Cannabis Chronicle August 2021

Cannabis Chronicle CANNABiS CULTURE & NEWS FOR THE BAY AREA & CENTRAL COAST - AUGUST 2021

STAND-UP CANNABIS WHY COMEDIANS LIKE THE BAY AREA’S CHRIS RIGGINS LOVE WEED PXX

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CONTENTS

Editor’s Note

Stand Up, Smoke Out Bay Area comic Chris Riggins on the collision of comedy and cannabis P6

Weed Between The Lines

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True confessions of a stoner comedian P10 e all know certain types of weed can make anything funnier, but in this issue of Cannabis Chronicle, we discover that for many of today’s comedians, it’s pretty much a tool of their trade. Certainly stoner

Well Shred

humor has evolved since the days of Cheech and Chong—drug

Why Santa Cruz Shredder is dominating the grind game P14

humor that was only funny while you were on drugs—thanks to pioneering comedians like Bill Hicks and Mitch Hedberg. But DNA’s interview with Bay Area comedian Chris Riggins reveals just how mainstream it’s become, with the cannabis industry now

Ride Along

courting comics to represent their brands. Meanwhile, Richard Stockton tackles a different aspect of comedy’s intersection with

A trip through Santa Cruz with a weed guru P18

cannabis, digging into his own career as a comic to talk about how a well-timed high can inspire one’s best material.

In Santa Cruz, Hugh McCormick explains how a local company

Spotlight on Sonoma and Napa County

came to produce some of the best grinders in the world, and Jonah Raskin spends a day in the world of weed with one of the area’s true gurus to guide him.

Also, check out our guide to the dispensaries of the North Bay, part of our ongoing Spotlight series. Thanks for reading!

STEVE PALOPOLI | EDITOR

Cannabis Chronicle 107 Dakota St, Santa Cruz, CA CannabisChronicle.net info@cannabischronicle.net

STAFF PUBLISHER

Dan Pulcrano EDITOR

Steve Palopoli MANAGING EDITOR

408.298.8000 San Jose | 831.458.1100 Santa Cruz 831.761.7300 Monterey Bay area | 707.527.1200 North Bay

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Alisha Green

A guide to North Bay dispensaries P18

CONTRIBUTORS

ADVERTISING DIRECTORS

Lori Lieneke Lisa Santos Debra Whizin

Sue Lamothe Mercedes Murolo Ilana Rauch Packer Tiffani Petrov

VICE PRESIDENT

Hugh McCormick Dan Mitchell Casey O’Brien Jonah Raskin

ACCOUNT EXECUTIVES

ACCOUNTING

Cover photo by Mikey J. Starks

PRODUCTION OPERATIONS MANAGER

Sean George DESIGNER

Sam Miranda

Lisa Buckle Gordon Carbone Billy Garcia Ben Grambergu Karen Klaber Kate Kauffman

Sarah Puckett CIRCULATION MANAGER

Shannen Craig

Lee May

Cover design by Sam Miranda

OFFICE MANAGER

Kari Mansfeld

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SOCIAL EXPERIMENT During quarantine, Bay Area comedian Chris Riggins would post smoke sessions daily on Instagram.

PHOTO BY MIKEY J. STARKS

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Cannabis’ New Comedy Cool Chris Riggins on how drug culture and commerce are meeting on the comedy scene BY DNA

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PHOTO BY MIKEY J. STARKS

s cannabis growers and stores flourish across parts of the country, manufacturers and distributors are scrambling to brand themselves—to let consumers know that they identify with an ever-growing, diverse subculture. Take, for example, local growers Coastal Sun Farm, who reverentially dig deep into the process of organic growing and cultivation. In the search for a spokesperson and influential community member who embodied their vision, they tapped Bay Area comedian Chris Riggins.

A five-foot-four force of nature, rapperturned-comedian Chris Riggins commands the stage with an intensity and compassion rarely seen. And he’s now using his

platform and popularity to spread the word about his love of cannabis. Over several months of quarantine, Riggins would post daily smoke sessions live on Instagram, which would find him chanting, meditating, roller blading and giving deep thoughts to his viewers. Inspirational, engaging and coming from the heart, Riggins is surfing the cannabis industry’s green wave, and I spoke to him recently about his career and the intersection between cannabis culture and commerce.

You started out as a street rapper, and then joined Berkeley legends Mingus Amungus. Was weed culture part of being in the band?

CHRIS RIGGINS: Weed and music has

gone together for a long time. They used to smoke “jazz cigarettes” 100 years ago.

I’ve been smoking weed since I was 14.

Next thing I know, I’m 16 and smoking weed with these 29, 30-year-olds and meeting people who grow weed and getting immersed in the culture. And growing up in the Bay Area, weed is everywhere.

How did you transition into comedy?

I stopped rapping and started managing rappers. A friend of mine challenged me to open up for Dave Chappelle at the New Parish. I thought I was funny, but I didn’t think I was stage funny. I did it, and boom!

I was a comedian.

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BLUNT FORCE Riggins believes both the cannabis and comedy industries need to make more of a commitment to multiculturalism.

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Weed and entertainment have been linked for a long time, but Coastal Sun Farm’s decision to work with a local comedian seems pretty innovative. How did it happen?

We kind of solicited each other. I would always stop by Farms and post it on my Instagram, just to say, “Hey, I really like your product.” I like to build relationships. I ended up hosting a 420 event in San Francisco that they were sponsors of and ended up meeting face to face. We started talking about their plans for the future and what they were doing. One thing we discussed was how we can’t sell cannabis online. But what we can sell is the lifestyle. So the mindset is Black and brown people should be in the forefront. We have suffered so much from the War on Drugs, which is really just a War on Black and Brown People. It’s important to Coastal Sun Farm that the faces they use for promotion represent all the people that use their product.

Where do you see the negative stereotypes of cannabis?

On the counterculture side, it’s

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You’re very outspoken about racial inequality in comedy and cannabis.

For instance, you’ve lobbied for more Black comics on Bay Area comedy shows. Has anything changed?

Every comedian has a different struggle.

Black female comics often do not have a voice in the Bay Area scene. But even across the country, you see the same issue. There seems to always be white gatekeepers that determine who gets on shows. And those people book who feeds their tastes, or needs or demographics.

Diversity on shows is often tokenism.

White promoters don’t book because somebody is funny, they book because, “Oh, we need a black gay lesbian on our show. Let’s find one.” In the Bay Area, Black comedians and other comedians of color often have to book their own shows. Even if you are a promoter in a demographic that is mostly white, you shouldn’t have to be told to create diverse line-ups. You should be seeking out the widest range of comics available to you, so your audience can see a real slice of life. Show your audiences perspectives that don’t match your own. It happens all the time in San Francisco, where the comedy shows are echo chambers— white male comics talking about white male problems to white male audiences.

Nothing new is heard.

Do you think cannabis companies should reach out to more comedians?

Companies that make an effort to give themselves a multicultural face will thrive, because at the end of the day if you look across the lines of humanity, people from all cultures, races and sexualities and genders smoke weed.

Coastal Sun Farm, located in Watsonville, is certified organic and specializes in blueberries and cannabis. They can be found at https://www.coastalsunfarm.com.

Chris Riggins can be seen at comedy and cannabis shows around the country and can be found on IG @chrisrigginscomedy.

PHOTO BY SOPHIA ELLE

What’s your mission as a weed spokesperson?

I want to normalize weed smoking. The current environment is weed is legal in certain aspects, and still illegal in many aspects. But the taboo of weed is still there.

The misinformation is still out there.

definitely more popular than ever. In the mainstream culture and in the workforce, people are still scared to admit they smoke weed. Even though your job doesn’t care if you get drunk every night, they will still punish you or fire you if you get caught smoking weed, even off hours. Look at Sha’Carri Richardson or Michael Phelps; even high-functioning adults can get cancelled for smoking weed by the entire Olympic community.

Even though it’s helping them deal with very real issues like anxiety or grieving or depression or whatever. Fact is, people go home after work and have a beer, and some people go home and smoke a joint after work. You know at BBQs somebody is passing a joint around, so why can’t it be seen in the same light as alcohol?

Especially since it has healing qualities as opposed to harming qualities.

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TAKE A BREATHER Richard Stockton performing in his CPAP-mask bong.

High Concept My life as a stoner comedian

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t the end of my solo show Life Is Too Snort, I put a CPAP mask on my face, pack weed into the other end of the air hose, and then pretend to light the weed on fire, inhaling through my CPAP mask.

That’s my closer— and the audience screams.

Pot humor used to be underground. It had an illegal vibe. Even now, I am leery about using my marijuana material on older, more conservative crowds. One night last week, I performed Life Is Too Snort at a 55+ community in San Diego, and I asked the show’s producer if he

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BY RICHARD STOCKTON

thought I would alienate them with my weed jokes. He laughed and said, “I think you’ll be surprised.” When I told the crowd, “What’s the worst thing about smoking too much pot? You run out!,” a tiny woman of maybe 80 slammed the table with her fist and yelled, “I’m out now!” I closed the show by smoking through my CPAP mask, and afterward three women asked me if I could get them weed. (It’s one of my regrets—why didn’t I just become a drug dealer?)

The audience for cannabis comedy is now mainstream, but how does weed effect the comedian’s writing and

performance? Well, comedy uses the principles of improv; no matter what you come up with, you go “Yes, and…,” and then add something new. Your critical voice will assault you with various reasons each joke doesn’t make sense, or isn’t funny. When the critical voice says, “Yes, but…” creativity stops. Weed can help you focus on the moment and get to “Yes, and…”.

George Carlin said that he first wrote his jokes straight, then got high and went back over them. Carlin’s first “straight” pass kept his topics relatable, and the herb pass made them funnier.

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Comic great Dan St. Paul remembers writing while very high on shrooms, “We found the number 17 to be so hilarious, laughed for an hour. We tried the number 16. Nothing!”

I can focus on one thing with Zen intensity when I’m high. When cranking out the comedy for my “Fried Comedy News” radio rants on KPIG, pot can give me stamina. When the morning caffeine starts to wear off, and I can’t write or record anymore, I can light up and go four more hours.

But performing comedy is different for me. When onstage, it does not work for me to have that high weed-attention to detail. I’m trying to be hyper-aware of every person and every sound in the room, and integrate all of it into my dialogue with the crowd. Engaging 200 people takes macro-vision, not micro.

This is not something I can do high.

Comedy may be the juxtaposition of incongruities, but it still must ring true or it’s not funny. Hopefully, a developing comic will go from asking “what’s funny?” to “what’s the truth?” And weed will make you tell the truth. You can’t lie on weed. Weed made Bill Clinton announce that he is horny. Weed made Al Sharpton announce he is Black. Weed made Tucker Carlson announce that he is an asshole.

This drug is so benign that people share it with their pets—it’s rare to go over to a meth addict’s house and see him chase his cat around with a syringe.

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PLAY TIME Stockton doesn’t partake on stage, but a contact high can make him channel his inner rock wild man.

Weed has become mainstream, and at comedy shows it is sometimes more pervasive than alcohol. I can tell who in the audience is stoned by who laughs at this joke: “Pot can make you paranoid.

When you get really high, you might decide you can walk on a beam of light, but you become afraid that someone will turn it off and you’ll fall down.” If you don’t think that’s funny, get high and try it again.

With A Little Help From Ringo One time I opened for Ringo Starr and His All Starr Band at the Mountain Winery in Saratoga. It is officially a 2,500 seater, but was so packed that people were sitting on branches of the trees.

As I walked to the microphone, a dense cloud of blue, sweet smoke rose from the seated crowd and rolled over the stage. It was like 3,000 people shotgunned weed directly into my face.

Three jokes into my act, it was clear the audience could not get my punch lines, because they couldn’t remember the setups. But it didn’t matter, because after breathing that smoke, my rehearsed bit list became a distant memory. So I put on my guitar, mimicked Peter Townshend’s windmill move, swung my arm around and around in a windup and smash a power chord. The crowd erupted into a yell like a volcano in slow motion. I played my funny songs and they clapped along, not in time but con brio.

When they started laughing, I was high as they were. Suddenly my 25-minute set was over. They liked me. Not the loudest applause I’ve ever gotten, but definitely the slowest to take form.

As I walked down the stairs to exit the stage, I passed Ringo and the All Starrs coming up. When Ringo and I landed on the same step, he stopped, tilted his head back, pointed a bejeweled finger at me and said, “Boys, now there’s a funny one.”

And Ringo is a funny one. Two young women, maybe 20 years old, were jumping up and down, screaming, “Ringo, we love you! Ringo, we want you!” Ringo looked at them and quipped, “Oh, I hope they’re not my children.”

My Big, Stoned Idea What I learned last week from my Life Is Too Snort show in San Diego is that everyone loves to laugh, and everyone loves to take drugs. What if we embrace those we can’t understand with cannabis and comedy? Canamedy! Maybe marijuana and laughter is the bridge our polarized society needs. A harmonious sanctuary. Giggles and ganja. Maybe the best way to connect with someone with an opposing worldview is to laugh at what you agree on, and then get so high you both can pass through a portal to see the world with a new view. Pass the dutchie on the left-hand side and say “Yes and…” to each other until you find a truth that makes you both laugh.

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Grind House

Surf City Shredder has made Santa Cruz a leader in the art of cannabis grinding BY HUGH MCCORMICK

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cannabinoids and sparkly trichomes that collect in the bottom chamber or the walls of a grinder. Larger ground buds collect in the chamber, and after persistent grinding, small pollen-like materials fall through a mesh screen and into the bottom extra-special chamber.

The intensity of kief can blow you away— collect it and sprinkle it on a bowl or in a joint.

Every seasoned cannabis connoisseur has a preferred method for breaking apart, preparing, and grinding their herb.

Today, there’s really no reason not to invest in a grinder. Most smoke shops carry a variety of herb pulverizers, and low-end models can be snagged for a measly ten bucks. (Of course, you get what you pay for.) On the other end of the spectrum, some ultra-high-end grinders can cost north of $100.

Santa Cruz Shredder CEO Matt Hanson founded the company with his partner Mark Edwards in 2007. An owner of

numerous smoke shops in the early ’90s, Hanson noticed that there were no grinders manufactured in the U.S., and that innovation in the space was seriously lacking. He and his company set out to change that. And they certainly did, effectively turning an industry on its head in the process.

“If you use a standard grinder, you get BB-sized chunks. What we did is invent and patent a totally new tooth design–it’s what we became known for,” says Hanson. “We created one of the first known brands in the grinder industry and the cannabis game. We started small, and things really caught fire.”

Hanson collaborated with a NASA scientist and a special program called Seimens CAD Software to invent what he says calls “the most 16

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PHOTO BY SHUTTERSTOCK

rinding–nope, not that dirtydancing kind—has emerged as an important and essential part of cannabis culture.

Preparing for a smoke sesh and properly breaking apart your sticky icky can be a challenging endeavor, but a well-built cannabis grinder or “shredder” can make the process a piece of cake.As key tools in the breakdown and preparation of weed, grinders come in a multitude of forms, sizes, and materials. There are single-chamber two-piece grinders, twin-chamber three-piece grinders, and tri-chamber four-piece grinders; almost all are palm-sized containers that easily and quickly shred nuggets of cannabis into finer and smaller chunks. With three main components—the grinding chamber, teeth to do the important shredding, and a lid to keep everything secure–a well-made grinder will quickly chop flower into fine and consistent little pieces.

The process of grinding cannabis allows for an easier and tighter roll and a more enjoyable (clean, even, and consistent) smoke. Many grinder aficionados note an improved flavor, potency, and taste of their herb. After all, part of weed’s magical effects stem from the tiny, delicate and crystalline “trichomes” that give it a frosty and oh-so-beautiful appearance. Breaking down weed by hand will cause thousands of those trichomes–where the highest concentrations of cannabinoids (THC and CBD) live—to stick to your fingers.

Finely prepared cannabis ensures more THC crystals get absorbed through combustion—the better cut, the better high. Three-piece and four-piece grinders, a bit on the higher end, have a rad little compartment under the normally solid collection chamber called the kief chamber. Kief is a term for the

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system and no-spills of precious herb and kief, Santa Cruz Shredder doesn’t do anything half-assed.

“We’ve spent a fortune to create an anodized machine shop to manufacture our shredders/grinders,” says Hanson.

Anodizing is an electrolytic passivation process that creates a mighty protective coating for aluminum. It prevents wear, corrosion, and failure of threaded parts.

It changes the microscopic texture of the surface and the crystal structure of aluminum near the surface. Long story short, Santa Cruz Shredders are truly scratch-resistant. Cheap and low-quality acrylic grinders, shaped out of plastic, are quite fragile and provide inconsistent and imprecise grinds. Wooden grinders are cool to look at, but fall apart quickly.

Aluminum grinders seem to be the best grinders out there, and Santa Cruz Shredders’ anodized aluminum is top of the heap.

There is, of course, one obvious question: why Santa Cruz Shredder and not Santa Cruz Grinder?

“Shredder just sounded better,” says Handon. “A lot of people call a grinder a ‘shredder’ now just because of our company.”

PHOTOS BY SHUTTERSTOCK

ever conceived by man.” Sharp-edged chompers are surprisingly not the best approach to grinding cannabis. They’ll dull over time and release toxic, itty-bitty flakes of aluminum into your smoking blend. Other grinders on the market cut once and allowed bb-sized chunks to pass through.

“The brand-new tube design we created ended up providing the perfect consistency, texture, and fluff for cannabis. Prior to us, the only grinder design was the diamond-shaped tooth design. I noticed this design releases burrs or metal and creates a chunky blend. Not good for rolling cannabis,” Hanson says.

Hanson says there are over 50 different brands of grinders out there. Sounds like a lot for a semi-small industry, right?

Well, almost all the players are located in the same district in Shenzhen, China.

“These days, almost everything is made in China. And they are all crap. We focus on quality. A grinder is essential, and clutch, for any cannabis smoker.

It’s one of the most necessary tools that every smoker needs. With a grinder, you just stick your cannabis in, turn it twice, and it’s done, “says Hanson. All of his company’s designing and manufacturing is done in California.

Prior to Santa Cruz Shredder entering the marketplace, there were very few options for those seeking high-end cannabis grinders. In just a few years, the company established itself as a leader, and jolted a stagnating industry.

The company invented a unique thread design that eliminates the binding and permanent seizing of screw-together parts. It also created a superior “knurled” grip pattern that makes their products easier to rotate and provides a “butter smooth fluffing tool.”

Using the highest quality magnets in the world to ensure a reliable lid closure

THE IMPORTANCE OF GOOD TEETH Grinders use metal “teeth” to shred cannabis into finer chunks that are easier to roll.

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AMONG THE WEED The author on the Farm in Pajaro Valley.

A Day on the Farm Touring Santa Cruz cannabis with a former smuggler BY JONAH RASKIN

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in ’75. A natural born storyteller, he has a green thumb and an innate ability to cut through yellow and red tape.

“My first crop was killer weed,” he says. “Unfortunately, I had to move it when a crew from PG&E spotted it. I didn’t want to be popped.”

Before MM grew weed in Soquel, he smuggled weed. Tim Blake, who created the Emerald Cup, did much the same.

The coast of Santa Cruz County is ideal for small boats that can evade the Coast Guard.

MM has never gone to jail. He doesn’t want to go to jail now. He’s not entirely legit, which is why I’m not using his real name or pinpointing his address.

For an hour or so, we sat in the sun and talked about our writer friends: Jim 20 Houston, who wrote Farewell to

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PHOTO BY MM

t was a Monday morning, and Marijuana Man (MM) was feeling chipper. I had taken I-280 to Highway 17 to MM’s two-story, book-lined house in Santa Cruz. MM and I both have Ph.Ds. There aren’t many of us in the cannabiz, though our degrees don’t help with cultivation.

MM knows nearly all there is to know about the cannabiz. He grew his first crop

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Manzanar with his wife Jeanne Wakatsuki; and Leonard Gardner, the author of the masterpiece Fat City. The Central Valley and the Central Coast grow good writers, as well as good weed.

MM and I climbed into his BMW and drove south to visit “the Farm” in Pajaro Valley, where he oversees the whole operation. By the time we arrived, the fog had retreated, the winds had abated and the sun was out in force. I saw acres of aromatic lavender and rosemary and watched the field workers harvesting those two herbs. Also, I met MM’s partner in his office, where he had an enlarged photo on the wall of Frank Sinatra’s mugshot from 1938. Sinatra was arrested and charged with adultery— later dismissed.

The law could never pin anything on Sinatra, which is one reason MM and his partner admire him. Sinatra did it his way. So does MM. Together, we toured a vast series of greenhouses, where acres of weed were growing and where workers were moving plants from small to large containers. I could smell it before I saw it. Elsewhere, thousands of plants were flowering, fans whirling and the temperature just right.

One of the women who kept a close eye on the workers tells me, “I only have one speed this time of the year: ramrod.”

I say, “Yeah. Gotta have continuous production.” She nods and explains that she has worked in agriculture her whole life, and that most of the weed cultivated, harvested, bucked and trimmed at the Farm goes to L.A. She calls it one of the most “ravenous weed markets in the world,” and adds that L.A. people are “chi-chi.”

In the 1980s—the hypocritical “Just Say No” decade— I sold weed at $4,000 a pound to the chi-chi crowd. I stayed for a couple of weeks at a time on the Beverly Hills estate of movie mogul Bert Schneider, who produced Peter Davis’ award-winning Vietnam doc Hearts and Minds and Bob Rafelson’s classic Five Easy Pieces.

Bert had the best cocaine and excellent California “sensimilla,” as it was called in those days, before “sativa” and “indica” came into use, and before growers talked

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about THC, CBD and terpenes.

Nearly everyone I met in L.A. dressed like a movie star. Hair right. Fingernails, eyeliner and designer clothes right.

Nobody at the Farm dresses like a movie star—certainly not MM, his partner or the woman in ramrod mode who wore jeans, a denim shirt and boots.

MM tells me: “I went through thousands of acres of greenhouses in Santa Cruz County and down dirt roads in my Jeep. I chose this location because it had the most reasonable taxation and promised to be the fastest to license and permit. Even then, it wasn’t that fast.”

Months later, the paperwork still has to be completed, in large part because the County of Santa Cruz and the State of California are at loggerheads. The county wants to give the green light to cultivation sites. The state wants to slow down the growth of the industry. It’s much the same story in other parts of California, where the local authorities are a lot looser than the bureaucrats in Sacramento.

MM wanted to eat at the Whole Enchilada, but it was closed so we settled for Phil’s Fish Market, which was packed.

An hour later, back at the Farm, MM picked out two lavender plants and two rosemary plants and gave them to me.

They’re now in the ground in my backyard, along with the two marijuana plants I transported in the back seat of my car. “Don’t worry, it’s legal,” MM said when he saw the worried look on my face. The woman in ramrod mode gave me a jar with a strain called “Pai Gow”— which is the name for a popular Chinese game, played with dominoes or with cards—and another strain called “White Bubba Haze.” Later this year, both strains will be available in dispensaries across California.

Not long ago, MM borrowed a phrase from Mao Zedong, the Chairman of the Chinese Communist Party, suggesting that one of the strains be called, “Let a Thousand Flowers Bloom.” That idea didn’t fly, though marijuana is a flower, and though thousands of marijuana plants bloom year-round at the Farm.

At home the next day, I smoked the “White Bubba Haze.” Fast-acting and

mellow, it got me pleasantly high, but didn’t prevent me from sitting at my desk and writing. After a break to cleanse my palate, I tried the “Pai Gow.” With scissors, I cut up a few buds, crumpled them with my fingertips, rolled a modest joint and enjoyed the taste of the terpens.

A few weeks later, I flew East, visited a couple of dispensaries on the other side of the continent, and talked to consumers, budtenders and a farmer in his 40s who made cannabis his religion when he was a teenager, and who still worships at the cannabis altar. “There’s very little law enforcement if you grow your own,” he says. “It has been difficult for the supply to keep up with the demand.”

Cannabis is not yet legal in parts of the East, including New York, Pennsylvania and Delaware, so consumers drive to Massachusetts, where pot tourism thrives. No two of the six New England states—New Hampshire, Maine, Vermont, Massachusetts, Rhode Island and Connecticut—have the same cannabis rules and regulations. In that regard, they’re like California, where each county has its own game plan.

The East Coast under the influence of cannabis can be as lovely a place as the Left Coast under the influence. New England dispensaries congregate in wealthy communities, where families have more disposable income and more potential for sizable tax revenue.

At “Theory,” a dispensary in Great Barrington, Massachusetts, I bought a couple of joints, smoked one of them and was quickly stoned.

It’s comforting to know one doesn’t have to transport weed on a flight and risk an arrest. Hip-hip hurray. Now, we’ll have to wait for Alabama and Mississippi to legalize.

Meanwhile, smugglers come to California, buy hundreds of pounds, transport it across the U.S. and deliver it to the Deep South, where folks are always eager for Golden State weed.

Jonah Raskin is the author of ‘Marijuanaland: Dispatches from an American War.’

CANNABIS CHRONICLE AUGUST 2021

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