Submerge Magazine: Issue 287 (March 13 - 27, 2019)

DIVE INTO SACRAMENTO & ITS SURROUNDING AREAS

MARCH 13 – 27, 2019

#287

THE BLACK QUEEN SIGNALING INTO SPACE

BUMPER JACKSONS THE NEW AMERICAN SONGBOOK

SACRAMENTO

KINGS PLAYOFF BOUND?

LAS PULGAS THE HEAT OF BATTLE

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A DAY OF ZIN AND PIZZA AT BEATNIK WOOT2 DEBUTS PULSE

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Zinfandel Advocates & Producers presents

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Dive Into Sacramento & Its Surrounding Areas

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SubmergeMag.com

Issue 287 • March 13 – March 27, 2019

3

287 2019

DIVE IN

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

MARCH 13 – 27

14

STAYING SANE IN THESE INSANE TIMES COFOUNDER/ EDITOR IN CHIEF/ ART DIRECTOR

Melissa Welliver melissa@ submergemag.com COFOUNDER/ ADVERTISING DIRECTOR

Jonathan Carabba jonathan@ submergemag.com SENIOR EDITOR

SATURDAY our et Y

t G are s t cab e k Tic w!

James Barone ASSISTANT EDITOR

APRIL

Ryan Prado

CONTRIBUTING WRITERS

Amber Amey, Ellen Baker, Robin Bacior, Robert Berry, Michael Cella, Bocephus Chigger, Ronnie Cline, Justin Cox, Alia Cruz, Miranda Culp, Josh Fernandez, Lovelle Harris, Mollie Hawkins, Tyler Horst, Ryan Kaika, Niki Kangas, Nur Kausar, Grant Miner, John Phillips, Paul Piazza, Claudia Rivas, Daniel Romandia, Andrew Russell, Amy Serna, Jacob Sprecher, Richard St. Ofle

No

ill s wt! ket tic ell ou s

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Midtown Barfly 1119 21 ST STREET SACRAMENTO

I N F O + T I X AT M I DTOW N M OX I E S . C O M

ERIC IS A NATIVE SACRAMENTO SONGWRITER/GUITARIST RAISED IN THE AMERICAN WEST IN THE ‘50S AND ‘60S, RICHARDSON CHRONICLES A PERSONAL NARRATIVE IN 124 SONG LYRICS, THE INTERNAL AND CULTURAL SHIFTS, TENOR, AND STYLE OF HIS ERA, REFLECTING THE INFLUENCES OF FOLK-ROCK AND AMERICANA SONGWRITING.

Available on JET.COM, ERICRICHARDSONGS.COM, &

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4

04

DIVE IN

06

BUMPER JACKSONS

THE STREAM

18 20

07

THE OPTIMISTIC PESSIMIST

22

SACRAMENTO KINGS

10

SUBMERGE YOUR SENSES

24

CALENDAR

13

THE GRINDHOUSE

30

THE SHALLOW END

14

CAPTAIN MARVEL

LAS PULGAS

Issue 287 • March 13 – March 27, 2019

Submerge

P.O. Box 160282 Sacramento, California 95816

916.441.3803

CHANNEL SURFING

Short stories and observations told in rhymes and lyrics -this collection offers an autobiographical journey of an American songwriter in the late 20th century.

CONTRIBUTING PHOTOGRAPHERS Wes Davis, Evan Duran, Andre Elliott, Kevin Fiscus, Dillon Flowers, Jon Hermison, Paul Piazza, Tyrel Tesch

THE BLACK QUEEN

All content is property of Submerge and may not be reproduced without permission. Submerge is both owned and published by Submerge Media. All opinions expressed throughout Submerge are those of the author and do not necessarily mean we all share those opinions. Feel free to take a copy or two for free, but please don’t remove our papers or throw them away.

Submerge welcomes letters of all kinds, whether they are full of love or hate. We want to know what is on your mind, so feel free to contact us via snail mail at P.O. Box 160282, Sacramento, California 95816.

Or you can email us at info@submergemag.com.

MELISSA WELLIVER melissa@submergemag.com It seems like a lot of serious shit is going on not only in the world, but locally. It’s taking its toll on me. Sometimes I just wish I could buy a compound in the woods, get rid of my internet, and live off the land.

I miss the simpler times, like when we were growing up, and life just revolved around when school was getting out so we could just go play with our friends.

As an adult, clearly that time has passed and it can get overwhelming that we have to deal with things like having a job, paying bills, politics, along with tragedies such as losing a loved one, homelessness, to situations like Stephon Clark … These things all weigh so heavy on one’s soul.

And while you can’t ignore those things, you’ve just got to be sure you take in your level of daily happiness, to prevent yourself from going crazy.

Long walks along the American River with my dog and my husband keep me sane, along with doing puzzles and drinking good wine. Lots of wine. I have always believed that reading is also a good escape.

I hope you do enjoy our short reads every issue of Submerge. Perhaps, just maybe, we can help take your mind off of all the serious things that weigh heavy on you, even if it’s only for a short time.

Read. Learn. And stay sane.

– Melissa

SUBMERGEMAG.COM Follow us on Twitter & Instagram! @SubmergeMag PRINTED ON RECYCLED PAPER

FRONT COVER PHOTO OF LAS PULGAS

BY DILLON FLOWERS BACK COVER PHOTO OF BUMPER JACKSONS

BY MICHAEL O. SNYDER

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Issue 287 • March 13 – March 27, 2019

5

FLOWERS • EDIBLES CONCENTRATES • TINCTURES CBD PRODUCTS

THE STREAM

INAUGURAL MULTIMEDIA ARTS EVENT PULSE LOOKS TO DAZZLE YOUR SENSES JONATHAN CARABBA

Send regional news tips to info@submergemag.com

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Already a hot zone for Sacramento arts, culture and—let’s face it—raging parties, the corner of 20th and K in Midtown is about to get a lot doper on Saturday, March 23 when Faces Nightclub (2000 K St.) gets taken over by PULSE, a new multimedia arts event that brings together up-and-coming fashion designers with DJs, flow artists, circus performers and live instrumentalists. Or, as event organizers Woot2 (Woot Squared) put it, “Things that get your pulse going.”

The passion project of local creative couple Cristina Canty and Jacob Gleason, Woot2 has been throwing parties at Faces for a while now, including DUSK on the last Sunday of the month with resident DJ Freddy Silva and rotating guests, as well as Funday Frolic on select Sundays with resident DJs Pumatron and Amy Roze.

PULSE will be their biggest endeavor yet by far, with more than a dozen DJs, a full live band, a roaming fashion show, live art, food, drinks, local vendors and more, all spread throughout two interior rooms and an outdoor poolside setting.

“I love curating environments that

encourage ‘wootastical’ moments,” Canty tells Submerge. “I am a big fan of the counter cultures: underground music scenes, Burning Man and the fetish world. I wanted to produce an event that highlighted certain aspects of those communities, with a special focus on the ‘boss babes’ of the scene.”

She goes on to say, “Jake and I make a great event duo. Being an artist and musician himself, he understands the logistics it takes to pull this off. I couldn’t have asked for a better copilot throughout this journey.”

Just some of the many unique collaborations and highlights to look forward to at PULSE will be a set by Jenny Shu, aka DJ ShOOey, a prominent member of the San Francisco-based music collective Space Cowboys who will be joined by dancers Deaja Girl on Fire and Lilah Pinchera; plus DJ Ashley Ames of Opulent Temple, a leading not-for-profit electronic music stage production also emerging from Burning Man and based in San Francisco, who will be joined by event co-organizer Jacob Gleason on live

Issue 287 • March 13 – March 27, 2019

Deaja Girl on Fire

saxophone; plus aforementioned DJ Freddy Silva, who will be joined by violinist Damian Sol; and an evening poolside set by local five-piece band who play “soul with a twist,” The Midnight Dip. Plus, look for contortionist Jeliza Rose, aerialist Jenna Silkington, flow artists like Christina Orozco and Jillian Hall, and live painting from The Art of Chy, live digital art from Amaizink Art … You get the point, there will be a lot of cool shit going on at PULSE. It’ll be a feast for the senses.

“PULSE is all about the love of art and music,” confirms Gleason. “Cristina and I share this passion and that’s why Woot2 was born. We just want to celebrate the unique gifts of the individuals performing and put on a great show.”

Tickets for PULSE are on sale now for just $25 in advance through Wootsquared.com or Eventbrite.com.

The price jumps to $50 at the door, so you’re encouraged to purchase ahead of time. The event is 21-plus and will run all day, from 1–10:30 p.m. Check out the schedule and full line-up on Woot 2’s website or Facebook.com/WootSquared.

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 IT TASTES LIKE HEAVEN BOCEPHUS CHIGGER bocephus@submergemag.com We’ve all heard the saying “it tastes like chicken” before, but what does chicken really taste like?

Are we supposed to believe that all chicken is created equal and therefore all chicken is equally delicious? You might label me a speciesist for saying this, but I think that’s some cluckin’ bullshit. There is a whole spectrum of chicken quality and not all of it is up to snuff.

Like with our vegetables, many of our chickens have been bred for size with little thought put into how they will actually taste. We end up with one-pound chicken breasts at the store, but it might as well be a one pound sack of water given how little flavor it has on its own.

Even with an organic, free-range bird, the flavor can go a variety of ways depending on how it is prepared. Some preparations just taste better and more like chicken than others. For example, the best piece of steamed chicken isn’t going to have anywhere near the amount of flavor as a piece of good fried chicken.

Now when I say good fried chicken, I’m not talking about some wack-ass KFC. Good fried chicken is nothing like that slimy hot garbage that the Colonel’s servin’ up. Unlike that bucket of horrors, good fried chicken is a thing of beauty.

It’s hot and crispy on the outside, moist and flavorful on the inside and golden brown in color.

Good fried chicken can be eaten all by itself, hot or cold, but I like mine accompanied with something else. One of my all time favorite ways to eat fried chicken is to pair it with waffles. I like my chicken and waffles with butter and syrup, especially if the chicken is spicy. It’s hard to beat spicy fried chicken covered in real maple syrup on a freshly made, crispy waffle. The mix of sweet, savory and spicy is next-level and a must for fans of breakfast for dinner.

I don’t always want breakfast, however, so my other (and most) favorite way to eat fried chicken is on a sandwich. There are probably a million different ways you could pair two pieces of bread with fried chicken, and I bet most of them are pretty good. Fried chicken and sandwiches just go so well together; it’s hard to fuck it up, but it is possible. A good rule of thumb is to keep it simple; if the chicken is good, you won’t need much else.

The Organic Coup, a fried chicken sandwich and salad joint in the UV shopping center on Howe, has really taken this idea to heart. The Organic Coup has a simple menu with the chicken

SubmergeMag.com

sandwich being the main draw. It’s got some spice to it, but not too much to scare people off, and it still has that crunch that we all look for in good fried chicken. The sandwich comes topped with a slaw made of pickled carrots, pickled red onion, sliced jalapeños and cabbage all tossed lightly in oil. From there you can choose from their selection of sauces to personalize your chicken sandwich-eating experience.

This is the way fried chicken for the masses should be. It’s like how I used to feel about ChickFil-A before they started hating on the gays and I had to stop going there. Real fried chicken should be about love, not hate. It’s here to bring us joy, not to be used as a tool to exclude other people.

The people behind The Organic Coup seem to get that, and I’m happy to eat their delicious fried chicken instead of Chick-Fil-A’s.

As good as it is, sometimes even The Organic Coup can’t satisfy my cravings for fried chicken.

Sometimes I just need it to be spicy. When I need a piece of chicken that will burn a hole through my body, there is only one other place I turn to: Nash and Proper. Nash and Proper (3621 Broadway,) is a hot fried chicken food truck, but it’s so much more than that. It’s an oasis in the desert of mild, tasteless chicken. If Heaven itself took the form of a chicken and then killed and fried itself before jumping into a vat of flaming hot sauce and onto a plate, it would still not be as good as Nash and Proper.

This fried chicken is the real deal. It’s perfectly seasoned and cooked in such a way that it comes out extremely crispy while being9:30PM one of the juiciest pieces of chicken I’ve ever eaten. It helps that they use leg and thigh meat, but I don’t think lovers of white meat will miss anything with this sandwich. As if it weren’t good enough already, Nash and Proper takes the extra step of giving their chicken a dunk in a vat of spicy hot oil before serving it up. Top that with a simple but delicious slaw, some pickles and a spicy aioli covered brioche bun and you have yourself a masterpiece for your mouth!

If I had to pick, I’d say Nash & Proper is the best fried chicken in town, but I’m always looking to be proven wrong. If you think I am, then show me! All you have to do is mail a choice piece of your favorite fried chicken to Submerge Magazine c/o Bocephus Chigger. I can’t wait to see what you come up with!

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Issue 287 • March 13 – March 27, 2019

7

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Issue 287 • March 13 – March 27, 2019

t h e

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Dive Into Sacramento & Its Surrounding Areas

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MAY 2: MALCOLMBLISS/ CHAOS MANTRA MAY 3: WILL HAVEN/ BLACK MAP

JUN 16: RA RA RIOT JUNE 21: MAC SABBATH SEP 1O: WARBRINGER/ ENFORCER SEP 16: MILLENCOLIN OCT 2O: D.R.I. NOV 23: NILE

Issue 287 • March 13 – March 27, 2019

9

A Guided Journey through Elevated Self-Awareness

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Roll Up & Roll Out Your Mat With Us More info at SYOGACLASS.COM

TOUCH

Test Your Nerdy Knowledge at Star Wars Trivia Night at Highwater • March 25 Calling all Star Wars nerds: Now’s your chance to prove that all those obscure bits of lore you’ve been memorizing weren’t just a waste of time. Now, at Highwater’s (1910 Q St.) Star Wars trivia night, they can net you bar cash and theme-appropriate prizes. As at any good Star Wars-adjacent event, dress up is encouraged (but not required). The event is run by The Trivia Factory, which, if you’re not familiar, is a nationwide bar trivia-platform that flexes corporate muscle to bring you a pumped-up version of regular pub trivia. It’s a simple 24-question format, with an additional “visual handout” round. At the end of the game is a four-question bonus round where teams can wager as many points as they want in one last desperate bid to make a comeback—maybe that over enthusiastic friend who’s cost you a couple questions can finally redeem themselves. As for the location, Highwater occupies an old engine-repair building next to the tracks on Q Street. Beside Highwater’s slew of American-eats entrées, you and your team (eight people max) can snack on bar food like their pulled-pork sliders drenched in Kahlua-infused barbecue sauce, or their “Super Bowl Nachos,” with chili con queso, sour cream, salsa and onions. At the risk of throwing off your trivia game, Highwater also has a selection of great cocktails. Lahey’s Ghost (named after the late John Dunsworth, who played Jim Lahey on Trailer Park Boys), with Four Roses bourbon, peychaud bitters, smoked maple lemon, jalapeño and ghost-pepper preserve is a spicy favorite. Trivia starts at 7 p.m. March 25. Visit Facebook.com/highwater916 for more info.

SEE

Comedian Chris Distefano Hits Punch Line March 21–23

After Green Book’s Oscar sweep, it seems that America has developed a new taste for loud Italian dudes from New York. Comedian and Brooklyn-native Chis Distefano, who will be performing at Punch Line Sacramento (2100 Arden Way) from March 21–23, definitely scratches that itch. His breakout role was in MTV2’s talking head bro-show, Guy Code. Since then, he’s had a number of stand-up gigs, short series’ and late-night spots that all culminated in his debut special, Chris Distefano: Size 38 Waist, which premiered January 18 on Comedy Central. The special begins with an intro making fun of microaggressions and bashing the new effete, nebbish Brooklyn man, but Distefano never veers into reactionary edginess for edginess’s sake. Even if that puts you off, five minutes in, his working-class-nice-guy shtick will have you hooked. You can also catch him on his Comedy Central short series Stupid Questions with Chris Distefano, where, as the title would suggest, he asks stupid questions to his interviewees (would Jeff Long prefer to be wearing only khakis, or only boat shoes?). Thursday’s show is at 8 p.m., Friday and Saturday have shows at both 7:30 and 9:45 p.m. For tickets, as well as for information on other upcoming shows, visit Punchlinesac.com.

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Issue 287 • March 13 – March 27, 2019

Dive Into Sacramento & Its Surrounding Areas

TASTE

Second Annual “Zinfandel Stories” Event Returns to Beatnik Studios with 20-Plus Wineries From California • March 31

Every wine has a story, but aside from trekking all the way out to Napa, it can be tough to get a behind-the-scenes look at your vino while browsing in BevMo. To that end, ZAP (Zinfandel Advocates and Producers) is hosting Zinfandel Stories: Springtime in Sacramento on March 31. Located in photographer co-op/event venue Beatnik Studios’ (723 S St.) huge warehouse space, Zinfandel Stories lets you sip over 60 zins and schmooze with winemakers from 25 California wineries. One heavy-hitter making an appearance at the tasting is Miro Cellars, whose blackberry-forward 2015 Old Vines zinfandel won a “50 Best” double gold medal. Another is Pedroncelli, who also netted a double gold with their 2016 “Mother Clone” zin, with its zesty berry flavors and smoky undertones. With their mostly sweet flavors, zinfandels go well with tart sauces like marinara. To provide the perfect pairing for their wines, Sacramento’s premier pizza caterers, Bella Familia, will be slinging woodfired ’za from their unique oven-equipped food truck. The event runs from 2:30–5 p.m. Tickets for non-ZAP members run $45, but you can snag one for $30 if you use the coupon code “submerge19” when purchasing. Tickets include tasting and wine-talk, but pizzas are sold separately. For more info, check out ZAP’s page at Zinfandel.org.

HEAR

Legendary Nigerian Bassist Babá Ken Brings His Band The Nigerian Brothers to Perform at Crocker Art Museum • March 28 The Crocker Art Museum’s new Global Rhythms series seeks to help Sacramentans get out of their musical comfort zone by hosting a slew of world music concerts. Next up is renowned bassist and bandleader Babá Ken Okulolo on March 28. Born in the Nigerian Delta region to a family of traditional dancers and musicians, Babá Ken has played with Afrobeat legend Fela Kuti and toured around the globe with Nigerian singer-songwriter King Sunny Adé. He’s now based in San Francisco (he’s headlined both the Fillmore and jazz mainstay, Yoshi’s), and runs a total of four different bands. At the Crocker’s show, he’ll be jamming with the Nigerian Brothers, his traditional folk outfit. As the title of their debut release Songs from the Village suggests, the Nigerian Brothers are all about doing justice to Nigeria’s long musical history. The band draws most heavily from “highlife,” a genre that brings western instruments and flavors to Ghanan and Nigerian folk rhythms and melodies.

The result of this fusion is a bright, upbeat style that has basses and guitars strumming alongside singing drums and shekeres (a percussion instrument consisting of a gourd with a net of beads). Babá Ken’s goal as an artist and teacher is to uplift people, and get them moving, too.

As he says, “In Nigeria, music is created to help people rise above the trials of daily life, to transcend all evils with the joy of music.” The concert begins at 6:30 p.m. Tickets for non-members are $20, but $10 for members. To purchase, or for more info, head to Crockerart.org.

SubmergeMag.com

Issue 287 • March 13 – March 27, 2019

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EXPERIENCE IT TO BELIEVE IT. SIERRAATTAHOE.COM

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Issue 287 • March 13 – March 27, 2019

Dive Into Sacramento & Its Surrounding Areas

THE GRINDHOUSE

BRAINS AND BRAWN CAPTAIN MARVEL RATED PG-13

WORDS RICHARD ST.OFLE OK, OK. I think we should all agree to stop lumping all superhero movies together. Complaining about Marvel movies is like complaining about cold wind in winter. It’s never gonna change [insert global warming joke here], and the way Hollywood has broken means we’re gonna see lots more movies about people in spandex suits before this is over, so we might as well start collectively enjoying the good ones.

Full-disclosure, as the father of a 9-year-old, I have to/get to see a lot of these, and as someone who works in Hollywood, I have to/get to read about them a lot, too, and I can tell you that they’re changing. Hollywood has morphed from an innovative industry that used to be preoccupied with critical acclaim into a bloated boys club obsessed with box office revenue, but this means that when there’s a backlash, the suits are listening—not at all in an altruistic way, of course, but when this project was first circulating the rumor mill, it was called Ms. Marvel and Ava DuVernay (a progressive voice who had previously directed Selma) was attached. Hollywood is aware of the resentment for macho superhero flicks, and it’s a good thing for all of us.

Another innovation we owe to the Great 21st Century Superhero Pushback is the restructuring of characters and plot in Captain Marvel. Now, don’t go SubmergeMag.com

on Reddit and read about this. Marvel fanboys really have their tiki torches lit over this one, but here’s the Cliff’s Notes version: In the comic book, the titular character is a male-bodied alien not very subtly named Mar-Vell, and his sidekick is a female-bodied alien named Carol Danvers. In this film, written and directed by indie team Anna Boden and former Sacramentan Ryan Fleck, the titular character is female-bodied and an expository detail in the set-up and pay-off of the film, but the story focuses on Carol Danvers, played by Brie Larson, who is also a Sacramentan by the way, and more importantly, one of the progenitors of the #MeToo movement.

The thrust of the film follows Danvers as a Kree special force soldier who unknowingly steps into a trap, exposing her to capture by an alien race of shape-shifting Skrull. The Skrull kidnap her and take her aboard their spaceship so they can access her memories—memories that, after an accident, Danvers didn’t have access to herself. This iteration of the superhero flick is particularly compelling because we’re able to unravel Danvers’ memories along with her, following her down the murky path of uncovering her past. In this way, and if you leave out the alien talk and ass-kicking, the core of the story

more closely resembles True Detective than a Spider-Man movie.

Danvers eventually breaks free from her captors using her mysterious (but incredibly fucking badass) electrical blast powers—something we’re only allowed a glimpse of an explanation for in her memories. After kicking Kree ass so hard that their spaceship breaks apart, Danvers steals an escape pod and crash-lands on a planet called E-53, which looks a lot like … OK, it is planet Earth in the mid-1990s.

We meet a digitally de-aged Samuel L. Jackson as Nick Fury, and as the second act dawns, we explore

the problem more. The righteousness of the Kree is cast into doubt, and in a way that leaves Danvers wondering if her fellow Kree are doing the wrong thing in exploiting the Skrull.

Draw whatever conclusions you want, but the film flips on its head in a very 2019 moment when Danvers realizes—and I’ll try not to ruin it for you—but the people she’s being manipulated into hating are in fact, destitute and starved for resources.

The interplanetary conflict that has destroyed so many lives, is, in fact, the result of marginalized people seeking refuge. Did I put too fine of a point on that?

In any case, all of this critical nuance happens over some pretty awesome cinematography, fantastic mid-’90s hip-hop and grunge soundtrack, CGI-face Samuel L. Jackson and a very on-top-of-her-game Brie Larson (who is apparently so ripped now that she can push a Jeep uphill— check her IG).

Here it is, the superhero movie for people who’ve been complaining about superhero movies. Now shut up and go see it so we can have other cool shit like an all drag queen reboot of X-Men starring RuPaul as Wolverine.

Issue 287 • March 13 – March 27, 2019

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LET’S GET VIOLENT LAS PULGAS UNLEASHES A WAR OF WORDS ON THEIR LATEST ALBUM WORDS JOSH FERNANDEZ PHOTO DILLON FLOWERS

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I

t’s raining in Sacramento and I can feel a flu coming on so I’m popping cold medicine and drinking enough water to drown a small horse, anything to get ready for the drive to Oakland to watch Las Pulgas play at the headquarters of the East Bay Rats Motorcycle Club. The show is billed as “fight night,” where you can watch the bands, but also step into a boxing ring to box anyone in attendance.

Intriguing, no?

Fighting is something I’ve been immersed in for the past year. Lately it seems that’s all I’ve been doing: fighting the administration at my shitty job, fighting white nationalists and then when I get home, training in mixed martial arts with my friends. I hadn’t realized until then that the entirety of my life has been about varying shades of violence. And here I am again, driving an hour on a Saturday night to probably get punched in the face.

The band we’re going to see, Las Pulgas, is no stranger to battle.

Their latest release, ¡No Pasarán! (a historically anti-fascist slogan), is a collection of chaotic (and at times unnerving) songs that push messages of struggle—system smashing and union organizing—into the listener’s face with zero apologies. The music is ferocious.

Marisol Ramirez’s witty and smart lyrics (sung part in Spanish and part in English) are delivered with violent and explosive force. Bassist Allyssa De La Rosa thumps along with drummer Kelsey Brewer, who both go apeshit, track-after-track, while guitarist David Roddy stabs at the nerve endings with his jackknife surf riffs.

Issue 287 • March 13 – March 27, 2019

They cite Deseos Primitivos, Downtown Boys and Woody Guthrie as their favorite musicians and it shows. They’re the real deal. Fighters to the core.

When I ask Roddy about what it means to fight, he quotes Fred Hampton, the Black Panther, and then says, “‘Fight back’ are two words you hear a lot on picket lines or highway shutdowns, and I think it shows a knowledge that we live in a society that is constantly beating us down. It’s in resistance that we see glimpses of human freedom because those are the moments people realize they have power outside what’s dictated by the law and marketplace.”

While Roddy is short in stature and quiet in nature, he has that strange thing behind his eyes where you know he could lose it at any moment.

Dive Into Sacramento & Its Surrounding Areas

When I watch Las Pulgas in action, it’s difficult to tell whether he’s playing his guitar or taking some sort of revenge.

Our friends are halfway to the venue already, so my wife and I pick up our friend Nigel and make our way south. The roads are wet, but it’s not raining. The freeway is like a large knife that splits the farmland into halves. I think about what it means to fight. Earlier, when I asked De La Rosa about fighting, she viewed it as a mode of survival.

“Every day is about fighting the bullshit of how society wants us to act: go to work, be so tired that you can’t lend anyone a hand, be so alienated to care about anyone but yourself, make money to not starve and stay home,” she said. “The mindset of surviving this brutality means fighting everything we are fed on a daily basis. A better future means fighting for the world we want.

It’s thankless and incremental. Without a fight, what hope do we have?”

“Every day is about fighting the bullshit of how society wants us to act: go to work, be so tired that you can’t lend anyone a hand, be so alienated to care about anyone but yourself, make money to not starve and stay home. The mindset of surviving this brutality means fighting everything we are fed on a daily basis. A better future means fighting for the world we want. It’s thankless and incremental.

Without a fight, what hope do we have?”

– Alyssa De La Rosa, Las Pulgas

It’s a good question, and one that Ramirez immediately answered: “Being a fighter means being resourceful, passionate, and courageously persistent with conviction,” she said.

“There are moments of defeat and there are moments of victory. Either way a fighter perseveres.”

It’s sort of beautiful to think that our hope can lie in the strength of perseverance, that all this shit we go though is not in vain.

We drive through a warehouse district and get to the spot, an old barbershop with “East Bay Rats Motorcycle Club” painted in gigantic white letters. Inside is a murky room with a makeshift stage, a makeshift bar and outside is a makeshift boxing ring. Our friends Mike, Aku, Crow and LB are already there. Crow is wrapping his hands. I can tell he wants to tear someone apart and drink their blood.

Nobody’s in the boxing ring so we all fight each other. The bands play and more of us fight and win and all of us eat some punches. A guy next to me takes in the scene. “Oh my god,” he says, watching two people boxing while the band Moon Sick blasts off from the stage. “I thought this shit only happened in the movies.”

When Las Pulgas starts, it’s late and cold outside. Everyone huddles in the clubhouse to keep warm and watch the band. Ramirez paces the room, screaming songs of resistance and struggle. Brewer bashes his drums while making faces that only happen in the heat of battle, or sexual intercourse, while De La Rosa stares intently at her bass, barely breaking her gaze. Roddy jumps back and forth, sometimes turning his back to the crowd. It’s chaos.

Blood drips from my left nostril. I try to wipe it with my sleeve, but it keeps coming, so eventually I let the taste of iron fill my mouth.

Brewer, the oddball of the group—a head taller than most members, a lanky, boisterous, in-your-face white guy—says something interesting about fighting: “We fight at different scales, with what tools are available. We play different roles. We don’t all fight the same way or for the same reasons, but often for the same outcome. By any means necessary and tactically inclusive,” he says. But his thoughts take a sudden left turn. “Some people condemn fighting. They have less to lose or more security in what they have. They are soft. They should get their ass kicked.

Fight me.”

The best of British!

—Michael Palin

George Hinchliffe’s

Ukulele Orchestra of Great Britain > APR 2 #mondavicenter

mondaviarts.org

Lively Folk Pop Originals

Submerge Saturday March 16

Run: MAR 13, 2019 4.8 h x 5.5 w

ACCORDING TO BAZOOKA

Also playing: Production: Erin Kelley 530.754.5427 Blue Note Brewery free / 2:30 p.m.

JonEmery &

The Unconventionals all ages w/ adults

750 Dead Cat Aly, Woodland

Sunday March 31

Mei Wah Beer Room

Saturday April 6

Father Paddy’s Irish Public House

free / 3 p.m. all ages w/ adults

35 Main Street, Isleton

eekelley@ucdavis.edu

435 Main St., Woodland

AccordingToBazooka.com

free / 8 p.m. all ages w/ adults

NEW ALBUM RELEASE APRIL 2019

632 E. BIDWELL ST. Nicholson’s MusiCafe 916.984.3020 FOLSOM

Live Music. Beer On Tap. Organic Coffee.

MAR 16

MAR 19

6-9PM

SubmergeMag.com

MAR 23 6-9PM

CLOSEST BEGINNING TERRY RELATIVE BLUEGRASS MACNEILL (INDIE/FOLK/SINGERSONGWRITER FROM OHIO)

NEW!

Catch Las Pulgas open for H.R. (from Bad Brains) Tuesday, March 26 at Harlows (2708 J St.). Tickets are $15 advance and $20 at the door. 21 and over. Visit Harlows.com for more information. You can also see Las Pulgas with Skating Polly Wednesday, April 17 at Holy Diver (1517 21st St.). Tickets are $12. All ages. Visit Holydiversac.com for more information.

6:30-8PM

MONDAYS 7 - 9PM

OPEN MIC COMEDY NIGHT

CLUB

SATURDAYS

(INDIE, FOLK & SOULFUL COVERS)

11:30AM- 12:30PM

UKULELE SINGALONG

MAR 30 6-9PM

EDDIE HONEYEATER STUDENT RECITAL

+ 1-2PM FREE UKULELE CLASS

Issue 287 • March 13 – March 27, 2019

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CRYPTODIRA

WITH SPECIAL GUESTS

FLOR AND GRIZFOLK

March 19

T U E S DAY

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Sold Ou T H U R S DAY

March 28

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1417 R ST SACRAMENTO

All Shows All Ages TICKETS AVAILABLE @ ACE OF SPADES BOX OFFICE & AceOfSpadesSac.com

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March 15

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March 24

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March 16

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Issue 287 • March 13 – March 27, 2019

March 26

October April 7 3

t

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SATTU RE DAY S DAYOctober April 9

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Dive Into Sacramento & Its Surrounding Areas

WITH SPECIAL GUEST

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SAT U MR DAY O N DAY September April 22

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S U N DAY

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AND

THE SOFT WHITE SIXTIES

M O N DAY

May 6

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F R I DAY M AY 1 7

ZOSO:

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LED ZEPPELIN TRIBUTE

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SATURDAY MAY 18

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THE STRUMBELLAS

PARACHUTE

MONDAY MAY 20

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Issue 287 • March 13 – March 27, 2019

INTOCABLE

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PLAY THAT FUNKY WASHBOARD, JACKSONS

AMERICANA DARLINGS BUMPER JACKSONS COME TO GRASS VALLEY WORDS ROBERT BERRY • PHOTO MICHAEL O. SNYDER

W

alking through a wet and hailing day through the streets of downtown Grass Valley, I saw a concert poster in the window for a band called Bumper Jacksons. I loved the name so much that it stuck with me, so when the big boss at Submerge Magazine asked me out of the blue if I’d like to do a story about them, I felt it was meant to be. Bumper Jacksons were a duo founded by Jess Eliot Myhre (vocals, clarinet and washboard) and Chris Ousley (vocals, guitar and banjo) that organically grew into the six-piece band that it is today by adding Alex Lacquement (upright bass), Dan Samuels (drums), Dave Hadley (pedal steel guitar) and Joseph Brotherton (trumpet).

The band’s name, however, came about through chance … and a little bit of bad penmanship.

“The name came from a band contest at a festival out where I’m from, the Berryville, Virginia area, which is close to [Washington] D.C. at The Watermelon Park Festival, which we’ve played a lot now,” Myhre tells Submerge. “Back

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Issue 287 • March 13 – March 27, 2019

when the band first started, before we were even a band, Chris and I … began as a duo and we entered the band contest before we had a name. Chris wrote down on a sheet, ‘The Lumber Jackson Five,’ just as a joke because we were a duo. I guess his penmanship might just be terrible, because the folks who read the name read ‘The Bumper Jacksons’ and ever since then it kind of stuck.”

Buried deep in roots Americana, Bumper Jacksons have a sound that’s both retro and current. It’s the kind of music you’d like to hop around to while a campfire warms your ass. I’ve Never Met a Stranger is the band’s most recent of three albums, and they plan on recording a live album and a new studio piece later this year. They’re a damn fun group that I’ve listened to frequently in the last week. I was thrilled to speak with Myhre over the phone to talk about the origins of the band, their influences and the underrated sexiness of clarinet music.

Dive Into Sacramento & Its Surrounding Areas

How long have you played the clarinet? Is this a lifelong thing or something you learned later?

Not in particular. I first started learning clarinet in middle school band where we were just kind of honking away on our little plastic instruments under the tutelage of a great guy who was my band director at my school in Stuart, Florida. His name is Al Hager, he’s known more for being a barefoot water skier. He’s such a cool guy. That’s when I learned, but I put the clarinet down in high school in an effort to try and be cool and not be in band.

I picked it up again much later, after college. I had moved to New Orleans after college and I heard traditional jazz music live for the very first time. I fell totally in love and was able to dig up my old plastic clarinet and [began] taking lessons and really learning how to play.

You don’t think of a clarinet as an instrument that people want to grow up and learn. It’s an oddball instrument. It doesn’t have a sexy reputation, but clearly its role in jazz and ragtime music, it’s pretty great.

Do you get a lot of folks who are inspired by your playing?

Yeah! And I totally agree with you that it’s a unique instrument. Even now in jazz there really aren’t that many clarinet players, unless you are in New Orleans or New York. I really wasn’t concerned with that when I first heard traditional jazz. But it played a vital role in a lot of the bands that I was listening to and sitting in with. I noodle around with saxophones a little bit now, but I fell in love with the clarinet.

There’s such warmth, especially in the lower registers. It’s so sexy. It’s such a beautiful, wooden, rich instrument.

There’s a song on your album Sweet Mama, Sweet Daddy, Come In called “Si Tu Vois Ma Mere” that’s amazing.

It’s a really sexy song. It’s beautiful.

The clarinet was wonderful on that. I hope that was a clarinet and I’m not being ignorant.

That was a clarinet. Something that’s really neat when we tour is that we’ll do an outreach workshop with the schools that are part of what we’re doing. It’s super fun. I love being a woman in music and a woman bandleader, and that is very inspiring for a lot of the students in band. When other musical groups come through and talk to the jazz bands and such, I don’t know how often they get to see anybody play clarinet. I think that’s actually a pretty unique thing for a lot of the younger musicians. It’s the same thing with the pedal steel. When we come in and do clinics or performances

for schools, so many of the students, unless we’re in the state of Texas, are like, “What is that thing? Wow!” They want to ask our pedal steel player Dave what this instrument is that can make these ethereal sounds.

How would you describe to a layman what it is that Bumper Jacksons do?

I would say the most accurate term for what we’re doing is American roots music. We draw from a variety of many earlier American styles and genres and that encompasses anything from country, to swing, to blues, bluegrass, ragtime, jug band even. So we draw influences from a lot of different stuff in the American roots tradition. But I think Americana would fit what we are doing also because most of our songs are originals. They’re coming from a contemporary place and lyrically they are contemporary. But our sounds, the forms, the kinds of melodies we choose are definitely rooted in these earlier forms of traditional American music.

On your website bio, it says you built for yourself your “iconic frog washboard.” Is that a washboard with a frog decor, or is that a term for a washboard?

It’s referring to these board blocks that are at the bottom of my washboard.

They’re pitched wood blocks but they’re all shaped like frogs. Visually, it’s a really exciting instrument for people to see from the stage.

So I imagine your concerts are like a party. Do your fans make an event of it by dressing up and dancing around?

Yeah, we definitely play dances and those late night tent festivals where people are dancing, but we’re playing a seated show, we have the ability to do more storytelling. We bring people more into the moment through stories and bringing it down and being a lot quieter as well. Our show will adapt to whatever space we’re playing in.

But, yeah, our music tends to be very upbeat, exciting, uplifting and joyful.

So you work a lot of storytelling between the songs?

Yeah, Chris, especially … We’ll often introduce the songs either with stories from American history, or stories from own experiences. I think that music lovers love when they hear the back story about why we’re choosing something to play and reimagine a certain traditional song, or where we were coming from when we wrote a particular original song. We like to weave different forms of storytelling into our concert. It really helps us connect with our audience on a deeper level.

What are some of your influences from the era that you’re drawing from that you’d recommend people take a listen to and learn a lot from?

I am very inspired by female vocalists from the last 100 years or so. When I was younger I’d listen to artists like Madeleine Peyroux or Eva Cassidy.

They were kind of my gateway drugs, as it were, to earlier forms of jazz.

Eva Cassidy is a D.C. artist that has a beautiful voice. It was through listening to their music that I ended up listening to Ella Fitzgerald, Billie Holiday, Dinah Washington and Doris Day. I really draw a lot of how I phrase from the early jazz singers from the ‘30s and ‘40s.

Something that I think is exciting about our band, in general, is that every member comes to the table having mastered a different kind of traditional music, so we’re able to blend these different traditional types of music and genres in a unique way.

For example, Chris comes from more of a bluegrass and old-time Appalachian background. Our trumpet player, Joe Brotherton is definitely a jazz guy, so he brings a lot of those sounds and harmonic choices.

pulse 3.23.19

Tell me about your upright bass player Alex Lacquement.

Alex is great. He studied jazz performance in college and graduated with a Masters in music education.

He’s all over the map. He studied jazz, but fell deeply in love with bluegrass and the old-time sound. He’s mastered many different American genres. Alex just came up to us and said, “Hey, I think you need a bass player!” He sat in with us and we said, “Yeah, we do!”

And now you need a bigger van.

We took the plunge and went into a deep pile of debt and got a Sprinter with a special cabin to hold all of our gear and stuff. We tour around the country in that thing, often with my baby as well.

music // art // fashion presented by wootsquared.com tickets available on eventbrite // $25 advance - $50 door faces nightclub // sacramento, ca

You can enjoy a great night of music and fun while helping Bumper Jacksons pay off their van debt courtesy of The Center for the Arts in Grass Valley on Wednesday, March 20 at 7:30 p.m. The show will take place at the Grass Valley Elks Lodge (108 S. School St.), and tickets start at $25 for the general public ($20 if you’re a member).

For more info or to purchase tickets online, go to Thecenterforthearts.org.

You can find out more about Bumper Jacksons and listen to their latest song “Miss Mary Mack” on their website, Bumperjacksons.com.

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Issue 287 • March 13 – March 27, 2019

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THE BOUNDARY IS THE FIELD OF PLAY

THURSDAY

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Issue 287 • March 13 – March 27, 2019

THE BLACK QUEEN’S GREG PUCIATO ON THE AGONY OF ARTISTRY WORDS ANDREW C. RUSSELL • PHOTO JEN WHITAKER

A

ggression can place a wall of flame between us and the world—a clean line that incinerates the ambiguous, in-between things that might compromise our true selves. For a performer, to employ aggression copiously and in a sustained manner might seem a daunting feat, and physically, it can be. But it can also be daunting to let the wall come down clean, to simply sing, with little to mediate the intimate space between you and the field of watching eyes. For Greg Puciato—known for fire-breathing, stage-leaping, blood-spilling and generally letting his Id run wild as vocalist for math-rock/metal outfit The Dillinger Escape Plan—this was exactly the challenge faced in his 180 turn toward moody, melodic darkwave as frontman of The Black Queen. No longer able to dissolve his ego completely inside the acid-bath assault of Dillinger’s precise chaos, the emotional core of his writing is now more fully revealed. Whatever risks he takes, artistically or physically, his fans have been more than game to come along for the ride.

The Black Queen, comprised of Puciato alongside Joshua Eustis and Steven Alexander— both of whom were formerly involved with Nine Inch Nails—seem to wander the shadow fields of Pluto when compared to the blazing pits of Mercury that Dillinger leapt out of. Three years in, and now touring in support of their second album, 2018’s Infinite Games, the group has found a smoldering equilibrium that suits them well, allowing Puciato’s dynamic vocals and gifts as a lyricist to come to the forefront.

Infinite Games takes on the uncomfortable liminal spaces of relationships, inhabiting an emotional no-man’s land of shifting desires with infrequent glimpses of solace. Both thematically and production-wise, there are flattering echoes of Pretty Hate Machine-era NIN, along with late ’80s Depeche Mode, balancing the former’s angst with the latter’s mournful elegance. The boost in thematic clarity also comes alongside Puciato’s renewed interest in writing. His new book of poetry and photography, Separate the Dawn, was released in February, but was pieced together between the dissolution of Dillinger and the release of Infinite Games, laying bare many of the fears, character flaws and frustrated reaches toward inner peace that have beset the sometimes troubled, always dynamic artist. In an era of oversharing, Puciato manages to cultivate a mystique that keeps the material from becoming too caustic, a gift that pairs well with The Black Queen’s shadowy soundscapes.

At either extreme of Puciato’s expression, his work is the product of a restless, detailoriented energy, the magnetism of which continues to bring new fans into orbit from all genres. Below, we find out about the mixed blessings of this energy, the possibilities it’s opened and how The Black Queen has taken it to new heights.

You’ve remarked on the difficulties and sheer anxiety of transitioning from the more external, aggressive energy of your other groups to the more vulnerable, subdued atmosphere of The Black Queen. Two albums in, has that bridge of discomfort been fully crossed?

That sentiment is one that I struggle with pretty nonstop. It’s more or less an intimacy disorder.

It comes from a lot of places, and I’m aware of them all, but it doesn’t make it go away. I just can manage it and overcome it a bit easier. The creation process with The Black Queen, or in any capacity, that’s not scary, because I’m mostly alone when I’m writing. Performance-wise it still is. Releasing vulnerable things still is. Those things still take acclimating. Probably always will. It’s so much different from Dillinger because the scale is smaller.

My eyes are closed most of the time. If I open them, it’s like, “Oh shit I’m in a room full of people that aren’t going ape shit. This is a bit intense. Lemme just keep these closed.” It’s easier to cover more distance internally with your eyes closed anyway.

What does this group demand of you performancewise compared to your other projects?

It’s funny; the headspace isn’t too much different. I just try to lose my guard as a performer, to get to a place where I’m tapped in in a way that I could still be if there were no audience and I was alone in a room. In Dillinger it was the same, but the irony there is that a lot of the Dillinger lyrics were an aggressive guard. But yeah, you’re trying to just drop your skin, really.

From a technique [and] vocal standpoint, any damage I might have is way more noticeable, and that freaks me the fuck out. So I am a lot more protective of my voice for TBQ than I was for DEP. But yeah, for TBQ, I basically have to be at 100 percent or I go into a really deep fucking pit of perfectionistic OCD thought-looping afterwards, thinking I’m a complete failure as a person, more or less, all because my voice was at 90 percent instead of 100. Perfectionism is a bitch. Being an artist or a performer, or anyone, who gives this much of a shit about what they do, is more or less a self-abusive mental disorder.

Does the more “extreme” energy get subsumed?

Does it arise elsewhere in the music, lyrics, etc?

I still feel it all in me. I feel like there is a ball of fire, like a pilot light, inside of me that very easily can become an inferno. I know how to harness that into endless creative or physical performance energy, but I also know how hard it is for me to turn off, and how much it can consume my life. I feel it onstage still. I feel like my cells are going to explode. When I hit a note in a way that I didn’t intend, I want to twist the mic stand into a pretzel. A lot of what I’m trying to deal with now, in performances that are as nuanced vocally as this is just understanding that even on my best night I still can’t control every single milli-detail of my voice, and being OK with that.

It’s just frustrating because you don’t get a do-over until the next show. Again, it’s all just the flipside of trying to get the best out of yourself, and that is amplified when you know people paid to see you.

Dive Into Sacramento & Its Surrounding Areas

From some of the published pieces I’ve read, I take the concept of Infinite Games to be something symbolizing ambivalence in personal relationships— sets of rules and negotiations that serve as a substitute for trust where it might not naturally occur.

How would you reiterate the “games” concept?

Yeah, you hit it on the head. Everything is autobiographical for me. So Infinite Games is more or less something that I realized I was playing along with, or initiating, perpetuating, whatever, in my life with various relationships as a way to not let them die, or to stay engaged with them, to not fully suffer the loss of them, to not have to make concrete decisions involving them. As a way to stay engaged or not bored with life, maybe? But more so, I think to not have to fully process loss or change. Cycles of mutual manipulation with people you love in some capacity. Ultimately it’s learned behavior. And I, like most people, learned it growing up. So it’s defined my life in a lot of ways. Cycles of codependency.

Gaining recognition and control over that has been a big theme in my life for years, starting consciously with Dillinger’s One of Us is the Killer.

Do you find that these games are ultimately healthy/unhealthy, useful/detrimental, or none of the above?

Well, I mean, that’s arbitrary. Healthy or not, a lot of phases are necessary to help you get to the next one. I wouldn’t have had anything to scream about if I didn’t have things I needed to work through or manage. I’m not a fan of screaming or aggression as a genre, I don’t care anymore than any other SubmergeMag.com

genre. Probably less. I was never trying to make a contribution to a genre or a medium. I was just expressing abstractly. When things came into focus, or I gained more self-awareness, the tools remained the same but the intent became more focused. So in hindsight, healthy or unhealthy? I think it depends on whether you are aware or not. Once you’re aware, you know too much, then it’s hard to see those habits as being anything other than unhealthy.

But at the time they got me from point A to E or wherever I am now. So … useful for sure.

Has more melody-focused, synth-oriented music presented new opportunities, modes of expression?

Where were you creatively/personally when The Black Queen started versus where you are now?

When we started I was very aware of the trajectory I was on, as far as seeing the limitations of extremely violent music for me. I could see where I was going psychologically; I could see that I was starting to scratch the surface of something I would eventually get out of me, or to the bottom of. I also saw the limitations for how much I would be able to artistically actualize in DEP. On a surface level, musically, I’ve always been extremely into melody, extremely into the obvious TBQ influences: R&B, shoegaze, ambient, freestyle, drone. I feel now though that things are pretty open-ended. I don’t see a limitation to where we can go from here. The most horrifying part—releasing the first TBQ stuff—is over. Now I feel free. I could still make something as violent as DEP was—I still have it in me—but I don’t have enough of it in me to make

albums and albums worth of it, and I don’t think it’s quite the same anymore. I’d make a wall of sheer noise sooner than I’d scream about how frustrated or depressed I am. I don’t want to ever be in a place where I have that much of that in me again. Behind the scenes it’s not fun, mentally speaking.

Your book, Separate the Dawn, is about to come out. Does that material dovetail with the work you’ve put into Infinite Games and The Black Queen in general? How does the music and the writing interact with each other?

Yeah it’s directly connected to the last two Dillinger albums and the two TBQ albums. It’s just an extension of the things I was dealing with. As an only child, I spent a lot of time alone.

Writing. Making songs. It’s always been my way to deal. I feel something resembling anxiety, or depression, or in the case of TBQ, it can be a positive sentiment, and if I feel so much of it that it seems like it’s going to burst from me, then I write. And whatever that writing is, is a capsule or a bubble, and it kinda shows me what I’m thinking. It keeps me honest. It’s madness, really, releasing things. Feeling compelled to. I don’t quite fully understand it yet, or why people do. But it for sure has something to do with making sense of this existence, feeling like you’re not alone. Like sending a signal off into space wondering which aliens might find it and be able to understand it.

Someone is leaving their house to go out into the city at dusk. How does their night logically progress if Infinite Games is both the musical and thematic soundtrack to it?

To me a lot of TBQ is about embracing abandon and connection in the face of the unknown, or in the face of possible impermanence. So maybe you go out, you meet someone new, you end up at an afterhours warehouse party together, maybe you’re both drinking if you drink; maybe you’re both on drugs if that’s your thing. You end up sneaking off and sitting on a rooftop or a fire escape together with both of your phones dead, and neither of you care, watching the sun come up, telling each other everything you can, realizing the absurdity of it all but not caring, trying to freeze the moment as long as you can.

Having an adventure out of your normal comfort zone, with someone you just click with, that changes you somehow, pulls something out of you, and being on the precipice of wherever that encounter may go.

It could end in heartbreak, it could end in forever, it could end in great friendship, it could end in nothing but a memory and a reinvigorated energy in being alive. All of these things are ultimately good.

Look, whatever it is you thought you were gonna do Tuesday, March 26, go ahead and cancel that shit and get to Holy Diver to see The Black Queen live. Opening are Uniform, and SRSQ. Doors are at 7 p.m., and tickets are $20 in advance, $25 day of. ALL AGES. For more info on the show, visit Holydiversac.com. For more info on The Black Queen, check out Theblackqueen.com.

Issue 287 • March 13 – March 27, 2019

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Issue 287 • March 13 – March 27, 2019

Dive Into Sacramento & Its Surrounding Areas

SHOWS AT SAC STATE SPONSORED BY UNIQUE PROGRAMS

HAPPINESS AND THE KINGS

FOR MORE INFO: WWW.SACSTATEUNIQUE.COM OR CALL: (916)278–6997

THE SACRAMENTO KINGS’ UNLIKELY PLAYOFF RUN BRINGS SMILES TO AN INCREASINGLY JOYLESS NBA

I

t’s an old saying: Happiness is tied to expectations.

On Valentine’s Day, with a 30-27 record at the All-Star break, the Sacramento Kings looked poised to push for their first NBA playoff spot since 2006. Those aspirations suffered a body blow after last week’s defeat at the hands of the Los Angeles Clippers, one of the teams the Kings are chasing in the standings. It would be their fourth loss in five games, including a tough two-point setback in Golden State, and a one-point overtime loss to the Bucks. The Kings took the best teams in each respective conference down to the wire, but they wanted more than moral victories.

The demoralizing stretch shrank their postseason odds to just five percent.

Back in October, preseason projections pegged Sacramento to win around 19 to 25 games and finish as one of the worst teams in the league.

Then the season started. After a rough rookie year, De’Aaron Fox took a huge leap forward and established himself as a franchise cornerstone. Buddy Hield blossomed into one of the best shooters in the league. Marvin Bagley flashed his scintillating ability, setting rookie records between injuries. Harry Giles regained the promising form the Kings gambled on after his two debilitating ACL injuries.

By February, the team’s preseason expectations were shattered.

The organization is not satisfied.

The weight of the playoff drought looms over the front office. The team still owes their upcoming first round pick to either the Boston Celtics or Philadelphia 76ers. They would prefer it not be a lottery pick, if only to save some face from the infamous 2015 Cousins trade that team general manager Vlade Divac admitted was a mistake. The deadline acquisition of the established—and much more expensive—Harrison Barnes for the emerging Justin Jackson made it clear: The Kings wanted to win now. Maybe most importantly, a playoff series would provide valuable experience for their young core.

The odds are steep, but not impossible. One thing in their favor: After that 1–4 gauntlet, Sacramento faces one of the softest remaining schedules in the league. They own the tiebreaker with the San Antonio Spurs, who currently hold the eighth

SubmergeMag.com

NOONER

NOONER

WORDS MICHAEL CELLA

and final playoff spot. The Clippers just traded away their best player in Blake Griffin, and stand to keep their pick if they miss the playoffs, removing some urgency from their standpoint. There’s still hope, and missing the playoffs would still be a disappointment. But regardless of outcome, one thing remains certain about this team: They are finally, undeniably, happy.

If that sounds like a platitude, or hollow praise in a league where winning is everything, bear in mind that sentiment is something of a rarity right now. Unrest around the league is an issue of such concern, NBA commissioner Adam Silver addressed it directly last week.

“When I meet with them [the players], what surprises me is that they’re truly unhappy. A lot of these young men are generally unhappy,” Silver said last Friday at the MIT Sloan Sports Analytics Conference.

“I think it’s less calculated than a lot of people think,” he went on. “The reality is that most don’t want to play together. There’s enormous jealousy amongst our players.”

Nowhere is this more evident than with Sacramento’s longtime rivals to the south, the Los Angeles Lakers, who have imploded in recent weeks. LeBron James looks like a tenured professor who naps through lectures but cannot be fired. Coach Luke Walton reportedly will be fired. The team’s young stars have one foot perpetually out the door to make way for another superstar. Last month, ESPN published the findings of a two-year investigation into last decade’s referee scandal, triggering Tim Donaghy-related PTSD everywhere—most acutely, that fateful 2003 Kings-Lakers Conference Finals. Watching this Lakers team’s demise may never take away that pain, but it’s been a delightful piece of schadenfreude for Kings fans.

While the Lakers serve as the most glaring example, they’re far from the only team that’s miserable. Kevin Durant is unhappy on one of the best teams in history. Kawhi Leonard was unhappy last year with one of the most respected franchises in all of sports. Jimmy Butler was unhappy everywhere. Kyrie Irving is unhappy depending what day of the week you ask him.

Irving’s Celtics are a perfect portent

of just how fleeting happiness can be.

Coming into this season, the Celtics were in maybe the most enviable situation of any team. Loaded with young talents like Jayson Tatum and Jaylen Brown, established stars in Irving and Al Horford, a deep supporting cast, a “genius” coach, and a bevy of draft assets, they had pushed the Cleveland Cavaliers to seven games in the Eastern Conference Finals last year without their two highest-paid players, both of whom were set to return from injury at the start of the year.

Most analysts expected the Celtics to win the Eastern Conference and push the Warriors in the finals. Thus far they’ve underachieved as a fifth seed. Celtics power forward Marcus Morris described the team’s atmosphere as “toxic,” Irving calls out players and coaches in the media and recanted on his previously stated desire to stay in Boston: “I don’t owe anybody shit.”

Suffice it to say, it can all come apart quickly. “The disease of more” is a phrase coined by Hall of Famer Pat Riley, who coached five championship teams.

Riley realized those teams often fail the following season because every player who returns wants more playing time, more shots per game and more money.

Now it seems the disease has become more pervasive, setting in before championships are even won.

The Kings, as of this moment, are free of that disease. They play with joy, and they have an identity. Their games are entertaining, and they run at the fastest pace in the league. Opponents have taken notice, often verbally. In a league where contracts are short and players long in the face, the Kings are an increasingly attractive free agent destination, armed with a max salary slot. They may not be the favorites to land a superstar this summer, but don’t rule them out.

The Kings are on the bubble to make the playoffs right now, but they’re playing meaningful March basketball for the first time since Pluto was a planet. There are no max contracts on the roster, nor the egos that come along with them, Dave Joerger is a dark horse Coach of the Year candidate and Vlade Divac looks to have come into his own as a GM. Fewer than 20 games remain.

The only thing left to do is be happy, and enjoy the moment.

VINCE VICARI WED • MAR 13 • 12:00P • UNIVERSITY UNION REDWOOD ROOM FREE: disco funk pop

JIMMY TOOR WED • MAR 27 • 12:00P • UNIVERSITY UNION REDWOOD ROOM FREE: International funk / neo-soul / dub concert

EVENT

YOGA NIGHT

THUR • MAR 14 • 7:30P • UNIVERSITY UNION BALLROOM FREE: 90 minutes of yoga appropriate for all fitness levels

MOVIE

AQUAMAN

THUR • MAR 28 • 7:30P • UNIVERSITY UNION BALLROOM FREE: special action, adventure fantasy movie screening

SALSA DANCING

SALSA LOCA LIVE

THUR • APR 4 • 6:00P • UNIVERSITY UNION BALLROOM FREE: Salsa dance lessons plus live concert featuring Grammy Award-winning band PACIFIC MAMBO ORCHESTRA

Issue 287 • March 13 – March 27, 2019

23

MUSIC, COMEDY & MISC. CALENDAR

MARCH 13 – 27 SUBMERGEMAG.COM/CALENDAR

3.13 WEDNESDAY

Ace of Spades Jamey Johnson, Erin Enderlin, 7 p.m. (Sold Out) Bar 101 Open Mic, 7:30 p.m.

The Boardwalk Fake It, The Honest, Soft Nerve, Melissa Schiller & The Pinks, Mourning Mountains, 6:30 p.m.

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

Cosumnes River College Performing Arts Center Cosumnes River College Concert Band Performance, 7 p.m.

Crest Theatre Marc Cohn, Chelsea Williams, 6:30 p.m.

El Dorado Saloon Open Mic Night, 7:30 p.m.

Guild Theater An Evening w/ Pianist Lara Downes, 6 p.m.

Harlow’s Jonathan Wilson, Calvin Love, 7 p.m.

Harris Center: Stage 1 Camp Fire Benefit feat. Laurie Morvan Band, Tom Rigney & Flambeau, Daniel Castro, Mighty-Mike Schermer, Roy Rogers, 7 p.m.

Holy Diver Soundcheck feat.

Lantern, Kiiing J3 & BIGGRosai, yaeKNOWS, Antwon Vinnie, JuLES BuRN, 6 p.m.

Kupros Craft House Ross Hammond, 5 p.m.

Louie’s Cocktail Lounge Live Blues Jam Session, 8 p.m.

Nicholson’s MusiCafe Acoustic Open Mic, 6 p.m.

Old Ironsides Open Mic, 9 p.m.

Sacramento State: University Union Redwood Room Nooner w/ Vince Vicari, 12 p.m.

Holy Diver Local Showcase Stoneshiver, Fallout Kings, Juniper’s Sealion, Death n Taxes, Love For Fire, Rebel Punk, 6 p.m.

Kupros Craft House Mike Musial, 7 p.m.

Louie’s Cocktail Lounge Karaoke, 9 p.m.

Momo Sacramento Clemón (Album Release), Jill Jones, Weathered Souls, 8 p.m.

Old Ironsides Henry Crook Bird, Banjo Duug, 7:30 p.m.

Pine Cove Karaoke, 9 p.m.

The Press Club Punk Rock Pizza Party feat. The O’Mulligans, The Enlows, Marigold, 8 p.m.

Sacramento City College Performing Arts Center SCC Jazz Band Concert, 8 p.m.

Shady Lady Julie & the Jukes, 9 p.m.

Shine Jazz Jam, 8 p.m.

Torch Club Mind X, 5:30 p.m.; Hunter & The Dirty Jacks, 8 p.m.

3.15 FRIDAY

Ace of Spades Atmosphere, Dem Atlas, The Lioness, DJ Keezy, 7 p.m. (Sold Out) American River College Theatre 2019 Aria and Concerto Contest Winners, 7 p.m.

Bar 101 The Stoneberries, 9:30 p.m.

Berryessa Brewing Co. Sourdough Slim and Robert Armstrong, 5 p.m.

Big Sexy Brewing Co. Jammhead Birthday Party, 6 p.m.

The Boardwalk Fonty, The New Crowns, The Countermen, Citizen Snips, Wild Montane, 8 p.m.

Cache Creek Casino Air Supply, 9 p.m.

Cafe Colonial Pisscat, Jesus & The Dinosaurs, Captain Cutiepie, The Me Gustas, 8 p.m.

Capitol Garage Capitol Friday’s Reggae Night w/ DJ Veyn, 10 p.m.

Crest Theatre Blue October, 7 p.m. (Sold Out) Crooked Lane Brewing Co. Jason Weeks, 7 p.m.

El Dorado Saloon Box Band, 9 p.m.

Fox & Goose The Dive Bar Bombers, The Brangs, Carly DuHain, 9 p.m.

Golden 1 Center Chris Tomlin, Tauren Wells & Pat Barrett, Nichole Serrano & Darren Whitehead, 6 p.m.

Golden Bear DJ CrookOne and Guests, 10 p.m.

Harlow’s Jay Critch, Ricobaby, Vendetta, Mari Mac, Mally Bandz, 6 p.m.; Two Step (Dave Matthews Band Tribute), 10:15 p.m.

Holy Diver Mom Jeans, Mover Shaker, King of Heck, Snooze, 6:30 p.m.

Louie’s Cocktail Lounge William Mylar’s Hippie Hour, 5:30 p.m.; Badd Self, 9 p.m.

Momo Sacramento Matt Cali, 10 p.m.

Nicholson’s MusiCafe Open Mic Night, 6 p.m.

Old Ironsides Keys & Vices (Album Release), A Summer Alive, 9 p.m.

Opera House Saloon Shades of Pink Floyd, 9 p.m.

Palms Playhouse Laurie Lewis & the Right Hands, 8 p.m.

The Park Ultra Lounge Kirill Was Here, 9:30 p.m.

Pine Cove Karaoke, 9 p.m.

Placerville Public House The Blue Lights, 8 p.m.

Powerhouse Pub Rockology, 10 p.m.

Press Club DJ Rue, 9 p.m.

Red Hawk Casino Thunder Cover, 9:30 p.m.

3.14 THURSDAY

Ace of Spades Zoe, 7 p.m.

The Club Car Songwriters Showcase, 8 p.m.

Crocker Art Museum ArtMix: Masquerade feat. Van Goat, Unwoman, Green Valley Theatre Company and More, 6 p.m.

El Dorado Saloon Jerry Martini and Frank Sorci, 7 p.m.; DJ Uncle Hank w/ Karaoke, 9 p.m.

Fox & Goose Michael B. Justis, 8 p.m.

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Issue 287 • March 13 – March 27, 2019

3.15

KEYS & VICES (ALBUM RELEASE) A Summer Alive Old Ironsides 9 p.m.

Dive Into Sacramento & Its Surrounding Areas

3.16

PAMELA DELGADO, JERI JONES, NINA GERBER, CHRIS WEBSTER Sofia Tsakopoulos Center for the Arts @ B Street Theatre 7 p.m.

Revival at the Sawyer Groove on Fridays w/ Guest DJs, 10 p.m.

Sactown Union Brewery The Pikeys, 7 p.m.

Shady Lady Big Sticky Mess, 9 p.m.

Shine August Jazz Band, 8 p.m.

The Side Door Chris Trapper, 7 p.m.

Sofia Tsakopoulos Center for the Arts @ B Street Theatre Tim Flannery & the Lunatic Fringe, 7 p.m.

Sun Grove Church Lost in the 50’s Musical Revue w/ Peter Petty, Todd Morgan, Virginia Ayers Dawson, Gary Mendoza, 7 p.m.

Torch Club The Breakers, 5:30 p.m.; Hot Roux, 9 p.m.

3.16 SATURDAY

Ace of Spades Bidi Bidi Bom Bom Selena Fest feat. Como La Flor, 7 p.m. (Sold Out) American River College Theatre 2019 Aria and Concerto Contest Winners, 7 p.m.

Armadillo Music LIGHT // SOUND, Your Local Cemetery, 7 p.m.

Bar 101 The Stormcasters, 9:30 p.m.

The Boardwalk Family Vacation 3 Ticket Release Party feat. Find Yourself, Yunger, Sloth & Turtle, Crecon, The Soggy Rats, Worthy Goat, 6:30 p.m.

Burly Beverages Burly Backyard BBQ 5 feat. The Gold Souls, Be Brave Bold Robot, Sunday School, House of Mary, Tiny Sounds, DJ Larry, 2 p.m.

Cache Creek Casino Air Supply, 8 p.m.

The Colony So This Is Suffering, Bears Among Men, Mugshot, Frontiers, The Last Titan, 7 p.m.

Crooked Lane Brewing Co. Ian Rasmussen, 7 p.m.

El Dorado Saloon Cartunes, 9 p.m.

The Fig Tree Open Mic, 7 p.m.

Fox & Goose Sea Legs, Petty Party, Ryan Thompson and the Delicate Hounds, 9 p.m.

SubmergeMag.com

Golden 1 Center Jimmy Buffett & The Coral Reefer Band, 7 p.m.

Goldfield Stephan Hogan, Madi Sipes & The Painted Blue, 7:30 p.m.

Harlow’s Metalachi, Whiskey and Stitches, Flip the Switch, 8 p.m.

Harris Center for the Arts: Stage 3 Richard Glazier, 7:30 p.m.

Highwater The Ghost Town Rebellion, 9 p.m.

Holy Diver Rivers of Nihil, Entheos, Conjurer, Wolf King, Up In Smoke, 6:30 p.m.

Louie’s Cocktail Lounge Karaoke, 9 p.m.

Luna’s Cafe Liz Ryder, Vanna Oh, Gillian Underwood, Aviel Haberman, 8 p.m.

Malt and Mash Life in the Fast Lane (Eagles Tribute), Madison Hudson Band, 2 p.m.

Midtown BarFly Club Necromancy: History Of Industrial Dance Party, 9 p.m.

Momo Sacramento The Undercover Dream Lovers, Sam Eliot Stern, 6:30 p.m.

Nicholson’s MusiCafe Free Ukulele Class, 1 p.m.

Old Ironsides Lipstick!

Presents: We Are Your Friends w/ DJ Shaun Slaughter and Roger Carpio, 9 p.m.

On The Y Cursed, The New Plague, Blasphemous Creation, Sworn To The Black, 7:30 p.m.

Opera House Saloon Journey Revisited, 9 p.m.

Outbreak Brewing Co. Red Dirt Ruckus, The Ghost Town Rebellion, 4 p.m.

Palms Playhouse George Cole Trio (Nat King Cole Tribute), 7:30 p.m.

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

Pine Cove Karaoke, 9 p.m.

PJ’s Roadhouse Boozefighters St. Patty’s Party w/ The Fryed Brothers Band, Placerville Public House Old Mule, 8 p.m.

Powerhouse Pub Cheeseballs, 10 p.m.

Press Club DJ Larry Rodriguez, 9 p.m.

The Purple Place Dam Road Closed, 8:30 p.m.

Red Hawk Casino Night Fever, 10 p.m.

Revival at the Sawyer Encore w/ Guest DJs, 9:30 p.m.

Shady Lady The Mindful, 9 p.m.

Shine The Backburners, Wellsville, 8 p.m.

Sofia Tsakopoulos Center for the Arts @ B Street Theatre Pamela Delgado, Jeri Jones, Nina Gerber, Chris Webster, 7 p.m.

Torch Club Loose Engines, 5:30 p.m.; Element Brass Band, 9 p.m.

VFW Hall (Fair Oaks) The Dark, Dissidence, Armamento Fatal, ColdClaw, Burial Order, 8 p.m.

3.17 SUNDAY

Armadillo Music Addalemon, 2 p.m.

Bar 101 Jayson Angove, Dylan Crawford, Guero, 9:30 p.m.

Berryessa Brewing Co. BootJuice, 3 p.m.

The Boardwalk Smash Into Pieces, Nam the Giver, The Outside, PS Lookdown, Worst Friends Forever, 6:30 p.m.

Cache Creek Casino The Australian Bee Gees, 4 p.m.

Fox & Goose The Pikeys, Bobby Waller and More, 4 p.m.

Harlow’s Jade Novah, 6:30 p.m.

Harris Center for the Arts: Stage 3 Richard Glazier, 2 p.m.

Holy Diver Axe, Amb, M.M.M.F.D., Sevidemic, ScrubBlud, Oh The Horror!, 2HK, 6:30 p.m.

King Cong Brewing Co. Nice Monster, Be Brave Bold Robot, 3 p.m.

LowBrau Throwback Jams w/ DJ Epik & Special Guests, 9:30 p.m.

Malt and Mash The Cheeseballs, Gwen in Doubt (No Doubt), Foo Tube (Foo Fighters Tribute), 1 p.m.

Midtown BarFly Factor IX w/ DJ Bryan Hawk, DJ CarnieRobber and Guests, 9 p.m.

Momo Sacramento Shawn James, 7 p.m.

MontBleu Resort Casino Shakey Graves, 7 p.m.; Black Uhuru, DJ Dubfyah, 8 p.m.

On The Y A World Without, Impurities, 8 p.m.

Opera House Saloon ONOFF, Amahjra, For the Kids, The Dirty Spurs, 3 p.m.

Pine Cove Karaoke, 9 p.m.

Placerville Public House O’Connel Street Band, 5 p.m.

Powerhouse Pub Val Starr & the Blues Rocket, 3 p.m.

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

Red Hawk Casino Flat Busted, 1 p.m.

The Red Museum Sacramento Audio Waffle #52 w/ Delayed Sleep, Cellista, Dancing Baby and More, 12 p.m.

Sofia Tsakopoulos Center for the Arts @ B Street Theatre Kaki King, 8:30 p.m.

CONTINUED ON PAGE 26

>> Issue 287 • March 13 – March 27, 2019

25

3.19

3.22

IN HER OWN WORDS Oh Weatherly, Never Loved, The Never and Now The Boardwalk 6:30 p.m.

ANDREW MCMAHON IN THE WILDERNESS Flor, Grizfolk Ace of Spades 6 p.m.

Sutter Creek Provisions Slade Rivers Band, 3 p.m.

Torch Club The Rattlin Boys, 3 p.m.; Wil O’Mylar, Agus Cairde and Friends, 5:30 p.m.; Front the Band, 8 p.m.

Trinity Episcopal Cathedral Church Bachathon feat. Barry Moenter, Rebekah Kasak, Jack Miller and More, 2 p.m.

UC Davis: Jackson Hall Eileen Ivers and JigJam, 7 p.m.

3.18 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, 7:30 p.m.

Old Ironsides Heath Williamson & Friends, 5:30 p.m.

The Press Club High Fidelity: Vinyl Night, 9 p.m.

Sofia Tsakopoulos Center for the Arts @ B Street Theatre Dar Williams with Lindi Ortega, 7 p.m.

3.19 TUESDAY

Ace of Spades Andrew McMahon in the Wilderness, Flor, Grizfolk, 6 p.m.

Crest Theatre Meow Meow and Thomas Lauderdale, 6:30 p.m.

Harris Center for the Arts: Stage 1 The Swingles, 7:30 p.m.

Holy Diver Soundcheck feat.

Icarus Falling, Consumnes Rendevous, Urbanation, Stohler Peace, Deacon Free, Mateo Briscoe, 6 p.m.

Kupros Craft House Kyle Rowland, 5 p.m.; Open Mic, 7 p.m.

Momo Sacramento That 1 Guy, 7 p.m.

Old Ironsides Karaoke, 9 p.m.

Powerhouse Pub Live Band Karaoke, 8 p.m.

Torch Club Richard March, 5:30 p.m.; Jazz Jam Hosted by Ice Age Jazz Quartet, 8 p.m.

26

Issue 287 • March 13 – March 27, 2019

3.20 WEDNESDAY

Bar 101 Open Mic, 7:30 p.m.

Blue Lamp Creux Lies, Actors, Bootblacks, DJ Dada, 8 p.m.

The Boardwalk Boundaries, Castaway, Smack’d Up, A Waking Memory, Kind Eyes, 6:30 p.m.

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

The Colony Time of Chaos, Choke, Hugo Sanchez, Endless Yawn, Chop Stick and More, 7 p.m.

El Dorado Saloon Open Mic Night, 7:30 p.m.

Grass Valley Elks Lodge Center for the Arts Presents: Bumper Jacksons, 7:30 p.m.

Holy Diver Local Showcase w/ War and Mind, Someday Sober, Bootlegs, The Big Poppies, Storyboards, 6:30 p.m.

Kupros Craft House Ross Hammond, 5 p.m.

Louie’s Cocktail Lounge Live Blues Jam Session, 8 p.m.

Luna’s Cafe Jazz Jam w/ Host Byron Colburn, 8 p.m.

Momo Sacramento Bourbon & Blues feat. Watermelon Slim, 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 @ B Street Theatre Maggie Hollinbeck (Benefit Concert), 6:30 p.m.

Streets Pub and Grub Karaoke, 9 p.m.

Torch Club Lisa Phenix, 5:30 p.m.; Peter Petty and The Double P Revue, 9 p.m.

3.21 THURSDAY

Armadillo Music Chris Baron, 6 p.m.

The Boardwalk The Browning, Betraying the Martyrs, Extortionist, Sleep/Speak, The Measure, Royals Die Young, 6 p.m.

The Club Car Songwriters Showcase, 8 p.m.

El Dorado Saloon Jessica Malone, 7 p.m.; DJ Uncle Hank w/ Karaoke, 9 p.m.

Fox & Goose Steve Mclane, 8 p.m.

Holy Diver Mechanizm, Painting Fences, Wendell & The Puppets, 6:30 p.m.

Kupros Craft House Dylan Crawford, 8 p.m.

Louie’s Cocktail Lounge Karaoke, 9 p.m.

MontBleu Resort Casino The Expendables, Ballyhoo, Kash’d Out, Amplified, 8 p.m.

Old Ironsides Music Night Open Acoustic Jam, 9 p.m.

Pine Cove Karaoke, 9 p.m.

Shady Lady Harley White Jr. Orchestra, 9 p.m.

Shine Jazz Jam, 8 p.m.

Sofia Tsakopoulos Center for the Arts @ B Street Theatre Morgan James, 6:30 p.m.

Torch Club Mind X, 5:30 p.m.; Matt Rainey and The Dippin’ Sauce, 9 p.m.

3.22 FRIDAY

Ace of Spades Cypress Hill, Hollywood Undead, Demrick, Xzibit, 6:30 p.m. (Sold Out) Armadillo Music Indigo Elephant, 7 p.m.

Bar 101 Merry Mac Band, 9:30 p.m.

Berryessa Brewing Co. The Casual Coalition, 5 p.m.

Big Sexy Brewing Co. Big Sticky Mess, 6 p.m.

The Boardwalk In Her Own Words, Oh Weatherly, Never Loved, The Never and Now, 6:30 p.m.

Cafe Colonial The Decibels, The Reverberations, DJ Ann Tindall, 8 p.m.

Capitol Garage Capitol Friday’s Reggae Night w/ DJ Veyn, 10 p.m.

Crooked Lane Brewing Co. Jayson Angove, 5:30 p.m.

El Dorado Saloon AKA Live, 9 p.m.

Fox & Goose Empress Niko and the Lion’s Paw, 9 p.m.

Gold Lion Arts Sunwatchers, Sahba Sizdahkhani, Dereky Monypeny, San Kazakgascar, 7:30 p.m.

Golden Bear DJ CrookOne and Guests, 10 p.m.

Goldfield The Easychairs, Wild Montane, 7:30 p.m.

Harlow’s Wonder Bread 5, 9 p.m.

Holy Diver Harlequin Rose, The Philharmonik, Jeaux, 6:30 p.m.

Louie’s Cocktail Lounge William Mylar’s Hippie Hour, 5:30 p.m.; Chop Shoppe, 9 p.m.

Luna’s Cafe Jazz Duos: Joshua Wisterman & Casey Lipka, Marti Sariul-Klijn & Lucas Bere, 7 p.m.

Nicholson’s MusiCafe Open Mic Night, 6 p.m.

Old Ironsides Cassette Idols, Zen Arcadia, Ghost Color, 8 p.m.

On The Y Wurm Flesh, Bavmorda, West Coast Fury, Nexdeus, 7 p.m.

Opera House Saloon Superbad, 9 p.m.

Pine Cove Karaoke, 9 p.m.

Powerhouse Pub Power Play, 10 p.m.

Press Club DJ Rue, 9 p.m.

Red Hawk Casino The Spazmatics, 9:30 p.m.

Revival at the Sawyer Groove on Fridays w/ Guest DJs, 10 p.m.

Shady Lady Roselit Bone w/ Donald Beaman, 9 p.m.

Shine Jet Black Popes, The Chandelier Ravens, Anxious Power, 8 p.m.

The Side Door One Button Suit, 7 p.m.

Sofia Tsakopoulos Center for the Arts @ B Street Theatre Adrian Legg, 6:30 p.m.

Torch Club Dey Trippers, 5:30 p.m.; Groove Session, 9 p.m.

3.23 SATURDAY

Ace of Spades State Champs, The Dangerous Summer, Grayscale, Just Friends, 6 p.m.

Bar 101 Todd Morgan, 9:30 p.m.

Berryessa Brewing Co. Scott Guberman, 3 p.m.

Cafe Colonial Sitting&Waiting, Phono Pony, Freature, Free CONTINUED ON PAGE 28

>>

Dive Into Sacramento & Its Surrounding Areas

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Issue 287 • March 13 – March 27, 2019

27

The Park Ultra Lounge DJ Peeti V, 9:30 p.m.

Pine Cove Karaoke, 9 p.m.

PJ’s Roadhouse Blind Shady, Knuf, Worthy Goat, 8 p.m.

Placerville Public House One Leg Chuck & The Hustle, 6 p.m.

3.23

Powerhouse Pub Take Out, 10 p.m.

Press Club DJ Larry Rodriguez, 9 p.m.

The Purple Place Code Blue, 9 p.m.

THE LOVEMAKERS SHOW FEAT. JORDAN MOORE JMSEY, David Baez-Lopez, Jackshoot (DJ Set) Holy Diver 7 p.m.

Candy, 7 p.m.

Community Center Theatre Sacramento Choral Society and Orchestra Presents European Masterworks: Brahms’ Requiem, 8 p.m.

Crooked Lane Brewing Co. Hambone Slim, 7 p.m.

El Dorado Saloon Sock Monkey, 9 p.m.

The Fig Tree Open Mic, 7 p.m.

Fox & Goose Western Spies & The Kosmonaut, 9 p.m.

Harlow’s Ben Ottewell & Ian Ball, Buddy, 5:30 p.m.

Harris Center for the Arts: Stage 3 Sacramento Baroque Soloists Present: Viva Vivaldi, 2 & 7:30 p.m.

Holy Diver The Lovemakers Show feat. Jordan Moore,

Red Hawk Casino Rock Monsterz, 10 p.m.

JMSEY, David Baez-Lopez, Jackshoot (DJ Set), 7 p.m.

Laughs Unlimited The Bad Caddies, 3:30 p.m.

Louie’s Cocktail Lounge The Fryed Brothers Band, 9 p.m.

Momo Sacramento Roc Da Mic Sacramento w/ D-Mac, Guapely, FineAssLanecia, Torrey Tee, Heaven Marina and More, 5:30 p.m.

Nicholson’s MusiCafe Free Ukulele Class, 1 p.m.

Old Ironsides The Loose Threads, Brotherly Mud, Adam Poe, 9 p.m.

Opera House Saloon Beer Drinkers and Hell Raisers (ZZ Top Tribute), 9 p.m.

Palms Playhouse Rita Hosking Trio, 7:30 p.m.

The Red Museum Drug Apts (Album Release), Nocturnal Habits, Grave Lake, Dots, 8 p.m.

Revival at the Sawyer Encore w/ Guest DJs, 9 p.m.

Shady Lady The Gold Souls, 9 p.m.

Shine Nzuri Soul Band, 8 p.m.

Sofia Tsakopoulos Center for the Arts @ B Street Theatre Henry Kapono & Band, 7 p.m.

Torch Club Girls Rock Showcase, 4 p.m.; Mr. December, Melissa Ruth, 9 p.m.

VFW Hall (Fair Oaks) Social Conflict, War Boy, Masaker 69, Throat Rip, Brown Dynamite, 8 p.m.

3.24 SUNDAY

Ace of Spades Travis Greene, 7 p.m.

Berryessa Brewing Co. The Twilight Drifters, 3 p.m.

Cache Creek Casino Julio Bravo y su Orquesta Salsabor, 1 p.m.

Cafe Colonial Pkew Pkew Pkew, Lightweight, Sad Girlz Club, 8 p.m.

The Colony Iced, D-FY, Class System, Sick Burn, Mass X Hysteria, 7 p.m.

Harlow’s SUSTO, Frances Cone, 7 p.m.

Harris Center for the Arts: Stage 3 Sacramento Baroque Soloists Present: Viva Vivaldi, 2 p.m.

Holy Diver Afton Presents, 6 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.

Momo Sacramento Street Sects, Killer Couture, DJ Dada, 6 p.m.

On The Y Chaos Mantra, Tzimani, Dreams Of Madness, 6 p.m.

Palms Playhouse Little Charlie’s Organ Grinder Swing, 2:30 p.m.

Pine Cove Karaoke, 9 p.m.

Powerhouse Pub Briefcase Blues Brothers, 3 p.m.

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

Red Hawk Casino Cash Prophets, 1 p.m.

Sactown Union Brewery Open Bluegrass Theme Jam, 1 p.m.

Shady Lady Peter Petty, 9 p.m.

Torch Club Blues Jam, 4 p.m.; Front the Band, 8 p.m.

3.25 MONDAY

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

Harlow’s Com Truise, Jack Grace, Ginla, 7 p.m.

Harris Center for the Arts: Stage 1 Collectif9, 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, 7:30 p.m.

Old Ironsides Heath Williamson & Friends, 5:30 p.m.

Press Club New Candys, Honyock, Pets, MC Ham, 8 p.m.

3.26 TUESDAY

24th Street Theatre Catherine Russell and Proxy Moon, 7 p.m.

Ace of Spades All That Remains, Atilla, Escape the Fate, Sleep Signals, 5:30 p.m.

The Boardwalk Prying Free, 2KLIX, Footclan, Down Hollow, 6:30 p.m.

Goldfield The Happy Fits, Deal Casino, 7:30 p.m.

Harlow’s H.R. (of Bad Brains), Downtown Brown, ¡Las Pulgas!, Sacto Storytellers, 7 p.m.

Holy Diver The Black Queen, Uniform, SRSQ, 7 p.m.

Kupros Craft House Robert Kuhlmann, 5 p.m.; Open Mic, 7 p.m.

Old Ironsides Karaoke, 9 p.m.

Powerhouse Pub Live Band Karaoke, 8 p.m.

Sofia Tsakopoulos Center for the Arts @ B Street Theatre Robbie Fulks, 7 p.m.

Torch Club Matt Rainey, 5:30 p.m.; The Blue Boys, 8 p.m.

3.27 WEDNESDAY

Bar 101 Open Mic, 7:30 p.m.

Blue Lamp Mondo Deco, The Deadrones, The Roa Brothers Band, 8 p.m.

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28

Issue 287 • March 13 – March 27, 2019

Dive Into Sacramento & Its Surrounding Areas

TONY ROCK Tommy T’s

Laughs Unlimited Molotov Comedy w/ Jason Anderson, Jason Bargert, Dejan Tyler, Jason Mack and More, March 13, 8 p.m.

Ocean Glapion, Shannon Battle, William Eiland, Chris Smith, March 14, 7:45 p.m.

Stephen B, Charlene Mae, Hosted by Gloria Magana, March 15 - 17, Fri. & Sat., 8 & 10:30 p.m.; Sun., 7 p.m.

Kris Tinkle, Nick Larson, Chadd Beals, Zach Edlow, Heather Brent, Hosted by Taylor Evans, March 20, 8 p.m.

Michael Calvin Jr., Clara Bijl, Tatiana & Tim Young, Hosted

by Javon Whitlock, March 21, 8 p.m.

Daniel Dugar, Cory Michaelis, March 22 - 24, Fri. & Sat., 8 & 10:30 p.m.; Sun., 7 p.m.

Carlos Rodriguez Birthday Show feat. Kabir Singh, Mike Winfield, Lance Woods, Myles Weber, March 27, 8 p.m.

Luna’s Cafe Open Mic Comedy w/ Hosts Jaime Fernandez and Michael Cella, Tuesdays, 8 p.m.

SubmergeMag.com

√

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.

Safe • Local • Professional Pay with Cash, Card, or in App

A Ri ed

Contact us 24/7

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Comedy

On the Y Open Mic Comedy w/ Guest Hosts, Thursdays, 8:30 p.m.

Punch Line WTF Wednesdays w/ Mars Parker and Guests, March 13, 9 p.m.

Sacramento Comedy Showcase, March 14, 8 p.m.

Ronny Chieng, March 15 - 16, Fri. & Sat., 7:30 & 9:45 p.m.

Rikishi: In Your Face, March 17, 3 p.m.

Stay Silly Comedy, March 17, 7 p.m.

Matt Ritter Presents: The Comedians at Law feat. Liz Stone, Nick Callas and More, March 18, 8 p.m.

WTF Wednesdays w/ Mars Parker and Guests, March 20, 9 p.m.

Chris Distefano, Don DiPetta, Hosted by Ben Kolina, March 21 - 23, Thurs., 8 p.m.; Fri. & Sat., 7:30 & 9:45 p.m.

We Own The Laughs w/ Guest Kabir Singh, March 24, 7 p.m.

WTF Wednesdays, March 27, 9 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.

STAB! Comedy Theater Comedy Open Mic, Thursdays, 9 p.m.

STAB! Podcast Panel Show, Fridays, 10 p.m.

Tommy T’s Sugar Brown: Burlesque Bad & Bougie Comedy Affair, March 14, 7:30 p.m.

Melanie Comarcho, March 15 - 17, Fri., 7:30 & 10:!5 p.m.; Sat., 7 & 9:45 p.m.; Sun., 6 p.m.

Simon Gibson, March 21, 7:30 p.m.

Tony Rock, March 22 - 24, Fri., 7:30 & 10:15 p.m.; Sat., 7 & 9:45 p.m.; Sun., 6 p.m.

CALL US (916) 441-3803 OR EMAIL US info@submergemag.com TODAY!

de

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

El Dorado Saloon Open Mic Night, 7:30 p.m.

Harris Center for the Arts Fascinatin’ Rhythms: Keyboard Conversations with Jeffrey Siegel, 7:30 p.m.

Holy Diver Royal Coda, Kurt Travis, Body Thief, Mookatite, SadGhost, 6:30 p.m.

Kupros Craft House Ross Hammond, 5 p.m.

Louie’s Cocktail Lounge Live Blues Jam Session, 8 p.m.

Luna’s Cafe Jazz Jam w/ Host Byron Colburn, 8 p.m.

Momo Sacramento Bourbon & Blues feat. Ray “Catfish” Copeland Band, 5:30 p.m.

Nicholson’s MusiCafe Acoustic Open Mic, 6 p.m.

Old Ironsides Open Mic, 9 p.m.

Sacramento State: University Union Redwood Room Nooner w/ Jimmy Toor, 12 p.m.

Shady Lady Tenor Explosion, 9 p.m.

Streets Pub and Grub Karaoke, 9 p.m.

Torch Club Gavin Caanan, 5:30 p.m.; JonEmery & The Unconventionals, 9 p.m.

R E U R O Y AD HE

Ne

March 22 - 24

24th Street Theatre We Got Talent 2: Sacramento’s Talent Showcase, March 16, 6 p.m.

The Atrium Upcycle Pop: Interactive Purim Market, March 23, 2 - 8 p.m.

B Street Theatre at The Sofia Tsakopoulos Center for the Arts A Doll’s House Pt. 2, Through April 7 Blue Cue Trivia Night, Wednesdays, 9 p.m.

The Boxing Donkey Trivia Night, Tuesdays, 7 p.m.

CLARA - E. Claire Raley Studios for Performing Arts 9th Annual Brazilian Carnaval Sacramento 2019, March 16, 5 p.m.

Community Center Theater Up with People: Live On Tour, March 24, 6 p.m.

Country Club Plaza Certified Farmers Market, Saturdays, 8 a.m. - 12 p.m.

Crocker Art Museum Arte Extraordinario: Recent Acquisitions, Through March 24 Modern Menagerie: Sculpture

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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. - 1 p.m.

Kupros Craft House Triviology, Sundays, 7:30 p.m.

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

Midtown BarFly Salsa Lessons, Wednesdays, 8 p.m.

Sacramento Roller Derby Warehouse Junior and Adult Doubleheader, March 23, 6 p.m.

Sactown Union Geeks Who Drink Trivia, Wednesdays, 7 p.m.

Scottish Rite Center Magic of Music Food & Wine Event Benefiting Sacramento Youth Symphony, March 15, 6 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.

Two Rivers Cider Co. Cribbage Night, Tuesdays, 7 p.m.

Trivia Night, Wednesdays, 7 p.m.

Urban Roots Brewing & Smokehouse Movie Night: Indiana Jones and the Raiders of the Lost Ark, March 24, 7 p.m.

Yolo Brewing Co. Trivia Night, Tuesdays, 6 p.m.

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Issue 287 • March 13 – March 27, 2019

29

THE SHALLOW END Paul Manafort was looking at at least 19 years in prison (according to sentencing guidelines) for a slew of crimes that he was convicted of back in August. If you were watching any of the coverage of these court proceedings, you may have noticed a dude holding a sign that read things such as “Treason” on it, because that’s basically been Manafort’s stock and trade for the majority of his career … OK, maybe I should backtrack on that. I mean, treason is a pretty serious charge. Perhaps “treasonous” gives me a bit of wiggle room, because I’m not exactly stating that Manafort’s work as an influence peddler (which I’m sure is about as dirty as it sounds) is the noun “treason” but an adjective to describe all that shady shit he’s done his whole life. That way, it’s more of an opinion, yes, instead of an outright accusation. I mean, we’re talking about one slippery fuck of an eel here, so I think it’s only fitting to be as greasy with my language as possible. Again, that’s just an opinion, and you’re more than welcome to disagree. It’s America, after all, which as of this writing, is still a thing … sort of.

So this past week, Manafort faced the music, as it were, for five counts of filing false

The

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IT MUST BE NICE JAMES BARONE jb@submergemag.com

tax returns, two counts of bank fraud and one count of failing to report foreign bank accounts.

I mean, never mind that most of us are sitting here with all of our bank accounts firmly on American soil, paying our taxes—whether we like to or not—and in so doing ensuring that schools get funded, soldiers receive benefits for their service and potholes get fixed. You wouldn’t expect some weasley fuck to see the value in all that, so I guess we shouldn’t be surprised when said weasel skirts his civic responsibilities.

Judge T.S. Ellis III, who presided over Manafort’s trial, agrees with me that failing to pay Caesar what’s due unto Caesar is a serious offense. He said so during the disgraced political operative’s sentencing hearing.

“You’ve been convicted of serious crimes— very serious crimes—by a jury,” Ellis said in what would seem to be a prelude for throwing the book at someone. Like, if I was guilty and staring down a federal judge and he or she said this to me before levying my sentence, I’d probably poop in my jumpsuit.

And perhaps Manafort did a little. After all, the poor thing, who was strutting around like a smarmy prick just a couple months

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stated at the sentencing hearing that he was “humiliated and ashamed,” the president’s former campaign chairman never once expressed remorse for his crimes. Ellis sort of let him slide on that one, too.

“That doesn’t make any difference on the judgment that I am about to make … but I hope you reflect on that,” the judge said.

In addition to court-suggested reflection, Manafort received 47 months including time served, a $50,000 fine and an order to pay $24 million in restitution. For his part, the guilty said that he’d hoped to turn over a new leaf and “turn my notoriety into a positive and show the world who I really am.”

I’m pretty sure we’re all painfully aware of who you are already, dude, but sure. We all love a good redemption story, right? You may have been an unapologetic douchebag your whole life, but now thanks to the grace of God or whatever, you’ll have your shot to make the world a better place. It must be nice. Who knows? Maybe you’ll surprise us. Only in America, right?

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ago, showed up to his hearing in a wheelchair due to a medical condition related to his confinement. Hey, incarceration is hard. Try getting your hands on an ostrich coat in lockup sometime.

But despite the “serious” nature of his crimes, Ellis thought it would be best to go easy on the 70-year-old convicted felon. It was Ellis’ opinion “that sentencing range is excessive. I don’t think that is warranted in this case.”

Perhaps it’s because Manafort has been cooperating with the Mueller probe. He’s met multiple times with the special council, and according to Mueller’s prosecutors, Manafort’s cooperation has not yet come to an end. Sure, you may be saying, but wait, didn’t Manafort go behind Mueller’s back after agreeing to cooperate and conduct clandestine meetings with the Trump team? But really, would expect anything more from such a slimy turd?

It’s possible that Ellis took all of this into consideration. It’s also possible—and mind you, this is just pure, baseless speculation—that the judge saw before him a rich white dude and decided that this was enough to warrant a pass. Ellis even noted that though Manafort

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Issue 287 • March 13 – March 27, 2019

Dive Into Sacramento & Its Surrounding Areas

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DIVE INTO SACRAMENTO & ITS SURROUNDING AREAS

MARCH 13 – 27, 2019

#287

MUSIC + ART + LIFESTYLE

BUMPER JACKSONS LAS PULGAS THE BLACK QUEEN

THE HEAT OF BATTLE

THE NEW AMERICAN SONGBOOK

SACRAMENTO

KINGS

PLAYOFF BOUND?

SIGNALING INTO SPACE

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CHRIS DISTEFANO

WOOT2 DEBUTS PULSE