Submerge Magazine: Issue 271 (August 1 - August 15, 2018) by Submerge Magazine

DIVE INTO SACRAMENTO & ITS SURROUNDING AREAS

AUGUST 1 â&#x20AC;&#x201C; 15, 2018

#271

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Issue 271 • August 1 – August 15, 2018

Dive Into Sacramento & Its Surrounding Areas

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Issue 271 • August 1 – August 15, 2018

Dive Into Sacramento & Its Surrounding Areas

ch ro ma is an er a

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Issue 271 • August 1 – August 15, 2018

COFOUNDER/ EDITOR IN CHIEF/ ART DIRECTOR

Melissa Welliver

melissa@submergemag.com COFOUNDER/ ADVERTISING DIRECTOR

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

271 2018

Jonathan Carabba

jonathan@submergemag.com

AUGUST 1– 15

SENIOR EDITOR

James Barone

DIVE IN REDDING STRONG

RYAN PRADO info@submergemag.com

ASSISTANT EDITOR

Ryan Prado

As of this writing, nearly 90,000 acres have been scorched by the Carr Fire, with only 5 percent Amber Amey, Ellen Baker, containment reported. The picturesque vistas Robin Bacior, Robert A. Berry of West Redding, the historic charms of Old II, Michael Cella, Bocephus Shasta and one of the recreational cornerstones Chigger, Ronnie Cline, Justin Cox, Alia Cruz, Josh of the region in Whiskeytown Lake have been Fernandez, Lovelle Harris, devastated, and over 500 structures have been Mollie Hawkins, Niki Kangas, destroyed, with some 5,000 more threatened. Nur Kausar, Grant Miner, John As the wildfire continues to burn with such Phillips, Paul Piazza, Carly Quellman, Claudia Rivas, unpredictability in every direction, and with Daniel Romandia, Andrew six reported deaths and some 38,000 people C. Russell, Amy Serna, Jacob displaced due to mandatory evacuations (not to Sprecher, Richard St. Ofle, mention over a dozen people reported missing), Haley Teichert the fire is more than just a surreal blip in the CONTRIBUTING news cycle; it’s a humbling gut-check to a PHOTOGRAPHERS collective Northstate for whom the consensus is Wesley Davis, Evan Duran, Kevin Fiscus, Dillon Flowers, mostly that wildfires are something that happen Jon Hermison, Paul Piazza in the wild. The greater Submerge community has deep Submerge roots in Redding, and some of our families are P.O. Box 160282 among the displaced. Some of our friends have Sacramento, had their homes destroyed. People we know California 95816 have revealed heroic underbellies and assisted with evacuation efforts, delivered food to pet 916.441.3803 shelters and housed evacuees and animals. info@submergemag.com But regardless of any familial or friendship connections to Shasta County in any way, this All content is property of disaster affects us all. Submerge and may not be It’s bizarre to attempt to summarize reproduced without permission. something still so very unknowable, so present Submerge is both owned and published by Submerge Media. All and dangerous; but if you squint just the right opinions expressed throughout way through the thick of the smoke, and dodge Submerge are those of the author the falling ash and embers raining from the sky and do not necessarily mean we (even if you’re nowhere near), you can see the all share those opinions. Feel free support, feel the togetherness of the community to take a copy or two for free, but please don’t remove our papers in a way that’s perhaps not always immediately or throw them away. Submerge evident in some of the more rural, conservative welcomes letters of all kinds, enclaves of Northern California. This is not a time whether they are full of love or for politicking, or class warring or favoring based hate. We want to know what is on on socio-economic status. The rich’s homes have your mind, so feel free to contact SHEPARD burned along with the poor’s. The fire response us via snail mail at 1009 P.O. Box FAIREY 160282, Sacramento, California teams want to save lives first and foremost, and 95816. Or you can email us at if they can save your homes, too, then you can info@submergemag.com. count on the sturdiness of their wills to do so, LIN FEI FEI SUBMERGEMAG.COM even after nearly 72-hour shifts. This is a time for recognition of the brave. Follow us on Twitter & It’s a time for setting aside the bullshit to pick MOSHE Instagram! @SubmergeMag each other up, and to get out of the way when KASHER PRINTED ON asked to by authorities. Still, reports abound RECYCLED PAPER of looting in evacuation areas—a heartbreaking byproduct of humanity in crisis, and one that has CALENDAR also assisted in summoning the National Guard FRONT COVER PHOTO to Redding in an attempt to thwart any further OF SHEPARD FAIREY COURTESY OF OBEY GIANT ART chaos beyond what the spark from a tire blowout THE SHALLOW / JON FURLONG, JUNE 2016 END on a mountain road has already caused. That fact is probably the most humbling—an BACK COVER PHOTO OF isolated spark or two from a random tire blowout SPARKS ACROSS DARKNESS on a road you’ve never been to or heard of BY KEVIN FISCUS lands where it shouldn’t, and within days, the playgrounds of your past are under threat of annihilation, and you are far away and very helpless. There are devils in the details of the fire’s unpredictability— visions of firenados continue / 7pm to stir the budding sci-fi nerd fr e e 2 1 + in us all—and communities like Igo, Happy Valley and even Weaverville now are in the pm crosshairs of the Carr Fire’s wrath. ento / 3:30 s m e a e r r f e It’s an uneasy, stressful time for Sac all ag eet, tens of thousands of people in r t S R the Northstate and beyond with 1001 no easy end in sight, but there is to RTY l A A P o l ASE hope in a strong community who , Pa venue C O R D R E L E f r e e A refuse to allow the randomness of y t i BY nature to break them. ivers ES RE pm ge Un A N J O B O NL O S I N G S E TA Z O O K A ! 8 1 + Please do what you can to a t S t 2 B B ITH C assist, and please send positive Stree G TO o W N r t I e n D t e R energy—in whichever way you ram Webs ACCO need to do so—to the communities a, Sac r b m being affected by this crisis. lha A 0 0 14 – Ryan CONTRIBUTING WRITERS

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18 DIVE IN

SUBMERGE YOUR SENSES

THE STREAM

THE OPTIMISTIC PESSIMIST

SPARKS ACROSS DARKNESS

DEAFHEAVEN

06 08

26 30

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A K O O TO BAZ nd Goose G N Fox a I D Arts R e O h t ACC Aug 23 Alto Festival of S DA THUR

KA.COM O O Z A OB DINGT AY , ACCOR SUND

Issue 271 • August 1 – August 15, 2018

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Dive Into Sacramento & Its Surrounding Areas

SubmergeMag.com

Issue 271 • August 1 – August 15, 2018

Your Senses WORDS SUBMERGE STAFF

HEAR

Sacramento Rapper Mr. P Chill Explores New Sonic Landscapes on 13th Studio Album • Aug. 17 Longtime Sacramento rapper Mr. P Chill is set to release his 13th studio album Funky Uncle Chill on Friday, Aug. 17, and he’ll be celebrating with a release party at Fox and Goose (1001 R St.). Funky sees an older, wiser Chill going a little less political with his raps than on his last album, focusing more instead on themes of personal struggle, aging and “dealing with stereotypes of when an MC should hang up the mic and move on.” In recent years, Mr. P Chill has also started DJing more and more using only vinyl, sharing his deep collection of funky and rare records, and the title track of his new album is proof of this, as it is an instrumental track with Chill scratching and cutting over it in places. Look for him to start playing out more under the moniker Funky Uncle Chill to explore his affinity for instrumental breakbeat and funk music. The album release show on Aug. 17 will also feature special guests J.Smo, Max Bundles and Turntablist Ajax, Light-Skinned Creole, Mezcal and DJ Mike Colossal. Doors open at 9 p.m., with a cover charge of just $5 (bring extra for merch!), and this is a 21-and-over show. Hit up Mrpchillmusic.com or Facebook.com/mrpchill to learn more.

SEE

Local Dancers, Visual Artists and Musicians Team up for Capital Dance Project’s 4th Annual Behind the Barre • Aug. 10 & 11 Sacramento’s creative scene is booming. For undeniable evidence of this, look to Capital Dance Project’s fourth annual Behind the Barre: Made in Sacramento on Aug. 10 and 11 at 7:30 p.m. at Crest Theatre (1013 K St.). Behind the Barre is a unique collaboration between CDP’s resident choreographers and dancers and local visual artists like Raphael Delgado, Franceska Gamez and Melissa and Melinda Arendt; digital media artists Natalie McKeever and Brandon Manning; and musician Skylar Peterson, bassist and singer Casey Lipka and hip-hop/soul artist The Philharmonik. For a month leading up to the two big shows, the collaborators have worked together to create nine different world premiere dance works with integrated art installations, newly composed music that will be performed live and digital landscapes to be presented on the Crest movie screen. “It’s so exciting to see what the CDP choreographers create with their chosen collaborators,” founding member Alexandra Cunningham stated in a press release submitted to Submerge. “Each artist involved brings a special talent to the production so it’s really a melting pot of artistic styles and mediums. I love that it showcases Sacramento’s diversity and it’s particularly exciting to create new dance pieces that reflect our city and our artists specifically.” Tickets to Behind the Barre are just $25 in advance, available online at Capitaldanceproject.org or Crestsacramento.com. You can also snag fee-free tickets in person now through Aug. 9 for $25 cash at New Helvetia Brewing Co. (1730 Broadway), Identity Coffees (1430 28th St.) or The Trade Coffee and Coworking (2220 K St.). Don’t miss out!

TOUCH

SacCirque Artist Collective’s “Park Takeovers” Offers Locals Chance to Learn Acro-Yoga, Juggling, Slacklining and More! • Aug. 5 SacCirque is a collective of local artists whose mission is to enrich the greater Sacramento area through circus and performing arts. The multi-talented crew is made up of aerialists, stilt walkers, jugglers, contortionists, fire-breathers, musicians and more. This Sunday, Aug. 5, from 1–4 p.m., you can join members of SacCirque at Southside Park (near the corner of Seventh and T streets) at one of their monthly “park takeovers,” where you are given the opportunity to not only meet and greet the performers, but to also learn from them in a hands-on environment. This will be what they call a “freestyle skillshare jam” with acro-yoga, hand balancing, flow arts, juggling, slacklining and more. Whether you’re already a performer who is looking to meet like minded locals, or if you just want to know more about these fun and creative performance-based artforms, this event is for you. You’re encouraged to also bring food, as this is a potluck style event, and any props if you have them. Look for the SacCirque banner and tent in the park and go say hi! Learn more and connect with the group at Facebook.com/SacCirque or Saccirque.com.

TASTE

This Local Taco, Beer and Margarita Fest is Free and Family Friendly (Including Your Doggos!) • Aug. 11 Do you like tacos? How about an ice cold margarita? Maybe a brewski or two? If you answered yes to any of these questions, you’re going to want to set a reminder in your phone right now so you don’t forget about the Taco, Beer and Margarita Festival being put on by Beers In Sac and the Fair Oaks Village Enhancement Committee on Saturday, Aug. 11 at Plaza Park (7003 Park Drive, Fair Oaks). Starting at noon and wrapping up around 8 p.m., this free and family friendly event is also open to well-behaved dogs! Be sure to bring cash because you’ll want to hit up some of Sacramento’s best taco vendors (like Masa Guiseria, Azteca Street Tacos, Bambi Vegan Tacos and others), multiple beer trailers serving craft beer—domestic and imported— and a full service margarita bar. There will also be an interactive kids area, mariachi bands, traditional dance performances and more. Check out Fairoakstacofiesta.com or Facebook.com/BeersInSac for more info.

Issue 271 • August 1 – August 15, 2018

Dive Into Sacramento & Its Surrounding Areas

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Issue 271 • August 1 – August 15, 2018

*33*

BEERS ON TAP!

THE STREAM SERIES

PAY RESPECT TO LEGENDARY SACRAMENTO GROUPS AT THESE UPCOMING REUNION SHOWS!

JONATHAN CARABBA

Send regional news tips to info@submergemag.com

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The Knockoffs | Photo by Joe Pach

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Issue 271 • August 1 – August 15, 2018

Respect your elders! Sacramento’s music scene has a long, rich history of producing amazing artists. We’re lucky enough to be living in a time when many of the local musicians who helped pave the way over the past couple of decades are still gigging around town. You can still catch Kevin Seconds of legendary Sacramento hardcore band 7 Seconds playing acoustic shows regularly at places like Luna’s Cafe, Fox and Goose, or his own newly opened space, Riving Loom. Jonah Matranga from the highly influential Sacramento band Far has gigged twice in the area in recent months, at First Fest and Goldfield. Even hip-hop greats with deep regional ties like Blackalicious are still out touring and stopping through town to hype up Sacramento fans young and old when their routing allows it. Whether you’re a fan or not, you’ve got to give mad props to musicians like those mentioned and so many others who keep at their craft, year after year, for decades. Here are two upcoming local shows where you can celebrate huge milestones with staples of the Sacramento music scene:

On Saturday, Aug. 11, three local punk rock bands—The Knockoffs, The Trouble Makers and The Four Eyes—will be celebrating 25 freaking years of making a racket with a reunion show at Old Ironsides (1901 10th St.), a bar and music venue steeped in local music history. This “geriatric riot,” as one of the bands wrote on the show’s Facebook event page, will kick off at 9:30 p.m., with doors opening an hour earlier. Tickets are just $8 in advance and $10 at the door, with a 10 percent discount at the door for card-carrying AARP members (hilarious!). This is a 21-and-over show. For more information, and to read some amazing stories of past gigs and to see cool old photos, look up The Trouble Maker’s Facebook page, where Tim Foster has posted a couple cool memories that I think you’ll get a kick out of.

Then next month, on Saturday, Sept. 8, beloved local hiphop crew The CUF will be celebrating the 20th anniversary of their 1998 album I Love This Game with a show at Holy Diver (1517 21st St.). Made up of five members—N8 the Gr8, Pete B., Brotha RJ, Crush and Takticz (Lil N8) —The CUF may not have been all that active in recent years (many of the members have other projects and creative outlets), but their influence no doubt still lives on in Sacramento’s hip-hop community to this day. The anniversary show will also feature a top-notch list of openers: The Philharmonik, Nate Curry and the Scratch Outs. Doors open for this one at 7:30 p.m., all ages are welcome, and tickets are $17 in advance, available online at Holydiversac.com. To get caught up on how dope The CUF really is, hit up YouTube and search around where you can find tracks off not only I Love This Game (the song “Sacramento” is a classic!) but off their most recent (and arguably their best) release as well, 2011’s Caviar Vol 1. Check out Facebook.com/Cufish for more info.

Dive Into Sacramento & Its Surrounding Areas

FA M I LY O W N E D S I N C E 1 9 3 4

THE OPTIMISTIC PESSIMIST

EVERY MONDAY NIGHT

SHIT KIDS SAY BOCEPHUS CHIGGER bocephus@submergemag.com He is known for loving the sound of his own name, but President Trump probably doesn’t feel the same way about it after these last few weeks. His performance at a recent summit with Russian President Vladimir Putin in Helsinki was roundly knocked in the press and by internet trolls. Trump’s been called a puppet of Putin, a traitor to the country and an all-around little bitch. To the White House’s dismay, the disastrous Helsinki summit stayed in the news following the president’s return home. The excuses and explanations for his clear missteps are simply ridiculous. After returning home, the president claimed he misspoke at the summit and didn’t mean to say, “I don’t see any reason why it would be [Russia]” that hacked the 2016 election. His excuse is that he meant to say he didn’t see why it “wouldn’t” be Russia, which is horseshit. Those sound like the words of someone who is too shook to tell the truth. The optics of the whole thing have me believing that Russia really does have some compromising information on the president. It could be the purported pee tape, but I think it must be something bigger for Trump to grovel so hard. I’m not sure what further proof people need of Trump’s awfulness, but if it’s out there, I wouldn’t put it past Putin to find it. If he is Putin’s puppet, I’m sure Trump has really ramped up those emails to Big Daddy Putin in the last few weeks. I wonder what we’d find if allowed to take a peak … To: Vladimir Putin [vladdyisyourdaddy@russia.gov] From: Donald Trump [PutinsBitch@russia.gov] PLEASE DON’T HURT ME

To: Vladimir Putin [vladdyisyourdaddy@russia.gov] From: Donald Trump [PutinsBitch@russia.gov] Re: PLEASE DON’T HURT ME

I am SO SORRY! Those mean liars in the FAKE MEDIA made me confuse my words, but you know what I meant, right? I LOVE PUTIN! I tell everybody I know. I didn’t want you to see the news and get upset before I had a chance to explain. You are such a SMART and GREAT Leader! I keep telling people, “We could all learn a lot from this guy, Putin, he’s a real STABLE GENIUS!” Anyway, there is nothing to worry about. I also did what you asked, and the NSA has stopped spying on you. I told them to LEAVE MY FRIEND PUTIN ALONE!

I am so SORRY! Please don’t be angry with me! I’ll do anything you ask to make it up to you. ANYTHING! I can’t take the pee bath again. It’s too icky! You can sleep with my daughter, Ivanka! I’LL GIVE YOU MY SON, ERIC! I’ll let your spies go for nothing and lock up whoever you want! You don’t have to worry about the CIA anymore either. I’ve got them looking into the Canadians and Brits instead.

Ok! Ok! The nuclear launch code is: 1-2-3-4-5. I set the code MYSELF, so I wouldn’t forget. It’s the same code I use on EVERYTHING! It was much harder to remember before. There were all these numbers and symbols and letters, but I nipped that in the bud on day one. STUPID OBAMA! I’m so much smarter than him! I don’t need a long, complicated password; mine has worked just fine for YEARS. BTW I’ve got the ball sitting right on my desk to show everyone what MY FRIEND PUTIN gave me!

Love, Donald To: Donald Trump [PutinsBitch@ russia.gov] From: Vladimir Putin [vladdyisyourdaddy@russia.gov] Re: PLEASE DON’T HURT ME You disappoint me, Donald. I’ve warned you before that I don’t want you doing or saying anything without running it by me first. The whole point of our meeting was for you to look bad, but you have tried to save face with your idiotic explanations. This makes me look bad, too, and we can both agree that we wouldn’t want that. Remember what happened before? Are you due for another pee bath? I am glad to hear that you have stopped the NSA, but now I’ll need you to do the same for the CIA as well. -P SubmergeMag.com

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1901 10th Street

Love Always! Donald To: Donald Trump [PutinsBitch@russia.gov] From: Vladimir Putin [vladdyisyourdaddy@russia. gov] Re: PLEASE DON’T HURT ME It’s too late, Donald. Once again, you have disappointed me. For such a large man, you have such small balls. I crushed you in an instant and now I can make you do whatever I want. No one wants Eric; he is a man-sized infant. And I could just take Ivanka if I wanted. Stop offering them to people. Your ineptitude and weakness will cost you your nuclear launch codes. -P

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Issue 271 • August 1 – August 15, 2018

STUDENT OF HIP-HOP

SPARKS ACROSS DARKNESS TAKES A POET’S APPROACH ON HIS DEBUT ALBUM, OBSCURA WORDS GRANT MINER • PHOTO KEVIN FISCUS

ith the newfound national successes of Sacramento rappers like Mozzy and Hobo Johnson, not to mention the continued critical favor shown to internet-darlings Death Grips, the local rap scene is getting more attention than ever. Yet it would be hard to sketch out any real conception of a “Sacramento sound,” what with Mozzy’s Death Row feel, Hobo Johnson’s insistence that he’s not really a rapper and Death Grips’, well, weirdness. Perhaps that’s why Sacramentan rapper Sparks Across Darkness, whose debut album Obscura will be dropping Aug. 18, sees himself as a collection of influences, rather than an artist imbedded in a specific locale. Obscura, three songs of which are available on Sparks’ Soundcloud, is, like any good rap album, filled with inventive production: Sometimes odd, sometimes catchy and many times unusually both. But as one would expect from someone who studied creative writing at San Francisco State, whose classes in the ‘50s would spawn the literary movement

Issue 271 • August 1 – August 15, 2018

known as the San Francisco Renaissance, many of Sparks’ songs feel deliberately verse-forward. In this manner, he resembles both the alt-rappers of the early aughts, as well as the booming movement (contentiously) known as “art-rap,” which has been largely defined by the disparate geographic origins of its vanguard members. Written in a style that sometimes leans heavily on the abstract, Sparks’ songs are, according to him, expressions of his day-to-day life. In a way, it’s telling that Sparks’ music video for “Monsters and Thieves” was filmed in Dimple Records (he used to work at their Arden location) interspersed with shots of the Sacramento skyline—a story of daily life, with wide-ranging artistic influences. Submerge snagged an interview with the man of letters himself as he was distributing posters for his release show at the Momo Lounge on Aug. 18, featuring local rap duo Ode to Sanctuary and electro band Petaluma. So, read on for a whole bunch of behind-the-scenes info and a choice selection of teenage poetry.

Dive Into Sacramento & Its Surrounding Areas

So, where does the name come from? I made the name years ago when I started a new project with my friend. I was listening to a lot of Beatles at the time, and “Across the Universe” was one of my favorite songs. So I kept the “across,” and wanted a name that would both encapsulate my sound and give it an image.

I’ve studied writing and writers, but I feel like I’m a student of hip-hop, and I just started making my own style and trying to stick with it. There’s some repeated images and repeated themes that refrain throughout the record and touch each other, and I think that’s why it took so long. I kept trying to make it feel right as a circular thing.

Besides The Beatles, what are your musical Influences? Funnily enough, New York hip-hop. I owe a lot of my style to [label] Definitive Jux, and that experimental indie hip-hop that started budding around 2002–2005. I kind of latched on and was such a fanboy. A lot of my other favorite albums are like Nas’ Illmatic and WuTang’s [Enter the Wu-Tang] 36 Chambers. A lot of those East Coast guys, with the ways that they use their verbiage and their beats are so heavy and dusty, and that tends to be the kind of thing I gravitated toward and still do.

You mentioned that you studied writing at San Francisco State. What are your biggest literary influences? When I was young, I loved Langston Hughes, because he was so straight to the point. I also loved Emily Dickinson, E.E. Cummings, Dylan Thomas and on the hip-hop side people like Aesop Rock and OP. ASAP [Rocky] is underrated as a lyricist—at least, I don’t understand what he’s trying to say half the time.

Did you want to write poetry before being a musician? I don’t really think that I wanted to be a writer, “Heavy and dusty.” Is that what you push for on because I wrote shitty stuff when I was young. your instrumentals? I was angsty, because when you’re young you’re not Interestingly enough, the “I don’t really think very calculated with your album ended up all over that I wanted to be a words. When I was alone, the place. I tend to do stuff that sounds catchy, but writer, because I wrote and by myself, hip-hop made me feel like I was part of not necessarily catchy in a shitty stuff when something and I could view normal or monotonous way. other people’s worlds and I was young. I was It all started with White Horse get a feeling that this person [producer on songs “Who angsty, because when felt the same way I have. You Be?” and “Nice to Meet you’re young you’re You” off Obscura] who shot Are there any treasures of not very calculated early poetry from the vault? me four or five beats. That with your words. Oh god … The earliest one I initial interaction ended up shaping a lot of the sound I When I was alone, and can remember goes, “Girls make my heart pant/and I can by myself, hip-hop was heading toward on this explain why girls do the things record. In the end, I guess I made me feel like I they do until I turn blue/but just picture this album as its was part of something I can’t because all I am to own little world, and I keep and I could view other this world is an ant.” So yeah things on it that are living in [laughs] that’s one of those people’s worlds and that world. It’s a reflection lines that sticks with me. It’s get a feeling that this comical to me now, but I’m of ours that’s sad and dark sure it sounded very poetic. and luminous and joyful. And person felt the same funny—it’s just eclectic. way I have.” Where do you see yourself in – Sparks Across Sacramento’s rap landscape So how long has the buildup today, with the national fame to your first album been? Darkness of acts like Hobo Johnson and It all really started four years Death Grips? ago when I first wanted to Well, Hobo Johnson is a homey of mine, and it’s make some new stuff. I ended up doing some crazy to see how things have grown for him, and songs on the album and some extras I’ll release I consider a lot of those guys friends. I’m creating later. But that was four years ago, and I had a what I want to do, a piece of art that I want to baby and a full-time job, and inspiration ebbs hear in the hopes that others do, too. Trying to and flows. Now it feels right, it feels complete. categorize myself and see where I fit into the landscape of Sacramento—I don’t really do that. Has having a daughter influenced your We categorize ourselves too frequently, and it approach to music? causes separations between hip-hop groups. It’s only natural when you have a kid that its your whole world. I only reference her once on What do you want the world to know about the album, and I don’t think it’s changed me, Sparks Across Darkness? per se. I still have songs that are vulgar. I think I just want people to know that if you feel less if anything it’s inspired me to try and be better than, you’re not. You’re an amazing piece of and grow—to be a good dad. dust in the cosmos, and that this is my couple year-long summation of being a little piece of A lot of your lyrics are very rich and poetic. dust, too. That’s all I’ve got to say. What’s your writing process? This album, I tried to make it very open and relatable but leave myself out there and See Sparks Across Darkness live at Momo vulnerable. It contains topics and things that Sacramento (2708 J St.) on Aug. 18 at I’ve gone through and felt in the hopes that other 6:30 p.m. Also performing will be Petaluma people are going through similar things in similar and Ode to Saturday. Tickets are $10 and can ways. I’m big on my words. I’ve been writing be purchased through Momosacramento.com. poetry for 14, maybe 15 years, and I definitely This is an all-ages show. feel like my lyricism is a reflection of that. SubmergeMag.com

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Issue 271 • August 1 – August 15, 2018

CONTENTLY CORRUPT

DEAFHEAVEN FRONTMAN GEORGE CLARKE ON LATEST LP’S STRANGE, HOPEFUL NEW PATH WORDS ANDREW C. RUSSELL • PHOTO CORINNE SHIAVONE

istening to Ordinary Corrupt Human Love on a packed light rail car, scraping along through the wreckage of the workweek under the full weight of afternoon midsummer heat, in close quarters with inscrutable humanity—anonymous lives in the thick of their separate mortal coils—might be the ideal context in which to slip into the most recent offering by Deafheaven. Eschewing the frozen wastes and infernal abysses of metal hyperbole, and mostly foregoing the introspective dread and purgation of the band’s previous albums Sunbather and New Bermuda, Ordinary Corrupt Human Love allows breathing room in which to enjoy Deafheaven’s ever more sophisticated sonics and passages of understated beauty in between the cinematic, pulse-pounding peaks. Such moments still abound, but a new focus on earthbound visions and the beauty in day-to-day existence has altered the emotional timbre this time around. If this is a wistful look back, then it is well-earned, and perhaps the first opportunity they’ve had to do so

in the seven breathless years since their debut, Roads to Judah, was released. The shadows of their twenties grow long. After breaking out of Modesto, a decade of hard party life and turmoil ensued as they ventured from San Francisco to Los Angeles, their stars rising almost immediately. Early commercial success and critical hype supplied by tastemaking blogs and publications unleashed a wave of interest in indie circles and an equally thunderous wave of spite among black metal genre cultists more concerned with face paint and cover art than great production, technical chops and originality. The comment-section-level discourse, once fierce, has since died down, blown away with the chaff by a continuous gust of quality releases and a determination to follow their instincts into whatever stylistic territory they may lead. Ordinary Corrupt Human Love begins with a subdued spoken word piece describing a flock of geese passing overhead in the Oakland dusk. Even during the flintiest moments that come afterward, the main

Issue 271 • August 1 – August 15, 2018

current of the album is a collection of fragmented observations of poetic happenstance amidst natural and intimately human surroundings. It feels quintessentially Californian in some sense, the feeling of perfection escaping in the corner of one’s eye, a consistently frustrated yearning for utopia, an unrequited romance with life in a nonexistent universe, and the stark specter of reality coming into full bloom while tugged at on all sides by the perpetual call of the dream. It ranges from blazing on “Honeycomb” to haunting on the Chelsea Wolfe duet “Night People,” both tendencies converging on the beautiful closing track “Worthless Animal.” However you parse out the influences that have made up their sound, from black metal to post-hardcore and shoegaze, Deafheaven is less “about” any of those styles and more about empathy and reflection, sentiments that today have almost become as extreme as their musical expression, which may play some part in their wider success. The new record is the sound of a band content in its manifestation, calmly embracing the inherent faults of earthbound life. We had the opportunity for a brief chat with vocalist George Clarke on some of the ideas floating around Deafheaven’s fourth LP ahead of their Sacramento appearance next month alongside the post-industrial wrath of Uniform and the sepulchral grace of Drab Majesty.

Dive Into Sacramento & Its Surrounding Areas

30 Ordinary Corrupt Human Love sounds comparatively subdued and less emotionally raw than the last few records. What took you in this direction? Basically, for our first three records, they were so heavily introspective that I wanted to get away from that a little bit and start fresh with this album. I consider the first three almost as a trilogy of sorts that summarized our twenties. I found my twenties to be tumultuous in a lot of ways, and I wrote a lot about that. Being 29 now, on my way to 30, it just felt like I needed to mature a little bit, and I needed to not just think about my own personal journey. There was no big catalyst or anything, just a sense of maturity, a sense of growing up; and I wanted this to be a fresh start. It is a bit more outward looking. The title of the record comes from a line in a novel [The End of the Affair] by Graham Greene. What should that line or the book tell us about the music here? The book itself doesn’t have anything to do with the record necessarily, but I just came across that passage while reading it, and I felt that those four words summarized what I was trying to say, in terms of appreciating life for what it is—ordinary, and mundane, and that’s cool, it doesn’t need to be anything else. It was a striking combination of words, so I decided to take it. In part I wanted to talk about the lives of people that I observed, I wanted to create a different narrative. I think that people can often feel bogged down by the weight of the world or our current affairs, and I think there’s a lot of negativity that gets pushed around, and I wanted to offer something different, even for a moment, to step back a little bit and see these lives and how they intersect with each other, and how the process of living is in a lot of ways a gift. So yeah, that was the mood for the record. I would say that all the lyrics stem from literally just sitting in a park, or walking around neighborhoods, observing people. Genre cults, especially within metal, can feel like heavily policed prisons at times. Does it feel like the manufactured controversy about what genre Deafheaven is has finally been left behind? I‘d like to leave it behind. It’s something that’s been mentioned for a lot of years now, and it very much is a tired conversation. I would rather people just check out what we do and listen without pretense, and if you like it, you like it; and if you don’t, you don’t. But yeah, this idea of metal credibility or that genres can be bastardized, it’s a little played by this point. I’ve heard there’s been more of a commitment to sobriety in the band in the last six months or so. Did this have an impact on the outlook on Ordinary Corrupt Human Love? I’d would be lying to call it a “sober” album, because that wasn’t happening during a lot of the writing of it, but certainly during the process and thereafter, I found that in order to continue this, we had to make some changes. When you don’t die at 27, and life continues, and you still want to make music a career, I’ve found that for me it’s a good idea to take a break from the things that come with the lifestyle. And so far it’s been great. Touring has been nice. It hasn’t been a huge, scary adjustment by any means, and I find that we’re all in a very good place.

SubmergeMag.com

“Every album is very emotionally driven. I think it’s our intent to make emotional music, so every record does deal with catharsis and purging, but certainly the first three were heavier on that end. I consider this to be our celebration record; the ‘we survived, and are somehow thriving’ kind of record. That’s really the mindset where we’re at now.” – Deafheaven’s George Clarke on his band’s latest album. A big part of listening to Deafheaven is getting a sense of purgation—of negative energy and inward torment. Is this fundamental to your creative process, and does it still play a part on the new record? Every album is very emotionally driven. I think it’s our intent to make emotional music, so every record does deal with catharsis and purging, but certainly the first three were heavier on that end. I consider this to be our celebration record; the “we survived, and are somehow thriving” kind of record. That’s really the mindset where we’re at now. I found the lyrics on “Worthless Animal” to be the most puzzling and compelling. Is there a story behind it? Long story short, I saw a homeless man being attacked in Downtown L.A. for holding up traffic. A man got out of his car and accosted him for no reason. This guy was clearly mentally unstable, and I felt this rush of emotion about it, a helplessness and confusion as to why this man was being treated with cruelty, and I wanted to compare him to a deer, eating flowers. I wrote a good bit of it in my car that day, but the track is meant to emphasize empathy and remind people to be good to one another. Eight years in, would you send back any advice for yourself or the band at the start of your career? Just enjoy it, and keep going. I wouldn’t change anything. We’ve had a really great run. We’re really lucky and fortunate to be able to do what we do, and I’ve had a lot of fun throughout the years. I would just tell myself to always remember to enjoy it. With the band’s ability to draw crowds from inside and outside the metal crowd, how would you recommend your live set to newcomers? I would just tell people that what we offer is an honest show, and one that has a heavy emphasis on emotion, but it’s also fun and loud. There’s speed and heaviness, and they should hopefully just take it in. It’s an experience, and I hope that’s what we can create for them.

Deafheaven will perform live in Sacramento on Wednesday, Aug. 15 at Goldfield Trading Post (1630 J St.) at 7 p.m. Also on the bill are Uniform and Drab Majesty. For more info and to buy tickets, go to Goldfieldtradingpost.com.

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* ALL TIMES ARE DOOR TIMES*

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Issue 271 • August 1 – August 15, 2018

Yuridia W E D N E S DAY

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Issue 271 • August 1 – August 15, 2018

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Issue 271 • August 1 – August 15, 2018

Photo courtesy Obey Giant Art / Jon Furlong

STREET SMARTS

SHEPARD FAIREY DISCUSSES THE PAST AND PRESENT OF HIS LIFE’S WORK

Mural to be painted on Residence Inn by Marriott during Wide Open Walls Photo courtesy Obey Giant Art and Wide Open Walls

WORDS RYAN J. PRADO

hether or not the name Shepard Fairey automatically conjures images of pop culture subversion, punk rock idolatry or street-art politics is irrelevant at this point. The 48-year-old artist is responsible for some of the most iconic imagery to have ever befouled the sacred real estate of public spaces in the last 28 years—from the salad days naïveté of an “Andre the Giant Has a Posse” guerilla stickering campaign throughout the Northeastern United States in the late ‘80s and early ‘90s, to an uncommissioned but extremely powerful presidential campaign poster for then-candidate Barack Obama with the simple message of “Hope” emblazoned beneath his image later on, Fairey’s work has possessed the kind of omnipresence that few artists in history have achieved. His has been a life inspired first by reclaiming public spaces with his artwork (rather than continuing to be inundated by corporate advertising), then marveling in the stoking of conversations raised by the imagery he’s introduced—a “vocabulary of motifs,” as he puts it, that at once are recognizably his, but which afterward have become the centerpoint of international protests, provocation, even lawsuits. That Fairey has been arrested some 18 times for distributing his artwork is perhaps the greatest indicator of its power, though he admits that he relishes the benefits of no longer having to be quite so anonymous, or quite so secretive. “I enjoyed the freedom of anonymity when I started, but I also didn’t enjoy the poverty,” Fairey explained to Submerge. “Having the opportunity to make art without worrying whether or not I was gonna survive, that took 10 years for me to get to. Even though I loved walking around New York City putting up a poster, walking another 20 feet and being able to hear people discuss the poster that just went up without having any idea I did it and getting that eavesdrop, then there was the other part of my day where I was putting my last two bucks toward a burrito [laughs]. My spirit, in terms of speaking my mind and taking risks, is the same it’s always been.” That spirit will be in full force during the Wide Open Walls muraling event taking place in Sacramento from Aug. 9–19, when Fairey headlines a stacked list of artists all doing their part to take back the streets. Fairey will be creating a giant mural of Johnny Cash on the L Street side of the Residence Inn by Marriott, with Cash’s gaze cast in the direction of Folsom Prison. Fairey talked about his contribution to Wide Open Walls and more with Submerge recently.

You’ve discussed in interviews and in your documentary about the aesthetic of old punk flyering and how that whole way of promotion inspired your artwork … I think one of the things that was crucial to the underground incubation of American hardcore in the early ‘80s was that people needed each other because there was no broader support system; everybody was figuring out ways to share information about venues they could tour and sharing other resources like small indie labels. The internet has meant that everybody’s one viral hit away from a breakthrough, so it doesn’t encourage the camaraderie in the same way. I’m generalizing, because I think that camaraderie is always going to exist, but I feel lucky in a lot of ways growing up in South Carolina where there was absolutely no way of looking at

being into punk rock other than completely underground or being an outsider—that kept my expectations for that like “this is not going to be something that’s going to be a career move or lead to anything with social potential. This is purely about my love for this stuff.” The moment you accept that and you’re happy with it, you won’t be disappointed that you’re going to subsist in the margins. That’s how I felt about street art. My love of punk rock and skateboarding being very outsider things made it easy for me to transition into the squalor of a life as a street artist, which somehow miraculously became something I could live off of, eventually. I didn’t have that expectation. It makes doing the work and enjoying the process without hopes for great rewards a thing you’re OK with, and I think that’s beneficial for perseverance.

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Issue 271 • August 1 – August 15, 2018

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Punk subculture at the time was a controversial scene. Your career in art, with guerilla installations and marketing, was also controversial in the beginning. Do you think that approaching your art in that way was helpful for you in terms of your career ascendency? The people I was inspired by were largely people who were provocateurs: Raymond Pettibon and his art for Black Flag, Jamie Reid’s art for the Sex Pistols or Winston Smith’s art for the Dead Kennedys. Then I discovered a street artist in L.A. named Robbie Conal when I was 17 as a senior in high school—I did a year of art boarding school in California— and Robbie Conal was making these unflattering portraits of Ronald Reagan that said “Contra” above and “Diction” below, and it was during the Iran-Contra-gate. Of course, the Dead Kennedys had been very critical of Reagan, so I was already primed to see Reagan as a villain. Seeing these posters around, which were unflattering but well-painted, with a clever bit of typography, good design and were put up in the streets where they were in everyone’s face, to me that was like punk rock art. It was a step further than punk rock art in the sense that a lot of the punk rock art I already liked was stuff done specifically for flyers or album covers, and maybe the flyers ended up on the street. But this was punk rock in that it was political. Putting up big 24-by-36-inch posters on electrical boxes all over downtown L.A., that’s a strong statement and an act of defiance, and I connected with that. It was the punk rock spirit of critiquing all the dominant systems and subverting things and then mixed with me discovering people like Barbara Kruger and Robbie Conal who were visual artists doing things in public spaces with political content. For me, the thrill of

going out and putting work on the street, it felt liberating. I love mischief, and I love the idea of snapping people out of the trance of repetition or accepting that you will be a spectator on the sidelines while these commercial entities put up whatever they want and the government does whatever signage they want, like it’s a one-way conversation. I was like, “Oh, no it isn’t!” It’s a two-way conversation now. How has that evolved? What is the balance now for your work that is sort of delivered between the more mischievous, non-commissioned street art and guerilla campaigns and the illegality of that, into now having more commissioned art projects and being given permission? The thing that was most important to me was not just my enjoyment of mischief, but the idea that public space would showcase more than just advertising, government signage and commercial signage. It was a very gradual process for me to be given sanctioned spaces. It all was a result of me doing stuff without permission on the street. First it was people who had hip boutiques or skate shops who were like, “Yeah man, I saw your stuff on the abandoned building. Can you do something on the side of my business?” I was psyched to get those things, and some of the offers started getting bigger and bigger. The important thing to me was not whether what I was doing was legal or illegal, it was whether it was creating conversations that wouldn’t happen otherwise. Getting back to the sanctioned work, for the Wide Open Walls event in Sacramento, I’m guessing the Folsom Prison connection was what made you land on the Johnny Cash piece? Yeah, exactly. I did a project right before the 2016 election called American Civics—it was

a collaboration with the Jim Marshall estate. Jim Marshall shot the Johnny Cash Live at Folsom Prison cover, but he also shot a lot of stuff around social and political issues. That series dealt with voting rights, workers’ rights, gun culture and incarceration reform. I love Johnny Cash, but I also wanted to be able to do something that talked about the need for incarceration reform, and part of the proceeds from that print as part of American Civics go to #cut50, which is an incarceration reform organization. There are still some of the prints left, large format prints and they’re pretty expensive. So doing this mural is not just a mural I wanted to do because I love the subject, but because it’s an opportunity for me to restart that conversation around incarceration reform and to point people toward the prints. It’s cool to do something in Sacramento that creates a conversation around Folsom. All those things combined were what motivated it. Any additional info you wanted people to know about your involvement with Wide Open Walls? The wall is on the Residence Inn in downtown Sacramento, and How and Nosm have the other side of the wall, and I’m a big fan and excited to have another wall with them. We share two sides of a really big building in Detroit, which is I think the biggest mural they’ve done and the biggest mural I’ve done. This one [in Sacramento] will be the second or third biggest I’ve done. I think it’s about the same size as one I did in Sydney—a 15-story one a couple years ago. It’s a lot of elbow grease, very labor intensive. I think unless we encounter really bad weather, we’ll be fine.

Mujer Fatale | 2007

Water Tower | Detroit, 2015 | Photo by Jon Furlong

Lifeguard Not on Duty Canvas | Charleston, 2015

Peace Waratah Mural | Sydney, 2017 | Photo by Jon Furlong

Highly doubtful about that bad weather, which is great for your opportunity to see Shepard Fairey’s mural come to life at the Residence Inn by Marriott, 1121 15th St. in downtown Sacramento on the L Street side. Wide Open Walls brings amazing artists from all over the world Aug. 9–19. For a comprehensive list of events and artists, visit Wideopenwalls.org. For more information on Shepard Fairey’s work, visit Obeygiant.com.

Welcome Home Mural | Costa Mesa, 2017 | Photo by Jon Furlong

SubmergeMag.com

Issue 271 • August 1 – August 15, 2018

PAINTING HER TRUTH

CHINA NATIVE LIN FEI FEI GIFTS HOLY DIVER WITH STUNNING MELANCHOLIC MURAL FOR WIDE OPEN WALLS WORDS CLAUDIA RIVAS

fter missing 2017’s Wide Open Walls, this year’s event will feature the abstract and melancholic designs by new Sacramento local (by way of China) Lin Fei Fei. At the moment, she’s painting her mural outside Holy Diver, one of Midtown’s raddest music venues for performances local and beyond. Lin produces work that consists of wistful interpretations of the human body and intense emotions within the psyche. The

artist is more than stoked to participate in this yearly occasion spotlighting creatives from around the globe, and hopes her mural will complement the atmosphere of the venue she’s painting. “So far, so good. I’m really trying to speed up the process so it’s finished in time for Wide Open Walls,” Lin remarked to Submerge on the progress of her piece. She continued, “The theme of the mural involves the concept of humans becoming reborn. While having that

in mind, I’m also including elements that I think will match the the musical atmosphere of Holy Diver. I want it to be positive and fierce. Something special for the building. The images will involve a kind of screaming war between figures.” In this new Sac local’s signature style, the design will include minimal color. Lin usually commits to about three shades in her work, this way each symbol is distinctly distinguishable to the viewer’s eye.

Waiting#4 | Oil, spray paint on paper | 2017

While utilizing black and white paint, as the artist does frequently in her large-scale works, she plans on the addition of the color red to especially stand out. The deep cardinal hue is not only reminiscent of Holy Diver’s iconic neon sign, the depth of the tint also represents intensity, passion, strength, power and attention, which are prevalent at any adrenaline-fueled concert filled with people who want to light the ground on fire (figuratively, of course). Much of Lin Fei Fei’s work features a darker perspective, with hauntingly exquisite reflections of the human form. She pays full attention to every curve, edge and wrinkle of her subjects and illustrates emotions people emit while understanding that the energy of these feelings are never straight, but instead a series of chaotic lines and cuts in every direction. “When I studied art I was

Photo courtesy Jesse Vasquez

Issue 271 • August 1 – August 15, 2018

Collecting the Warmth #2 | Oil, pencil, paper-cut on tree-free paper, 12" x 9" | 2018

attracted to [human] figures,” Lin expressed. “I feel like the human body is very beautiful. I remember when I first painted human figures I was like, ‘Wow, I want to paint more of these.’ I wanted to know who the people I painted were and are. This shell we have, it’s beautiful regardless of anyone’s standards of beauty. I think no matter what the shape, no matter whether skinny or curvy, the human body is beautiful. I think [painting such figures] is a strong reflective message about ourselves and represents every individual.” Though some of her projects contain sexualized imagery and dark comedy, some may find it surprising to learn Lin isn’t in fact an entirely gothic individual full of “doom and gloom” as her pieces portray. She is sweet, polite and stays as positive as she can. What attracts her to working in such a somber painting style can be explained

by the cliche of not judging a book by its cover. When asked about those who influenced her technique, she asserted, “A big influence of mine came from art in Europe during the Renaissance by creatives like Leonardo Da Vinci, Michelangelo and others. I try to blend the old European styles of illustrating the nude form with modern fashions shown by Francis Bacon. While I do this, I blend what I have learned from art of Western civilizations with the movements in works from art of Eastern civilizations such as China, where I’m from.” Along with combining cultures in her work, Lin blends the objects in her pieces through swirls she paints. Certain parts of the body in these pools are connected to those not usually linked in reality. These curves and the colors she uses, as Lin explains, represent again the types of energy all humans emit.

Breathing... | Mixed Media | Projection | 2018

Dive Into Sacramento & Its Surrounding Areas

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Photo courtesy Joha Harrison

Bound by Explanation | Oil on canvas | 111" x 88" | 2014

When explaining her reasons behind this she responded, “Naturally I just do this. Sometimes I don’t even think about it, but eventually along the way as I paint I want to draw something as a swirl or something that shows movement. I look up to the energy and power of human beings. The movements are represented in swirls combined with other abstract stuff. Human figures will always be my thing in art. I always like to combine the chaos and any kind of energy around us in the real world.” Lin told Submerge that while in China and working on her craft, she was under strict standards of how she could conduct her art. She hated how limited she felt and wanted to be free from such constraints. She has a series of popular green pieces that she says were so loved by audiences because of their cheerful colors and their invocation of nature. She understands how happiness can be moving but did not want to be limited to only art that was positive. “I’ve studied humanities and psychology,” Lin explained. “I have a huge interest in human beings. For myself, I want to SubmergeMag.com

speak the truth—the other side of happiness that is intense. A lot of people avoid the sadness or the ugly side of something they don’t want to face that is the truth. But art not only shows the beautiful things, art reflects the world, or how we feel in depth beneath the surface. In China, there is a certain standard and there are many rules you have to listen to. I want to show a different side of our life. It might make people feel uncomfortable, but I truly believe art should be free to show whatever the human feeling is.” When she first came to California from China, she found a great change in being able to express herself, but not everything came easy. She battled loneliness constantly, and being in a country where outsiders are vilified by its leader had caused her anxiety at the beginning. With these intense emotions, however, she was able to dive into her work with a better understanding of herself and what she is trying to accomplish being away from home. “Of course I feel lonely all the time and it is very difficult,” Lin said. “When I was in China, I had friends and family to help me in a difficult situation, I never really felt scared because I had them supporting me. I’ve lived

in Europe, too, but during study I had my teachers looking after me. In America, it’s a totally new life because you have to completely rely on yourself and you have no friends at all—like literally nobody. But I have to be strong and be tough, and I am.” To relieve loneliness Lin immersed herself in the Sacramento art community through fellow artist Gabriel Sanford. He and Lin met at a show, and with his help she has connected with many different creatives in the community. She now feels very welcome and hopes to have the ability to do more in the area’s art scene to bridge cultures together. When it comes to choosing between Los Angeles, Sacramento and San Francisco as a place to live, Lin insisted she would always choose Sac. She finds our city not only affordable, but a great place where she and her husband can start a life together. Being a part of Wide Open Walls means a great deal to her, because it is one way of saying thank you to the community she calls her new home. “This event is very special for me because I am still new and an outsider in Sacramento,” Lin said. “This community has been really supportive of me and has given me so much love and acceptance. I want to do something to return the hospitality, as a gift for the city and for the people who are here.” Lin Fei Fei may believe she’s an outsider, but Sacramento considers her a talented local and a part of our continuously growing art scene.

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Make sure to visit Lin’s Wide Open Walls mural at Holy Diver at 517 21st St. in Sacramento. For more information on Lin Fei Fei and her work visit Linfeifeiart.com. Wide Open Walls will run from Aug. 9–19. For more information on Wide Open Walls and all the great artists participating, visit Wideopenwalls.org.

Issue 271 • August 1 – August 15, 2018

DUSTBOWL REVIVAL EVA B. ROSS WAND THE SHEEN • NICHOLAS MERZ WILD CHILD HONYOCK GRATEFUL SHRED MAPACHE KING BUFFALO **SECOND SHOW ANDERSON EAST ADDED!** HARLOW’S

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MOSHE KASHER GETS UP CLOSE AND PERSONAL WITH HIS AUDIENCE WORDS ROBERT BERRY • PHOTO ART STREIBER

first saw Moshe Kasher perform stand-up comedy a couple of years ago at the Punch Line in San Francisco. He’s one of those comedians who I had always heard was fantastic, but who I never had a chance to see. Within seconds, he owned the room like few comics I’ve ever seen, with a combination of great material and improvised crowd work that was brilliant and hilarious. This is harder than it appears. I’ve seen many comedians sink hard when they go to the crowd for inspiration. Moshe played that crowd masterfully, like a giant, drunk, laughing guitar. He didn’t just ask people where they worked and make fun of them like many comedians do; he used amazing listening skills to find quirks about them, and later in the show was able to refer back to things folks said earlier like a well-crafted callback. It was a goddamn work of art. Moshe got his start performing comedy in San Francisco 17 years ago when he attended an open mic with Chelsea Peretti (currently on Brooklyn Nine-Nine) and received encouragement from Bay Area legend Tony Sparks (who’s lovingly referred to by many as “The Godfather of Comedy” and still hosts shows to this day). Since then, he’s been featured on TV shows like Comedy Central’s Problematic and @midnight, and the podcast Hound Tall. In 2012, he wrote the book Kasher in the Rye: The True Tale of a White Boy from Oakland Who Became a Drug Addict, Criminal, Mental Patient and Then Turned 16, which may be one of the most descriptive titles a book has ever had. He recently released a three-part Netflix special, The Honeymoon Stand Up Special, with his wife (and fellow comedian) Natasha Leggero that’s a flat-out riot. They each have a solo portion for the first two parts, and the final act culminates with them performing roasts of married couples from the Austin, Texas, crowd. It works far better than I thought it would. I spoke with Moshe on the phone to talk about his special, his book and his upcoming series of shows at the Sacramento Punch Line. Through our conversation, it was evident that he has a love of producing quality comedy and giving the audience a special show. My 80-year-old father-in-law watches Netflix a lot, and I came out to his room while he was watching your special at the exact moment you were talking about cumming into mason jars. [Laughs] It might be a dirty reference, but the mason jar is generationally appropriate for him. I’m sure he enjoyed it.

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Issue 271 • August 1 – August 15, 2018

I love that at the beginning of your section of The Honeymoon Stand Up Special, there’s a guy in the front row who’s totally giving you a cold stare and you address it, and he just doesn’t stop. He’s acting like he was tricked into being there. Was that a weird thing to deal with, and keeping it in the special? No, I wanted it in. The thing about doing a stand-up special is that it’s a bizarre distillation of an act you’ve been working on for months or years into a permanent state of comedic homeostasis, and somehow I perform. When I perform, there’s the material that I’ve got but in some circumstances I’m letting them dictate where the show goes. I wanted to leave it in the special because it gives a better picture of who I am as a performer. I’m 10 times more improvisational at a live show than I am in a stand-up special, except for the third part which is all improv. I was grateful that he was frowning because it was a gift that he gave me. And by the way, he laughed by the end of the night quite a bit, which is good. I saw you at SF Punch Line. It was very improvisational, but in such a brilliant and entertaining way. I don’t think you probably planned a lot of what you said that night. It was pretty impressive. Well, thanks. I always say the more fun I’m having, the less written jokes I’m telling. I arrive to every gig with an hour’s worth of jokes ready. but on a good night when I’m thinking about the performance, I’m thinking, “Oh, shit! I didn’t get to this ... something magical happened in the room that made me run out of time.”

In the 17 years that you’ve been performing stand-up, at what point did your performances evolve to allow more of that interaction? It’s an interesting question because I came to the stage with much more confidence than I had ability. I was willing to mess around on stage and kind of improv and do whatever thing I fancied from the very beginning. Some of my contemporaries that I started comedy with suggested, “Maybe you should focus on writing a half-hour or hour of material.” I think they were offended that I would just come up on stage and just fuck around that early into stand-up. So I retreated into the writing process and came back learning how to hone my writing voice, then again allowed myself to go with my natural instincts, which are sort of just to let whatever happens happen. There was another moment where I realized—and this is going to sound so corny—but the way to make my job work is to remember to always enjoy myself when I’m on stage. Even when the show isn’t going the way that I want it to, I’ll figure out a way to enjoy the chaos, then the show’s going to be good, and I’m going to be good. At any rate—long story short—I’d say about five years into my stand-up career I just decided that I’m going to be a comedian that just lets whatever happen. I’ve had a lot more fun as a result. Your personality really comes through with your performance, as opposed to someone who’s just doing material. People probably feel like you’re someone they could have a drink with and might be pretty similar to how you are on stage. Is there some truth to that? How approachable and fun I seem by my appearance really depends on who’s absorbing it. I’ve definitely heard discussions like I’m someone you’d like to punch in the face. It depends on who you are, or your political perspective maybe [laughs]. Maybe want to have a drink with me, or punch me in the face, Dive Into Sacramento & Its Surrounding Areas

or both! I always say, your personality on stage is you times five. I’m also a lot more chill offstage. I’m less flamboyant offstage, too. People are impressed with how incredibly masculine I am offstage. The Couples Roast portion of the special was very funny. It almost seems like that could be a regular TV series. A lot of people have said that. We’re definitely not opposed to the idea. It was really cool. One of the challenges is taking that thing and making it permanent. If you’re watching it on TV you’ll say, “Sure, I bet that was funny if I was sitting there, but I don’t really care if that guy is an accountant.” The problem with putting improv and crowd work on a special is making it evergreen and relevant. I think having that conceit of us helping these couples [and] making fun of them is what made it feel like you didn’t have to be there, because we’ve all been there. With any comedian, there’s a fear of exposing yourself and putting your work out there and hoping they laugh, but giving control to the crowd and not knowing where that could fizzle and not be as entertaining as you think. Absolutely, and it depends on whose hands you’re in. Sometimes crowd work is disparaged because people feel like it’s the MC of the comedy club asking who’s birthday it is, but there are true masters of the form that are as artistic doing that as the best honed joke-crafter is. People like the late Patrice O’Neal, Paula Poundstone and Todd Barry are true masters of that. I consider it as big and integral a part of stand-up as joke writing. I love crowd work and I think crowds do, too. The most fun a crowd can have is watching someone make a show just for them. What was it like to publish a book? How much time and effort and sweat did it take? It took a lot. It’s not a typical comedian book because I had a strange upbringing going to rehab a bunch by the time I was 16, having deaf parents, a Hasidic father and a secular mother, growing up in Oakland on welfare, blah blah blah. It was very important to me, and I always wanted to be an author when I was growing up; I didn’t necessarily want to be a comedian. It was important to me that the book reflected some literary meat. In order to get there, you really have to go there, so it was definitely an emotional and intellectual and spiritual process. Comedy is different because you’re looking for the one thing that’s the funniest ... that’s not necessarily what’s happening in a book. It was important to me that it was a real book and not just a series of bits. It’s always disappointing when you read a comedian’s book, and the outline was just “write enough words to get my paycheck.” I wanted to write a book that people could read in 10 to 20 years and not know who I was and still enjoy it. It’s still the thing that I’m proudest of that I’ve ever created.

Moshe Kasher will be headlining five shows Aug. 9–11 at Punch Line Sacramento (2100 Arden Way). Tickets are available at Punchlinesac.com. The Honeymoon Stand Up Special is currently featured on Netflix, and Moshe’s book is available on Amazon, Audible and wherever fine books are sold.

SubmergeMag.com

Issue 271 • August 1 – August 15, 2018

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Issue 271 • August 1 – August 15, 2018

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OCT 1: REVOCATION AUG 2: FOO TUBE OCT 2: FAT NICK AUG 5: HARRIS RUDMAN OCT 3: THE LACS AUG 9: LANDON CUBE OCT 5: AUG 14: SOUNDCHECK: VICIOUS RUMORS INSTAGON, GHANDHI/ OCT 6: E.N YOUNG MURRAY/RUBINSTEIN TRIO OCT 9: MAX AUG 16: LUCKI OCT 16: AUG 19: AMARIONETTE MICHALE GRAVES AUG 21: ADVENTURER OF MISFITS SEPT 1: OCT 2O: SYML BANKROL HAYDEN OCT 21: MAYDAY! SEPT 16: (SOLD OUT) OCT 24: CANE HILL BRENT FAIYZA SEPT 28: ANGRA OCT 26: DREAMERS NOV 16: KORPIKLAANI SEPT 29: KINGDOM COME NOV 23: WEDNESDAY 13 SEPT 3O: ASSUMING WE SURVIVE DEC 6: DOYLE

Issue 271 • August 1 – August 15, 2018

MUSIC, COMEDY & MISC. CALENDAR

AUGUST 1 – 15 SUBMERGEMAG.COM/CALENDAR

8.01 WEDNESDAY

Bar 101 Open Mic, 7:30 p.m. Blue Lamp Creux Lies (Album Release), Night Nail, Separate Spines, 8 p.m. Central Park (Davis) Picnic in the Park: Cold Shot, 4:30 p.m. The Club Car The Double Shots, 7:30 p.m. Dew Drop Inn Lorin Walker Madsen, Abraham and the Old Gods, Mike Hellman, 7 p.m. El Dorado Saloon Open Mic Night, 7:30 p.m. Folsom Hotel Saloon Proxy, 6:30 p.m. Fox & Goose All Vinyl Wednesdays w/ DJ AAKnuff, 8 p.m. Goldfield Smokehouse Acoustic, Crossman Connection, 7:30 p.m. Louie’s Cocktail Lounge Live Blues Jam Session, 8 p.m. Momo Sacramento Bourbon & Blues feat. The Tropicali Flames,

5:30 p.m. Nicholson’s MusiCafe Acoustic Open Mic, 6 p.m. North Star House (Grass Valley) Center for the Arts Presents: The Brothers Comatose, T Sisters, 6 p.m. Old Ironsides Open Mic, 9 p.m. Press Club ‘80s Night, 9 p.m. Streets Pub and Grub Karaoke, 9 p.m. Torch Club Scott McConaha, Adam Varona, 5:30 p.m.; Michael Ray Trio, 9 p.m.

8.02 THURSDAY

Bar 101 Karaoke, 7:30 p.m. Blue Lamp The Body, Lingua Ignota, Reptoid and More, 8 p.m. Cafe Colonial Wurm Flesh, Why Won’t You Die, Hazardous Terror, Alucinari, Dopemess, 7 p.m. Capitol Garage Karaoke, 9 p.m. The Club Car Songwriters Showcase, 8 p.m. Crest Theatre Taj Mahal and Keb Mo, Alicia Michilli, 6:30 p.m. Folsom Hotel Saloon Karaoke Night & DJ Matty B, 9:30 p.m.

Fox & Goose Irish Jam Session w/ Stepping Stone, 8 p.m. Goldfield Hellbound Glory, JonEmery, 8 p.m. Holy Diver Foo Tube (Foo Fighters Tribute), 7 p.m. Louie’s Cocktail Lounge Karaoke, 9 p.m. On The Y Karaoke, 8 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub Highnoon, 9:30 p.m. Shine Jazz Jam, 8 p.m. Sofia Tsakopoulos Center for the Arts Shooter Jennings, Hellbound, 7 p.m. Sophia’s Thai Kitchen Valley Queen, The Big Poppies, 9 p.m. Torch Club Mind X, 5:30 p.m.; Motel Drive, 9 p.m. Village Park Concerts in the Park: Moonlight Swing, 6:30 p.m.

8.03 FRIDAY

Ace of Spades Getter, 7 p.m. Bar 101 Working Man Blues Band, 9:30 p.m. Berryessa Brewing Co. Big Sticky Mess, 5 p.m.

Issue 271 • August 1 – August 15, 2018

Blue Lamp SambaDá, 8 p.m. Capitol Garage Capitol Friday’s Reggae Night w/ DJ Veyn, 10 p.m. Cal Stage Theater The Friends of George Walker Celebrate the Centennial of Jazz Singer Eddie Jefferson, 2 p.m. The Club Car Dream and the Dreamer, 8:30 p.m. Crooked Lane Brewing Co. Rhythm Vandals Trio, 7 p.m. Dew Drop Inn Wolf Creek Boys, Lisa Marie Johnston, 8 p.m. Folsom Hotel Saloon Lucky 7, 9:30 p.m. Fox & Goose Kevin & Allyson Seconds, 9 p.m. Golden Bear DJ CrookOne and Guests, 10 p.m. Goldfield The White Buffalo, JonEmery, 7:30 p.m. Holy Diver Emo Nite Sacramento, 9 p.m. Louie’s Cocktail Lounge William Mylar’s Hippie Hour, 5:30 p.m.; Two20 Band, 9 p.m. McConnell Estates Winery Mark McClean, 5:30 p.m. MontBleu Resort Casino The Temptations, 7 p.m. Nicholson’s MusiCafe Open Mic Night, 6 p.m. North Star House (Grass Valley) Center for the Arts Presents: The Brothers Comatose, T Sisters, 6 p.m. Opera House Saloon Under the Cover, 9:30 p.m. The Park Ultra Lounge DJ Eddie Edul, 9:30 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub Cheeseballs, 10 p.m. Press Club DJ Rue, 9 p.m. The Red Museum Museum Party feat. So Much Light, Meet Cute, Ex-Heir and More, 7 p.m.

Revival at the Sawyer Groove on Fridays w/ Panic City, 10 p.m. Shine Mondo Deco, Vinnie Guidera & The Dead Birds, Emma Simpson, 8 p.m. Sofia Tsakopoulos Center for the Arts Fleetwood Mask (Fleetwood Mac Tribute), 7 p.m. Swabbies on the River Caravanserai, 7 p.m. Thunder Valley Casino Resort Brad Paisley, Rachel Steele, 7 p.m. Torch Club Jimmy Pailer & Co., 5:30 p.m.; Jeramy Norris & The Dangerous Mood, 8 p.m. Yolo Brewing Co. Hair of the Dawg, 6 p.m.

8.04 SATURDAY

Ace of Spades Zoso (Led Zeppelin Tribute), 7 p.m. Bar 101 Smith & Tegio, 9:30 p.m. Berryessa Brewing Co. Sean Lehe Trio, 3 p.m.; August Summer Night Concert Series w/ The Charlie Hunter Trio, 7 p.m. Blue Lamp J-Diggs, Da’Unda’Dogg, Rocstar, Runya Jaw Johnson, Seff Smokes, C-Dubb & Siyeed, Masyah, 9 p.m. The Boardwalk Moon Shine Crazy, Dennis Becker, 7:30 p.m. Brickhouse Gallery Out Of The Box Jazz Fest, 7 p.m. Capitol Garage The Corner w/ DJ Veyn & Guests, 10 p.m.

8.04 AUGUST SUMMER NIGHT CONCERT SERIES W/

THE CHARLIE HUNTER TRIO Berryessa Brewing Co. 7 p.m.

Dive Into Sacramento & Its Surrounding Areas

8.07 TUESDAY

The Boardwalk In Angles, Floral, The Seafloor Cinema, Leaph, 6:30 p.m. Harlow’s Paul Cauthen, Sam Morrow, 7 p.m. Holy Diver Lemuria, Katie Ellen, Dusk, 7 p.m. Kupros Craft House Open Mic, 8 p.m. Old Ironsides Karaoke, 9 p.m. Powerhouse Pub Live Band Karaoke, 8 p.m.

8.05

MISERABLE Death Bells, Fearing, Ex-Heir Blue Lamp 8 p.m.

The Club Car Stegall and Lambeth, 8:30 p.m. Crest Theatre Dennis Deyoung, 6:30 p.m. Crooked Lane Brewing Co. Albertson Duo, 7 p.m. Folsom Hotel Saloon Rhythm City Allstars, 9:30 p.m. Fox & Goose Diana Scram’s 40th feat. Spacewalker, Killer Couture, Temple K. Kirk, Finley, 8:30 p.m. Harlow’s Rakim, Kota the Friend, Bru Lei, 8 p.m. Holy Diver Katastro, Tyrone’s Jacket, Aloha Radio, 7 p.m. Latino Center of Art and Culture Day Dream Fest feat. Jupiter Flowers and the Beacon, Uself, Makebelief, Meet Cute, Mallard, Tabloid Tea, Lofi Legs, Seemway, Mediocre Cafe, Moonbow, Trophii, Boy Romeo, Munechild, The Band Ice Cream, Shivas, 2 p.m. Louie’s Cocktail Lounge Karaoke, 9 p.m. Momo Sacramento Topograf (EP Release), Fashionista Boyfriend, The Y Axes, 6:30 p.m.; Rewind 80’s and 90’s Party, 10 p.m. MontBleu Resort Casino Matisyahu, 7 p.m. Nicholson’s MusiCafe Free Ukulele Class, 1 p.m. On The Y Stimuli, Nmta, Machine Zero, 8 p.m. Opera House Saloon Ariel Jean Band, 9 p.m. The Park Ultra Lounge DJ Peeti V, 9:30 p.m. Pine Cove Karaoke, 9 p.m. Porchlight Brewing Co. East Sac Strings, 6 p.m. Powerhouse Pub Thunder Cover, 10 p.m. Press Club DJ Larry Rodriguez, 9 p.m. Revival at the Sawyer Encore w/ DJ Lady Kate, 9:30 p.m. Shine Starship Gazelle, Sean Pawling Band, Sam Eliot, 8 p.m. Sofia Tsakopoulos Center for the Arts Tom Rigney, Flambeau, 6:30 p.m. Sophia’s Thai Kitchen Foxtails Brigade, This Island Earth, 9:30 p.m. Swabbies on the River Journey Unauthorized, 1 p.m.; Scoles & Young, 4 p.m.; Night Moves, Creedence Classic Revival, 7 p.m. Thunder Valley Casino Resort Soul Fest ‘18 feat. The Whispers, Midnight Star, The Dramatics, DJ Gino, 5:30 p.m. Torch Club War Elephant, 5:30 p.m.; Harper and Midwest Kind, 9 p.m. Yolo Brewing Co. Age of Rock, 7 p.m.

8.05 SUNDAY

Ace of Spades Iamsu!, HBK Skip, Marty Grimes, Derek Luh, 7 p.m. Berryessa Brewing Co. Jessica Malone Band, 3 p.m. Blue Lamp Miserable, Death Bells, Fearing, Ex-Heir, 8 p.m. Cache Creek Casino Edwin Siu, Fang Ning, 1 & 4 p.m. Cafe Colonial Dandelion Massacre, Dollar Signs, Lightweight, Wayne Jetski, 6 p.m. Folsom Hotel Saloon Maddie Leigh, 3 p.m. Holy Diver Harris Rudman, Nate Curry, DJ Hotspot, Brian Lentz, Madmanleek, Joey Casanova, Stretch, Zero Luck, 7 p.m. Latino Center of Art and Culture Day Dream Fest feat. Tiny Sounds, Ur Ex Wife, Separate Spines, Vida Solstice, Bear Call, La Tour, Sunmonks, Vansire, BOYO, Deep Pools, Honyock, The Saxophones, Animals in the Attic, Drug Apts, 2 p.m. LowBrau Throwback Jams w/ DJ Epik & Special Guests, 9:30 p.m. Midtown BarFly Factor IX w/ DJ Bryan Hawk, DJ CarnieRobber and Guests, 9 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub Mick Martin, 3 p.m. Press Club Monkey, The Storytellers, At Both Ends, 5 p.m.; Sunday Night Soul Party w/ DJ Larry Rodriguez, 9 p.m. Swabbies on the River Thunder Cover, 12 p.m.; Spazmatics, 3:30 p.m. Torch Club Blues Jam, 4 p.m.; Front the Band, 8 p.m.

8.06 MONDAY

Fox & Goose Open Mic Night, 7:30 p.m. Goldfield River Whyless, 7:30 p.m. Holy Diver Pathology, Aenimus, Wastewalker, Zephira, 6:30 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. Momo Sacramento Priceless Da Roc, Quinterius, Stizktalk, Stunt&Nell, Ozzy, Its Wavy Entertainment and More, 6 p.m. Old Ironsides Heath Williamson & Friends, 5:30 p.m. Sacramento Masonic Temple Kent Strand Trio: The Music of Bill Evans, 7 p.m.

8.08 WEDNESDAY

Ace of Spades Yuridia, 7 p.m. Bar 101 Open Mic, 7:30 p.m. Blue Lamp Cave Bastard, Christ Killer, Dopemess, 8 p.m. Central Park (Davis) Picnic in the Park: North Country Blue, 4:30 p.m. The Club Car The Double Shots, 7:30 p.m. El Dorado Saloon Open Mic Night, 7:30 p.m. Folsom Hotel Saloon Open Mic Jam, 9 p.m. Fox & Goose All Vinyl Wednesdays w/ DJ AAKnuff, 8 p.m. Goldfield Dennis Becker, Jeff Ricketts, 7:30 p.m. Holy Diver Giraffes? Giraffes!, Surrounded By Giants, Mylets, Find Yourself, Rex Means King, 6:30 p.m. Louie’s Cocktail Lounge Live Blues Jam Session, 8 p.m. Momo Sacramento Bourbon & Blues feat. Andy Santana and the West Coast Playboys, 5:30 p.m. Nicholson’s MusiCafe Acoustic Open Mic, 6 p.m. Old Ironsides Open Mic, 9 p.m. Press Club Teenage Dirtbag: ‘90s House Party, 9 p.m. Sophia’s Thai Kitchen Planes on Paper, Josiah Johnson, 9:30 p.m. Streets Pub and Grub Karaoke, 9 p.m. Torch Club Sean Lehe, 5:30 p.m.; Static & Surrender, 9 p.m.

EVERY SUNDAY & MONDAY SPECIALS

HAPPY HOUR ALL NIGHT!

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T U E S D AY S • 7 P M • O P E N M I C WEDNESDAYS • 5-7PM • HAPPY HOUR W/ ROSS HAMMOND H A P PY H O U R JA M S

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ROSS Aug 21 CHRISTIAN 5pm HAMMOND 5pm RICO Thurs, Thurs, Aug 16 JAYSON Aug 23 MARTY TATERS & FRIENDS 8pm 8pm ANGOVE SINGER/SONGWRITER NIGHT

SINGER/SONGWRITER NIGHT

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8.09 THURSDAY

Ace of Spades Between The Buried and Me, Born of Osiris, Veil of Maya, Erra, The Agony Scene, Allegaeon, Entheos, Soreption, 3:30 p.m. Bar 101 Karaoke, 7:30 p.m. The Boardwalk Maoli, Easy Dub, T-Fatz, 7:30 p.m. Cafe Colonial Anime Aliens, Failing up, Danger Inc., Sad Girlz Club, 8 p.m. Capitol Garage Karaoke, 9 p.m. The Club Car Songwriters Showcase, 8 p.m. Crocker Art Museum ArtMix: Kinetic feat. Jambalaya, DJ Nocturnal, Kat & Monica of Rebel Aerial, Sac State Dance Team and More, 6 p.m. Davis Commons Summer on the Green: Mondo Deco, Vasas, 6 p.m. Folsom Hotel Saloon Karaoke Night & DJ Matty B, 9:30 p.m. Fox & Goose Michael B. Justis, 8 p.m.

CONTINUED ON PAGE 28 SubmergeMag.com

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S AT & S U N • 1 0 A M - 2 P M $7 BLOODY MARYS

>> Issue 271 • August 1 – August 15, 2018

Holy Diver Landon Cube, Suigeneris, HBK Kamrin Houser, 7 p.m. Louie’s Cocktail Lounge Karaoke, 9 p.m. Old Ironsides Secure Sounds, Sid Kingsley Band, 7:30 p.m. On The Y Karaoke, 8 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub Michael Beck, 9 p.m. Shine Jazz Jam, 8 p.m. Torch Club Mind X, 5:30 p.m.; Byrom Brothers, 9 p.m. Village Park Concerts in the Park: Lincoln Highway, 6:30 p.m.

8.10 FRIDAY

Ace of Spades J Stalin, Husalah, Dubee, 7 p.m. Bar 101 Dylan Crawford, 9:30 p.m. Berryessa Brewing Co. Muddy Waders, 5 p.m. Blue Lamp Novareign, MadorMaero, Railgun, Stormfall, 8 p.m. Cache Creek Casino El Coyote, 9 p.m. Capitol Garage Capitol Friday’s Reggae Night w/ DJ Veyn, 10 p.m. The Club Car Skippy and the Bowl Junkies, 9 p.m. The Colony Resist and Exist, Rotties, Class System, Spitting Roses, Cheap Shoes, 8 p.m. Crooked Lane Brewing Co. Big Wide Grin, 7 p.m. Folsom Hotel Saloon Rolling Heads, 9:30 p.m. Fox & Goose Brendan Stone, Bobby Jordan, Erik Hanson, Josh Lacey, Graham Vinson, 9 p.m. Golden Bear DJ CrookOne and Guests, 10 p.m. Harlow’s The Dustbowl Revival, 8 p.m. Holy Diver L.A. Guns, Tara Black and Seeing Red, Faith & Bullets, 7 p.m. Louie’s Cocktail Lounge William Mylar’s Hippie Hour, 5:30 p.m.; DJ Van Gloryus and Friends, 9 p.m. McConnell Estates Winery Mondo, 5:30 p.m. Nicholson’s MusiCafe Open Mic Night, 6 p.m. Old Ironsides The Brodys, Popgun, 9 p.m. Palms Playhouse Dave Gonzalez & Susanna Van Tassel with The Branded Men, 7:30 p.m. The Park Ultra Lounge DJ Eddie Edul, 9:30 p.m. Pine Cove Karaoke, 9 p.m. Porchlight Brewing Co. Ticket To Ride, 6:30 p.m. Powerhouse Pub Christian Mills Band, 10 p.m. Press Club DJ Rue, 9 p.m.

Sofia Tsakopoulos Center for the Arts Booker T. Jones, 7 p.m. Swabbies on the River Livin’ On A Prayer (Bon Jovi Tribute), 6 p.m. Torch Club Dey Trippers, 5:30 p.m.

8.11 SATURDAY

2200 Front Street Audio Sunset Festival: Keys N Krates, Pegboard Nerds, Bailo, Donald Glaude, Myron Eugene, Alexx Gold, Czechmate, Oshiin and More, 2 p.m. Bar 101 Sam Sharpie, 9:30 p.m. Berryessa Brewing Co. A Thousand Years at Sea, 3 p.m. Blue Lamp Wand, The Sheen, 9 p.m. The Boardwalk RepresA, Cardinal Sins, 7 p.m. Capitol Garage The Corner w/ DJ Veyn & Guests, 10 p.m. The Club Car Manzanita, 9 p.m. Folsom Hotel Saloon The Sock Monkey, 9:30 p.m. Fox & Goose The Roa Brothers Band, 9 p.m. Harlow’s DJ Quik, Suga Free, Hi-C, 8 p.m. Holy Diver Mickey Avalon, Dirt Nasty, 7 p.m. Jean Henderson Performing Arts Center It’s About Time Jazz Concert & Fundraiser, 2 p.m. Louie’s Cocktail Lounge Karaoke, 9 p.m. McConnell Estates Winery The Boys of Summer (The Eagles Tribute), 5:30 p.m. MARRS Building THIS Midtown: Phantoms (DJ Set), Joyzu, Ashley Ames, Sam I Jam, Amicus & Leap Year, 5 p.m. Momo Sacramento Back in the Day - Old School Hip-Hop and R&B, 10 p.m. Nicholson’s MusiCafe Free Ukulele Class, 1 p.m. Old Ironsides 25th Anniversary Show feat. Knockoffs, Trouble Makers, Four Eyes, 9 p.m. Opera House Saloon Kenny Frye Band, 9 p.m. The Park Ultra Lounge DJ Peeti V, 9:30 p.m. Pine Cove Karaoke, 9 p.m. PJ’s Roadhouse The Southside Shuffle feat. Leo Bootes, Mike Farrell, Shaun Mitchell, 2 p.m. Powerhouse Pub Frank Hannon Band, 10 p.m. Press Club DJ Larry Rodriguez, 9 p.m. Revival at the Sawyer Encore w/ DJ Lady Kate, 9:30 p.m. Sacramento Bike Kitchen The Nickel Slots, 50 Watt Heavy, Mezcal Aces, 7 p.m. Shine Pink Frank, Gone to Sofia, Bad Patterns, 8 p.m.

Sofia Tsakopoulos Center for the Arts Cash’d Out (Johnny Cash Tribute), 7 p.m. Swabbies on the River Department of Rock, 6 p.m. Torch Club Red Dirt Ruckus, 5:30 p.m.; Mind X, 9 p.m. Veterans Memorial Auditorium (Grass Valley) Center for the Arts Presents: Ronnie Spector & the Ronettes, 8 p.m.

8.12 SUNDAY

Berryessa Brewing Co. Todd Gardner Band, 3 p.m. The Boardwalk Demon In Me, Keyes, Perfect Score, City Mural, 7 p.m. Cache Creek Casino Grupo Yndio, 5 p.m. Cafe Colonial Draghkar, Tyrants of Hell, Defecrator, 5 p.m. Crocker Art Museum Classic Concert Series feat. Felix-Graber Duo, 3 p.m. Folsom Hotel Saloon Hell Bent, 3 p.m. Harlow’s Wild Child, 6 p.m. Holy Diver Otep, Dropout Kings, Ragdoll Sunday, Malcolm Bliss, Cataclysmic Assault, The Last Titan, 6:30 p.m. LowBrau Throwback Jams w/ DJ Epik & Special Guests, 9:30 p.m. Midtown BarFly Factor IX w/ DJ Bryan Hawk, DJ CarnieRobber and Guests, 9 p.m. Pine Cove Karaoke, 9 p.m. Powerhouse Pub John Clifton, 3 p.m. Press Club Sunday Night Soul Party w/ DJ Larry Rodriguez, 9 p.m. Swabbies on the River Flat Busted, 12 p.m.; Life In The Fastlane (The Eagles Tribute), 3 p.m. Torch Club Blues Jam, 4 p.m.; Front the Band, 8 p.m. Veterans Memorial Auditorium (Grass Valley) Center for the Arts Presents: Ziggy Marley, Sista Kat, 8 p.m.

8.13 MONDAY

Fox & Goose Open Mic Night, 7:30 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. Old Ironsides Heath Williamson & Friends, 5:30 p.m. Press Club Boss’ Daughter, Knocked Down, The Bitters, 8 p.m. Sofia Tsakopoulos Center for the Arts Willie K, 6:30 p.m.

8.14 TUESDAY

8.10

J STALIN Husalah, Dubee Ace of Spades 7 p.m.

Issue 271 • August 1 – August 15, 2018

Blue Lamp (Waning), Pyrrhon, Succumb, Straya, 8 p.m. Kupros Craft House Open Mic, 8 p.m. Old Ironsides Karaoke, 9 p.m. On The Y Karaoke, 9 p.m. Powerhouse Pub Live Band Karaoke, 8 p.m. Sofia Tsakopoulos Center for the Arts John Pizzarelli, 7:30 p.m. Torch Club Bill Mylar, 5:30 p.m.; Sicky Betts, 8 p.m.

Dive Into Sacramento & Its Surrounding Areas

WEDNESDAY

SubmergeMag.com

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A Ri ed

Comedy Laughs Unlimited Jay Rich, Mario Hodge, Ricco da Great, Tristan Johnson, Aug. 1, 8 p.m. Ngaio Bealum feat. Aaron Woodall, Aug. 3 - 5, Fri. & Sat., 8 & 10:30 p.m.; Sun., 7 p.m. Pro-Am Comedy Night Showcase Hosted by Ellis Rodriguez, Aug. 7, 8 p.m. Hella-Larious w/ Butch Escobar, Carlos Rodriguez, Amber Whitford, Danny Castillo, Jeff Robinson, David Reyes, Dru Burks, Aug. 8, 8 p.m. All Ages Family Show feat. Justin Rivera, Aug. 12, 1 p.m. Butch Escobar feat. Pete Giovine, Aug. 10 - 12, Fri. & Sat., 8 & 10:30 p.m.; Sun., 7 p.m. K-Von, Aug. 15, 8 p.m. Luna’s Cafe Open Mic Comedy w/ Host Jaime Fernandez, Tuesdays, 7:30 p.m. On the Y Open Mic Comedy w/ Guest Hosts, Thursdays, 8:30 p.m. Punch Line Eric Andre, Aug. 2 - 4, Thurs., 8 p.m.; Fri. & Sat., 7:30 & 10 p.m. There Goes the Neighborhood Comedy Tour, Aug. 5, 7 p.m. Moshe Kasher, Aug. 9 - 11, Thurs., 8 p.m.; Fri., 8 & 10:15 p.m.; Sat., 7:30 & 9:45 p.m. The Future of Comedy Showcase with Kabir “Kabeezy” Singh, Aug. 12, 7 p.m. Sacramento Comedy Showcase, Aug. 15, 8 p.m. Sacramento Comedy Spot Open Mic, Sunday’s and Mondays, 8 p.m. Improv Taste Test and Harold Night, Wednesdays, 7 - 10 p.m. Cage Match and Improv Jam, Thursdays, 8 - 10 p.m. Anti-Cooperation League, Saturdays, 9 p.m. Serpentine Fox Prohibition Grille Fem Dom Com: Female Dominated Comedy, Aug. 11, 8 p.m. STAB! Comedy Theater Comedy Open Mic, Thursdays, 9 p.m. Thunder Valley Casino Resort Jo Koy, Aug. 10 - 11, 8 p.m.

Misc. 8th and W Streets Certified Farmers Market, Sundays, 8 a.m. - 12 p.m. 20th Street (Between J and K) Midtown Farmers Market, Saturdays, 9 a.m. - 2 p.m. Avid Reader - Sacramento Book Signing w/ Kathey Norton, Aug. 4, 1 - 3 p.m. Author Talk and Book Signing w/ Andrew Lawler, Aug. 5, 3 - 5 p.m. B Street Theatre Mainstage Series: We’re Gonna Be Okay, Aug. 7 Sept. 9 Blue Cue Trivia Night, Wednesdays, 9 p.m. The Boxing Donkey Trivia Night, Tuesdays, 7 p.m. Broadway & 3rd Ave GATHER: Oak Park, Aug. 9, 5 - 9 p.m. California Automobile Museum Off to the Races Food and Wine Tasting, Aug. 4, 6 p.m. Camellia Coffee Roasters Alt Library Book Club, Aug. 15, 6:30 p.m. Capitol Garage The Darling Clementines: Capitol Cabaret, Sundays, 7 p.m. Carmichael Park Carmichael Park Farmers Market Peach Festival, Aug. 5, 9 a.m. - 2 p.m. Country Club Plaza Certified Farmers Market, Saturdays, 8 a.m. - 12 p.m. Crest Theatre Capital Dance Project’s Behind the Barre: Made in Sacramento, Aug. 10 - 11, 7:30 p.m. Crocker Art Museum Becoming a Woman in the Age of Enlightenment: French Art from The Horvitz Collection, Through Aug. 19 Testament of the Spirit: Paintings by Eduardo Carrillo, Through Oct. 7 Nature’s Gifts: Early California Paintings from the Wendy Willrich Collection, Through Dec. 31 Crooked Lane Brewing Co. Trivia Night, Wednesdays, 6 p.m. Elks Lodge #6 Letters From Home: Voices of Victory, Aug. 11, 7 p.m. Exotic Plants Terrarium Workshop, Aug. 4, 12 p.m. Fair Oaks Plaza Park Taco, Beer and Margarita Fest, Aug. 11, 12 - 8 p.m. Florin Road & 65th Street Certified Farmers Market, Thursdays, 8 a.m. - 12 p.m. Fox & Goose Pub Quiz, Tuesdays, 7 p.m. Highwater The Trivia Factory, Mondays, 7 p.m. Historic Old Folsom Farmers Market, Saturdays, 8 a.m. Tap Folsom Craft Beer Fest, Aug. 3, 6 p.m. Identity Coffees The Midtown Bizarre Maker Pop-Up Shop feat. Rare Bird Stereos, Stubborn Bull Studio, Bummer Books and More, Aug. 11, 10 a.m. - 4 p.m. Jackrabbit Brewing Co. Movie Night: Hot Rod, Aug. 3, 8 p.m. Kupros Craft House Triviology, Sundays, 7:30 p.m. Laughs Unlimited The Love Jones Best Love Poem Competition, Aug. 2, 8:30 p.m. Luna's Cafe Poetry Unplugged, Thursdays, 8 p.m. McClatchy Park Oak Park Farmers Market, Saturdays, 9 a.m. - 1 p.m. Midtown BarFly Salsa Lessons, Wednesdays, 8 p.m. New Era Community Garden Midtown Garden Tour, Aug. 11, 9 a.m. - 3 p.m. Nicholson’s MusiCafe Trivia Night, Mondays, 7 p.m.

Bar 101 Open Mic, 7:30 p.m. Central Park (Davis) Picnic in the Park: Que Bossa, 4:30 p.m. The Club Car The Double Shots, 7:30 p.m. El Dorado Saloon Open Mic Night, 7:30 p.m. Fox & Goose All Vinyl Wednesdays w/ DJ AAKnuff, 8 p.m. Goldfield Deafheaven, Drab Majesty, Uniform, 7:30 p.m. Harlow’s Nicolay, The Hot at Nights, Mino Yanci, 7 p.m. Holy Diver Ghoul, Fireburn, War Bison, Dead is Better, 6:30 p.m. Louie’s Cocktail Lounge Live Blues Jam Session, 8 p.m. Momo Sacramento Bourbon & Blues feat. Randy McAllister, 5:30 p.m. Nicholson’s MusiCafe Acoustic Open Mic, 6 p.m. Old Ironsides Open Mic, 9 p.m. Sofia Tsakopoulos Center for the Arts Geoff Tate, 7 p.m. Streets Pub and Grub Karaoke, 9 p.m. Torch Club Sean Lehe, 5:30 p.m.; The Higgs, 9 p.m.

North Natomas Regional Park First Fridays: Food Trucks, Live Music, Beer Garden and More, Aug. 3, 5 p.m. Movies in the Park: Cars 3, Aug. 10, 5:30 - 9 p.m Rancho Cordova City Hall Hot August Nights Fashion and Hair Show Battle Fundraiser, Aug. 11, 4 p.m. The Red Museum Museum Party: A Party that’s a Show that’s a Party, Aug. 3, 8 p.m. Rusch Home and Gardens Craft Brewfest & Wine Tasting, Aug. 4, 5 p.m. Southside Park SacCirque Park Takeover: Freestyle Skillshare Jam, Aug. 5, 1 - 4 p.m. Streets Pub and Grub Pub Trivia, Sundays, 8 p.m. Strikes Unlimited (Rocklin) Let’s Get Quzzical: Trivia Game Show Experience, Tuesdays, 7 p.m. Sunrise Light Rail Station Certified Farmers Market, Saturdays, 8 a.m. - 12 p.m. Sutter’s Fort State Historic Park Free Outdoor Movie Nights: Clueless, Aug. 11, 8 p.m. Verge Center for the Arts Notebooks of a Body: Visual Arts from Current UC Davis Students in the Master of Fine Arts Program, Through Aug. 12 West Sacramento Garage River Crossing: A Pop-Up Public Art Event feat. Music, Food, Marketplace and More, Aug. 4, 11 a.m. - 4 p.m. William Land Park William Land Park 100th Anniversary Party, Aug. 3, 5 p.m. 9th Annual Sacramento Banana Festival, Aug. 11 - 12, 10 a.m. 11th Annual Fire Spectacular: Walk on the Wild Side, Aug. 11, 6 p.m. Yolo Brewing Co. Trivia Night, Tuesdays, 6 p.m.

8.15

Tommy T’s Jeff Garcia, Aug. 3 - 5, Fri., 7:30 & 9:45 p.m.; Sat., 7 & 9:45 p.m.; Sun., 7 p.m. Aries Spears, Aug. 9 - 12, Thurs., 7 p.m.; Fri., 7:30 & 10:15 p.m.; Sat., 7 & 9:45 p.m.; Sun., 7 p.m.

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For booking inquiries email robert@momosacramento.com Issue 271 • August 1 – August 15, 2018

THE SHALLOW END It’s just a function of life to have nostalgic feelings about the past—to idealize your youth. Unfortunately for me, I blossomed from adolescence into adulthood in the late 1980s to early ‘90s, so all the pertinent experiences of my past are cloaked in torn jeans and drab plaid. My parents would listen to the music I loved back then—themselves weaned on crooners and the Great American Songbook—and call it noise. And really, they were right. Nirvana? Sonic Youth? Even Smashing Pumpkins in their more drawnout, spacey tracks? I mean, yeah, it was noise. I still love it, but that really doesn’t change the facts. I won’t ever be able to put on a Nine Inch Nails album and play it for my young daughter and say, “This is real music. This is real lyricism,” as Trent Reznor atonally wails, “I want to fuck you like an animal.” In fact, not too long ago, I was at Disney World on a charter back to the hotel—packed with Middle American kids all hopped up on the Magic of The Happiest Place on Earth—and “Closer” came on over the speakers. The song was censored for the radio, of course, but it was still pretty clear what was going on. I laughed loudly, of course, because I’m a

NOW THAT’S WHAT I CALL POPULAR CULTURE

jerk. But also because I was kind of mortified. “This is NOT Disney appropriate,” I said to my wife, only half-joking. And I really do like that song. I’ll sing it in the shower sometimes, like it’s “Dancing Cheek to Cheek.” To me, all that abrasive yelling and electro-distortion grinding is music. Or it was, at least. Would 40-year-old me go back to 1992 or whenever and scold teen-me on the importance of melody and songcraft? Am I my own lame old relative who just doesn’t get it? Regardless of the inner-turmoil I feel when I look back on the 1990s, I’ll still turn on Lithium on Sirius XM and hear a song like, I dunno, “Good” by Better Than Ezra, and say to myself, “Man, can you believe this song was a hit?” It’s just some janky power-pop fluffball with a pretty rousing bridge and anthemic chorus and maybe four chords (five at the most) and all this fuzzy distortion to cover up the middling musicianship. I can’t help but smile. I’m singing along to it as unskillfully as the people performing it. In those moments, life is good. I’ve been stuck in this weird nostalgia loop lately, because we just started watching Party of Five on Netflix. Maybe we just needed to unplug from now for a bit. All the “Breaking NEWS!”

graphics in blazing red and 24/7 information buffeting is just too much. Party of Five has proven to be a well-needed respite from life in 2018. If you haven’t seen it, or completely forgot about it (like I did before we started watching it), Party of Five debuted on Fox in 1994, before I had attached any negative connotations to the Fox brand. It follows the Salinger siblings, five young people just trying to get by in San Francisco in pretty much the most beautiful house ever after their parents are killed by a drunk driver. It stars Lacey Chabert, who went on to a starring role in Mean Girls; Neve Campbell, who was Sidney Prescott in the Scream franchise and recently had a role on House of Cards; Scott Wolf, who must have done some stuff afterward; and most importantly Matthew Fox, who was Jack on Lost. Fox plays eldest sibling Charlie Salinger in Party of Five, but my wife and I still call him Jack, because he’ll always be Jack to us, and if you consider the theories of time and space presented in Lost, he probably always was Jack. Just something to think about if you decide to queue up Party of Five. When I watch movies or shows from the 1960s or ‘70s, they look old to me because I don’t

JAMES BARONE jb@submergemag.com recognize anything. I have difficulty seeing Party of Five the same way, because I lived through “the now” that it’s depicting. I remember when cars looked like that or the particular model of Sony television in the Salinger living room. I realize decades have passed, for example, in a scene when the youngest Salinger, 1-year-old Owen, gets sick with fever. The babysitter tries to reach Charlie-Jack on the phone at the Salingers’ family restaurant, but can’t. She takes Owen to the emergency room. Oh yeah, I remember, there weren’t cell phones then. That’s when it begins to feel archaic. When you see scenes of Julia (Campbell) at the coffee shop talking to her friend, and no one is behind a screen. No one’s face is washed in soothing blue light. It’s in those moments that the sweet wave of nostalgia crashes over me. It’s then, and in the show’s opening credits, a montage of the Salingers’ triumphs and heartbreaks set to the BoDeans’ impossibly catchy “Closer to Free.” As I binge watch, now onto the second season, Netflix gives me the option to “skip intro,” bypassing the theme song and credits, but this wasn’t something you were able to do in 1994, and really, why would you want to?

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Issue 271 • August 1 – August 15, 2018

Dive Into Sacramento & Its Surrounding Areas

B O O K YO U R N E X T E V E N T AT G O L D F I E L D ! Corporate Events, Private Parties, Birthday’s and more FOR MORE INFO VISIT GOLDFIELDTRADINGPOST.COM

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Friday August 3 7:30pm | $22adv | all ages

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& Uniform

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Issue 271 • August 1 – August 15, 2018

DIVE INTO SACRAMENTO & ITS SURROUNDING AREAS

AUGUST 1 â&#x20AC;&#x201C; 15, 2018

#271

SPARKS ACROSS DARKNESS MOSHE KASHER LAUGH IN THE FACE OF CHAOS

DEAFHEAVEN THE STRONG SURVIVE

FREE TACO, BEER AND MARGARITA FESTIVAL

SHEPARD FAIREY WIDE OPEN WALLS BRINGS ICONIC STREET ARTIST TO SACRAMENTO

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LIN FEI FEI BEAUTY TAKES MANY FORMS

SACCIRQUE MR. P CHILL BEHIND THE BARRE