pistol Pete, 8:30 p.m.

Wednesday

Ace of Spades Hollywood Undead, 10 Years, Drive A, New Medicine, 6 p.m.

Blackwater Cafe Open Mic, 7 p.m.

Club Car The Double Shots, 7:30 p.m.

Distillery Karaoke, 9 p.m.

Fox & Goose Steve McLane, 8 p.m.

Laughs Unlimited Karaoke, 7 p.m.

Marilyn’s Stick History, 9 p.m.

Mix DJ Gabe Xavier, 9 p.m.

Old Ironsides Open Mic w/ host Lare Crawley, 8:30 p.m.

Press Club HUMP w/ DJ Whores, 9 p.m.

Red Hawk Casino Audioboxx, 6 p.m.

Shady Lady Straight, No Chaser w/ CrookOne, 10 p.m.

Tacos & Beer (Davis) Funk Night w/ Come 11, Seamoose, 9:30 p.m.

Torch Club Acoustic Open Mic, 5:30 p.m.; Jimmy Pailer, 9 p.m.

Uncle Vitos (Davis) Boom Bip w/ The Flower Vato, 10 p.m.

University Union Serna Plaza, CSUS Brian Rogers, 12 p.m.

4.28 Thursday

The Blue Lamp The Builders and The Butchers, Damion Suomi & The Minor Prophets, 8:30 p.m.

The Boardwalk R-Dot Carter, 53Zip Boyz, 7 p.m.

Club Car Songwriters Showcase, 8 p.m.

The Coffee Garden Open Mic Night, 8 p.m.

District 30 I Love House w/ Trevor Simpson, 9 p.m.

Dive Bar Duel Thursdays w/ Jason & Nathan, 9 p.m.

The Fire Escape Bar and Grill Schienni Minnelli (Germany), The Snot Cocks, 5 Fingers of Death, Fist Full of Freaks, 6 p.m.

Fox & Goose Stephen March, 8 p.m.

Golden Bear Shaun Slaughter, 10 p.m.

Harlow’s Mindy Smith, 7 p.m.

Liquid Nightclub DJ Eddie Edul, 9 p.m.

Marilyn’s RockOn Live Band Karaoke, 9 p.m.

Old Ironsides Jesi Naomi, Briana Lea Pruett, Patrick Walsh, 9 p.m.

Press Club Forgotten Passage, The Visceral, 9 p.m.

Red Hawk Casino Audioboxx, 6 p.m.

Sophia’s Thai Kitchen Sister Crayon, Superhumanoids, Lovers, 10 p.m.

Torch Club X Trio, 5 p.m.; Harley White Jr. feat. Aaron King, 9 p.m.

University Union Ballroom, CSUS Salsa Loca Live, 6:30 p.m.

Vega’s Blues Jam, 7 p.m.

4.29 FRIDAY

Ace of Spades Wallpaper, Hot Tub, The New Humans, 6:30 p.m.

Beatnik Studios Exquisite Corps, The Foxtails, 7 p.m.

Blue Cue Live Band Karaoke, 9 p.m.

The Blue Lamp Japan XOXO (Dance For Japan Benefit) w/ Shaun Slaughter, Adam J, Sam I Jam, Taylor Cho, 9 p.m.

The Boardwalk Freestyle Friday, 7 p.m.

Capitol Garage Get Down to the Champion Sound w/ DJ ESEF & Selector KDK, 10 p.m.

Colonial Theatre Dr. Horrible’s Sing-ALong Blog, 8 p.m.

Distillery The Golden Cadillacs, Infamous Swanks, Whiskey & Stitches, 10 p.m.

District 30 DJ David Carvalho, 9 p.m.

The Fire Escape Bar and Grill Left Alone, Peaceable Jones, Raw Dawg, Jafar and the Astrothieves, Gundown, 7 p.m.

Fox & Goose DJ Missy, Longshot Soundsystem, 9 p.m.

Golden Bear DJ Crook, 10 p.m.

Harlow’s Foreverland, 10 p.m.

Luna’s Cafe Richie Lawrence & the Yolos, Cooper Prawalsky, The Dry Creek Rounders, 8:30, p.m.

Marilyn’s Mad House, 9 p.m.

Mix DJ David X, 9 p.m.

Naked Lounge Downtown Live Dinosaur Bones, Rivers & Crowns, 8:30 p.m.

Old Ironsides The Snobs, The Kelps, 9 p.m.

Press Club DJ Rue, 9 p.m.

Red Hawk Casino ESP, 5 p.m.; After Dark, 9:30 p.m.

The Refuge Cute Pup, Parie Wood, Who & The What Now, Conquest, Anarchy Rose, 7 p.m.

Shenanigans EgoStall, Yes Sir!, Adam Roth, 8 p.m.

Sol Collective J*Ras (CD Release), Lady Grace, Task1ne, Eyezon, Def Eye, Lil Chase, Chozin, Odapt, At Ease, Xpression, DJ El Conductor, DJ Wokstar, DJ Admant, hosted by D Pierre Butler, live art by Jonas Lynch, DoctorBove, 7 p.m.

Sophia’s Thai Kitchen Miss Lonely Hearts, Casey Neill and the Norway Rats, 9:30 p.m.

Swabbies Pato Banton, UrbanFire, 6 p.m.

T2 Nightclub & Lounge DJs & Dancing, 9 p.m.

Torch Club Pailer & Fratis, 5:30 p.m.; Terry Hanck, 9 p.m.

RESTaURaNT & NIghT clUB Thursday apr 21 8PM $15 aDV

The devil

Makes

Wednesday apr 27 7PM

Freak Nasty erotic Poetry

Thursday apr 28 7PM $20

Three

MiNdy sMith

FrIday apr 22 7PM $15

apr 29 T o m FrIday ForeVerLaNd 10PM $13

Rigney

& Flambeau saTurday apr 30 9PM $25

Midnight Players

FrIday apr 22 10PM $15 sizzling sirens PresenT

Tuesday May 3 9PM $15

cannabis cabaret

broTherhood Wednesday May 4 10PM $10

I love you, Mary Jane!

The Chris robinson

saTurday apr 23 10PM $20

N dambi

saTurday apr 24 10PM

Thursday May 5 6:30PM all ages

soulfood in the momo lounge MOnday apr 25 7PM $12

hugo wiTh gueST damaTo

Serani Portugal. the Man

saTurday May 7 6PM $20

house of floyd saTurday May 7 10PM $10

departure Journey TribuTe band

COMInG sOOn May 10 agent ribbons May 13 rob Wynia of floater May 13 roger Clyne & the Peacemakers May 15 Candyrat records May 19 trampled by turtles May 20 & 21 tainted love May 22 Close to You May 26 gyptian June 2 Young Dubliners June 2 foster the People June 4 old 97’s June 11 Steelin’ Dan June 11 Dane Drewis June 12 Si*Se July 21 hapa Sept 11 Colin hay

VIp BOOThs aVaILaBLe CaLL CLuB FOr deTaILs parTIes OF aLL sIZes FOr aLL OCCasIOns

email: reservations@harlows.com or Call 916.441.4693x19

BISTRO MENU

aVaILaBLe FrOM 6-10pM

Call for reservations Includes Cover Charge for Most Shows

Dress CoDe enforCeD (jeans are okay) • Call to reserve Dinner & Club tables

2708 J Street Sacramento • 916.441.4693 • www.harlows.com SubmergeMag.com

Issue 83 • April 18 – May 2, 2011

19

20

Issue 83 • April 18 – May 2, 2011

Dive Into Sacramento & Its Surrounding Areas N E W S & R E V I E W B U S I N E S S U S E O N LY DESIGNER PG/MM

ISSUE DATE 04.0711

ACCT EXEC ANS

4.30 5.02 Saturday

Ace of Spades Track Fighter, Automatic Static, Allinaday, Fight Inside, Split Self, South Of Sunshine, 5:30 p.m.

The Blue Lamp Mike Watt & The Missing Men, 9 p.m.

The Boardwalk Destruction, Heathen, War Beast, Blessed Curse, Minenwerfer, Waste Head, Righteous Sire, 6 p.m.

Cache Creek Casino Michael Bolton, 8 p.m.

Club Car The Jamal Walker Band, 9 p.m.

Distillery White Minorities, Blownload, Skinhammer, 10 p.m.

District 30 Beatnick, 9 p.m.

The Fire Escape Bar and Grill The Fortunate Few, Coffin Hunter, West Nile Ramblers, KB & the Slingtones, 9 p.m.

Fox & Goose Zoo Human Project, The Isaac Howl, 9 p.m.

Golden Bear Sweaty w/ DJ Whores, 10 p.m.

Harlow’s Midnight Players, 9 p.m.

Laughs Unlimited The Pickups, 4 p.m.

Luigi’s Fungarden Baby, Whiz Bang!, Community College, Overthruster, 8 p.m.

Luna’s Cafe David Houston & the Strings, Proxy Moon, Early Brooks, 9 p.m.

Marilyn’s Kattywompus, Bonebag, Hurt, 8:30 p.m.

Memorial Auditorium Cameliia Symphony Orchestra: Vive la France, 8 p.m.

Mix Wonderland w/ DJ Mike Moss, 9 p.m.

Naked Lounge Downtown Live Flamenco Del Oro, Kina Mendez, 8:30 p.m.

Old Ironsides Automatic Rival, Pebble Theory, Ghost River, 9 p.m.

Press Club Top 40 Dance w/ DJ Larry Rodriguez, 9 p.m.

Red Hawk Casino ESP, 5 p.m.; After Dark, 9:30 p.m.

Sophia’s Thai Kitchen The Souterrain, Sallie Ford & the Sound Outside, 10 p.m.

T2 Nightclub & Lounge DJs & Dancing, 9 p.m.

Torch Club Johnny Guitar Knox, 5 p.m.; Ty Curtis, 9 p.m.

5.01 Sunday

Ace of Spades Raekwon, Mean Doe Green, Rebel Diaz, The Cuf, Kodak Visualz, DJ Oasis, C Plus, J*Ras, 7 p.m.

The Blue Lamp Reggae Bashment w/ DJ Wokstar!, 9:30 p.m.

Distillery Karaoke, 8 p.m.

Dive Bar Clash of the iPods, 9 p.m.

The Fire Escape Bar and Grill Amb Pirate’s B-Day Bash w/ Motograter, White Minorities, The Left Hand, Get Shot!, Twitch Angry, 6 p.m.

Laughs Unlimited The Sandra Delores Band, 3 p.m.

Mix Sunday Circus w/ DJ Gabe Xavier, 8 p.m.

Powerhouse Pub Powerhouse of Blues, 3 p.m.; Blues Jam, 7 p.m.

Press Club Sunday Night Soul Party w/ DJ Larry & DJ Hailey, 9 p.m.

Torch Club Aaron King & Friends, 4 p.m.; Johnny Guitar Knox and The Soothers feat. Clint Marrs, 8 p.m.

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monday

The Boardwalk The Psychedelic Furs, 7 p.m.

Distillery Karaoke, 9 p.m.

Fox & Goose Open Mic Night, 7:30 p.m.

Liquid Nightclub DJs Ron Reeser, Rustique, 9 p.m.

Old Ironsides Strapped for Cash w/ Nuance, 7:30 p.m.

Powerhouse Pub Karaoke, 9 p.m.

Press Club 2 Or 3 Guys, 9 p.m.

Comedy Cache Creek Casino Comedians of Chelsea Lately w/ Chuy, Loni Love, Chris Fanjola, Josh Wolf, April 23, 8 p.m.

Community Center Theater Laugh at My Pain Tour w/ Kevin Hart, April 29, 8 p.m. & 10:30 p.m.

Laughs Unlimited Best of Open Mic Showcase, April 19, 8 p.m.

Chris Karney, Justin Worsham, April 21 - 24, Thursday & Sunday, 8 p.m.; Friday & Saturday, 8 p.m. & 10:30 p.m.

Frank Lucero, April 28 - May 1, Thursday & Sunday, 8 p.m.; Friday & Saturday, 8 p.m. & 10:30 p.m.

Luna’s Cafe Keith Lowell Jensen’s Wednesday Night Comedy, Wedesday’s, 8 p.m.

Naked Lounge Downtown Live World's Worst Doctors Comedy Improv, April 28, 8:30 p.m.

Po'Boyz Bar & Grill (Folsom) Comedy Open Mic, Mondays, 9 p.m.

Punchline Comedy Club Doug Benson Live CD Recording, April 20, 7 p.m. & 9:30 p.m.

Paul Mecurio, Christina Pazsitzky, April 21 - 23, Thursday, 8 p.m.; Friday & Saturday, 8 p.m. & 10:00 p.m.

Godfrey, April 28 - May 1, Thursday & Sunday, 8 p.m.; Friday & Saturday, 8 p.m. & 10 p.m.

Sacramento Comedy Sportz Mayhem!, every Thursday, 9 p.m.

ComedySportz, every Friday & Saturday, 8 p.m.

Sacramento Comedy Spot April 20 & 27, Improv 1 Continuous, 7 p.m.; Harold Night, 9 p.m.

April 21 & 28, Improv 1 Continuous, 7 p.m.; Cage Match, 9 p.m.

April 22, In Your Facebook, 8 p.m.; Pop Comedy w/ host Jesse Fernandez, 9 p.m.

April 23, 3 On 3 Tournament, 8 p.m.; Anti Cooperation League, 9 p.m.; High vs Drunk Improv, 10 p.m.

April 24, Open Mic Scramble, 7 p.m.

April 29, In Your Facebook, 8 p.m.; Stand Up Shoot Out, 9 p.m.

April 30, 3 On 3 Tournament, 8 p.m.; Anti Cooperation League, 9 p.m.

May 1, Open Mic Scramble, 7 p.m.

The Stoney Inn Comedy Open Mic, Mondays, 8 p.m.

Tommy T’s 420 Comedy Showcase, April 20, 8 p.m.

Bill Bellamy, April 21 - 23, Thursday, 7:30 p.m.; Friday 8 p.m. & 10 p.m.; Saturday, 7:30 p.m. & 10 p.m.

Wild Out Wednesday, April 27, 8 p.m.

Pretty Funny Comedy Show and DVD Taping w/ Ellis Rodriguez, Dennis Martinez, Hunter Hill, April 28, 8 p.m.

Bruce Bruce, April 29 - May 1, Friday 8 p.m. & 10 p.m.; Saturday, 7:30 p.m. & 10 p.m.; Sunday, 7:30 p.m.

Misc.

Beatnik Studios Red Night Poetry w/ Todd Cirillo, Joe Donohoe, Philip T. Nails, April 20, 8 p.m.

Back to Basics Photography Workshop, April 23, 10 a.m.

Benvenuti Performing Arts Center CORE Dance Collective presents: Awake My Soul, April 21 - 23, 7:30 p.m.

The Boxing Donkey Irish Pub (Roseville) Open Mic Variety Night, Mondays, 9 p.m.

Capitol Garage Trivia & Movie Night, Mondays, 9:30 p.m.

Colonial Theatre Sac Horror Film Fest presents: Repo the Genetic Opera, April 30, 8 p.m.

Crest Theatre The Vagina Monologues, April 26, 7 p.m.

The Capitol Steps, April 27, 7:30 p.m.

Premiere Screening of Planet of the Vampire Women, April 30, 8 p.m.

Effie Yeaw Nature Center (Carmichael) Guided Nature Walk: Wildflower Walk, April 30, 10:30 a.m.

Fox & Goose Pub Quiz, Tuesdays, 7 p.m.

Formoli’s Bistro Red Lotus and Formoli’s Bistro’s Slow Beer Movement Dinner: West Coast IPA’s, April 18, 6 p.m.

Fremont Park SactoMoFo: Sacramento Mobile Food Festival, April 30, 12 p.m.

The Guild Theatre Movies on a Big Screen presents: Easter Sunday School at MOBS, April 24, 7:30 p.m.

Harlow’s Sizzling Sirens present: I Love You, Mary Jane! Cannabis Cabaret, April 22, 10 p.m.

Freak Nasty Erotic Poetry, April 27, 7 p.m.

I Street (between 16th & 17th) Midtown Bazaar, Saturday’s, 10 a.m.

John Natsoulas Gallery Poetry Reading w/ Gillian Wegner, Gerald Fleming, April 21, 8 p.m.

Luna’s Cafe Joe Montoya’s Poetry Unplugged, Thursdays, 8 p.m.

MVP’s Slappin’ Wednesday’s Domino Night, every Wednesday, 8 p.m.

Never Felt Better Vegan Shop Nacheez Cook-Off, April 29, 7 p.m.

Pocket-Greenhaven Library Stand Up for Education: Special Screening and Discussion, April 27, 5:30 p.m.

Pony Express Elementary School E-Waste Day, April 30, 9 a.m.

Sacramento Area Peace Action Film Screening: The Economics of Happiness, April 26, 7 p.m.

Sacramento City College Cultural Awareness Center Spare Parts & Dismemberment: A Poetry Reading w/ Josh Fernandez, April 25, 12 p.m.

Sol Collective Mics & Moods Poetry Series, April 30, 7 p.m.

Southside Park Spring Egg Hunt, April 23, 11 a.m.

Spanglish Arte Make Your Own Rosary Pt. 2, April 30, 10 a.m.

Spotlight Dance & Fitness (West Sacramento) Capitol Flow Hip-Hop Dance Crew Auditions, April 30, 12 p.m.

Sutter’s Landing Regional Park Sutter’s Landing Park Celebration and Concert, April 30, 3 p.m.

University Union Ballroom, CSUS Ultimate Derby Radness: The Capitol Punishers vs Folsom Prison Bruisers, April 21, 7:30 p.m.

Issue 83 • April 18 – May 2, 2011

21

The grindhouse

Trains, Pains & Brain Drains Atlas Shrugged: Part I (The Strike Pictures) Words Joe Atkins As this film is the nadir of entertainment, let’s keep the synopsis short: Dagny Taggart (Taylor Shilling) owns Taggart Transcontinental alongside her myopic brother, James Taggart (Mathew Marsden).

Dagny works against her brother striving to make Taggart Transcontinental the best railroad ever! Yet her brother’s D.C. politicos only want to maintain underproduction, collectivism and profit sharing, and they make business development hard! Dagny teams with Hank Rearden (Grant Bowler) and they upgrade Taggart Transcontinental’s Colorado line with Rearden Steel’s new, extremely light, blue iridescent steel. And continually many of Dagny’s affiliates, the important entrepreneurs, first movers and creative minds who own companies, disappear.

The acting of Marsden, Bowler and Schilling is flat, stagnant and unattractive. It’s as depressed as the 2016 dystopic American economy depicted in the film. The robotic, unemotional acting that is forced upon us as Schilling smirks and jerks her way through the giant black holes which connect one fragmented scene to the next clipped attempt at narrative development physically made us cringe.

Yet perhaps we can phrase this in a different way: there is no good acting within this film, because as a film—in consideration of the script, the subject of objectivist philosophy (read: libertarianism), the mystery that develops so quickly we don’t have time to care about it at all and the rushed production of the film—it is not meant for good acting. A dystopic future America that operates at some level between fascism and anti-monopoly socialism requires, as subjects of this economic incongruity, business leaders that nobody sympathizes with anyway.

On the formal level, the film can’t decide if it’s a mystery, a romance, a fetish piece about the glory of private business development or a tirade against government interference. Of these disinterested perspectives, the latter two have larger implications with our contemporary moment.

All Dagny Taggart wants to do is run a successful railroad business, connect the nation and make a lot of money doing it. Within Atlas

22

Shrugged, oil prices are over $43.00 per gallon, but our protagonist—a robotic woman we’re supposed to sympathize with, who owns a train company— drives around urban high-rises in an extended limo. While she does this, the camera poignantly focuses our attention on destitute middle class panhandlers holding signs detailing their work experience. And just in case we didn’t get it, the film goes out of its way to disparage multiple characters who are working for social protections and services. But Dagny can’t run her business freely because the government keeps passing legislation against her interests. Thus in promotion of laissez-faire capitalism, the straw man is inevitably the fear-inducing, regulation machine called the State!

The government of the film pays lip service to social welfare while discriminately breaking apart functional businesses (and not providing any welfare). In fact, there isn’t a redeeming politician to be seen in the film: they only dismantle Rearden Steel and make investments with playboy frauds. And, based on this logic, we understand why James Taggart would want to insure Taggart Transcontinental with their guarantees. Right?

There’s even union bashing! Early on, Reardon tells his secretary to “file,” and therefore trash, a message from the United Metal Workers Guild. So if Rand were alive she’d be alongside Scott Walker busting the unions of Wisconsin.

This last point is most troublesome in consideration of the film’s terminal final scene, where entrepreneur Eliss Wyatt disappears. He burns his oil fields in Colorado, and says through the magic of overdubbed audio, “I’m on strike.”

According to Rand’s text the minds of U.S. business—those people who have been disappearing—can no longer operate within this oppressive government so they seclude themselves and their ideas from society. Effectively they go on strike and stop producing so that society can realize exactly how valuable their ideas really are. This embraces tactics of the left, or labor, for the use of the right, privatization of intellectual property without government regulation.

So to recap, Atlas Shrugged disparages the state, regulation, politicians, unions, workers, the unemployed, socialism, nationalization and antimonopoly policies. But excessive luxury, personal drive, individualism and profit are all great—even in the face of overwhelming financial disparity.

No wonder the only audience members were old white people.

Issue 83 • April 18 – May 2, 2011

Album Spotlight

Radio Friendly Unit Shifter Automatic Static Friends & Lovers (Gas Can Music)

Words James Barone photo Corey Bernhardt Zac Diebels (aka Z Rokk) is no stranger to the studio. The Sacramento local has been around the block, musically speaking. He’s done the major label thing with his old band, Simon Says.

The group was signed with Hollywood Records through the late ‘90s and early ‘00s. He even contributed songs to major studio films (such as Varsity Blues). But when that band dissolved in 2002, he took another route, studying political science at Sacramento State, and even got accepted to the McGeorge Law School before he rediscovered his love for music with his current outfit, Automatic Static (not to mention his own “School of Rock,” Rock Inc.), which is ready to release a new EP, Friends & Lovers, on May 24.

Produced and performed almost entirely by Diebels at Rock Inc. Studios (Matt Franks played bass on the EP), the songwriter shows his deftness behind the boards without sacrificing punching power. Only six-songs deep, Friends & Lovers makes a double album’s worth of noise. It has the feel and energy of mid-‘90s alternative rock, but doesn’t sound nearly as sloppy. There’s purpose and intent in the recording, a calculated, yet wild attack.

The huge riffs and slurred howls of the opening song, “Clique Master,” should be enough to instantly hook fans of aggressive hard rock music, but it’s the EP’s second track that cements Friends & Lovers as worthy of a deeper listen. “Drag Me Down,” is a blaring, seven-minute nü-grunge epic, rife with furious feedback and a vocal delivery to match.

Shimmering, tremolo-picked guitar distortion unfolds into a thumping chorus featuring a

caterwauling Diebels, firing spit-soaked lyrics.

The title track is more radio-friendly, though it opens with some of the second track’s residual feedback. On “Friends & Lovers,” a sinewy, rumbling bass line snakes through the otherwise sparse verses, giving way to the sort of explosive chorus that defined an entire generation of rock music—from Nirvana to Deftones. Diebels does well to nod to the bands that no doubt have influenced him without coming off as overly pandering or downright thieving.

Diebels does veer off path with “Pedal Down” and “Your Name is Not My Name,” with some mixed results. The former offers a nice break from the full-throttle rock of the four preceding tracks before surging into an unduly posturing chorus and somewhat bluesy bridge.

The latter has a frenetic pulse and even nicely incorporates some elements of electronic music, for some added flavor.

Friends & Lovers certainly has a radioready sound, but it’s not encased in much of the plastic gloss that’s lacquered on most of the hard rock that’s permeating the airwaves.

There’s a growl and snarl here that’s been sorely lacking for some time, an immediacy that’s become lost in the tweaking and polishing of every note to artificial and somewhat antiseptic perfection. It’s nice to hear something that sounds like it was actually made by a person again and not a team of engineers, songwriters and studio scientists. And it doesn’t hurt at all that it rocks so righteously.

Dive Into Sacramento & Its Surrounding Areas

refined tastes

A Good Day for Agave Tequila Museo Mayahuel 1200 K Street, Sacramento Words Adam Saake photos nicholas wray I’ll be the first to admit that when talk of the “revitalization” of Sacramento’s K Street Mall was a popular topic, I was skeptical as to whether or not the one or two establishments carrying all the weight could pull it off. Sure, The Social was a big deal and Ella is, well, Ella. But over the years more and more businesses popped up that were doing really interesting things. I turned from skeptic to believer and now I’m actually rooting for K Street. There are places like Marilyn’s for live music, Café Ambrosia for breakfast, District 30 for nightlife and the list keeps building. Tequila Mueso Mayahuel, the latest addition to the thriving 12th and K block, has me breaking out the pom-poms yet again.

Mayahuel will celebrate its grand opening on Cinco de Mayo (May 5), but the doors have been open for the past couple weeks; offering a small “teaser” menu and a few selections of tequilas, cocktails and beers. The dining area and bar are also just a glimpse of what Mayahuel will become as finishing touches are made to the relatively large space that will eventually include a lounge and VIP room.

When you arrive, don’t be alarmed if your server doesn’t bring you chips and salsa. It’s not that they don’t have them, it’s that owner Ernesto Delgado wants you to have a different view of what a Mexican restaurant can be.

“We’re actually charging for chips and salsa. In Mexico, they don’t have chips and salsa. They give you bolillo, which is a bread, or they give you other elements. People say, ‘You’re cheap because you don’t want to give away chips and salsa.’ That’s not it. We’re going to use this as a way to introduce new flavors,” says Delgado.

Delgado and staff are passionate people and that makes for a great dining experience. When you hear them speak about

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the menu, it’s with a tone reminiscent of homesickness. The food is as if you have taken traditional Mexican dishes from Mexico, dishes that have a comfort to them, and prepared them with the finest ingredients and executed thoughtfully by Chef Ramiro Alarcon. For example, a dish like the costilla de puerco con nopales, slow cooked pork ribs in a tomato and chili salsa and grilled nopales (cactus), is a dish that’s very geographically specific in Mexico. Not only are some of the dishes rarely found on menus, but they’re being taken in new directions that will make them even more unique to Mayahuel. The creativity is evident in appetizer plates like the bocaditos chicos, an assortment of six differently constructed bruschetta-esque concoctions. Crunchy slices of bread, tiny corn tortillas or fried chips are topped with ingredients like poblano and queso fresca, nopales and guacamole or shrimp, chipotle sauce and red onions. Alarcon and Delgado want Mayahuel to be about the experience; a focus on flavor and quality and all that makes Mexico shine.

“We want to showcase the tequila, but in the end it’s about Mexico,” says Delgado.

But they are excited about the tequila, and for good reason.

The words “smooth” and “tequila” are rarely used in the same sentence. We’re either reaching for the salt and lime or plugging our nose because it’s probably a close cousin of gasoline we’re drinking.

What a shame, because like any great spirit that has been carefully crafted, tequila is rich with complex flavor profiles. When you drink the good stuff, you realize you‘ve been thinking about it all wrong.

Delgado hopes to turn more people on to these kinds of tequilas and he’ll accomplish that by carrying over a hundred different kinds.

The fledging list is limited during their soft opening, but if you venture in before Cinco de Mayo, order some Clase Azul and take your time with it. The Clase Azul, which comes in a gorgeous blue and white bottle, is an example of what’s called a “reposado” which literally translates to “rested.” This tequila has seen a minimum of one year in bourbon oak barrels, which gives the tequila its influences and color. The smell is sweet and the oak barrels give it a velvety vanilla and almond mouth feel that will have you thinking twice about tequila the next time you’re out.

And it doesn’t end with tequila at the bar. Mayahuel’s beer selection offers some of the standard Mexican beers like Pacifico and Modelo on draft, but bottles will include Victoria and Corona Familiar that aren’t commonly found at most Mexican restaurants here in Sacramento. The Corona Familiar is large format bottle and is a beer that in Mexico they call “caguama,” which is slang for turtle and refers to the size and shape of the bottle. The glass is darker which “holds the beer better and lets in less light,” which can affect the taste and quality of the beer. As for the Victoria, aside from it being one of the more popular beers of Mexico City, my server explained, it’s the oldest bottled beer of Mexico and quite delicious.

Mayahuel definitely has their best foot forward as they tie up the loose ends and look forward to their grand opening in May. Sacramento’s taste buds are clearly getting smarter, and with that comes the opportunity for restaurants like Delgado’s to succeed.

When those doors open next month, step inside and find one more reason to root for K Street. Salud!

Issue 83 • April 18 – May 2, 2011

23

Two-a-Days

Comedian Ellis Rodriguez takes a yeoman’s approach to standup Words Blake Gillespie photo Igor Kondraya - MaverickPhotography.us

I

t’s 10 p.m. on a Sunday and I’m in a bowling alley bar with the hottest girl in Elk Grove (her claim) and local comedian Ellis Rodriguez. The topic of discussion: who has the best life ever?

The 22-year old Elk Grove girl swears up and down it’s her, since she coined the phrase “best life ever,” but her mom has to drive her home for political reasons. I feel as though I’m disqualified from the competition because I’m drinking in a bowling alley bar in South Sacramento. But Rodriguez is the closest to actually living it because, as he puts it, “I draw comic books and I tell dick jokes. That is the best life ever.”

I meet up with Rodriguez the next day at the Stoney Inn a couple hours prior to its open mic night, which is complemented by country karaoke night in the adjacent room. What type of crowd attends this open mic, I ask? “Random assortment of mostly urban comedy goers,” is his reply. This is the trenches for a comedian. In a night’s time I receive a crash course in one comedian’s regimen for sharpening his jokes just to squeeze one funny minute out of the week.

His first night up was an open mic at Old Ironsides. He says with conviction that he became a full-time comic the day he got on stage, but at the time he did not have a job standing in the way. Rodriguez was living out of his car, working comedy at night for three months before a friend got him a job as a branch manager selling wholesale toilets.

“I was branch manager/trainer/operations recruiter for the number one wholesaling plumbing company in the world,” he says. “Great company. Great people. Couldn’t fucking stand it.”

He gave his days to toilets, but the nights were long drives to San Francisco to wait around at open mics for opportunities to do five minutes on stage. Keep in mind it is comedy courtesy to stay until the end “Once I drove to Pleasanton for an open mic,” Rodriguez says. “Another comedian told me about it, and I looked forward to it all 12 hours of my shift that day. I got into work at 4:30 [a.m.] that day. At 5 [p.m.] I headed straight there after work only to arrive to an empty bar that wasn’t even open. I heard there was some stage time in San Francisco so I went to get some time only to arrive and be told that I ‘might be able’ to get some stage time. I stayed until the end that night, desperate for time. I was the last one called up at 11:14 p.m. I got home at 1 a.m. and it was inventory week. I had to pull a 12-hour shift again the next day. Par for the course.”

24

Now a full-time comic, Rodriguez employs a strict regimen that includes open mics Mondays through Wednesdays and paid gigs at clubs on the weekends. The drive I ride along for begins on Del Paso Boulevard, treks up to Folsom and then over to Roseville. He’s never alone, though. His 2-year old Italian Greyhound named Muñeca rides along.

“Tonight I’ll do three [open mics], tomorrow I’ll do two, Wednesday I’ll do four or five and then work the weekend,” he says.

“It’s one of the few things I’m actually regimented about. There’s no excuse.

None of the mics start before 8 [p.m.]… you can get up by 8.”

Rodriguez goes up around 8:30 p.m. at Stoney Inn to the crowd he predicted. Minutes before he goes up, he’s in my ear scrolling through his cell phone notes, running jokes by me that he might try out. It’s a fleeting moment of meekness.

The related fragments have potential, but it’s when he takes the stage, assuming a confident persona, that Rodriguez discovers exactly what it is about “testing out white slavery for a month” that makes people laugh. Rodriguez just secured another minute toward his full hour set.

“I write around five to 10 minutes every week,” he says. “If you write 10 minutes, then one minute is going to be good. You keep that minute. At the end of the year I’ve got another 52 minutes.”

Rodriguez is in his fifth year of standup, tirelessly logging hours and pages of notes. He records all his sets, reviewing the tape like a scouting coach hoping to find flaws and room for improvement. “I do black rooms, white rooms, alternative rooms,” he says. “I do every room I possibly can to get as good as I can be in that room. You have to be able to read an audience and know how to react to it, but not necessarily think that once you crush it for 10 minutes that you’ve conquered that room. Can you do it again with different material?”

An hour later we’re at Po Boyz Sports Bar & Grill in Folsom and, save for three 20-somethings having a night out and the owner’s friends, the room is littered with comedians waiting to get up. Cheryl the Soccer Mom from the Real

Issue 83 • April 18 – May 2, 2011

Dive Into Sacramento & Its Surrounding Areas

“I was branch manager/trainer/operations recruiter for the number one wholesaling plumbing company in the world. Great company.

Great people. Couldn’t fucking stand it.”

– Ellis Rodriguez

Funny Housewives of Rio Linda is hosting, and a young comedian is on stage venting about being excluded from the News & Review’s comedian feature. It’s a hostage situation.

Unfortunately it creates discomfort in the room that seems impenetrable as several comedians to follow struggle with the sound of silence. Rodriguez embraces the awkwardness and begins riffing hard on his friend Samm Hickey, who’s in the room. He tries out an AIDS joke we’ve discussed a few times that has yet to reach its full potential. We step outside to smoke a cigarette after his set and casually discuss the dos and don’ts of STD jokes. To him there’s something undeniably funny about saying his friend, who was recently diagnosed with AIDS, having “double AIDS,” even if it didn’t go over well the previous night in Elk Grove.

“I think I did all the herpes things,” he says. “I did most of the crabs thing, but they were really uncomfortable. I think there were a couple people that had that shit. I wanted to write another STD joke, but I’ve found that nobody knows enough about gonorrhea or syphilis for it to be funny. It’s just gross.”

Throughout the night I gather insider knowledge about the ideal crowd from Rodriguez and overhearing other comedians relate stories.

Rodriguez tells me it was not the crowd itself, and never should be blamed, that made his Elk Grove show difficult, nor is it the presence of a bowling alley in the next room. An ideal room is dark, slightly chilly and compact. One comedian stressed the importance of seating the audience in order to prevent a scattered crowd.

“The crowd was too spread out so they are able to form a consensus of what’s funny within their little groups,” Rodriguez says of the Elk Grove gig. “They didn’t have to worry about what the people around them were feeling. That contagiousness of laughter is what makes it easy.

But, if you can kill that crowd, then you’re going to destroy whatever show is set up properly.”

It is nearing midnight and we’ve arrived at the Boxing Donkey, a narrow Irish Pub in Roseville, for our final open mic. The bouncer asks that Rodriguez, a former Marine, tuck in his tags and Jesus piece—apparently they’ve had chain issues previously.

I ask Rodriguez about his time in the military, considering he was always a jokester growing up. “I was not a good Marine, at first,” he says.

He was 19 and distracted with partying instead of attending his college courses when he decided to join the military.

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“I’ll join the Marine Corps because they’ll make a man out of me,” he says. “I realized very quickly that Marine Corps does not make a man out of you. It gives you the opportunity to be a man. It puts you in situations where you’re pushed and strained. You’re constantly being tested and the choices you make, make you a man or a Marine.”

The Marine Corps wasn’t all precision posture, firm salutes and combat training, though.

Rodriguez says there was still room for humor.

“One of the things we did was send a person to retrieve an ID10Tango form on the other side of the base. They’d show up and the people there would say, ‘what are you doing here, you get that from ADMIN first, then ADMIN would say, ‘you need an ID10Tango release from your unit.’ They would come back and someone would finally tell them to write down ID10Tango. I. D. 10. T.” It is nearing 1 a.m. when Rodriguez seizes the mic at Boxing Donkey. The room is brightly lit, less than ideal, but it gives him a visual on the room’s reaction. By now he’s told the bit about being so drunk at a Halloween party that he actually thought he was Superman for the third time in the night, but he is orating with the proper emphasis and pauses to make absurd glances to pull the most laughter. He takes notice of a group of black men not laughing much by the bar. “I’ve got one for you guys,” he says and launches into the white slavery bit, winning over the doubters with a blindside punch line.

I don’t get back to my Malibu parked on Del Paso Boulevard until 1:40 a.m. The Stoney Inn is long closed, I’ve got a burger in my hand from Jack in the Box and a guy on a bicycle is circling Rodriguez’s car giving us weird looks before pedaling off. He tells me he’ll wait until I get in my car before he drives off. It’s par for the course for Rodriguez, but for me it’s damn exhausting.

“I’ve got hours to log,” he says. “You keep coming back until you get a nice easy room at The Improv opening for Bruce Bruce and you’ve only got to do 25 minutes, but you’re going to kill because you did all these gigs at crappy open mics working out new material in bars and bowling alleys.”

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Support Submerge advertisers We work our asses off here at Submerge to put out a FREE paper every other week. The truth is this simply would not be possible without the support of our wonderful advertisers. Please visit them and tell ‘em Submerge sent you.

Ellis Rodriguez will perform at Tommy T’s in Rancho Cordova on April 28. This will be a live DVD taping. Also performing are Dennis Martinez and Hunter Hill. This 17-and-over show starts at 8 p.m.

Tickets start at $10.

Issue 83 • April 18 – May 2, 2011

25

\

thursday

may 5

all agEs shoW!

telekinesis • Unknown Mortal orCHestra

the shallow end Kids in America…

Woah oh…

James Barone jb@submergemag.com

Harlow’s • 2708 J st. • saCto • 6:30pM

The Devil Makes Three Brown BirD

Harlow’s • 2708 J st. • saCto • 21 & over • 9:00pm

The BuilDers & The BuTchers DaMion suoMi & The Minor ProPheTs

blue lamp • 1400 alHambra blvd. • saCto • 21 & over • 8:30pm

Mike waTT + The Missing Men

blue lamp • 1400 alHambra blvd. • saCto • 21 & over • 9:00pm

“inTo The sPin Tour”

w/

Dessa

siMs + lazerBeak (DooMTree)

blue lamp • 1400 alHambra blvd. • saCto • 21 & over • 8:00pm

The chris roBinson BroTherhooD Harlow’s • 2708 J st. • saCto • 21 & over • 8:00pm roger clyne & The PeaceMakers (cD release show)

Harlow’s • 2708 J st. • saCto • 21 & over • 9:30pm

houses

The one aM raDio

blue lamp • 1400 alHambra blvd. • saCto • 21 & over • 9:00pm

TrisTen

The souTerrain

blue lamp • 1400 alHambra blvd. • saCto • 21 & over • 8:00pm

TraMPleD By TurTles aPache relay

Harlow’s • 2708 J st. • saCto • 21 & over • 9:00pm

thursday

apr 21 thursday

apr 28 saturday

apr 30 tuEsday

may 3 tuEsday

may 3 Friday

may 13 monday

may 16 tuEsday

may 17 thursday

may 19

B-siDe Players w/ sol Peligro

saturday

FosTer The PeoPle Harlow’s • 2708 J st. • saCto • 21 & over • 9:00pm olD 97’s Harlow’s • 2708 J st. • saCto • 21 & over • 9:00pm DeTroiT coBras blue lamp • 1400 alHambra blvd. • saCto • 21 & over • 8:30pm si*se’ (FroM nyc) Harlow’s • 2708 J st. • saCto • 21 & over • 9:00pm Marc BroussarD

thursday

Harlow’s • 2708 J st. • saCto • 21 & over • 9:00pm

Matt Hires • CHiC GaMine

Harlow’s • 2708 J st. • saCto • 21 & over • 8:00pm

abstract entertainment

may 28 jun 2

saturday

jun 4

thursday

jun 9 sunday

jun 12 WEdnEsday

jun 22

TickeTs availaBle aT: The BeaT (17Th & J sT.), DiMPle recorDs, Phono-selecT or online aT: www.evenTBriTe.coM, www.TickeTs.coM • tiCkets for Harlow’s sHows also availaBle aT www.harlows.coM

www.aBsTracTsacraMenTo.coM Issue 83 • April 18 – May 2, 2011 26

Bullying is a new problem facing America’s schools…

Oh no, wait, it totally isn’t. That shit has been around forever. No, really, it has. If you’re reading this, I’m assuming you read. Therefore, you’re probably a nerd. That’s OK! I’m not picking on you, I swear. Come back! I read (I have to, I edit this magazine), and I also write. You can imagine how nerdy that makes me. I just point out your nerdiness, because I assume that means you were bullied as a kid. Stop shaking your head. You’re not fooling anyone. You were picked on, Four-Eyes, just fucking admit it.

Bullying existed even way back when I was a kid. I wouldn’t say I was tortured. I had enough friends through junior high that only the rare upper classman with nothing better to do would mess with us. I was never really singled out by bullies until high school, but by then I was smart enough to avoid them. The cafeteria of my high school—a cavernous, dimly lit room with a labyrinthine layout of tables and benches and little to no adult supervision— was a hot bed of bully activity. Since the school lunches sucked anyway, I spent my lunch hours in the library, because as we all know, bullies can’t read, and I saved my lunch money for a slice at the bomb-ass pizza place down the block.

Now bullying is a problem, though. And by “problem” I mean something people are getting all up in arms about and the news is dedicating time to. I’m not saying it’s a bad thing. Bullying isn’t cool. It just would have been nice if it had as much national attention as it does now when I was getting my book bag padlocked to my chair in front of the entire cafeteria… But hey! Water under the bridge.

In recent months, bullies haven’t just become subject to punishment under school rules, but they’ve been caught in the grasp of the long arm of the law. Manar Salama, a seventh-grade student at Chicago’s Louis Pasteur Elementary School, was the target of bullying because of her Arabic heritage. A female student—identity withheld because she’s a juvenile—was arrested for making harassing phone calls to Salama’s home.

In Louisville, Ky., a community group, Citizens of Louisville Organized and United Together (CLOUT), convinced Jefferson County Public Schools to develop a comprehensive plan to combat bullying. CLOUT wants teachers and professionals to receive special anti-bully training as well as an enhanced system for reporting problems.

And in Brick, N.J., students of the Brick Township High School’s Gay-Straight Alliance called for a day of silence to raise awareness and protest name-calling and bullying based on a student’s sexual orientation.

So it seems that people are finally following their own advice and standing up to bullies. I guess it’s about time. Banding together and sticking up for yourself and others is a good thing, but on the other end of the spectrum, people are taking anti-bullying measures to extremes. Samantha Roselles, a 7-year-old girl from North Dakota underwent plastic surgery on her ears this past week, at her parents’ behest. Young Samantha’s ears were pinned back and a fold in her right ear was corrected. Dr. Steve Pearlman of New York performed the otoplasty courtesy of the Little Baby Face Foundation, a charitable organization that “transforms the lives of children born with facial deformities through corrective surgery,” according to the foundation’s official website (Littlebabyface.org). I thought Samantha’s Dumbo ears were kind of cute, but mommy knows best. Samantha’s mother told Good Morning America, “This was a preventative way, so she wouldn’t get bullied.” She went on to say, “I don’t want her to be teased and bullied and then have her lash out and treat people the way she’s being treated.”

That last bit might be the most telling. I’ve been working with kids for the past few years.

Most every day, the ones I deal with are the “bad” ones, the ones who fight and say mean, hurtful stuff to other kids. It’s interesting to see the other side. It’s easy to demonize someone when you don’t know their side of the story. Maybe they’re just treating others the way they’re treated also. Though I’m sure it’s just that most of them are dicks.

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MoN-SAturDAy 11-7 • SuNDAy 12-4 Issue 83 • April 18 – May 2, 2011

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