Submerge Magazine: Issue185 (April 13-27, 2015) by Submerge Magazine

Dive into Sacramento & its Surrounding Areas

april 13 – 27, 2015 • #185

The Rise and Fall of a Way of Life

Filmmakers Colin Hanks, Sean Stuart and Tower records Founder Russ Solomon Reflect on the Tower Legacy and the New Documentary, All Things Must Pass

one eyed reilly Raise a Glass!

SubmergeMag.com

liturgy The Soundtrack of the Apocalypse

fit eats Fresh to Your Front Door

free

Issue 185 • April 13 – April 27, 2015

Dive Into Sacramento & Its Surrounding Areas

9426 Greenback ln, Orangevale tickets available at dimple Records, armadillo records , or online at theboardwalkpresents.com all shows all ages

coming soon APR 25 AleSAnA

SATURDAy

FRiDAy mAy 1 ConDUCTing FRom The gRAve SATURDAy mAy 2 one eyeD Doll

Favorite weaPon

tuesday

Sierra SkYline

m ar 31

think again, the Fourth horseman, mercedes avenue

motorize

wednesday

fRiday

lonely avenue, madison ave, Sages

satuRday

apr 1 apr 3 & apr 4

SUnDAy mAy 3 RiTTz / CRookeD i

Solanum • Yankee Brutal ConCeived in ChaoS • PettY eduCation

mAy 7 he iS legenD

ThURSDAy

sunday

apr 5

mAy 8 Dev

FRiDAy

SATURDAy mAy 9 Dog FAShion DiSCo

mAy 10 The gReen

SUnDAy

weDneSDAy mAy 13 loCAl h / BATTleme ThURSDAy mAy 14 BlooD on The DAnCe FlooR SUnDAy mAy 17 nekRomAnTix

damage over time • highwaY Xii our endleSS oBSeSSion the Stalking diStanCe

tuesday

apr 7

mAy 21 one

ThURSDAy

A TRiBUTe To meTAlliCA

leSS than zero

fRiday

apr 10

sunday

apr 12

tuesday

mAy 30 ChUnk! no, CAPTAin ChUnk! SATURDAy

apr 14

SUnDAy mAy 31 Dizzy wRighT TUeSDAy jUne 2 DUSTin kenSRUe

jUne 4 TeenAge BoTTleRoCkeT ThURSDAy

megoSh, heartS like lionS, alaS termina, and FlagShiP armada om3n, ninjaloC, anYBodYkilla, aXe murder BoYz, and Big hoodoo

taking FoX hollow loSt in lightS

tuesday SubmergeMag.com

apr 17

wednesday

apr 18

FRiDAy jUne 5 meg myeRS SUnDAy jUne 7 koTTonmoUTh kingS / heDPe SUnDAy jUly 12 The ADoleSCenTS / The weiRDoS

tuesday

apr 21

thuRsday

apr 23

Issue 185 • April 13 – April 27, 2015

ThURSDAy SePT 17 Bowling FoR SoUP

185 2015

contents

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

04 06 08 09 10 12 14 18 21 24 30

12 cofounder/ Editor in Chief/Art Director

Melissa Welliver melissa@submergemag.com cofounder/ Advertising Director

Jonathan Carabba jonathan@submergemag.com senior editor

James Barone Assistant Editor

Mandy Pearson

Submerge

Contributing Writers

Zach Ahern, Amber Amey, Joe Atkins, Robin Bacior, Andrew Bell, Corey Bloom, Bocephus Chigger, Ronnie Cline, Justin Cox, Alia Cruz, Josh Fernandez, Catherine Foss, Blake Gillespie, Fabian Garcia, Lovelle Harris, Eddie Jorgensen, Niki Kangas, Nur Kausar, Ryan Prado, Steph Rodriguez, Andrew C. Russell, Amy Serna, Jacob Sprecher, Jenn Walker

1009 22 Street, Suite 3 Sacramento, Calif. 95816 nd

916.441.3803 info@submergemag.com

Contributing photographers

David Adams, Wesley Davis, Evan E. Duran, Adam Dillion, Phill Mamula, Jenny Price, Liz Simpson, Nicholas Wray

Submergemag.com

Issue 185 • April 13 – April 27, 2015

printed on recycled paper

April 13 – 27

Dive in Submerge your senses The Stream The Optimistic Pessimist fit eats one eyed reilly liturgy colin hanks & sean stuart russ solomon calendar the shallow end

All content is property of Submerge and may not be reproduced without permission. Submerge is both owned and published by Submerge Media. 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 1009 22nd Street, Suite 3 Sacramento, Calif. 95816. Or you can e-mail us at info@submergemag.com.

dive in it's not a job, It's a lifestyle. Melissa welliver melissa@submergemag.com Luckily, all the jobs I’ve held in my life time are ones I’ve loved. My first job in high school I worked at a movie theater, from popcorn girl at age 14 to managing two locations in Weed and Dunsmuir, California, by the time I graduated. In college, I worked at Tower Records in Chico for 4 - 5 years starting in 1998. During and after college, I also did graphic design for a regional and eventually national magazine that was distributed all over the country, even in Barnes and Noble. Today, welp, I wear many hats, making my very own print publication that you are holding in your hands that started in 2008. One thing is for sure, I never chose any gig because I was going to make a ton of money (sorry mom and dad); I think that’s obvious. I’m just someone who has, for some reason, gravitated toward jobs that are about things like music, art or film, and that are creative and fun, on top of always wanting to be surrounded with other like-minded individuals. To me, that’s what life is all about; that’s what makes me the happiest. And that was definitely the case back when I worked for Tower Records. Having watched the new documentary (four times prepping for our feature), All Things Must Pass: The Rise and Fall of Tower Records, it validated everything I ever thought and felt about that place. It wasn’t a job, it was a lifestyle. It was a place that I loved going to. It was not a cookie-cutter environment—our staff was a bunch of unique characters and I am still in touch with most of them to this day. I can honestly say it was my favorite gig I’ve ever held because of how fun and nonstressful that “job” actually was. When I started Submerge in 2008—during the worst time you could ever start anything, as you may remember the economy was in the dumps—co-founder Jonathan Carabba and I had to go out and get other jobs to help pay our rent, to have food on the table and to keep up consistently printing Submerge every other week (which we did since day one). I was out and about one spring day, resumes in hand, hoping someone would hire me during a time when no one was hiring. I found myself at a print shop near Howe and Fair Oaks, seeing if they perhaps needed a graphic designer when I stumbled into Stan Goman, who unbeknownst to me was the former COO of Tower Records and, at that time, owner of University Copy & Print. He took one look at my resume, noticed it said Tower Records, and said, “Oh, so you used to worked for me.” I was nervous, shy and had no clue what he was talking about. He explained who he was, told me he could use a graphic designer and someone who could work with scanning in art. Then he said, “Come in tomorrow, you’re hired.” I had no idea what I was getting myself into. But it turned out to be another great job. It wasn’t always fun making copies in between small-scale graphic design stuff, but I sure had one hell of a time being around and listening to all of Stan’s stories. And through working there for a few years I’ve met a ton of the head honchos of the great Tower Records. I will never forget the day Russ Solomon came in. It was a very Godfather-ly moment. I didn’t feel worthy. Instantly I was in awe but it didn’t last long because he, like everyone else I encountered who once worked for Tower, was extremely humble and so friendly. I feel blessed to not only have worked for such an amazing company, but to now know the people behind what was one of the coolest companies ever on this planet. Well, I find it hard to come up with words to describe how truly lucky I am. And now because we’ve remained friends with Stan and these connections, I have known about the film since its infancy. It’s wonderful to see that it’s finally come into fruition and people will get to see and watch the background of a world-wide company that all started out in Sacramento in a pharmacy on Broadway. We have always wanted to feature Russ in Submerge and we knew there wouldn’t be a better time than around the release of this film. Finally the day is here! Please check out our interviews with director Colin Hanks and producer Sean Stuart on page 18. Then check out our Q&A with Russ Solomon in the pages following, which was really just an awesome conversation that we conducted a week ago at his house. Enjoy issue #185! Cheers, Melissa

Dive Into Sacramento & Its Surrounding Areas

coMinG to GraSS Valley GeT TickeTs NOW! tueSday, May 5

friday, May 8

Al Di MeolA

a very special Solo evening with

electric tourfeAturiNG 2015

eleGANt Gypsy AND More

VeteranS MeMorial auditoriuM 255 S. auBurn ST, GraSS vaLLey $47 members, $57 non-member

Prices range from $27 - $62

$57 members, $67 non-member april 17 & 18

friday, june 26

Sunday, april 19

Sunday, april 26

thurSday, april 30

Saturday, May 2

tribute to linda ronstadt the early years

Lorraine Gervais, Kate Haight & Taylor Harris

feat. guests Jacob aginsky, Steve Wall, Larry Peterson, charlie Faber, rick Lotter

delhi 2 dublin

la Vent du nord

eric Bibb

crystal Bowersox

$24 members, $26 non-member

$22 members, $24 non-member

$27 members, $30 non-member

$30 members, $34 non-member

Saturday, May 16

friday, june 12

thurSday, july 16 – Sunday, july 19

Beats antique

cenTer For THe arTS PreSenTS

King Sunny ade & his african Beats

j no uSt unc

ed!

asleep at the Wheel

Steve Smith and Vital information nyc edition

$27 members, $32 non-member

$24 members, $27 non-member

an evening with

8 StaGeS of MuSic

children’S proGraMS • WorKShopS • dance artiSanS • caMpinG • international food

at the Beautiful neVada county fairGroundS

GraSS vaLLey

visit Worldfest.net for camping & day tickets

530.274.8384 • 314 W. Main St, GraSS Valley all shows at our intiMate Main Stage theater unless otherwise noted

B e co m e a m e m B e r & Sav e

For a complete listing of events visit:

thecenterfortheartS.orG SubmergeMag.com

Issue 185 • April 13 – April 27, 2015

*Ticket prices do not include applicable fees

SHOWS AT SAC STATE

SPONSORED BY UNIQUE PROGRAMS FOR MORE INFO VISIT OUR WEBSITE OR CALL 278–6997

WWW.SACSTATEUNIQUE.COM NOONER

NOONER

Your Senses Words Amber Amey

Touch

Play hundreds of video games at Atari Party 2015 • May 2

THE TIPSY HUSTLERS

ESQUIRE ALI AND THE VIBE TRIBE

WED • APR 15 • 12P • UNIVERSITY UNION SERNA PLAZA

WED • APR 22 • 12P • UNIVERSITY UNION SERNA PLAZA

FREE: funk rock concert with pop, soul and blues influences

FREE: reggae hip hop concert

DANCING

Atari is famous for being a pioneer in the arcade business and the Davis Public Library is giving you the chance to celebrate “five decades of Atari video games and computing history” at the 2015 Atari Party! There will be plenty of classic computer games and video game systems including Ataris, Amigas, ColecoVision, PlayStations, PS2s, GameBoys and many more. There will also be a raffle drawing (each attendee gets two free raffle tickets) with prizes ranging from books to classic Atari games and consoles. Bring your “A-game” and get your thumbs ready to move that joystick and push those buttons at this gamerfriendly occasion. This free event is from 12 p.m. to 5 p.m. on May 2 at the Mary L. Stephens Davis Library (in the Blanchard Community Meeting Room) at 315 East 14th Street in Davis.

SALSA LOCA LIVE THUR • APR 16 • 6P • UNIVERSITY UNION BALLROOM FREE: Salsa dance lessons plus live concert featuring Grammy Award winners PACIFIC MAMBO ORCHESTRA CULTURAL

ASIAN PACIFIC ISLANDS HERITAGE DAY THUR • APR 23 • 4:30P • UNIVERSITY UNION SERNA PLAZA FREE: featuring performances by SACRAMENTO TAIKO DAN, HAWAIIAN FIRE DANCERS and student organizations NOONER

COMEDY

Hear

The Torch Club’s 80th anniversary party! • April 19 ZUHG

If you enjoy classic blues, jazz and funk tunes, then come down to the Torch Club and help them celebrate their 80-year anniversary. That’s right, folks: 80 years! Enjoy the bluesy tunes of Oregonbased band Hopeless Jack and the Handsome Devil, local bluegrass band Mind X, local reggae and funk band Island of Black and White and many more. Charismatic entertainers Peter Petty and Dana Moret will host this “full day of celebration, friendship, (as always)

WED • APR 29 • 12P • UNIVERSITY UNION SERNA PLAZA FREE: funky reggae jam concert

ONE IS DONE WEDNESDAY NOONER

April -

JEN KOBER

ELEMENT BRASS BAND WED • MAY 6 • 12P • UNIVERSITY UNION SERNA PLAZA

THUR • MAY 7 • 7:30P • UNIVERSITY UNION SERNA PLAZA

FREE: New Orleans second line brass band

FREE: stand-up comedy

laurelin Gilmore

great music and much more!!” according to Torch Club’s Facebook page. There will even be a special performance by MC Peter and Dana! Bring your dancing shoes, your snazziest outfit and come party like it’s 1935 with the patrons of Torch Club. The event runs from 4 p.m. to 10 p.m. on Sunday, April 19. The Torch Club is located at 904 15th Street in Sacramento. There will be a $6 cover.

mother’s day gift giving

All jewelry design, fabrication and lapidary drilling done by gallery owner, SuSAn rAbinovitz

read often. your brain will thank you.

LittLe ReLics Boutique & Galleria 908 21st Street (between I & J) Midtown, Sacramento 95811

Issue 185 • April 13 – April 27, 2015

916.716.2319 www.littlerelics.com

Open 7 days a week

Bi-weekly + Free

Dive Into Sacramento & Its Surrounding Areas

See

Width X Height feat. Ricky Watts and Jared Powell at Lux Quaubas Gallery • April 17 Ricky Watts took his inspiration from graffiti art to create grandiose pieces under bridges and later, to create the largest mural in Sonoma County. Jared Powell is a talented Northern California artist who works with many mediums, mainly focusing on watercolor. Now, Watts and Powell come together to present Width X Height at the Lux Quaubas Gallery. The artists will be at the exhibit’s opening reception to discuss their artwork, share their pieces, and enjoy wine with the patrons. Let’s get social and artsy in the heart of Old Sac! The event begins at 8 p.m. on April 17 at Lux Quaubas Gallery at 106 K Street No. 34 (the exhibit is scheduled to run through May 8). You can visit the Facebook page of Lux Quaubas Gallery for more information on the event and you can also check out each artist on the Web for more information about them and their artwork: Rickywatts.com and Instagram.com/jp87cents.

Taste

Sip Tea with Annelies Zijderveld, author of Steeped: Recipes Infused with Tea • April 24 Tea is only for drinking, right? Wrong. Come and join food blogger Annelies Zijderveld as she discusses her debut book, Steeped: Recipes Infused with Tea at The Avid Reader in Downtown Davis on April 24. Learn how to make tea the star of your kitchen with recipes like Green Tea Coconut Rice, Sweet Tea Jelly, California Tea Leaf Salad and many more. Celebrated food blogger and fellow author Molly Wizenberg (author of A Homemade Life and Delancey) praises the book, saying, “Steeped is smart, inventive, and most of all, inspiring… This beautiful book deserves a spot next to your teacup.” So, clear your calendar and venture to the quaint town of Davis to sip tea with Zijderveld and immerse yourself in the unique recipes of Steeped. The event begins at 7:30 p.m. The Avid Reader is located at 617 2nd Street in Davis.

tic u e p era ative h T A ltern A

medical marijuana diSpenSary now accepting new patient’S

free gift for new patientS

educated, experienced, knowledgeable Staff yoga, reiki, maSSage, Sound tHerapy, meditation, acupreSSure

3015 H Street • Sacramento, ca • 916.822.4717

HourS: 9am - 9pm everyday

doctor’S recommendation and ca id required

SubmergeMag.com

veteran, Senior, activiSt, a.d.a. patient diScountS

Issue 185 • April 13 – April 27, 2015

2708 J Street Sacramento 916.441.4693 HarlowS.com The DeAD MIlKMeN

Dwele

bIG MIKe hArT

SIr MIChAel rOCKS

The stream The Comedians With Disabilities Act Release Their First Album!

Jonathan Carabba

Send regional news tips to info@submergemag.com

rObb bANKS | POuYA

frIDAY

TueSDAY

9PM $30adv

4 /17

4 /21

MONDAY

6:30PM $20adv

TueSDAY

7PM $10

4 /13 4 /14

SATurDAY

8PM $22.50 adv

4 /25

6PM $15adv all ages

The GOlDeN STATe – lONe STAr revue starring anson Funderburgh, Charlie baty, Mark huMMel, r.W. grigsby, and Wes starr

TubAlubA brOTherS GOw | The SeAleGS

(SeATTle brASS bAND)

weDNeSDAY 5:30PM $15adv

4 /15

global guitar greats (ThOMAS leeb, STePheN INGlIS, ShAwN JONeS)

ThurSDAY

5:30PM $40

AN eveNING wITh leGeNDArY SINGer

SATurDAY

8:30PM $15adv

tainted love

SuNDAY

7PM $10adv

AGeNT OrANGe IN The whAle

MONDAY

6PM $12adv all ages

CayuCas

weDNeSDAY

7PM $10adv

4 /16 4 /18 4 /19

4 /20 4 /22

rITA COOlIDGe

NIGhT Of COuNTrY wITh

flAT buSTeD &

The KeNNY frYe bAND

ThurSDAY

7PM $8

the J band

frIDAY

5:30PM $12adv all ages

NOrA JANe STruTherS

SATurDAY

10PM $10adv

4 /23 4/24 4 /25

*all

big eyed Fish

A TrIbuTe TO The DAve MATThewS bAND

times are d o or times*

COMING SOON 04/26 04/29 05/01 05/01 05/02 05/02 05/03 05/05

Curren$y big Data life in the fastlane John Nemeth (late) Andy McKee Killer Queens (late) The beatles 1965 helmet

Kings Arena Construction Forces River City Brewing Co. to Move

05/08 05/09 05/09 05/13 05/14 05/16 05/20 05/23

Once an empire / Iconoclast robot Joseph in the well Solsa (late) howard Jones Dru hill Strangelove ex hex Shuggie Otis

05/23 05/24 05/30 06/04 06/11 06/11 06/13 06/20

Midnight Players (late) Mike love California honeydrops ZOSO (led Zeppelin experience) hot Club of Cowtown electric Six (late) Melt banana Duran Duran Duran

Issue 185 • April 13 – April 27, 2015

Ever since they first debuted five years ago to a sold-out crowd at the Sacramento Comedy Spot, the Northern Californian comedy crew known as The Comedians with Disabilities Act has been on a steady rampage, selling out shows left and right while receiving rave reviews. The core of the troupe is made up of Michael O’Connell, who has Muscular Dystrophy and is in a wheelchair; Steve Danner, who identifies as a little person; Nina G, who stutters and has learning disabilities; and finally Eric Mee, who is blind. “Each one of the members are unique and hilarious,” O’Connell told Submerge in 2014 during an interview. “There is no other comedy experience like it.” The Comedians with Disabilities Act are celebrating the release of their first album on April 29 at Punch Line Sacramento (2100 Arden Way, Suite 225). The show will feature the main four, of course, but you can also expect performances from frequent guests Queenie TT, Steve Lee and Lauren Kraut, as well as original CwDA founder and co-creator Keith Lowell Jensen, who will host the show. Tickets are just $15 and are available at Punchlinesac. com. The show is 18-and-over and there is a two drink minimum. “Lots of able-bodied comedians out there tell blind or wheelchair jokes and get the audience to laugh AT people with disabilities,” says O’Connell on the group’s website, Comedianswithdisabilitiesact.com. “But we thought wouldn’t it be more fun for the crowd to laugh WITH people with disabilities instead? That’s guilt-free fun right there.” Learn more at Facebook.com/comedianswithdisabilitiesact.

“So sad,” “Un f’ing believable,” and “Nooooo,” were just a few of the many shocked/ surprised/saddened comments posted by fans and longtime patrons on River City Brewing Company’s Facebook page (Facebook.com/ RiverCityBrewingCo) last week when they broke the news that after 22 years at the Downtown Plaza, they will be moving this summer to Carmichael’s new Milagro Centre. “Although we are sad that we have to leave our current location after 22 years, we are very excited about this new opportunity for us,” the company wrote on their page. RCBC co-owner Beth Ayers-Biro told CBS Sacramento reporter Leigh Martinez that because of the construction of the new Entertainment and Sports Complex and a planned remodel of the part of the mall that they occupy, their business is being forced out. “We wanted to leave back in 2008 and were asked not to by the city saying ‘please stay, you anchor that part of downtown,’” Ayers-Biro told Martinez. Even after offering to hold all their equipment and furniture in storage until after the work was done, the brewery was told no. “And we would come back in a year and a half when everything was redeveloped. We just want to know we’re a part of redevelopment. ‘No’ was the answer,” Ayers-Biro told Martinez. The Milagro Centre, RCBC’s future home, is a brand new mixed retail marketplace on Fair Oaks Boulevard that will take the place of the old Hillside Shopping Center. Milagro is expected to cover about 50,000 square feet and will focus on local businesses and eateries. RCBC will be downtown through June 14. They will be announcing details about a big “Bon Voyage celebration” soon, so keep an eye out on their Facebook page for info on that. RCBC hopes to open their new location over Labor Day weekend.

Dive Into Sacramento & Its Surrounding Areas

The Optimistic Pessimist As you may already be aware, I love music. To say that my tastes are eclectic would be putting it mildly. I grew up in the ‘80s as the youngest of four kids who all loved music and played it around the house, so I was exposed to many different genres at a young age. I always enjoyed the variety of sounds I heard and I wanted to know how the music was made. My introduction into the art of musicmaking came when I was around 10 years old. My brother and I shared a bedroom at the time, and one day he brought home a bass guitar. I think he paid $40 for the bass and it looked like it. The body was cherry red and had two long pointy bits at opposite ends, making it very ‘80s metal, but also extremely unbalanced and awkward to play. I did, however, see Rick James play a white version of the same bass on an episode of The A-Team once; so, it did have that going for it. In that small shared bedroom, I’d watch my brother play that ugly bass all the time and would often sneak in and play it too after he left. Later on, he got a guitar and the same

SubmergeMag.com

thing happened again. I never really figured out what I was doing before he moved out with his guitar and bass, but the seed was planted. I begged my parents for a guitar for my next birthday, and they reluctantly agreed. It was the first instrument I could call my own and it wouldn't be the last. That guitar was soon replaced by a better version, and that ugly red bass of my brother’s was eventually passed down to me as well. I now had the instruments that had inspired me to play in the first place, but it wasn’t enough. The guitar and bass were great, but they just couldn’t make all of the sounds I wanted to make. I was (and still am) a hip-hop junkie and I wanted to make beats. I needed a keyboard and something to make drums with. I needed a microphone. I needed a way to record. What I needed was a home studio. I progressed cautiously at first. I was in college and money was more than tight. It was tough to drink beer, smoke blunts, eat super burritos and buy music equipment while living on student loans. That meant my birthday and Christmas presents usually came in the form of

Just Can’t Get Enough Guitar Center gift cards. Those combined with what little money I could scrape together from working, rapping and a few generous donations allowed me to put together my first home studio. It wasn’t much, but that little studio got me by for a while. After college, I got a job making decent money and went ahead and blew most of it on gear again because I was convinced that it was time for an upgrade. I needed more accurate monitors to mix my tracks with and a new computer to handle digital multi-track recording. My non-existent music career depended on it! Besides, I loved my toys and didn’t see the harm in my little hobby at the time. I’ve since acquired a lot of equipment in my quest for the perfect home recording studio. As my collection has grown, I’ve been forced to move from the corner of my tiny college bedroom to the entire dining room of my current house to contain my studio. Despite space restrictions, I still pore over the music gear catalogs that come in the mail each month and dream of things I couldn’t possibly fit in my studio. I’ve read thousands of blog comments and user reviews about musical instruments and have watched

Bocephus Chigger bocephus@submergemag.com more gear demo videos on YouTube than should be allowed. It’s nearly a daily thing. In fact, I did it to procrastinate before I began writing this. I am fortunate enough to have found people that can live with and even support my addiction. My family still provides the aforementioned gift cards and is great at pretending to love pictures of my purchases while allowing me to play the role of proud papa. My brother still plays guitar and bass and is my biggest supporter/enabler. He too is a gear junkie, and we have conversations about equipment that are indecipherable to most other people. My girlfriend, who is the prime observer of my constant Internet research and YouTube fuckery, couldn’t possibly want to hit me over the head with one of my guitars. She has never more than chuckled at the hyperlinked studio gear wish list I have saved on my computer. She doesn’t even seem bothered that our dining room was converted into a music studio or that it’s starting to fill up with equipment; at least that’s what she tells me. At some point, I’m sure there will be an intervention, but I guess I’m not quite there yet.

Issue 185 • April 13 – April 27, 2015

Fresh, Fast, Delivered and …Not Pizza?

Fit Eats is Upping the Food Delivery Service Game and has a new midtown location Words Alia Cruz •

ince the early 1960s, pizza delivery has brought us as close to heaven on earth as you can possibly get. The liberation of paying a few extra bucks to have someone bring a custom-order ‘za to your front door while you lounge in your pajamas is the most euphoric of situations. Food delivery has casually evolved over time, and lazy asses everywhere can get just about any meal delivered straight to them in a matter of a couple-dozen minutes. Most of this food isn’t as healthy as we wish it was. What makes delivered food so lucrative is that it comes ready for our consumption, no strings attached. There is no cleanup and the extra pennies are always worth it. But more

Issue 185 • April 13 – April 27, 2015

photo above by evan E. Duran | food photos by melissa welliver likely than not, the food is shit health-wise, and over-indulging is a harsh reality that your booty won’t let you forget anytime soon. That’s where Midtown’s new Fit Eats fits into the evolution of the food-delivery system. Fit Eats is a food delivery service that promises nutritious and convenient ready-made meals to your door. The company originally opened on Kiefer Boulevard about two years ago, as solely a kitchen that delivers food. Last month, they opened a new location on 16th Street in Midtown where you can also pick up meals yourself. Owner Don Arnold originally opened up Fit Eats because he says, “Our society is having a healthy eating

revolution. The desire to eat fulfilling home-cooked and healthy meals without doing the work of the actual cooking, prep and cleanup is becoming more of a lucrative idea.” Arnold goes on to say, “Our new location is meant to spark a new idea in eating. We want people to start shopping for our all-encompassed meals in a way that they would shop for groceries at the grocery store. You can come into the showroom, pick out your meals for the week, and that’s it. It’s clean, easy, convenient, and you eliminate things like food waste. Sometimes it’s even more affordable too because you don’t have to buy an abundance of ingredients for one meal, we do all of the work.”

Arnold studied nutrition at Chico State, and has used his knowledge and entrepreneurial spirit to devise meals for his company that are broken down in the most health-conscious way possible, and at a portion size that eliminates over eating. “I sit down with my chef every week and think of new meals and make sure that we get the best ingredients to put in those meals,” he says. We all seek convenience, accessibility and overall satisfaction when looking for what food to nourish ourselves with. Fit Eats promises to offer the freshest, most nutritionally balanced meals possible to its customers. The company makes complete meals for breakfast, lunch and dinner with the option of having your

Dive Into Sacramento & Its Surrounding Areas

order delivered directly to your door, or picking them up yourself at their new 16th Street location in Midtown. All food offered is as local and organic as possible, and never frozen. To test this system out for myself, I had breakfast and lunch delivered to my door, and picked up dinner at the 16th street location. Delivery days are only on Monday/Wednesday/Friday, so your order must be in by noon the day before a delivery day. This made the ordering time frame not nearly as flexible as one would hope, but the menu changes every Thursday. Doing online deliveries to have shipped to your door takes a little planning. I ordered Sunday at 2 p.m., and my meals were delivered on Wednesday, before 6 a.m. as promised. The meals come in an insulated lunch bag with a few ice packs so your food stays nice and chilled. For breakfast, I ordered the blueberry protein pancakes, which came with a side of honey and yogurt. All the food is microwavable, or re-heatable by any means if careful. The pancakes were pretty good, but my boyfriend, who has a history in personal training and athletics, said that it was super good for someone training hard in the gym. I stood far away from unbelievably thick yogurt that tasted like caulking-tinged peanut butter. It also came with a side of a scrambled egg that looked perfectly edible, but didn’t seem appetizing. For lunch, I split the carne asada bowl with my

dude. Again, he applauded it for embodying everything a healthy athlete needs to sustain themselves. Pure protein in the form of meat and beans, and some veggies and brown rice. The convenience of it is what makes it most desirable. I can see being super busy, and having nutritionally balanced meals laid out for me so I didn’t have to run out and scramble to find a healthy meal for the day. It was no culinary masterpiece, but it got the job done. For dinner, I had the turkey/zucchini lasagna. I hand-picked this out of the dozens of meals they had ready to go at their new location. All of the meals available were diverse, having everything from healthy enchiladas, to breakfast scrambles and turkey wraps. The place itself was super immaculate, and had a microwave and eating utensils on hand in case anyone wanted to walk in and pick a meal to eat there. I think the idea of paying $10 for a meal and still having to microwave it yourself in a restaurant setting is an idea that definitely will take some getting used to. The lasagna had ground turkey as a protein base, with layer upon layer of whole wheat noodles and a teensy bit of zucchini. I was expecting zucchini strips to take the place of most of the noodles, because that’s what seems healthier, but was surprised to find otherwise. Its makeup was mostly of noodles, turkey and cheese. It was still really good, and if that was

considered a healthy lasagna, I’m on board. While I loved the idea of having all my food prepped and ready for me at my doorstep, I think Fit Eats takes some getting used to. I’ve never been a fan of microwaving my food, nonetheless paying $7 to $10 for food that’s not served at a restaurant. On the other hand, for what this company is trying to accomplish, is there really a better way? The only feasible and sustainable way, realistically, is to provide the healthy and portioned meals that are convenient and only need to be reheated. While looking at Fit Eats’ Yelp page, I noticed that many of the company’s devoutees strictly eat the meals for a certain period of time and notice some sort of weight loss. Many said that having healthy food so readily available and a plan laid out was half the battle. I think this is a good option for someone who is incredibly busy and needs food that is more healthy and sustaining or diet-fulfilling. Convenience is super valuable, and as the pizza-ordering Americans that we are, the idea of transitioning into healthy convenience might be just the direction we need to start heading.

Ready to get your Fit Eats on? Visit their pickup location at 1420 16th Street in Sacramento from 7 a.m. to 9 p.m. Monday to Friday, or 9 a.m. to 8 p.m. Saturday and Sunday. Or to enroll in their delivery options, visit Fiteats.com.

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Issue 185 • April 13 – April 27, 2015

The Melting Pot

One Eyed Reilly brings Celtic flavor to a wide range of American sounds Words Ronnie Cline • photo Ken Byes

athered at the Hideaway Bar and Grill in Sacramento, Rick Meagher (vocals, rhythm guitar) Adrian Baxmeyer (bass guitar) and St. John Fraser (violin) of One Eyed Reilly were eager to discuss their new record and what to expect at their upcoming show at the Blue Lamp on April 18. During our conversation the band opened up about their songwriting process, and how they turned an unfortunate accident into a strong musical bond. Before the lads bellied up to the table to start the interview, they huddled around the jukebox creating a musical backdrop of punk rock by playing the Ramones, Against Me!, Rancid and The Clash. Once the mood was set, the band settled into their seats with a freshly poured round of Guinness—like any Celtic band should. Rambunctious Celtic songs about Ireland and alcohol is where most people start when describing One Eyed Reilly’s debut album Hoist Your Glass. Though that description still holds true when it comes to the band’s newest album Barstools and

Issue 185 • April 13 – April 27, 2015

Gravestones, the group’s musical growth is evident on their sophomore release, which ventures into Americana, country and even a little punk. One Eyed Reilly’s growth and diversity has spilled over from the recording studio to the band’s live shows. “We’re definitely going to be bringing hard hitting country as much as we possibly can,” Baxmeyer said when asked how the band was going to approach their upcoming show with outlaw country artist Bob Wayne. With their first album and a few years under their belt, the band was comfortable with expanding their sound, “We felt like [Hoist Your Glass] had to establish our Celtic credibility. As a songwriter I felt like every song had to be Celtic,” said Rick Meagher when comparing One Eyed Reilly’s albums. “On [Barstools and Gravestones] we didn’t feel as constrained because we had gotten our foot in the door and already established ourselves. With that being said there’s certainly plenty of Irish revelry on the second one as well.”

Dive Into Sacramento & Its Surrounding Areas

How do you feel you guys have grown in the last RM: [St. John] always said [his dad] made him few years? practice six hours a day, and it had to be six good St. John Fraser: When the band was created, the hours or he would say, “two more.” When he got premise was for everyone to have an equal part. to be an adult he was burnt out and gave the All of our influences need to be heard in the band violin up for 17 years. in some way or form. So we had a starting point, but as we’ve been playing together it has evolved. How did it feel to start playing the violin again I think musically and certainly lyrically, it’s been a after 17 years? progression, not because it’s a choice, but because SF: When I was young I was winning state we are getting so much more accustomed to competitions. I was being groomed to be a soloist. working with each other. When you’re young it was a cool thing to a certain extent, but what I realized was that I was creating I have noticed a lot of historical references in a distance. The unrelenting competition is just not your lyrics. Does your writing stem from personal who I am. But I realized part of me was missing. I experience or historical events? love music and I realized that to a certain extent Rick Meagher: Both. When I joined One Eyed Reilly I was broken. There was a significant piece of me I had also by coincidence gone to Ireland for a missing, and here I had a friend who was going three-week trip. Having the experience of being through the struggles of learning an instrument. in all of the pubs over there, and going to Dublin AB: Actually when we first started out, [St. John] where the general post office was—where the Easter wouldn’t play the fiddle, he wouldn’t play the Rising in 1916 started—and seeing that they still violin. He would only play the mandolin because haven’t repaired the bullet holes it’s strung the same. When we in the walls of the building. The really decided to be serious “When I was young reverence they have for that about this band I was like, “Let’s I was winning state event and the fact that they do this, but you have to play competitions. I was haven’t fixed the bullet holes fiddle!” struck me. So that led to the SF: Yeah, Adrian was the being groomed to opening line of the title track to inspiration for me to start be a soloist. When our first album Hoist Your Glass. playing music again. Music is such a wonderful thing you’re young it was Adrian, I heard that you were and I hate the competitive a cool thing to a more of an athlete when you side of music, but I love the certain extent, but were younger, but through collaborative side of music. I unfortunate circumstances love sitting down and making what I realized was [Adrian lost his right arm in a music with Adrian because that I was creating motorcycle accident] you found he is going to approach yourself turning to music. music uniquely. He’s going to a distance. The Adrian Baxmeyer: I have always approach it based off of his life unrelenting enjoyed listening to it but I experiences. competition is just never jumped into playing music. Losing the arm helped because I noticed you guys have a not who I am.” I couldn’t play basketball and diverse catalog of covers – St. John Fraser, including songs like “Devil Went baseball like I used to and it was frustrating. So I decided to One Eyed Reilly, Down to Georgia.” How do you try music. There was kind of a decide what you’re going to play on his background as a learning curve to do it onelive? classically trained violinist handed, then once I got that, I’ve RM: Part of it is just responding only known how to do it one-handed. to audiences. When we do “Devil Went Down to Georgia” people love it. It doesn’t matter if we’re Why did you choose an instrument that playing Irish Night on the Delta King, they still traditionally requires both hands to play, as love it. We’ll throw Wilco songs in there, we’ll play opposed to the trumpet or another instrument that other Americana songs that people dig. Depending requires one hand? on the venue, depending on the event, or the AB: The trumpet was my first idea but then I was occasion we’ll change it up. chatting with my dad and said, “You know I see Victor Wooten doing a lot of hammer-ons when You guys can get a little heavy at times too… he plays in addition to plucking and stuff,” and RM: We love punk elements, even in our original I was like, “Couldn’t I just do hammer-ons for songs like “Higher Hand,” the second half everything?” At first I had a lot of fret buzz and a definitely has punk aspects to it. lot of string noise because I couldn’t dampen with SF: That touches back to what we were talking the right hand, but as time went on I just learned about earlier. Everyone in the band is bringing how to do it with other fingers on my left hand. in part of their influence and so it’s probably the best decision we’ve ever made to not pigeonhole St. John, why did you choose to play the Ramones ourselves into a specific sound. We’re always going on the jukebox? to have our Celtic roots because we love them, SF: I grew up in a classical household and it was but it’s fun to broaden our horizon to include very structured. I was really only allowed to listen to Americana and folk and even country elements. classical music. My first concerts were all classical. I saw opera before I ever saw a rock concert, so as I started becoming a teenager and finding music— See One Eyed Reilly live at Blue other than classical—I started stashing it in various Lamp for a rowdy night of music on places of my room. I listened to anything that was April 18. The band will be playing in “stick it to the system.” I think it’s one of the reasons support of outlaw country badass I’ve always had an affection toward punk in general. Bob Wayne. KB and the Slingtones But yeah, there’s just something about the Ramones will also perform. Tickets are $10 in sound. Coming from a very orchestrated, technical advance ($15 the day of the show) world there’s something about the simplicity of it and can be purchased through that delivered its message without messing around, Bluelampsacramento.com. it spoke to me. SubmergeMag.com

Shuffle Six PreSentS

liTurGy

Thursday

April 30

So STreSSed Color of CloSure

The Press Club | 2030 P sT. saCramenTo | 8Pm • 21+

True widow

Monday

MAy 18

LANTVRN • KiNg WomAN

The Press Club | 2030 P sT. | saCramenTo | 8Pm • 21+

broThers of SeRiAL HAWK NeedS The sonic cloTh BATTLe HAg

Saturday

MAy 23

sTarliTe lounge | 1517 21 st sT. saCramenTo | 8Pm • 21+

ufomammuT

Thursday

June 4

USNeA • LycUS • cHURcH

The Press Club | 2030 P sT. saCramenTo | 6Pm • 21+

aGalloch

Saturday

June 6

HeLeN moNey

midTown barfly | 1119 21st sT. saCramenTo | 8Pm • 18+

dr.know

Thursday

June 11

PSycHoSomATic KiLL THe PRecedeNT THe STRANge PARTy

The Press Club | 2030 P sT. saCramenTo | 8Pm • 21+

GianT squid

Wednesday

June 17

SHAdoW LimB • AeqUoReA

sTarliTe lounge | 1517 21 st sT. saCramenTo | 8Pm • 21+

TickeTs available aT shufflesix.queueapp.com TwiTTer: @shufflesix facebook.com/shufflesix

1400 ALHAMBRA SAcRAMento BLUeLAMPSAcRAMento.coM 916-455-3400 Apr. 15 • 8pm mArtin HollAnd benefit:

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wednesdAY

tHe HollAnd bros experiment, KAte livoni, leo bootes, JerrY dutY And mAnY more

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AGnostic blunt, pressure point, YAnKee brutAl tuesdAY

Apr. 16 • 8pm tHe Grind:

fridAY

tHe cHicK p’s

6pm

fYAH on tHe wAter

9pm pre-pArtY one A cord, p.o.b., dJ woKstAr sAturdAY

Kb & tHe slinGtones, one eYed reillY

Apr. 22 • 8pm

tHe KnocKoffs

rebel punK, tHe HArbor tHe o’mulliGAns

Apr. 23 • 8pm tHe Grind: emoneY

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Apr. 25

cloudsHip

Apr. 18 • 8pm

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tHe divA KinGs

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c-dubb (Album releAse), dJ eddie z, mAsYAH, spYdA tHe boss, flossAlini, blAcK sKY, dizz, brutHA smitH And mAnY more

Apr. 19 • 7pm

4pm rion, AdAm blocK

cliff ‘em All (metAllicA tribute) 8pm mAiden cAliforniA (iron mAiden tribute)

apr 26 apr 28 apr 29 Brandy roBinson, X mETHod, CHaos in mind, Gana, EKTomorF, rEmoVEd, aBBy normal, sECTion6, THoUGHT oUTlinEd d.U.s.T VomiT

apr 30 GoldEn GloVEs, sHorTyEarl, Cali BlUE, HEnnEssy

may 7 THE Grind: dlo, dj EddiE z

may 26 aCEyalonE, 2mEX, BioniK, TasK1nE, Esso, dEFEyE + morE

everY mondAY 8-10pm • no cover

everY fridAY 10pm-2Am • $3 cover

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dJ woKstAr & Guests

Issue 185 • April 13 – April 27, 2015

Blacked Out

Liturgy’s Hunter Hunt-Hendrix on His Band’s Bold, Baffling New Album Words Daniel Taylor • photo Ebru Yildiz

t says it right there, in Brooklyn-based Liturgy’s official bio, that the band plays “transcendental black metal.” But genre descriptors are not always what they’re cracked up to be. According to Liturgy frontman, songwriter and creative mastermind Hunter Hunt-Hendrix, the black metal label that has been attributed to Liturgy (perhaps self-proclaimed thanks to a manifesto-style treatise penned by Hunt-Hendrix in 2011 titled Transcendental Black Metal: A Vision of Apocalyptic Humanism) is something of a misnomer. Unfortunately, the band’s tenuous membership in the black metal circle and unapologetically eclectic mash-up of styles ranging from hip-hop to medieval sacred music has become the focal point in discussions about the band’s new album, The Ark Work, released in March on Thrill Jockey Records. “People talk about black metal so much, they sort of compare and talk about ways this record is different than black metal. And it is different from black metal, but I wouldn’t want that to be what the conversation’s about,” says the fittingly soft-spoken Hunt-Hendrix via cell phone. “But I realize I don’t make that super easy since I called the style of music transcendental black metal. But I think of the music as just, like, general music; universal music.” That some aren’t sure what to make of The Ark Work is understandable. Although the band’s previous full-length albums, 2009’s Renihilation and 2011’s Aesthetica, both bucked the typical black metal template at times, The Ark Work seems to be merely paying tribute to black metal in equal measure with other, disparate sources of inspiration. As Hunt-Hendrix and the rest of Liturgy— guitarist Bernard Gann, bassist Tyler Dusenbury and drummer Greg Fox—prepared to embark upon a string of U.S. and European tour dates in support of The Ark Work, Hunt-Hendrix took some time out to talk about the origin, production and reception of the band’s most recent effort.

Are you doing a lot of press for The Ark Work? Seems like it’s getting a lot of press. And there’s a really wide range of reactions to the album; some people despise it, some people overestimate its importance. It’s interesting, it feels like dropping a bomb. There’s a lot of different types of shards and fragments of responses. Do you feel that a lot of the press, or reviews you’ve seen, are sort of making the record into something that it isn’t, putting words into your mouth or projecting their own opinions or assumptions? I don’t feel very well understood for the most part. I’ve seen a lot of people assuming that the album is trolling or that I’m trying to be weird for its own sake or trying to make people uncomfortable. Trying to make people mad. And that’s the big thing: to me; it’s so obvious that this music is dripping with emotion and incredibly sincere. This whole project, for me, is so filled with sincerity. But it seems like that’s the last thing that anyone ever says about the record, even the people who support it. I want it to be original too, and I think it has an original musical language. It’s definitely different than a lot of other stuff that Liturgy has done and that’s around right now. But it’s ultimately a record about emotion.

“Seems like it’s getting a lot of press. And there’s a really wide range of reactions to the album; some people despise it, some people overestimate its importance. It’s interesting, it feels like dropping a bomb. There’s a lot of different types of shards and fragments of responses.” – Hunter HuntHendrix, Liturgy, on his band’s latest album The Ark Work

Issue 185 • April 13 – April 27, 2015

Dive Into Sacramento & Its Surrounding Areas

It seems like people are having a hard time figuring out what to call it, so they spend a lot of time saying what the music is not. But that’s not really helping to explain what it actually is… you know? Totally. I mean, its weird: I’m interested in philosophy and I have an intellectual attitude toward music, in a way. But I don’t see it as such a brainy, complex or crazy thing. When I play it for my friends who don’t even listen to metal, they hear it and think it’s “pretty” or “intense” or “profound, “ or whatever. It seems like the further away you get from me personally, like my social network, the more these layers of definitions and of abstractions come in and sort of separate people from the record. It’s kind of interesting. Why do you think that is? I can think of two reasons. One is connected to this strange one-dimensional persona that I somehow developed in the world, which is as the guy who wrote the transcendental black metal manifesto. I’ve suffered so much in my life, and the music is so connected to that and to these really sort of personal things, but that doesn’t really come across. When people write pieces based on interviews, they usually cut out the parts where I talk about personal stuff and print the parts that are more abstract. And I contribute to it, because I do have a more abstract attitude as well. And I am interested in the social experiment too.

SubmergeMag.com

It’s interesting to me the way that something like this can cause a fire on the internet, and to get a sense of the transmission of culture and taste and identification with genres and all that. I’m aware of those things and I am interested in the experiment to a certain degree, the way Death Grips is or something like that. But, it just astonishes me that people don’t recognize how much emotion is in the music. That’s the main theme for me right now. What was it about the mix of different kinds of digital and organic sounds on this record that appealed to you? My attraction to it is that it reflects my experience of life, which increasingly is intruded upon by the internet. I find that it’s changing the way that I live my life. There’s this fractured element to my existence that I wanted to convey in the music. It feels to me like it would be cliche to make music without including something of that; to transmit music on the internet without also including something a little bit closer to my reality and my experience. With black metal, it’s so easy to live in a fantasy world, a world that’s somewhere else. So since this isn’t a black metal record, or at least it’s something that uses black metal but is also universal, it seemed interesting to me, and it was satisfying to me to try to pull in these elements. You guys are starting your tour this week, correct? Yeah we’re doing an East Coast leg with Sannhet and Horse Lords, then we actually come home for a couple of days and then we fly out to the West Coast.

1517 21st street sacramentO Open Daily at 4 pm

events calendar

Are you looking forward to playing this new material live? Since you’ve definitely had to talk about it enough, does it feel good to get to touring part? Definitely. I think it’s gonna be a fun tour, and I’m especially excited for the West Coast leg and I’m not just saying that because you’re on the West Coast [laughs]. I find that people on the West Coast kind of get it; there’s less of a separation between the metal scene and the arty, weird music scene. On the East Coast, people just don’t quite get it as much. I feel much more comfortable on the West Coast. And the shows are with Lightning Bolt, which is great. I like them a lot. You’re going to Europe after that. Do you find that there’s a difference as far as how you’re perceived over there as opposed to here? Yeah, people take us way more seriously in Europe. It’s really weird. And so far, I think reactions to the record in Europe have been way more positive than anywhere in America. I think that they’re prepared for the music to be something weirder and more different because they imagine it as coming from a faraway place.

916.704.0711 starlitelOunge.net

thurs. april 16 9pm

sat. april 25 9pm

Charles Gunn Band Cash Cartell sullivan’s wriGht swahili passion

(16) | Brainoil | ChurCh Kowloon walled City

fri. april 17 8pm

dead in seConds up aGainst it | mdso slaves oF manhattan sat. april 18 8pm

Fair struGGle CaliFornia riot aCt terra Ferno

fri. may 1 8pm

Blind illusion Condemned? solanum | Judhead the Ghost next door sat. may 2 8pm

BlaCK marKet sunday razorBlade monalisa (aCoustiC) dJ dire fri. may 8 8pm

wed. april 22 8pm

Crown larKs drive-thru mystiCs all aBout roCKets fri. april 24 8pm

Brutha smith mr. hooper BoomBox Bros tasK1ne | J terriBle hennessy + more

Happy HOur mOn - fri 4 tO 7 pm

every weDnesDay! 8 pm | free Open mic cOmeDy Jam

BellyGunner | Felsen Julie the BruCe sat. may 9 8pm

zero Client drawinG out liFe hopeless romantiCs mon. may 11 8pm

anaal nathraKh inCite | plaGue widow seCrets oF the sKy

every friDay serving american style tO 5:30 7:30 pm Bill mylar’s Hippy HOur

quality cOmfOrt fOOD alOng witH fresH & HealtHy cHOices

What’s Liturgy all about? See for yourself when the band plays The Press Club on April 30. Also playing will be Sacramento’s So Stressed and Color of Closure. Tickets are $12 in advance (21-and-over show). For more info go to Facebook.com/thepressclub.

Issue 185 • April 13 – April 27, 2015

with Special GueSt

Saint Motel

T h u R S DAy

April 16

SAT u R DAy f R i DAy

May 2

April 24

1417 R STREET SACRAMENTO

SAT u R DAy

April 18

f R i DAy

SAT u R DAy

May 8

April 25 PACIfIC dub

M O N DAy

April 13 Cherry red

M O N DAy

April 20

SAT u R DAy

May 9

feATurIng OMAr & CedrIC frOM at the drive in and the MarS volta

T u E S DAy

I The MIghTy ArTIsAns

April 14 T u E S DAy

April 15

W E D N E S DAy

Issue 185 • April 13 – April 27, 2015

April 29

April 21

with Special GueSt

W E D N E S DAy

MAxxx

April 22

S u N DAy

May 10

T u E S DAy

May 12

Brodie Stewart Band • tyler rich

T h u R S DAy

April 30

Dive Into Sacramento & Its Surrounding Areas

AMerICAz MOzT hAunTed

May 13

W E D N E S DAy

f R i DAy f R i DAy

May 29

June 19

SAT u R DAy

June 20

T h u R S DAy

f R i DAy

July 9

July 24

reStrayned • roSwell • Force oF haBit

T h u R S DAy

May 14

SAT u R DAy

May 30

f R i DAy

June 26

SAT u R DAy

August 8

JaSon French • Siren XX

SAT u R DAy

May 16

f R i DAy

June 5

with Special GueSt

T h u R S DAy

connor Kennedy • MinStrel

S u N DAy

May 17

SubmergeMag.com

f R i DAy

June 12

July 2

All Shows All Ages

f R i DAy

OM3n

August 28

Tickets Available @ Dimple Records, Armadillo Online: AceOfSpadesSac.com By Phone: 1.877.GND.CTRL OR 916.443.9202

Issue 185 • April 13 – April 27, 2015

No Music, No Life I

’m pretty sure we all had our own Tower Records. Growing up, mine was in the East Bay suburb of Concord off Willow Pass Road. Later, it was on Main Street just up the way in Chico. Where was yours? Suffice to say that no matter where your Tower was, it hasn’t been there in a good long while. Having officially closed their doors in 2006, the oncemighty, Sacramento-bred chain exists now only in skeletal remains: faded price-tags on used LPs and building signage left behind in apparent tribute. That doesn’t mean we’ve forgotten about Tower, or any of its record store brethren that also entered into eternal slumber over the past decade. No, we remember, and fortunately so do Colin Hanks and Sean Stuart, director and producer, respectively, of All Things Must Pass, the first documentary chronicling the rise and fall of Tower Records. Both natives of Sacramento and best friends since age 12, Hanks’ and Stuart’s Tower was on Broadway, an “ambitious bike ride” from their East Sac boyhood homes. In those formative years each fostered their own love of all-things music, with experiences now reflected upon with nostalgic fondness, from buying Tom Petty tickets at Tower in 1990, to frequenting The Beat at its Folsom Boulevard location. And it’s because of those experiences that we now have a lively, entertaining and heartfelt film to tell the tale of America’s—or perhaps the world’s—greatest record store empire. All Things Must Pass draws upon countless hours of interviews and archival footage to spin a yarn that feels both familiar and fresh, starting with Tower’s humble, pharmaceutical beginnings in the 1940s, and ending with its spectacular crash in the early part of the 21st century. Featured prominently alongside Tower’s founding father Russ Solomon (a gregarious, almost mythical figure) are his many valued and beloved Tower compatriots, as well as the likes of Elton John, David Geffen, Dave Grohl and Bruce Springsteen. The end result is one of heavy sentimentality that will likely leave you reminiscing about the good ol’ days, but at the same time you’ll be smiling by way of a Japanese twist. Colin Hanks, Sean Stuart and Russ Solomon were good enough to speak with Submerge in anticipation of All Things Must Pass screenings at the Sacramento International Film Festival at The Tower Theater on April 25 and 26. Keep an eye out at Towerrecordsmovie.com for announcements of future screenings and to learn more about the film.

Issue 185 • April 13 – April 27, 2015

Dive Into Sacramento & Its Surrounding Areas

Seven Years After Starting Production, Colin Hanks and Sean Stuart Finally Release All Things Must Pass: The Rise and Fall of Tower Records Words Jacob Sprecher

How was it that you became interested in telling Tower’s story? What made you want to take this on? Colin Hanks: As the stores were closing in 2006, an old family friend of mine from Sacramento, named Nancy Comstock, was in New York on business and I took her out to dinner for her birthday. She had walked by the Tower on Lincoln Center on the way over, and the beginning of the dinner conversation was just what a bummer it was that Tower was closing. And I had known that Tower was a Sacramento company… I had my own personal connection to the store, buying concert tickets and CDs and cassette singles and stuff like that. And at the end of the conversation, sort of in passing almost as an aside to herself, Nancy said, “And to think it all started in that little SubmergeMag.com

drugstore next to the Tower Theater.” And I said, “Excuse me, what?” I had not heard about that. I didn’t know how Russ started selling used 78s in ‘41. That was as close to a light-bulb moment as I’ve ever had. I said, “OK, that’s a documentary.” If Russ’ journey starts there, 1941 classic Americana, soda fountain drugstore roots, and it ends in 2006 with him shuttering 180 stores across the world, that’s quite a journey. And then once I did a bunch of research and saw that no one else had really tackled that as a stand-alone feature, I sort of naively said, “I want to make a documentary about Tower Records.” Sean Stuart: Colin sat me down in the fall of 2007 and basically said, “Hey, I had dinner with a friend, we were talking about Tower Records, and she told me that this thing started in the

back shelves of a pharmacy,” and then went on to give me a five-minute pitch. And by the end of it I was just like, “This is a no-brainer.” Regardless of the fact that we get to jump into something that has civic pride for us—a company that we know very well that came from our hometown—beyond that this is a story that I think will resonate with everyone. It’s music. It’s how we consume music. It’s the erosion of brick and mortar in our culture. It just felt like something interesting and compelling. Russ Solomon comes off as such an engaging and larger-than-life personality in the film. What was it like working with him, and did you get a chance to interact beyond the interviews? SS: Oh yeah, a ton—there’s no way you can’t. Colin and I have spent a lot of time with Russ over the past six, seven years. Interviewing, but even more than that. Honestly more of a friendship level. Patti [Drosins, Russ’ wife] and Russ to me at this point are a little bit like hanging out with family. God, I pray that I’ll live to be 90 years old someday and be as quick as he is. I don’t know a lot of 90-year-olds, but the guy, I mean literally, his memory is a steel trap. We’ll be sitting there and you’ll say one little thing and he’ll go into a five-minute story about something that’s more impressive than anything I can muster up at the wise old age of 37. He is an impressive, impressive man. We learned so

much from him. There were times when we’d be sitting there just talking with him, no cameras, nothing rolling, and it was like graduate business school. Life Lessons 101 on how to run life and how to treat people. It was just really unique and a wonderful experience. CH: We approached him in 2008. I didn’t know him, but I knew of him by that stage. So we sat down and met with him and instantly I was at ease. I didn’t know what he was going to say, and I found him to be the pleasant, jovial man that he is. I mean within two seconds of sitting down with him I said, “OK this guy’s a total cut-up.” He’s a great character. At that point he had also insisted that it wasn’t just his story; that it was really the story of all the people that helped build the store from the ground level.

“If Russ’ journey starts there, 1941 classic Americana, soda fountain drugstore roots, and it ends in 2006 with him shuttering 180 stores across the world, that’s quite a journey.” — Colin Hanks continued on page 20

Issue 185 • April 13 – April 27, 2015

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What are your personal views regarding the downfall of record stores? Do you think Tower was unique in how quickly it went from riches to rags, or is this a story that relates to the record industry in general? CH: Let me narrow this a little bit. The film is not meant to be a documentary about the fall of the music industry. It is meant to explain and debunk the myth that the Internet killed Tower Records. Now, Tower is a good example of the first sort of casualty, if you will, of the death of the music industry. But I’m in no way saying that record stores have died. Because they haven’t. But what I am saying is that record stores as we knew them—in 1999—are dead. So what I really wanted to do was to explain to people what happened to Tower, and why Tower went. Specifically talking about Tower, it is, quite frankly, gross over-expansion into markets and countries they had no right being in. In countries whose economic structure and population would have never supported such large-scale stores. And also the company’s own mismanagement once the banks took over. They could have maybe closed a bunch of stores and kept a couple open…close all the ones in the suburbs, keep Sunset, keep San Francisco, keep New York—but they didn’t do that. In regards to the music industry on the whole, we examine certain things the industry did that didn’t help anyone. The biggest issue being [that] they lost an entire generation of kids when they stopped selling singles. We wanted to, in a larger context, be able to explain these certain things that helped set things in motion, so when you get to 1999 and 2000, the train has already left the station. SS: As the title says, “all things must pass.” I think that we as human beings open the door for new technologies and new ways to consume [the] old. It’s the same way the printing press went. It’s an inevitable thing in a lot of ways. And I think the movie really does explore one business that happens to mirror its industry’s demise. But I think that there’s a lot of good to be seen in how we consume music now…you embrace it, and at times try to fix it. The archival footage and photography that runs throughout the film is fabulous. How’d you go about the process of unearthing all that? CH: Russ donated all of his personal collection of memorabilia to the Sacramento Historical Alliance, and we had access to his archives. All the people we spoke to in the film also gave us their own photographs, their own home movies; we licensed some footage; we paid for and digitized some footage; we were sort of de facto treasure hunters for about five years. The footage of Elton John [shopping for records at the Sunset Tower in the ‘70s] has really popped in a lot of people’s minds as this great find, and the guy who owns that footage did not shoot it. The guy who owns that found it in a dumpster 20 years ago and now it’s his. SS: Part of the biggest battle of [making this film was that] you can go get interviews, but now

Issue 185 • April 13 – April 27, 2015

what brings those interviews to life? Because no one wants to stare at talking heads for 100 minutes. You really have to be able to paint the picture to go with it. How were you able to pare the film down to 98 minutes? Felt like it could have easily been three hours. SS: It could have been a mini-series. [But] it’s kind of one of those things that presents itself. You end up starting on this documentary process, and you shape it and mold it and eventually it starts to show you what its personality is, and you end up kind of backing into whatever it needs to be. You don’t wanna force it, and at times you realize you’re getting too precious on certain things that you need to let go of. Can you speak to the challenges of putting together a documentary in comparison to a feature film? CH: Well they’re different disciplines under the same banner… I’m much more used to being able to tell a story with a beginning, a middle and an end: here it is, this is what the film’s gonna be, I need 22 days to shoot it, boom, done. This was hard. It changed, it evolved over time. We took five years to shoot this thing…it’s just different. But at the end of the day, we’re still storytellers, and I wanted to make sure that this story was accessible to everyone. It’s not just a film for music fanatics, it’s not just a film for people who only shopped at Tower Records. It’s most definitely for those people, but there’s also a human connection, a family story that we’re telling, both literally and metaphorically, and so I wanted to make the most personal film that I could. SS: I feel like there are music docs that if you really lived an era, that they move you like nothing else. And I think that’s one of the things that’s interesting about our documentary—it doesn’t really have an era associated [with] it. It spanned five decades, and it’s got such a deep, emotional human story, that you don’t even have to love music to understand. If you’ve ever banded together with other human beings to create something that either succeeded or failed, this movie has something for you. It doesn’t pigeonhole anyone, it’s not speaking to one subject. You may only pick it up because of the music, but once you’re there it’s such a broad story with so much heart, it really speaks to anyone and everyone who watches it. Lastly, I’ve got to believe the reaction from your screenings thus far has been extremely positive. What are you feeling from people? SS: I’m feeling like this is truly one of the most beloved companies of the last few decades. It really is something that people bemoan the loss of, and people really have a strong relationship to it. It’s been a great experience to see people connect to this movie…everywhere we go people always have their own story about Tower Records they want to tell us. It’s been pretty special watching it unfold. Dive Into Sacramento & Its Surrounding Areas

If You Build It, They Will Come: Q&A with Tower Records founder Russell Solomon Words Jonathan Carabba

ussell Solomon, what a guy. As the founder of Tower Records, he’s been called the godfather of music retail, a visionary, a living legend. Even at nearly 90 years old, Solomon is still razor sharp, and he absolutely loves to talk about all things music, especially Tower, as evidenced by Submerge’s hour-and-a-half-long interview conducted recently in his Sacramento home, an excerpt of which can be read here. With a drink in hand (“It’s almost 5 p.m.!” he exclaimed as we sat down), a very humble and down-to-earth Solomon spoke with us about the new documentary All Things Must Pass: The Rise and Fall of Tower Records, how the company was like one big family, how he feels about Tower still going strong in Japan and a little bit about his life-long passion for photography. When you were first starting a record shop, did you ever in a million years think that someone would want to make a documentary about you? No, that’s the last thing I thought about, believe me. I thought about making a living, that was what I thought about. I thought they [filmmakers Colin Hanks and Sean Stuart] were nuts in the first place. It took them seven years and they got it together and figured out that they wanted to make a story out of it, and they managed to do it, I thought. From my viewpoint, you’re trying to cram literally 60-something years of experiences into 90 minutes. A lot gets left out, right? So much great stuff probably hit the cutting room floor, as they say. At the end of the day, they are making a movie. It’s got to have a beginning, a middle and an end. That’s right. More of a movie than a documentary, too, if you think about it. One of the things they didn’t have, which I didn’t really think about it until after it was all over, was they didn’t have a narrator. You know how most documentaries have a voice over? Yup. But even without narration, this film gets moving! It’s got a heartbeat to it and it really gets pounding! That’s a tribute to their editing.

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More of a “can we have your blessing to use this” sort of thing? She blessed it, yeah. I’m curious, did watching the film for the first time make you emotional at all? Patti [Russ’ wife] gets emotional. I just say, “Ah, I’ve been there.” There is some pretty deep, personal stuff in some of those interviews, and the whole camaraderie of the Tower family comes through even though it’s a story of the rise and fall of the company. That was the truth, that’s the way it was. As a consequence, they captured that. I told them up front, “Look, this company wasn’t me. This company was made up of all the people that worked for us.” It wasn’t even just continued on page 22 >> that little group

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It’s not your run-of-the-mill, slow-paced documentary about WWII or something, it really moves. You know one of the things they told me, not sure if they told you or not, was they wanted to use the title “All Things Must Pass,” so they sent it to George Harrison’s wife, and she actually looked at it twice, they told me, and she loved it! She then gave permission to use it, although they didn’t really need permission to use the title.

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do. As a result of that, it kind of failed. That and the economy falling apart. We had a perfect storm there. So your answer is no.

“As far as I’m concerned, it’s totally honest, and that’s what I wanted it to be. I wanted it to make plain the idea that this was a community project, it wasn’t just one guy.” — Russ Solomon, Founder of Tower Records, on the film All Things Must Pass that was in the film. There were, and I didn’t know about this until late, in the American company from the time we started counting, which was probably in the late ‘70s, we had over 100,000 people that worked for the company! I love that the film shows how Tower employees went from clerks, to buyers, to assistant managers, to managers, to general managers, to vice presidents, etc. That family-type growth was important at Tower, wasn’t it? Absolutely, yeah. All the managers came from clerk status. In the movie Dave Grohl says something like, “Tower was the only place that would hire me with my fucking haircut.” He was this long-haired grungy looking kid but got a job at one of your stores. You guys attracted a lot of interesting characters to work for Tower, didn’t you? It was true. The one thing we didn’t have was any kind of dress code. The only thing we insisted upon was that they wear shoes, but in Hawaii they didn’t wear shoes. What are you gonna do, you know? The late and great Bud Martin wasn’t necessarily the face of the company as much as you were; he was more the money guy. Does it feel nice to be able to show how important he was to the company in this film? Yeah. If I’d have just listened to him. The problem at the end with Bud was that the company got so big. Bud was a public accountant, as opposed to a CPA, and the company was handling so much damned money that we needed a CPA. It didn’t turn out to be the best thing to do, but, nonetheless it had to be done. Bud actually hired the CPA, which is the guy that ultimately replaced him. But he was getting sick, and, you know… He was a good guy. I miss him. In creating Tower Records, you created more than a music store—they were hangout spots; people would link up at Tower. It’s true, people liked to come to us. The clerks

were like they were. If you looked at the other big stores, the Musiclands and Wherehouses and whathaveyou, they were pretty snobby. Why? I don’t know. I have a theory, now that I sit here and think about it. I have this idea, which is something you can’t tell bankers by the way, but the people in say a Musicland store or a Wherehouse store or whatever, they didn’t have any control over what was happening in that store, all the decisions were being made in their main office or whatever. But in our case it was just the opposite. We wanted the people in the store to run the store, it was their store. They could do what they wanted. It’s kind of a good thing that the film took so long to make, because it’s really incredible that some of the interviews were done inside the Watt Avenue store after it had shut down. How did that work out? That was at the beginning of filming the movie. The Watt store sort of stayed empty for a while after the liquidators emptied it of the merchandise, and all those racks were in there, and the sign was still there. When Sean and Colin first started the thing, they talked the landlord into letting us in and lighting it and so on. So we were able to do that in there. Post-Tower, you opened up R5 Records in Sacramento in 2008, which was probably the worst year ever to open a store. That was not my finest hour. Do you think something like R5 would work now? No, I don’t think so, except maybe in a market like New York. Obviously it works in Japan. Here’s the difference, the physical market is a combination of used and a little new in CDs and LPs, vinyl as they call it. So, what Tower was and what R5 was, was a new store. We didn’t carry used. We carried vinyl at the end at R5, and we carried a little vinyl in Tower at the end. The whole vinyl thing was just kind of starting back up, that’s back in 2004, 2005, it was just beginning to regenerate itself. But to replicate Tower and its “all new” kind of thing, which is what we were, that’s what R5 tried to

Issue 185 • April 13 – April 27, 2015

In this area we’ve got Dimple Records, Phono Select, Esoteric, Armadillo and others. There’s even a new little shop opening on R Street soon. Why do you think people are still running and opening these smaller record stores even today? They have fun doing it! The trouble is that LPs are not going to grow to the strength they had before. One of the reasons is they can’t manufacture enough… There’s no production facilities to speak of, so it’s limited as to what they can put out. In the old days with LPs and for CDs, if they had a new release of a hot artist, they’d press a million copies and throw it out on the marketplace. If we didn’t sell it we’d send it back. Well that’s not the case today. So that limits the growth for LPs in retail for that reason. But I think there are always going to be collectors! That was the whole idea behind it was the collector, that was a big portion of the business. Right, from your everyday average Joe collector, all the way on up to Elton John, who used to obsessively peruse your stores for records. Just think of yourself as a young guy or a young girl who had a box full of their favorite songs on 45s. They were collectors, even though they only maybe had 30, 40, 50 records. They were seeking out what they want, getting it, owning it, having it in their possession. Exactly, and then sharing it with all of their friends and all that stuff. And it happens so differently now... If you want to read a story about collectors going to a point of absurdity, there’s a book called Do Not Sell at Any Price. It’s the background story of the freak 78 [rpm records] collectors, who collected old blues and original records that go back to the 1920s. These guys are digging around in garbage dumpsters. They’re obsessed, they know a lot about it, and they pay ridiculous prices for some of this stuff, ‘cause, you know, there’s only one copy left of Uncle George’s Jug Band or some damn thing [laughs]. People go to extraordinary lengths to collect. They are out there. Do you think that will essentially help these small little mom-and-pop record shops maintain? Oh absolutely, that’s the fun part of it. The only thing that’s changed really is that there’s so much fewer people that are buying that stuff than there was in the past. I mean, the heyday of selling thousands of units or millions of units or something like that is gone in the physical world, because it’s changed so dramatically to streaming. I think the release of this film will be a very big thing for Sacramento. Yeah, I didn’t realize how much Tower meant to so many people. This isn’t in Sacramento, but Patti and I were in Palm Springs visiting some friends recently and we were sitting in a bar. The friends we were visiting, he always does this, which I would never do, he goes, “He’s the founder of Tower Records!” and points at me. And here’s these two old people sitting at the bar having a drink, they go, “Oh my God, Tower Records?” and

then they carried on about how wonderful it was. I had no idea, really. Maybe I wasn’t thinking about it, how somehow or another we seemed to touch a lot of people through the years. You’ve got a lot of years involved, 1960 to 2006. Time to time I would actually run into people who would say, “I used to shop and listen to records in the booths at the drugstore.” I say, “Jesus, you have to be really old.” In Japan there are over 80 Tower Records locations still to this day. How does it feel to see the Tower model working over there? Very proud. Of course the thing that keeps it alive I think is the fact that they don’t have any financial problems, they’re owned by the telephone company essentially… So they don’t have to worry about debt or any of those mundane kind of problems, and they just keep it going. The nature of the Japanese market is that it’s the only market in the world that’s about 80 percent physical, compared to America which is 20 percent physical. So for some reason the physical world over there, physical records, are still going strong. I couldn’t be prouder. They are doing what we set up and they just kept it going, and like the Japanese always do, they improve on things. Now that you’ve seen All Things Must Pass, do you think Colin, Sean and the whole team behind the film did you and your fellow Tower employees proud? I would say so, yeah. I’m certainly proud of Colin and Sean, and their people that worked on it. I’m really pleased about the whole thing and I’m pleased with the way that they did it. As far as I’m concerned, it’s totally honest, and that’s what I wanted it to be. I wanted it to make plain the idea that this was a community project, it wasn’t just one guy. To wrap things up, I noticed in the film there are a couple old photos of you with a camera around your neck. How long have you been into photography? Since I was about 15. Were you mostly taking photos for business purposes, you know, research? Or was it more of an artsy approach? It was more for fun. No matter where I went, I always had a camera to take pictures of the stores. [Because he was being so humble, Patti interjected: “Did you know he had a gallery show? But didn’t you start in High School, Russ? Didn’t you do the pictures for the yearbook, but you never graduated, so you weren’t in it?”] Russ Solomon: [laughs] It was really a dirty trick. I was the principal photographer for the McClatchy yearbook and because they kicked me out of school, they wouldn’t give me any credit. But the photographs were terrible, believe me, they were terrible. High school pictures, are you kidding me?

Unfortunately, the April 25 and 26 screenings of All Things Must Pass have already sold out. Hopefully more screenings will be added soon. To keep up to date on what's going on with the film, go to Towerrecordsmovie.com. For more info about the Sacramento International Film Festival, check out Facebook. com/sacfilmfest.

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Ace of Spades Blue October, 7 p.m. The Blue Lamp Acoustic/Spoken Open Mic, special guest Indie Genie, 8 p.m. The Boxing Donkey Open Mic Variety Night, 8 p.m. Cafe Colonial The Left Hand, The Skrokers, 6 p.m. Capitol Garage Open Mic Night hosted by Musical Charis, 9 p.m. Distillery Karaoke, 9 p.m. Fox & Goose Open Mic Night, 7:30 p.m. Goldfield Open Mic Night hosted by James Cavern, 9 p.m. Harlow’s The Golden State: Lone Star Revue, Charlie Baty, Mark Hummel, 6:30 p.m. Harris Center for the Arts Bruce Hornsby, 8 p.m. (Sold Out) Louie’s Cocktail Lounge Karaoke, 9 p.m. LowBrau Motown on Monday’s w/ DJ Epik, 9 p.m. Luna’s Cafe Nebraska Mondays hosted by Ross Hammond, 7:30 p.m. Press Club Bubble Butt Dance Party, 9 p.m.

4.14 Tuesday

Ace of Spades Antemasque, Le Butcherettes, Sister Crayon, 7 p.m. The Boardwalk Twisted Insane, 7 p.m.

Distillery Karaoke, 9 p.m. Dive Bar Boom Booms, Jonny Gold Trio, 9 p.m. Harlow’s Tubaluba, Brothers Gow, The Sealegs, 7 p.m. Kupros Craft House Open Mic, 9 p.m. LowBrau Le Twist Tuesdays w/ Marie Davidson, BOAN, Sam I Jam, Adam J, Roger Carpio, Nicholson’s MusiCafe West Coast Songwriting Competition, 6 p.m. Old Ironsides Karaoke, 9 p.m. Pine Cove Open Mic Night, 9 p.m. Powerhouse Pub Rock On! Live Band Karaoke, 8 p.m. Press Club Lucid, Element a440, Slaves of Manhattan, 8 p.m. Shine Open Jazz Jam hosted by Jason Galbraith, 8 p.m. Torch Club Bill Mylar, 5:30 p.m.; Michael Ray, The Liabilities, 9 p.m. UC Davis: Jackson Hall Belle and Sebastian, 7:30 p.m.

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Harris Center for the Arts Dave Mason’s Traffic Jam, 8 p.m. Laughs Unlimited Karaoke, 8 p.m. Mix DJ Gabe Xavier, DJ Peeti V, 9 p.m. Old Ironsides Open Mic, 9 p.m. Powerhouse Pub Red Sky Sunrise, Contact Hi, Pine Street Ramblers, 8 p.m. Press Club Yankee Brutal, Sic Waiting, The Community, Rebel Radio, 8 p.m. Sacramento State: Serna Plaza Nooner w/ The Tipsy Hustlers, 12 p.m. Shine Midtown Out Loud Open Mic, 8 p.m. Sophia’s Thai Kitchen Open Mic, 8 p.m. Torch Club Acoustic Open Mic, 5:30 p.m.; Brian Rogers Band, 9 p.m.

4.16 thursday

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The Hideaway Bar & Grill Trash Rock Thursdays, 9 p.m. Level Up Lounge Karaoke, 9 p.m. Louie’s Cocktail Lounge Karaoke, 9 p.m. Mix DJ Eddie Edul, DJ Peeti V, 9 p.m. MontBleu Resort Casino Zion I, The Grouch, Eligh, 10 p.m. Old Ironsides Open Acoustic Folk Jam, 7 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub Hired Gun, 10 p.m. Press Club Heckarap!, 9 p.m. Sacramento State: University Union Ballroom Pacific Mambo Orchestra, 6 p.m. Starlite Lounge The Charles Gunn Band, Cash Cartell, Sullivan’s Wright, Swahili Passion, 8 p.m. Torch Club Mind X Quartet, 5 p.m.; Reds Blues feat. Kyle Jester, 9 p.m. UC Davis: Corin Courtyard Rita Hosking, 6:30 p.m. UC Davis: Jackson Hall Arlo Guthrie, 8 p.m.

4.17 Friday

Ace of Spades Sturgill Simpson, DJ Electric Western, 7 p.m. Back 9 Bar & Grill DJ Frankie, DJ Mermer, 8 p.m. Bar 101 Rich Corporation, 9:30 p.m. Berryessa Brewing Co. Bonanza King, 5 p.m. The Blue Lamp The Diva Kings, The Chick P’s, 6 p.m.; Fyah on the Water Pre-Party: One A-Chord, Project Out of Bounds, DJ Wokstr, 9 p.m. The Boardwalk Lions Lions, Everyone Dies in Utah, Trophy Wives, Taking Fox Hollow, Lost in Lights, 6:30 p.m. The Boxing Donkey Mark Harrod, 9 p.m. Cache Creek Casino El Chapo de Sinaloa, 9 p.m. Capitol Garage Fyah Fridays w/ DJ Jaytwo, 10 p.m. Club Car Humble Wolf, 9 p.m. El Dorado Saloon Code Blue, 9 p.m. Fox & Goose The Keri Carr Band, F St. Stompers, 9 p.m. G Street WunderBar The Nickel Slots, 10 p.m.

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Issue 185 • April 13 – April 27, 2015

4.15

Old Salt Union Charlie Green Goldfield 8 p.m.

4.17

Lions Lions Everyone Dies in Utah, Trophy Wives, Taking Fox Hollow, Lost in Lights The Boardwalk 6:30 p.m. Dive Into Sacramento & Its Surrounding Areas

Sacramento’S neweSt country Bar, reStaurant, and live muSic venue Mondays

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1630 j sTreeT (Corner of J & 17) SaCramento goldfieldTradingposT.coM continued on page 24 SubmergeMag.com

lessOns

10pm- Close

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Issue 185 • April 13 – April 27, 2015

Dive Into Sacramento & Its Surrounding Areas

4.17&4.18

Tribute to Linda RonstadtThe Early Years: Lorraine Gervais, Kate Haight, Taylor Harris Main Stage Theater (Grass Valley) 8 p.m.

Golden Bear DJ Crook, 10 p.m. Goldfield Westbound 50, 9 p.m. Harlow’s Dwele, Big Mike Hart, 9 p.m. Kupros Craft House Dylan Cal Trio, 9 p.m. Main Stage Theater (Grass Valley) Tribute to Linda RonstadtThe Early Years: Lorraine Gervais, Kate Haight, Taylor Harris, 8 p.m. Midtown BarFly That Thing On Friday, 10 p.m. Mix DJ Gabe Xavier, 9 p.m. Old Ironsides The Losing Kind, Cold Feelings, Simpl3 Jack, 9 p.m. Pine Cove Karaoke, 9 p.m. Pour House Manzanita, 10 p.m. Powerhouse Pub Chris Gardner, 10 p.m. Press Club DJ Rue, 9 p.m. Red Hawk Casino Big Trouble, 4 p.m.; Big Bad Boogie Rock, 9:30 p.m. Shine The Denver J Band, Tyler Gilbert, The Gentlemen, 8 p.m. Sleep Train Arena Barry Manilow, 6:30 p.m. The Stag Kryptic Memories, Sour Diesel, Archangel, California Medication, 8 p.m. Starlite Lounge Dead In Seconds, Up Against it, MDSO, Slaves of Manhattan, 8 p.m. Swabbies on the River 3rd Fridays Reggae w/ UrbanFire, The Scratch Outs, 6 p.m. Thunder Valley Casino Resort Nunchuck Taylor, 9:30 p.m. Torch Club Pailer & Fratis, 5:30 p.m.; Con Brio, 9 p.m.

4.18 Saturday

Ace of Spades Black Label Society, 7 p.m. Back 9 Bar & Grill Moon Mantis, Irrelevant, Sticky Weighs, 7 p.m. Bar 101 Humble Wolf, 9:30 p.m. Berryessa Brewing Co. Element Brass Band, 3 p.m. The Blue Lamp Bob Wayne, KB & the Slingtones, One Eyed Reilly, 8 p.m. The Boardwalk ABK, Axe Murder Boyz, Big Hoodoo, Om3n, NinjaLOC, 6:30 p.m. The Boxing Donkey Adam Donald, 9 p.m. Cache Creek Casino George Benson, 8 p.m.

SubmergeMag.com

Camp Pollock Fyah on the Water Festival w/ Marlon Asher, Potluck, Mystic Roots, RBL Posse, B1, Massive Delicious and More, 9 a.m. Capitol Garage Feel Good Saturday’s w/ DJ Epik, 10 p.m. Club Car Rich Lawson, 9 p.m. District 30 DJ DM, 10 p.m. El Dorado Saloon Island of Black and White, 9 p.m. Fox & Goose Fu-KU & the Deadly Venoms, MRCH, 9 p.m. G Street WunderBar Element Brass Band, DJ Mouf, 10 p.m. Gold Lion Arts Marisa Anderson, Amy Reed Band, 8 p.m. Golden Bear Breezin w/ Shaun Slaughter and Adam Jay, 1:30 p.m. Goldfield Manzanita, 9 p.m. Harlow’s Tainted Love, 8:30 p.m. Harrah’s Lake Tahoe Leon Russell, 7:30 p.m. KBAR Z Rokk, 9 p.m. Kupros Craft House Left Jab, 9 p.m. Level Up Lounge Guest DJs, 9 p.m. Luna’s Cafe Richie Lawrence & Katie Thomas, Gene Williams, 8:30 p.m. Main Stage Theater (Grass Valley) Tribute to Linda RonstadtThe Early Years: Lorraine Gervais, Kate Haight, Taylor Harris, 8 p.m. Mix DJ Eddie Edul, 9 p.m. MontBleu Resort Casino Little River Band, Gary Mule Deer, 8 p.m. Nicholson’s MusiCafe Dr. Halls Songwriters Meetup, 3 p.m.; Jenn Rogar, 6 p.m. Old Ironsides Said the Shotgun (CD Release), Sea Legs, Infinite Vastness, 9 p.m. The Park Ultra Lounge Devin Lucien, 9 p.m. Pine Cove Karaoke, 9 p.m. Pour House U2 Cover Band, 10 p.m. Powerhouse Pub Not Your Style (Reunion Show), Once An Empire (Acoustic), Riotmaker, 9 p.m. Press Club DJ Larry Rodriguez, 9 p.m. Red Hawk Casino The Spazmatics, 10 p.m. Shine In the No, Karen Sanders, Buddhaclops, 8 p.m. Starlite Lounge Fair Struggle, California Riot Act, Terra Ferno, 8 p.m. Swabbies on the River Ranell Carpenter Band, 2:30 p.m.; Maxx Cabello Jr., 6 p.m.

4.18

Fyah on the Water Festival w/ Marlon Asher

King Mystic Woman Potluck, Roots, RBL Posse, B1, Pregnant, CaseyDelicious Chisholmand More Massive Press Camp Club 8Pollock p.m. 9 a.m.

Thunder Valley Casino Resort Rock-N-Sol, 9:30 p.m. Torch Club The Stuff, 5:30 p.m.; Steven Roth Band, 9 p.m.

4.19 sunday

Ace of Spades Royal Blood, Life in 24 Frames, Mini Mansions, 7 p.m. Bar 101 Denver Saunders, 2 p.m. Berryessa Brewing Co. A Thousand Years at Sea, 3 p.m. The Blue Lamp Reagan Youth, Agnostic Blunt, Pressure Point, Yankee Brutal, 7 p.m. Broderick Roadhouse Karaoke w/ DJ Jazcat, 9 p.m. Cache Creek Casino Jew Amornrat, 6 p.m. Cafe Colonial Bastards of Young, Western Settings, Dead Dads, At Both Ends, 8 p.m. Camp Pollock Fyah on the Water Festival w/ Tribal Seeds, Kottonmouth Kings, Arden Park Roots, Indubious, Junior Toots, ZuhG, Element of Soul, 9 a.m. Capitol Garage Karaoke w/ Jeff Jenkins, 9 p.m. Distillery Karaoke, 8 p.m. El Dorado Saloon Acoustic Sundays w/ Ryan Raynal, 1 p.m. Harlow’s Agent Orange, In the Whale, 7 p.m. Main Stage Theater (Grass Valley) Delhi 2 Dublin, 8 p.m. Mix DJ Gabe Xavier, 8:30 p.m. Powerhouse Pub Annie Sampson, 3 p.m. Press Club Sunday Night Soul Party w/ DJ Larry Rodriguez, 9 p.m. Red Hawk Casino Michael Beck, 1 p.m. Swabbies on the River Amanda Gray, 2 p.m. Torch Club 80th Anniversary Celebration w/ The Peter Petty Review feat. Dana Moret, Hopeless Jack & The Handsome Devil, Black Star Safari, Mind X and More, 4 p.m. UC Davis: Jackson Hall The Composer is Dead w/ Lara Downes, Davis High School Symphony Orchestra, 3 p.m.

4.20 monday

Ace of Spades Tech N9ne, Chris Webby, Krizz Kaiko, King 810, Murs, Zuse, Cherry Red, 6 p.m. The Blue Lamp Open Mic, 7:30 p.m. The Boxing Donkey Open Mic Variety Night, 8 p.m. Capitol Garage Open Mic Night hosted by Musical Charis, 9 p.m. Distillery Karaoke, 9 p.m. Fox & Goose Open Mic Night, 7:30 p.m. Goldfield Open Mic Night hosted by James Cavern, 9 p.m. Harlow’s Cayucas, 6 p.m. Louie’s Cocktail Lounge Karaoke, 9 p.m. LowBrau Motown on Monday’s w/ DJ Epik, 9 p.m. Luna’s Cafe Nebraska Mondays hosted by Ross Hammond, 7:30 p.m. Press Club Hedersleben, St. James and the Apostles, Instagon, 8 p.m.

4.21 Tuesday

Ace of Spades Enter Shikari, Stray From the Path, A Lot Like Birds, I the Mighty, Artisans, Artisans, 6 p.m. The Blue Lamp Cormorant, Wild Hunting, (waning), 8 p.m. The Boardwalk Morgan Heritage, Jemere Morgan, Luisa Lavulo, 7 p.m. Distillery Karaoke, 9 p.m. Dive Bar Swingxotica w/ Emily Kollars Band, 9 p.m. Goldfield Brothers Osborne, 8 p.m. Harlow’s The Dead Milkmen, 8 p.m. Kupros Craft House Open Mic, 9 p.m. LowBrau Le Twist Tuesdays w/ Sam I Jam, Adam J, Roger Carpio, Nicholson’s MusiCafe Beginning Bluegrass Club, 6:30 p.m. Old Ironsides Karaoke, 9 p.m. Pine Cove Open Mic Night, 9 p.m. Powerhouse Pub Rock On! Live Band Karaoke, 8 p.m.

continued on page 28

Issue 185 • April 13 – April 27, 2015

Shine Open Jazz Jam hosted by Jason Galbraith, 8 p.m. Torch Club Chris Twomey, 5:30 p.m.; Ariel Jean, 9 p.m.

4.22 wednesday

1/2 Industry nI g ht off Thursdays

eveRyThing 10pm To FRom The 12am

bar!

2718 J Street Sacramento

916.706.2275 • TheRedRabbit.net Facebook.com/SacRabbit

Ace of Spades Sebastian Bach, Maxxx, 7 p.m. Bar 101 Open Mic, 7:30 p.m. The Blue Lamp The Knockoffs, Rebel Punk, The Harbor, The O’Mulligans, 8 p.m. Club Car The Double Shots, 7:30 p.m. Distillery Karaoke, 9 p.m. District 30 Andrew Bayer, 10 p.m. Dive Bar Boca Do Rio, 9 p.m. El Dorado Saloon Acoustic Open Mic Night, 7 p.m. Fox & Goose Record Club’s British Pop Wednesdays w/ Roger Carpio, 8 p.m. Harlow’s Flat Busted and the Kenny Frye Band, 7 p.m. Laughs Unlimited Karaoke, 8 p.m. Luna’s Cafe Irish Celtic Jam Night, 7 p.m. Main Stage Theater (Grass Valley) A Thousand Years at Sea, Alba’s Edge, 7:30 p.m. Mix DJ Gabe Xavier, DJ Peeti V, 9 p.m. Old Ironsides Open Mic, 9 p.m. Powerhouse Pub Zero Day Threat, Decades of Statues, 8 p.m. Sacramento State: Serna Plaza Nooner w/ Esquire Ali and the Vibe Tribe, 12 p.m. Shine Midtown Out Loud Open Mic, 8 p.m. Sophia’s Thai Kitchen Open Mic, 8 p.m. Starlite Lounge Crown Larks, Drive-Thru Mystics, All About Rockets, Dad?, 8 p.m. Torch Club Acoustic Open Mic, 5:30 p.m.; ZuhG, Hibbity Dibbity, 9 p.m.

4.23 Thursday

Ace of Spades Kalin and Myles, Anjali, Derek King, 6:30 p.m. (Sold Out) Bar 101 Karaoke, 7:30 p.m. The Blue Lamp The Grind w/ EMoney, Task1ne, Npire the Great, J.Terrible, Penny, The Beatknocks, Riot Craig and more, 8 p.m. The Boardwalk The Classic Crime, Megosh, Hearts Like Lions, Alas Termina, Flagship Armada, 5:30 p.m. Cafe Colonial Hideaway, Quiet, Vvomen, Stoop Kids, Little Tents, 7 p.m. Capitol Garage Karaoke w/ Jeff Jenkins, 10 p.m. Club Car Songwriters Showcase, 8 p.m. The Coffee Garden Open Mic Night, 8 p.m. District 30 Project 46, 10 p.m. Dive Bar Dueling Pianos, 9 p.m. El Dorado Saloon DJ River, 9:30 p.m. Fox & Goose Chicken & Dumpling, 8 p.m. G Street WunderBar Rock On! Live Band Karaoke, 10 p.m.

Issue 185 • April 13 – April 27, 2015

Harlow’s The J Band, 7 p.m. The Hideaway Bar & Grill Trash Rock Thursdays, 9 p.m. Kupros Craft House Spring Singer/Songwriter Showcase w/ Jenna LeMaster, Brittany Vanessa, Geovanie Brooks, Mondo Mariscal, 8:30 p.m. Level Up Lounge Karaoke, 9 p.m. Louie’s Cocktail Lounge Karaoke, 9 p.m. Mix DJ Eddie Edul, DJ Peeti V, 9 p.m. Nicholson’s MusiCafe Student Recital Presented by Eddie Honeyeater, 7:30 p.m. Old Ironsides Billy Shaddox, 8 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub RV Royalty, 10 p.m. Torch Club Mind X Quartet, 5 p.m.; Harlis Sweetwater Band, 9 p.m.

4.24 FRIDAY

Ace of Spades Berner, 7 p.m. Back 9 Bar & Grill M2, Lungs, ShortyEarl, Dirk Dig, 8:30 p.m. Bar 101 D.A.P., 9:30 p.m. Berryessa Brewing Co. Shake Don’t Stir, 5 p.m. The Blue Lamp Free Up FridaysReggae w/ DJ Wokstar, 10 p.m. The Boxing Donkey Total Recall, 9 p.m. Capitol Garage Fyah Fridays w/ DJ Jaytwo, 10 p.m. Club Car Fox Trot Mary, 9 p.m. The Colony Conossieur, Deadpressure, xtomhanx, Dakhma, 8 p.m. District 30 Benji the Hunter & InkdUp, 10 p.m. El Dorado Saloon Hired Guns, 9 p.m. Fox & Goose Golden Cadillacs, Guero, 9 p.m. G Street WunderBar DJ Adrian G, 10 p.m. Golden Bear DJ Crook, 10 p.m. Goldfield Coleen Heauser, 9 p.m. Harlow’s Nora Jane Struthers and the Party Line, 5:30 p.m. Kupros Craft House Trio Las Cruces, 9 p.m. Luna’s Cafe Singer/Songwriter Showcase hosted by Howard Hall, 8 p.m. Main Stage Theater (Grass Valley) Janis Ian and Tom Paxton 8 p.m. Mix DJ Gabe Xavier, 9 p.m. Old Ironsides Las Pesadillas, The Pikeys, 9 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub Love Fool, 10 p.m. Press Club DJ Rue, 9 p.m. Red Hawk Casino Ranell Carpenter, 4 p.m.; Kumandae Miller, 9:30 p.m. Shine Cory Barringer and the Agnostic Tabernacle Choir, Dino Dimare, Cameron Betts, 8 p.m. Starlite Lounge Brutha Smith, Mr. Hooper, Boombox Bros, Penny, Mr. P Chill, Task1ne, J.Terrible, Hennessy, Dizz, Bishop Thrives, 8 p.m. Swabbies on the River Chris Gardner Band, 6 p.m. Thunder Valley Casino Resort Weird Science, 9:30 p.m.

4.24 berner Ace of Spades 7 p.m.

Torch Club Pailer & Fratis, 5:30 p.m.; Soul Track Mind, Bellygunner, 9 p.m. UC Davis: Jackson Hall Bill Frisell and Joshua Light Show, 8 p.m. UC Davis: Vanderhoef Studio Theatre Music of the World: Ensembles of UC Davis, 7 p.m.

4.25 Saturday

Ace of Spades Parmalee, 7 p.m. Bar 101 Billy Manzik, 9:30 p.m. Berryessa Brewing Co. What’s Left, 3 p.m. The Blue Lamp Cliff ‘Em All (Metallica tribute), Maiden California (Iron Maiden tribute), 8 p.m. The Boardwalk Alesana, Capture The Crown, The Browning, Conquer Divide, The Funeral Portrait, Visions In Sleep, 6 p.m. Capitol Garage Feel Good Saturday’s w/ DJ Epik, 10 p.m. Club Car EZ Street Band, 9 p.m. Crest Theatre Tom Rigney and Flambeau, Nell Robinson & Jim Nunally with The Good Luck Charm, 6:30 p.m. District 30 DJ Solarz, 10 p.m. El Dorado Saloon Aquanet, 9 p.m. Fox & Goose Rocket Sauce, The Jumbuck Anzac Band, Brian Watson, 9 p.m. G Street WunderBar Dangermaker, 10 p.m. Goldfield Country DJ Dancing, 9 p.m. Harlow’s Sir Michael Rocks, Robb Banks, Pouya, 6 p.m.; Big Eyed Fish (Dave Matthews Band tribute), 10 p.m. Harrah’s Lake Tahoe Jose Feliciano, 7:30 p.m. KBAR Z Rokk, 9 p.m. Kupros Craft House Harley White Trio, 9 p.m. Level Up Lounge Guest DJs, 9 p.m. Luna’s Cafe David Houston & Strong Theory, 8:30 p.m. Mix DJ Eddie Edul, 9 p.m. Nicholson’s MusiCafe Chet & Herbie Jazz Jam, 6 p.m. Old Ironsides The Tipsy Hustlers (CD Release), Back Alley Buzzards, Clouds Roll By, 9 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub The Broken Stems, The Infamous Swanks, Mikey LP & the Krooks, 10 p.m.

Press Club DJ Larry Rodriguez, 9 p.m. Red Hawk Casino Steel Breeze, 10 p.m. Shine Sicfus, Embryo, Big Water Beat, 8 p.m. Starlite Lounge (16), Brainoil, Kowloon Walled City, Church, 8 p.m. Swabbies on the River Departure (Journey tribute), Heatless (Heart tribute), 4 p.m. Thunder Valley Casino Resort Tragically White, 9:30 p.m. Torch Club Midtown Creepers, 5:30 p.m.; Mr. December, Miles Schon, 9 p.m.

4.26 Sunday

Bar 101 Dylan Crawford, 2 p.m. Berryessa Brewing Co. The Hucklebucks, 3 p.m. The Blue Lamp Abby Normal, Gana, 8 p.m. Broderick Roadhouse Karaoke w/ DJ Jazcat, 9 p.m. Cache Creek Casino Live Band Karaoke, 5 p.m. Capitol Garage Karaoke w/ Jeff Jenkins, 9 p.m. Crest Theatre Kidz Bop, 2 p.m. Distillery Karaoke, 8 p.m. El Dorado Saloon Acoustic Sundays w/ Ginger Tivey, 1 p.m. Goldfield Jared & the Mill, 9 p.m. Harlow’s Curren$y, Corner Boy P, Young Roddy, Le$, Ty, 6:30 p.m. Luna’s Cafe Amy Black, 7 p.m. Main Stage Theater (Grass Valley) Terry Riley, 2 p.m.; Le Vent du Nord, 8 p.m. Mix DJ Gabe Xavier, 8:30 p.m. On The Y Bloodgeon, Imbibed by the Quasar, 8 p.m. Powerhouse Pub Delta Wires, 3 p.m. Press Club Burning Palms, G. Green, Grill Cloth, Vasas, 6 p.m.; Sunday Night Soul Party w/ DJ Larry Rodriguez, 9 p.m. Red Hawk Casino The Golden Cadillacs, 1 p.m. Swabbies on the River Savannah Blue, 3 p.m. Third Space SGNLS, Screature, Ghostplay, Night Children, 8 p.m. Torch Club Blues Jam, 4 p.m.; Front the Band, 8 p.m. UC Davis: Vanderhoef Studio Theatre Empyrean Ensemble: Young and the Restless I, 7 p.m.

Dive Into Sacramento & Its Surrounding Areas

4.27 Monday

The Blue Lamp Open Mic, 7:30 p.m. The Boxing Donkey Open Mic Variety Night, 8 p.m. Capitol Garage Open Mic Night hosted by Musical Charis, 9 p.m. Distillery Karaoke, 9 p.m. Fox & Goose Open Mic Night, 7:30 p.m. Goldfield Open Mic Night hosted by James Cavern, 9 p.m. Louie’s Cocktail Lounge Karaoke, 9 p.m. LowBrau Motown on Monday’s w/ DJ Epik, 9 p.m. Luna’s Cafe Nebraska Mondays hosted by Ross Hammond, 7:30 p.m. Press Club Books on Fate, Silver Spoons, Specters, Mallard, 8 p.m.

Comedy Laughs Unlimited Say It Loud Comedy w/ Kirk McHenry, Melanie Vega, Dan Mires, Luke Soin, Feel Woods, hosted by Michael Calvin, Jr., April 16, 8 p.m. Mike Pace, G King, April 17 - 19, Fri. & Sat., 8 p.m. & 10:30 p.m.; Sun., 7 p.m. Best of Open Mic Showcase, April 21, 8 p.m. There Goes the Neighborhood Comedy Jam feat. Tom McClain, April 23, 8 p.m. Daniel Dugar, Andrew Rivers, April 24 - 26, Fri. & Sat., 8 p.m. & 10:30 p.m.; Sun., 7 p.m. Luna’s Cafe Open Mic Comedy, every Tuesday, 7:30 p.m. STAB! Hosted by John Ross, April 15, 8 p.m. Punchline Comedy Club The Comedy Roast Gameshow w/ Mike E. Winfield, April 15, 8 p.m. Carlos Rodriguez’s Green Room, April 16, 8 p.m. Bobby Lee, Josef Anolin, April 17 - 19, Fri. & Sat., 8 p.m. & 10 p.m.; Sun., 7 p.m. Bryan Callen, Leo Flowers, April 23 - 25, Thurs., 8 p.m.; Fri. & Sat., 8 p.m. & 10 p.m. Sacramento Comedy Spot Open Mic, Sunday’s and Monday’s, 8 p.m. Cage Match, Tuesday’s, 9 p.m.

Improv Lab, Harold Night & Gordon Teams, Wednesday’s, 7 - 10 p.m. Gag Order & Improv Jam, Thursday’s, 8 - 10 p.m. Top 10 Podcast, Friday’s, 7 p.m. Anti-Cooperation League, Saturday’s, 9 p.m. Thunder Valley Casino Resort D.L. Hughley, April 24, 7:30 p.m. Tommy T’s Sommore, April 17 - 19, Fri., 7:30 & 9:45 p.m.; Sat., 7 & 9:45 p.m.; Sun., 7 p.m. Gerald Kelly, April 24 - 26, Fri., 7:30 & 9:45 p.m.; Sat., 7 & 9:45 p.m.; Sun., 7 p.m.

Misc. 20th Street (Between J and K) Midtown Farmers Market, every Saturday, 8 a.m. Avid Reader (Davis) Book Release for Local Author Bil Paul, Writer of The Train Never Stops in Dixon, April 17, 7:30 p.m. San Francisco Author and The Food Poet Blogger Annelies Zijderveld, Writer of Steeped: Recipes Infused with Tea, April 24, 7:30 p.m. Nora Pouillon: My Organic Life: How a Pioneering Chef Helped Shape the Way We Eat, April 27, 7:30 p.m. Axis Gallery Under the Influence: Paintings and Prints by Sandra Beard, through April 26 B Street Theatre Oblivion by  Carly Mensch (writer of hit TV show Weeds), through April 19 Buyer and Cellar by Jonathan Tolins, through May 9 Blue Cue Bar Bingo, Wednesday’s, 9 p.m. The Blue Lamp Naughty Trivia!, every Wednesday, 8 p.m. The Boxing Donkey Trivia Night, every Tuesday, 8 p.m. Brickhouse Gallery The Art of Nicholas M. Taylor, through April 30 Capitol Garage Geeks Who Drink Trivia Night, Wednesday’s, 9 p.m. Chautauqua Playhouse Proof by David Auburn, through April 19 Community Center Theatre Once, through April 19 Cosumnes River College 2015 Our Life Stories Writers’ Conference, April 18, 8:30 a.m. Crocker Art Museum Toulouse-Lautrec and La Vie Moderne: Paris 1880–1910, through - Apr. 26

4.23-4.25 Bryan Callen Leo Flowers Punchline Comedy Club

SubmergeMag.com

Film Screening: Citizen Kane, April 23, 7 p.m. Film Screening: Paris Blues, April 26, 2 p.m. Elliott Fouts Gallery New Works by Kathrine Lemke Waste & Tim White, through May 7 Fox & Goose Pub Quiz, Tuesday’s, 7 p.m. Haggin Oaks Golf Complex 40th Annual Haggin Oaks Golf Expo, April 24 - 26 Harris Center for the Arts Placer Theatre Ballet presents Coppélia, April 18 - 19 FLC Falcon’s Eye presents Cloud Nine by Caryl Churchill, April 17 19 & April 24 - 26 Historic Old Folsom Farmers’ Market, Saturdays, 8 a.m. John Natsoulas Gallery 30 Ceramics Sculptors Exhibition, April 15 - May 16 Poetry Night, April 16, 8 p.m. LowBrau River City Classic! Nintendo 64 Mario Kart Tournament, April 15, 7:30 p.m. Luna’s Cafe Poetry Unplugged, every Thursday, 8 p.m. Lux Quaubas Gallery Width X Height feat. Ricky Watts and Jared Powell, April 17 - May 8 Midtown BarFly Salsa Lessons, every Wednesday, 8 p.m. Pine Cove Trivia Night, Wednesday’s, 9 p.m. Pocket-Greenhaven Library Poetry & Music Night, April 11, 6:30 p.m. Press Club Flex Your Head Trivia, Tuesday’s, 8 p.m. Sacramento Theatre Company The Whipping Man directed by Buddy Butler, through May 3 Sacred City Derby Girls Warehouse Derby Doubleheader: The Donna Party vs Roseville TrainWreckers and Sacrificers vs. Team Gold of B.ay A.rea D.erby Girls, April 18, 6 p.m. Roller Derby 101, April 19, 1 p.m. Sierra 2 Center Japanese Taiko Drumming Workshop, April 21 & 28, 3:30 p.m. Southside Park Sacramento Earth Day Celebration, April 19, 11 a.m. Westlake Charter School 10th Annual International Festival, April 18, 3 p.m. Various Locations in Downtown Sacramento Sacramento International Film Festival, April 25 - May 3 Various Locations in Roseville, Rocklin, & Granite Bay Art and Chocolate: 9th Annual Art Studio Trek, April 25 - 26 Verge Center for the Arts Las Cosas Que Pintan/Painting in an Expansive Field: Works by Miguel Arazbe and Juan Sorrentino, through May 17 Record Making: The Vinyl Revival w/ Scott Soriano, April 15, 6:30 p.m. Learning to Thread Class w/ Trina Drotar, April 18 & 25, 10 a.m. Beginning to Stitch Class w/ Trina Drotar, April 18 & 25, 11 a.m. Village Park (Fair Oaks) Kids Art Festival, April 25, 10 a.m.

Issue 185 • April 13 – April 27, 2015

thuRsday

july 2

Plus sPeCial Guests

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Harlow’s

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the exPanders

8:00pm

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sac storytellers • riotmaker • one leg chuck

tHe Blue lamp

aPR 21

wedNesday

the moth & the flame

juN 13 wedNesday

juN 17 suNday

aug 2 thuRsday

over

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8:00pm

aug 6 satuRday

aGes

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6:30pm

aug 22

tickets available at: aBstraCtPresents.Com tiCketfly.Com

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& the Party line

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the shallow end

Issue 185 • April 13 – April 27, 2015

If you’ve written me a personal email over the past two or three years, and I haven’t responded to you, I’m sorry. As ashamed as I am to publicly admit this for the first time, as I started writing this column, I had more than 17,330 unread emails in my Gmail inbox. I have NO idea how this happened. There’s really no excuse for having the population-of-a-small-town’s amount of unread emails in your inbox. I’m going to try to make a few here, though, just to save some face. You see, before 2012, I had desk jobs where I sat at a computer and, when my boss wasn’t looking (sorry Linda), I’d check my personal email or maybe even Gchat with fellow office dweller/Submerge editor Mandy Pearson about all the cool stuff we saw on the Internet that day (again, sorry Linda, but it feels good to get things off your chest, you know?). Now, I’m never at a computer unless it’s to edit Submerge, or write my column, like now, and that’s when I see my shame staring me right in the face. More than 17,330 tiny, little pieces of digital shame… Ugh. It’s almost too much for a borderline man-child of the digital age to bear. I remember when I first got an email address. I think it was on Hotmail. Sometimes I wonder if that email address still exists. I wonder if people still have that address and are still sending e-missives to it, to no avail. I suppose it’s still there, in some dark, forgotten corner of the World Wide Web, just waiting for me to log in and peruse its 15-plus years of unopened Viagra spam and unanswered requests for help from Nigerian princes. It’s scary to think how permanent everything on the Internet is. Like, remember when you got your first email address? Maybe you thought like I did that you were finally on your way to escaping the wasteful paper world of junk mail. It would suck to watch all that shit mail pile up on your kitchen counter or coffee table—the important stuff like your utility bills lost in a morass of predatory credit card offers— and it would feel like an almost insurmountable task amid your busy schedule to sort through all of it and find the stuff you needed. And every day the pile would get only bigger. At least that’s how it was for me, because I’m a lazy, disorganized fuck. But anyway…

When I got my Gmail account, I was determined to start fresh. This would be my no-bones-about-it, real-adult-person email address. No more silly newsletters or signing up for every mailing list at every comic book convention ever. It was going to be an orderly, almost somber, inbox of the things that most needed my attention. But I’ve found out over the years that junk mail on the Internet is way worse than its real paper counterpart (the death of all those trees notwithstanding). On the Internet, all you have to do is make an errant click to end up on some company’s email newsletter list. Sometimes, that option is already clicked for you and you might very well miss it. Sometimes you think, well, it wouldn’t hurt to get updates about some cool offers, and then a day later your inbox is bombarded with every offer that’s ever been offered. Am I making excuses again? Maybe, but this is my column, and I’m almost obligated to make myself out to be the victim here. But I’m taking the power back—slowly. I’ve been scrolling through emails from all the companies I’ve forgotten I’ve signed up to receive emails from and been hunting out the “unsubscribe” link. That will perhaps stem the tide of future detritus washing up on my inbox’s shores, but what about all the crap that’s already floating around in the vast ocean of my email account? I’ve been using Gmail’s search function to filter out all the companies I’ve just unsubscribed to and mass deleting everything they sent me. So far, Groupon has been the biggest offender. I’ve hatcheted 3,178 of their correspondences out of my digital life over the past four years, and it feels really good. It hasn’t been easy to say goodbye to all these companies, though. Threadless, for example, was a difficult one to part ways with. They make all the T-shirts I wear that always make people say, “Oh man, that’s an awesome T-shirt,” and it always feels really awesome when that happens. Like, hey, look at me! I’m this fucking fashion icon ovah here. But change is always difficult. It’s supposed to be. I really didn’t want to do this, but it’s not you, Threadless, it’s me. I just need to find myself.

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Issue 185 • April 13 – April 27, 2015

Atari Party 2015 river city brewing co. comedians with disabilities act The Torch Club 18

Gaming Gets Nostalgic Issue 185

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â&#x20AC;˘ April 13 â&#x20AC;&#x201C; April 27, 2015

release debut album

Turns 80!

Dive Into Sacramento & Its Surrounding Areas