Will laWmakers put farm mONeY Where their fOrk is? see News, page 11
Queen of snakes see 15 minutes, page 59
Radiohead’s
secret
sactO gig see sound advice, page 39
NeON hitch’s
bohemian
circus see arts&culture, page 24
Sacramento’S newS & entertainment weekly
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Volume 26, iSSue 07
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thurSday, June 5, 2014
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LONG LIVE THE ULTRA LIFE EXPLORE MORE at facebook.com/MichelobULTRA BEFORE
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©2014 Anheuser-Busch, Michelob Ultra® Light Beer, St. Louis, MO 95 calories, 2.6g carbs, 0.6g protein and 0.0g fat, per 12 oz.
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BUILDING A
HEALTHY S A C R A M E N T O
Making South Sac Bike-Friendly BY MIKE BLOUNT
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ransportation for residents without cars in South Sacramento has long been an issue. Perhaps due to a lack of public transit infrastructure in already impoverished neighborhoods, many residents rely on their bicycles to get around. But navigating busy intersections, such as Martin Luther King Jr. Boulevard and Fruitridge Road, has proven dangerous for bicyclists in the past. David Martinez, 56, travels daily from South Sacramento to Midtown for work by bicycle. Martinez says he’s been struck twice by a vehicle on Stockton Boulevard — once causing him to break his clavicle. “People [driving on Stockton Boulevard] are ignorant of bicycle riders,” Martinez says. “Stockton is a thoroughfare and people don’t pay attention. If I have time, I will go through the neighborhoods. It’s a lot longer, but it’s a lot safer.” Thanks to the Building Healthy Communities grant of The California Endowment, Sacramento Area Bicycle Advocates hopes to increase safety and improve access for bike riders in South Sacramento. As executive director of Sacramento Area Bicycle Advocates, Jim Brown works with local government, nonprofits and private business in Sacramento to help make the city more bikefriendly. In order to do that, Brown says that SABA first has to collect data. The organization engages the community and surveys residents about how they are getting around — when, how and where they are traveling. Where are some places that they currently can’t go?
BUILDING HEALTHY COMMUNITIES “We’re on the leading edge of this where we’re trying to identify routes where people need to go and address obstacles to make riding a bike in these neighborhoods as convenient and comfortable as possible,” Brown says. “We’ll be looking this summer into hosting community workshops to ask the residents how they would improve the street conditions in their area. That data is really important to drill down the areas that residents don’t feel safe traveling on a bicycle.”
“WE’RE ON THE LEADING EDGE OF THIS WHERE WE’RE TRYING TO IDENTIFY ROUTES WHERE PEOPLE NEED TO GO.”
changes, which could include proposed bike route lanes, signals, signs or a combination of all three. Brown says he’s hoping to have some proposed solutions by the end of the year, but it’s still early in the process. Residents in South Sacramento interested in participating in one of the SABA community workshops about bicycle safety should visit the organization’s website for more information at www.sacbike.org. “I’m grateful we have the opportunity to participate in the Building Healthy Communities work and have a hand in helping improve travel conditions for residents in South Sacramento,” Brown says.
In 2010, The California Endowment launched a 10-year, $1 billion plan to improve the health of 14 challenged communities across the state. Over the 10 years, residents, community-based organizations and public institutions will work together to address the socioeconomic and environmental challenges contributing to the poor health of their communities. David Martinez has been struck by a car twice while riding his bike on Stockton Boulevard. Photo by Mike Blount
Jim Brown Executive Director of Sacramento Area Bicycle Advocates In December 2013, a man riding a bicycle was killed when he was struck by a vehicle at the intersection of Martin Luther King Jr. Boulevard and Fruitridge Road. In 2012, two bicyclists were killed after being hit by a vehicle on Stockton Boulevard. Brown believes that these tragedies can be avoided by reducing vehicle speed, giving the driver enough time to avoid a bicyclist or a pedestrian. With support and recommendations from the community, SABA will work with city government officials to implement these
Your ZIP code shouldn’t predict how long you’ll live – but it does. Staying healthy requires much more than doctors and diets. Every day, our surroundings and activities affect how long – and how well – we’ll live. Health Happens in Neighborhoods. Health Happens in Schools. Health Happens with Prevention.
PAID WITH A GRANT FROM THE CALIFORNIA ENDOWMENT 4 | SN&R | 06.05.14
www.SacBHC.org
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Second Saturday, still RIP People call Second Saturday the “monthly art walk.” But we shouldn’t, because Second Saturday is no longer an arts event. Back when north Sacramento’s galleries started partying each second Saturday of the month, it truly was about the arts. Exhibits, fashion shows, performances—pretty not-normal art happenings were the norm. It inspired. So much so that Second Saturday eventually migrated to the central city: pop-up galleries, streets filled with musicians, thousands of visitors. City leaders, however, couldn’t handle it. They refused to organize bigger events for the masses to enjoy. And when thousands of people don’t have something to keep them busy, they do things like drink booze in alleyways, loiter in neighborhoods and tailgate. Second Saturday became trouble. Police started arresting teens for violating curfew, and eventually a young man was killed. The city swiftly cracked down with even more rules and red tape. Today, the event is devoid of meaningful artistic innovation. Galleries don’t embrace it. And suburbanites come downtown to check out that “Second Saturday thing” and leave calling it lame. Blame city staff and leaders, who’ve been unwilling—perhaps even afraid?—to use Second Saturday as an opportunity to celebrate the city’s uniqueness. They hassle even the most responsible community members that try to organize street scenes and arts festivals. But I’m hopeful. Look at Verge Center for the Arts (see Rachel Leibrock’s cover story, page 18). It’s a legit hub ushering in a new day for Sacramento’s arts scene. I see Verge shaking things up. A new generation of creators will arrive. They won’t let the city put them on a leash. They will take over. I can’t wait.
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STREETALK LETTERS NEWS OPINION FEATuRE STORy ARTS&CuLTuRE NIgHT&DAy DISH ASK JOEy STAgE FILM MuSIC + sound Advice THE 420 15 MINuTES
Creative Director Priscilla Garcia Art Director Hayley Doshay Junior Art Director Brian Breneman Designers Melissa Bernard, Brad Coates, Serene Lusano, Kyle Shine, Skyler Smith Contributing Photographers Lisa Baetz, Steven Chea, Wes Davis, Ryan Donahue, Taras Garcia, Lovelle Harris, Shoka
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Kate Paloy, Jessica Rine, Patti Roberts, Ann Martin Rolke, Steph Rodriguez
—Nick Miller
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Bites is on vacation this week
nic kam@ ne ws r ev i ew . com
BEFORE
June 5, 2014 | vol. 26, issue 07
A RT S & C U LT U R E
Custom Publications Writer/Copy Editor Mike Blount Executive Coordinator Jessica Takehara Directors of First Impressions Courtney DeShields, Matt Kjar Distribution Director Greg Erwin Distribution Services Assistant Larry Schubert Distribution Drivers Mansour Aghdam, Daniel Bowen, Russell Brown, Nina Castro, Jack Clifford, Lydia Comer, John Cunningham, Lob Dunnica, Chris Fong, Ron Forsberg, Joanna Gonzalez-Brown, Aaron Harvey, Wayne Hopkins, Brenda Hundley, Greg Meyers, Kenneth Powell, Wendell Powell, Lloyd Rongley, Lolu Sholotan, Jack Thorne President/CEO Jeff vonKaenel Chief Operations Officer Deborah Redmond Human Resources Manager Tanja Poley Business Manager Grant Rosenquist Accounting Specialist Tami Sandoval Accounts Receivable Specialist Nicole Jackson Sweetdeals Coordinator Alicia Brimhall Lead Technology Synthesist Jonathan Schultz Senior Support Tech Joe Kakacek Developer John Bisignano System Support Specialist Kalin Jenkins
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“It was probably a disagreement with my mother about being pushy.”
Asked at the West Sacramento Community Center:
What was your last fight about?
Jeff Long
sales
I disagreed with my daughter about where she should go to college. She wants to be able to go wherever she wants, and I’m thinking it would probably be better to be within a reasonable driving distance, in case she needs to get home or we need to get to her. That’s still a huge radius around Sacramento.
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Darren Fong
Donald Yates
project coordinator
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security guard
My wife and I disagreed over whose paycheck the car payment would come out of. She prevailed. It came out of my paycheck. It’s our shared car, but I’m paying for it. I guess it all comes out even.
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The situation over the NBA and Donald Sterling. I was kind of skirting it right down the middle. I understood the popular view, but at the same time, I honestly believe everybody is allowed their own personal views. It seems that the message was possibly intercepted illegally, and somebody just leaked it.
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Rick Lam
Melynda Blanchard
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My boss and I didn’t agree on how to approach a problem. I went with it because he’s the boss. There were multiple ways to achieve the same thing, and I thought my approach would have been a little easier, but he went with the hard way. It wasn’t really up to me.
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Corey Dunlap
student
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It was probably a disagreement with my mother about being pushy, and she wouldn’t listen to me. She was trying to get me to put my art into an auction, and yet I wouldn’t gain any money from this auction. I didn’t want to put my art up and not see anything from it.
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Chores. We were trying to get a chore system going, so we were working out the specifics, something that would be good for everybody. That was pretty much the main point of it, trying to make everyone on the same page, get the point across to everybody. Everybody had trouble with getting buy-in.
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California Bluegrass Association’s 39th Annual
Father’s Day Bluegrass Festival June 12-15, 2014
Nevada County Fairgrounds Grass Valley, CA
Info and tix at
www.cbaontheweb.org Top national bluegrass and old time acts on 3 stages, California Showcase bands, Kids On Bluegrass, camping, jamming, dances, workshops, activities for kids
8 | SN&R | 06.05.14
Re “Dollars, signs� by Nick Miller (SN&R News, May 29): I was not at all surprised to read this article and see the ridiculously steep amount of money being spent on lawn signs. It is impossible to drive or walk down any street in Sacramento without seeing those tacky plastic polluters stuck haphazardly in people’s front lawns. While I don’t think most people have a problem with anyone else expressing their support for the candidate of their choosing, lawn signs and the stacks of campaign mail that gets delivered on a daily basis certainly do little to ultimately sway my mind (and the minds of many others, I think) in favor of one candidate or another. Rather, it supports the idea that name recognition matters most when it comes time to submit ballots. The obsession with candidates’ celebrity presence in politics these days detracts from the ability of letter of newcomers to have a chance to incite the kind of change the week many average people see as necessary. Lawn signs and other propaganda discourage becoming self-informed, and instead promote a popularity contest. Personally, I think that $15,000 would be better spent somewhere else. Elaine
S a c ra m e nt o
 online buzz
On Sn&R’S endORSementS:
Thanks for the information. Next time I run into a liberal I’ll ask them to pull their head out of their ass so I can share this with them.
Re “Not OK on K Street� by Cosmo Garvin (SN&R Bites, May 22): Did the Colosseum build Rome? Rome built the Colosseum, because it had wealth. It did not generate Rome’s wealth. Advocates for the new downtown arena, however, claim economic growth will result based on assumptions and analogies with no empirical evidence. In fact, many studies show taxpayer-funded projects, including arenas and stadiums, are crony endeavors that leave city, county and state governments deeply in debt while team owners reap vast profits. Instead of going into debt so a billionaire can have an arena, Sacramento should focus on reducing barriers to entry for all businesses. The city council and mayor should eliminate, or dramatically reduce, business-license fees, professional licensing, zoning restrictions, property taxes, parkinguses taxes, sales taxes, use taxes and handouts to special interests. These changes, among others, will allow Sacramento to generate wealth from the bottom up, benefiting many more than just a few of the already wealthy. Brian Putkey Roseville
Karreen Denning Pedro
via Facebook why not just say we vote against the status quo ‌ oh wait ‌ we’re in California ... @mediacopp Wow, I cannot believe you guys endorsed Jay Schenirer. WANKAROO! Richard Wake
via Facebook You have got to be kidding. Only [voters] that don’t know any better would vote for these people.
On ScORekeepeR’S kudOS tO the city’S new mmA chAmp:
@WikipediaBrowne
On FOx 40 edging Out Sn&R’S SOFtbAll teAm:
@FOX40Biz
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Online Buzz contributions are not edited for grammar, spelling or clarity.
Boom! Nice to see @SacNewsReview giving props to @TJDillashaw!
We were all smiles after beating @SacNewsReview last night on the softball field.
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No Wind wings—for now See NEWS
See SCOREKEEPER
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We wanna support the arena, but ...
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See EDITORIAL
Ag order Advocates hoping to fight climate change first must battle lawmakers for bucks during California’s budget debate If Sacramento is truly the nation’s farm-to-fork capital, then the state Capitol has an by opportunity this week to prove so by Nick Miller putting millions of budget dollars where its mouth is. ni ck am@ newsr evie w.c om Here’s what’s at stake: California’s capand-trade carbon tax is expected to generate a cool $850 million next fiscal year. This money needs to be spent on projects that reduce greenhouse-gas emissions. Gov. Jerry Brown’s budget proposes that $25 million of this nut go toward agriculture. That’s not a ton of funding, but it is direly needed, and would be spent on fertilizer management, methane mitigation at dairy farms, biofuels, farmland preservation, plus other sustainability programs that combat climate change. The catch is that some Democrats in the Senate and Assembly have the governor’s ag money in their crosshairs. They want to use the millions for their own pet projects: urban infill, mass transit, etc. To that end, both houses of the Legislature have proposed their own budget plans. This concerns sustainable-agriculture advocates. Since most lawmakers represent urban areas, not rural districts, they fear that farmers might end up losing out on some of the state’s first ag-related funding in years. Lawmaker’s budget deadline is next Sunday, June 15. “I can’t predict how this will go,” said Jeanne Merrill, a policy director with California Climate and Agriculture Network, or CalCAN. But what she does know is that “you can’t seek agriculture solutions to climate change without protecting land.” When most Californians think of the fight against climate change, they picture doing so by switching out lightbulbs and not running the air conditioner, or by buying hybrid cars and driving less. “But agriculture’s total emissions … are roughly about 7 percent of the state’s total emissions,” said Ryan Harden, a staff researcher at UC Davis who works on studies for the California Air Resources Board and the California Energy Commission. He concedes that 7 percent is “not very much compared to electricity use and cars.” But it can make a dent. “Every little bit helps.” BEFORE
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photo by ANdrew brooks/istoCk/thiNkstoCk
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Scorekeeper plays nice
An aerial view of Sacramento farmland. Ag advocates and farmers hope to keep it that way—and want some budget funding this year to boot.
For sure, agriculture has definitely been part of the mix when California’s leaders look at ways to reduce emissions and meet the celebrated Assembly Bill 32’s globalwarming goals. “Natural- and working-land strategies to reduce greenhouse gases aren’t at the top of the list in the building,” said Merrill, “but I think we’ve seen good progress.”
“You can’t seek agriculture solutions to climate change without protecting land.” Jeanne Merrill policy director, California Climate and Agriculture Network One of the main ways agriculture addresses climate change is with fertilizer. Almost all crops in California need it. But UCD’s Harden said, “One of the bigger sources of greenhouse-gas emissions from agriculture is nitrous-oxide emissions from soils,” which comes from chemicals in fertilizer. Some 50 percent of ag’s overall emissions derive from this, he explained. Harden and others aren’t saying we should stop using fertilizers, however. Farming is too complex and vulnerable to advocate for that, he said. The state does encourage farmers to adopt greenhouse-gasmitigation tactics on a voluntary basis. Brown’s budget would allocate $5 million to research ways to improve STORY
fertilizers and manage their emissions. Again, that’s not a huge chunk of change. But it’s needed, experts say. “There are a 400 different kinds of crops in California, with different soil and different watering systems,” said Karen Ross, head of the California Department of Food and Agriculture. She argues that there’s “a huge need to develop a research road map” for how to manage fertilizers, and this funding will help pave the way. But the feud over farm-to-fork’s funding future is over more than just fertilizer. Democrat leaders in the Assembly have a different plan. They want to split the $850 million in cap-and-trade money into two pots: Some of this would eventually go toward reducing agricultural waste and “carbon farming,” a method of reducing emissions that is popular with farmers. But there aren’t any guarantees, and critics of the Assembly plan remain uncertain that money will be set aside for priority projects. The governor’s plan would be managed by Ross’ Department of Food and Agriculture, while the Assembly’s would be under the Strategic Growth Council’s purview (of which Ross is a member). Over in the Senate, lawmakers recommend setting aside a specific amount of the cap-and-trade revenue, $30 million, but for nonspecific emissions-reduction and water-efficiency projects. This plan builds off the governor’s drought bill, and the California Wildlife Conservation Board would oversee it. Sustainable-ag groups put up a good face and say they are happy to have any
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state monies. “We want to make sure some funding goes to agriculture,” Merrill said. “And we’re pleased all three proposals recognize the agriculture as a solution to climate change.” In a perfect world, however, farmers and advocates would like to see more investment in farmland preservation. This means investing in ag land and ending sprawl policies. “If you look at the rate of emissions for an urban area, they tend to have 70 times higher emissions than your typical plot of agriculture land,” said Harden. This means that the more farmland conservation takes place, the more Sacramento and the rest of the state can stabilize—and hopefully reduce—emissions. But, no surprise, conservation often takes a backseat to industry. This is why a large piece of the governor’s budget, $12 million, will go to big-time dairy producers, who hope to install pricey digesters to reduce methane emissions. That’s not a bad thing. And Ross says it’s a priority, “considering that we have almost 2 million dairy cows in the state and only a handful of dairy digesters.” But she also advocates for strategic growth, conservation and sustainability: investment in modernization of water irrigation, renewable energy on farms (more than 5,700 state farms primarily use renewable energy, she said), alternative fuels and soil health. “We can do all these things, and we know they’re the right things to do,” Ross said. But it comes down to money and time. “When I think about the next generation, I think we’re really going to see tremendous change,” she said. Ω
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Drop-in center for homeless youth closes as operators look for new home in central city The only drop-in center for homeless youth in the Sacramento region has closed, for real this time, but for a good reason, by say its operators. Raheem F. Hosseini The center operated by Wind Youth Services in north Sacramento ra heemh@ shut its doors on May 19, so more newsre view.c om accessible environs can be sought, said executive director Suzi Dotson. “We’re sort of off the beaten path of where the youths hang out,” she told SN&R.
along Richards Boulevard. Mullins said they’re also looking for buildings that are near light-rail stations and transit stops. In the meantime, Wind is taking to the streets, with youth advocates and nurses rotating between four locations during the week, armed with sack lunches, hygiene kits and “spot-triage” medical care. “It’s proving to be, at this point, a better situation,” Mullins said. “We’re PHOTO BY BRIAN BRENEMAN
That doesn’t mean the center wasn’t getting visitors, just not the kind it was intended for. While Wind’s website says the center averages about 45 unique visits a day, Dotson and development director Sarah Mullins said only 10 to 15 of those visits were from Wind’s target population— homeless or extremely low-income youth between the ages of 12 and 24. The rest were older individuals the center wasn’t funded to serve, they said. Dotson and Mullins said they were in the process of updating the website to include “more current information.” Dotson said she anticipates reopening the drop-in center at a different location by August, if not sooner. “We’ve already got our board members working on it,” she said. No new site has yet been identified, but Mullins said the hope is to resettle closer to where homeless young people congregate. That search is encompassing Midtown, downtown and just beyond, including an area where Broadway merges with Old Sacramento, and also
Wind Youth Services closed its drop-in center at 701 Dixieanne Avenue on May 19.
Homeless youth in need of services can still call the drop-in center at (916) 561-4900. Calls will be directed to the administration office.
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bringing [services] to them rather than making them come to us.” The teams are already reaching larger numbers than the shuttered drop-in center. Mullins said the teams are seeing between 25 and 30 homeless youth a day. She expected those numbers to rise “once our schedule is a little more known within the homeless youth on the streets.” As of now, the only thing that street outreach can’t provide is showers, so Wind is dispatching a weekly shuttle for any youths who are interested in traveling to a residential location where they can clean up. More intensive casework is being offered at Wind’s administration office on Howe Avenue, while significant medical issues are referred out. As for the old drop-in center building, which Wind owns free and clear, Mullins said the board is considering various options on what to do with it, including possibly renting it to a partner organization. “It’s such a great space,” she said. Not everyone was happy with the decision to relocate the center, which
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Marijuana handout
provided showers, laundry facilities, food boxes, water and other supplies, as well as individualized case management and medical advocacy, according to Wind’s website. Woodlake resident Karen Solberg said she worked at the drop-in center for approximately 18 months, until she was dismissed in April. She was assigned through a federally funded AARP program that places unemployed seniors at nonprofits and government organizations across the country. The part-time employees are paid through AARP to learn new job skills, while the nonprofits get some no-cost help. The placements aren’t openended, said a local AARP director, and participants are supposed to “dilligently” look for full-time work while in the program. Dotson said she was told to transition two longtime AARP staffers out of the center when she came on as executive director in January. “AARP actually pushed us to do that,” she said. Solberg said another AARP member was let go because of their race and accused Wind of closing the drop-in center for financial reasons. “Now that they have government money,” Solberg said, Wind wants to focus exclusively on sheltering homeless youths in return for financial reimbursement. Solberg was referring to a potential contract between Wind and the Sacramento County Probation Department, first reported in SN&R (see “Avoiding juvie” SN&R Beats, May 22). The agreement would direct approximately $107,000 to Wind in exchange for sheltering juveniles who would otherwise be detained at probation’s youth-detention facility, a.k.a. juvenile hall. But part of that funding would also keep the Wind center open for longer hours, Mullins said. “We see the center as the core of what we do,” she added, rejecting Solberg’s claim that Wind was retreating from that mission. Last week, Chief Probation Officer Lee Seale heralded the developing partnership as a way to divert at-risk children from the juvenile-justice system. In 2013, Wind lost a $540,000 three-year federal grant it’s put into operating its center for years. Wind says an estimated 1,700 homeless youth live in the Sacramento region. Ω
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Grinchy supervisors completed their rollback of medical-marijuana access in unincorporated Sacramento last week, and patients were left saying thank you. That’s because the Sacramento County Board of Supervisors, under the “leadership” of District 4 member Roberta MacGlashan, initially pushed for a total ban on all cultivation. The board approved an outdoor ban in April. On May 28, supervisors stopped just short of eradicating all indoor growth. The ordinance adopted last Wednesday says qualified patients and caregivers can possess up to nine marijuana plants in their homes, and treats any scofflaws as public-nuisance violators. Canna Care co-owner Lanette Davies thanked supervisors for the bare minimum carve-out, even as she and others suggested they consider allowing cultivation within secure greenhouses located outside of the home. “It’s a start,” she said. “However, nine plants probably won’t sustain them.” County staff agreed that nine plants weren’t a lot, and referred to the number as “such a minimal number of plants” compared to cities that allow up to 50 plants per home. The city of Sacramento, which bars outdoor growth, allows up to 400 square feet of cultivation area in permitted residences. (Raheem F. Hosseini)
Rubbed out Sacramento County law enforcement is tired of playing hand-job Whac-A-Mole. For every illicit massage parlor cops shut down, the county says another illegal operator reopens in the same location. Until now. A new ordinance adopted last week by the Sacramento County Board of Supervisors says that when a massage parlor is closed for illegal activity, no new parlor can open in that location for one year. A staff report from county finance director Julie Valverde says this is because parlors that lend themselves to being fronts for prostitution have the same basic layout: Outer windows are usually tinted, and the door behind the reception desk is typically locked. Behind that door, in a hallway connected to small rooms, is where all the naughty stuff happens. Because of the layout, the staff report says, “it costs very little to ‘flip’ ownership from one illicit operator to another.” The staff report says the ordinance is less severe than a “red light abatement” from the district attorney, which rescinds a property owner’s rental rights for up to one year and requires a high burden of proof. Under the ordinance adopted May 28, if a massage parlor is closed, the property’s owner can still rent or lease it to other businesses. In late April, the sheriff’s department made arrests at seven massage parlors in the county, seizing business licenses and permits in the process, a department release states. (RFH)
Crystal-ball budgeting Sacramento city officials anticipate the Measure U sales tax that voters approved in 2012 will bring in a $31.8 million windfall next year. That’s the feel-good news. Measure U expires in March 2019. No more $32 million a year, plus $22 million in annual arena debt and another $20 million in new public-employee pension obligations add up to a $75 million deficit. City Hall staff term this a “fiscal cliff,” which is a buttoned-up way of saying “Oh, shit.” The solution will probably mean pitching another sales-tax increase. Of course, it’s possible that in five years, voters will be sick of fees and taxes. While 64 percent of Sacramento voters supported Measure U, who knows what the local body politic will be up for in 2018, when a new tax measure would have to go before voters? (Nick Miller)
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SCORE KEEPER Sacramento’s winners and losers—with arbitrary points
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Sacramento-born Miguel Ángel Ponce is going to the World Cup—but not for the United States. He’ll be representing Mexico’s squad. Ponce got the call a couple weeks ago while vacationing in Sacramento that he’ll be replacing an injured player. On one hand, it sucks that he chose to play for Mexico; we really need some better defenders—especially at left back where Ponce plays. But it’s cool that someone from Sacramento is in the World Cup, and it gives us a good reason to cheer for our neighbors (who, to be honest, have a much better chance of getting through the group stage than us).
A dispute between the city and the state has kept the development of K Street’s 700 block in limbo for more than a year. But last week, Senate President Pro Tem Darrell Steinberg announced the makings of a deal that could spark construction on the shovel-ready mixed-use project this year. About time!
+ 700 Yellow cab, red card
+ 916 IMAGE BY KoEn SchrIjvErS/IStocK/thInKStocK
Scorekeeper doesn’t get the city’s newly approved taxicab regulations. Making cab drivers take an English test? Hmm—should they have to learn Spanish, too? Or Hmong or Russian? You know, since a large chunk of California’s population speaks those languages? And how about requiring drivers to be clean and smell good, or to wear certain clothes? Is that fair? We’re not so sure. This is not to mention the budding industry of crowdsourced drivers on Uber and Lyft, hundreds of “cab” drivers that the city hasn’t bothered regulating.
It’s a bird, it’s a plane, it’s … ah, crap Fix 50 westbound work kicked off last week—and the media and lawenforcement helicopters are back with a vengeance. Because eye-in-the-sky views of traffic are so damn compelling.
- 50
- 4,442,222 Stingers up! Big ups to Sacramento State University’s men’s baseball team for making it to the College World Series. Here’s to many more tourney appearances.
+ 100
Life for the stage Last Friday, B Street Theatre secured an $8.4 million loan for the building of its future home on Capitol Avenue and 27th Street. This will help the theater company secure federal funding, which in turn will help it begin construction soon. Congrats!
+ 8,400,000 14 | SN&R | 06.05.14
fixinG gaRage dooRs
Feel-bad movie, feel-good change American Winter reveals the true recession
Since ‘64!
This is my first movie review. I can say this film will move you to tears. It is a real feel-bad movie. I will give it an exploding popcorn bucket rating. If you care about America, you must see this film. You will come away from it a changed person. The movie is American Winter, produced by Emmy Award-winning documentarians Harry and Joe Gantz. It chronicles the lives of eight families in Portland, Oregon, struggling to keep their heads above water during the recession in l by JeFF VonKaene 2008-2009. Shown at UC Davis late last month, the film was followed by a panel discussion about j ef f v@ ne wsreview.c om poverty in Yolo County. The movie features eight families with children. Some married couples, a few single moms, and a single dad. They were all working to support themselves and their families. And then, suddenly, they were clobbered by the recession. They lost their jobs. And they were unable—despite desperately, frantically looking— The kids who to find new jobs. Then, things really started felt that it would to fall apart. Their benefits out. They couldn’t pay be easier for the ran their mortgage or rent. They parents if they did couldn’t afford to pay their utility bills. They moved into not exist. a garage, and then a shelter. Their electricity or water was turned off. They had to move into their mom’s overcrowded apartment. They had to skip meals so their kids POOR would have enough to eat. While the interviews and reality-TV-like glimpses into the parents’ lives were moving, the interviews with the children were devastating. The kids who blamed FAiR themselves for needing to eat, for needing shelter, for having medical bills. The kids who felt that it would be easier for the parents if they did not exist. And certain GOOd things could not be hidden from the children. Like a foreclosure sign on the front door. Like having the electricity turned off. Like having no food in the house, so they needed to visit a friend at mealtime. The kids knew VERy GOOd what was going on. And it was painful to watch. And the loving parents were brokenhearted and ashamed that they were not able to take care of their kids. The movie was filmed in Portland, but it is ExCEllENT an American story. The panel, led by Yolo County To purchase Supervisor Don Saylor, talked about similar stories in American Winter, our region. or to host or There are those, led by the Republicans in Congress, find a future who believe poverty in America is not about economics, screening, go to www.american but about character. They are right. It is about character. winterfilm.com. The character of the greedy bankers and businessmen who used their economic power to manipulate laws, tax codes, government programs, trade policies and corporate Jeff vonKaenel boards to so unfairly benefit themselves. At the expense is the president, of their fellow citizens. CEO and The increasing income inequality in our country needs majority owner of to be reversed. Watch American Winter. It will change the News & Review Ω newspapers in you. And then, let’s change America.
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Father’s Day Weekend | Saturday June 14 12–6 | Folsom, California | Palladio
Come to the 2nd annual Folsom Rhythm & Brews, a free family-friendly event with great musical talent, the best craft breweries, fantastic food choices, and more! 6 Bands 2 Stages Tommy Castro & The Painkillers Dennis Jones Band Val Starr & The Blues Rocket Jim Lauderdale Roy Rogers & The Delta Rhythm Kings Danny Click & The Hell Yeahs
Free Admissi0n Family–Friendly 40+ Craft Brewers Tasting 12P – 5P
Order Your Craft Beer Tasting Kit Online Now! Only 18 (save 7) through June 2 online ($25 thereafter)
Kid ZOne
Activities for kids even better than last year!
Joan Baez Los Lobos Indigo Girls
Jackie Greene Darlene Love Playing For Change Garth Hudson (The Band/The Last Waltz) featuring Sister Maud HUDSON Tim O’Brien & Darrell Scott Rodney Crowell
Beausoleil avec Michael Doucet The Wood Brothers Amy Helm Tom Paxton Paper Bird The Blues Broads Joe Pug The Duhks Eliza Gilkyson Mary Gauthier Poor Man’s Whiskey Wavy Gravy David Luning Patchy Sanders Las Cafeteras Perfect Crime Bootleg Honeys Rhythm Rangers Highway Poets MANY MORE
AT BEAUTIFUL BLACK OAK RANCH • LAYTONVILLE Tickets & Info. 415-256-8499 (Inticketing) katewolfmusicfestival.com 16 | SN&R | 06.05.14
www.follssomrhythmandbrews.com A portion of proceeds benefits the Folsom Chamber of Commerce, their partner local service club(s), and Young Life. Tasting kit includes 16-ounce pint glass with logo and seven (7) tasting tickets; additional tasting tickets available at event: 4 tickets 5, 9 tickets 10, 20 tickets 20. Must be 21 or over for tasting kit and tickets. Event is rain or shine. No refunds or exchanges. Artists subject to change. No outside alcohol allowed in event. © 2014 Carrera Productions, LLC. All rights reserved. SHIN SHING S HING HING HIN HI IN NGLE NG LE SPR SPRI SPRIN SPR SP PR PRIN RIN IN NG GS S S UBA SUB SUBAR SUBA UBAR UB BAR ARU
This Modern World
by tom tomorrow
Juicing craze is getting crazy Sacramento has predicted its future. And that future is Metro Juice Company is already a regular kale juice. at local farmers markets. A 12-ounce bottle by I suppose this shouldn’t come as a of beet-carrot-ginger is priced at $7.25. Janelle Bitker huge surprise. The Downtown Sacramento Delicious, certainly, but beyond yuppie-priced. Foundation picked its two winners for the Supposedly, cold-pressed juice costs so much Calling All Dreamers contest a couple weeks because there are literally pounds of produce in back, and it awarded the top prize to quirky, each bottle, and pounds of pressure needed to eco-friendly clothing company Ana Apple. juice it all. And skinny celebrities like them. That means Ana Apple gets a startupWe all saw the trend coming when business package valued at $135,000, with a Starbucks bought a juice company in 2011 for shop in Old Sacramento. $30 million. That company, But in a surprise twist, To tout a high-end by the way, has a juice-food the foundation gave the pairing guide on its website. juice bar as a Metro Juice Company Did you know tropical blends a special award with a accentuate banh mi? unique example storefront at 800 J Lofts. Another business, Sun of the “vision for Because, according to the & Soil Juice Company, is announcement, juice is set to open at 1912 P Street downtown” just “uniquely positioned to this spring with remarkably sounds silly. support the overall vision similar-sounding offerings. for downtown.” But instead of disposable cups, In this vision, residents apparently it’ll be extra green with a glass-bottle-exchange participate in juice cleanses. They pair organic, program. flavored nut milks with their salads. They grab Then there’s Soulstice Juice, cold-pressing a nutrient-packed, exotically spiced, coldthe raw stuff in El Dorado Hills. And Peel’d, pressed beverage to guzzle down on their way Sacramento’s harbinger of juice diets. Plus, to yoga. long-standing Luna’s Café & Juice Bar and I guess I have nothing against juicing and relatively new Cap City Squeeze Juice Bar, healthful lifestyles. After all, SN&R’s own which don’t cold-press but still juice. Nick Miller did a juice cleanse earlier this year. Whatever. Juice is delicious, and its associaBut to tout a high-end juice bar as a unique tions with bikes, yoga and inner peace are all example of the “vision for downtown” just good things. I guess I’m just bitter there are still sounds silly. no downtown plans for artisanal toast. Ω B E F O R E | N E W S | F E A T U R E S T O R Y | A R T S & C U L T U R E
Arena benefits for all One day before last month’s vote to approve the arena deal, the Sacramento Kings and Mayor Kevin Johnson introduced a new coalition called Sacramento First. This group’s goal was to ensure that those impacted by the arena’s development would receive community benefits. Yes, that sounds like a great thing. In other cities, there are binding community-benefits agreements where developers guarantee affordable housing, fair-wage jobs, loans for impacted small businesses and more. But the problem here in Sacramento is that the groups who’d been advocating for months for a Kings arena CBA—such as the Sacramento Housing Alliance, Sacramento Loaves & Fishes, and the Environmental Council of Sacramento—were not invited to be a part of the mayor’s group. Instead, as Nick Miller reported (see “Kings, K.J. snub Sacramento groups working to ensure equal community benefits from new arena,” SN&R News, May 22), the new mayor-led group consisted of proarena politicians, a Kings lawyer, the arena’s architect AECOM, Region Builders and even Johnson’s chief of staff, among others. This is not acceptable. What good is a coalition if stakeholders aren’t invited to the table? SN&R wants to support the arena and downtown’s revitalization. It’s going to happen, and we hope for the best for the city. But we also need to see a gesture of good faith from the mayor and the Kings. Advocates for affordable housing, mass transit and living wages shouldn’t be kicked to the arena’s curb. Ω
Obama’s secret It’s one of the Obama administration’s dirty little secrets: Despite the president’s stated support for immigration reform that would allow for the naturalization of millions of people currently in the country illegally, his administration has aggressively pursued record numbers of deportations, including more than 400,000 in 2012 alone. Many of these have come as a result of President Barack Obama’s Secure Communities program, which requires police to refer people suspected to have immigrated illegally to federal authorities for possible deportation regardless of the reason for their arrest. Critics have held that the policy has resulted in the needless expulsion of thousands on the basis of nothing more than minor offenses, such as driving without a license. Now, in the wake of the passage of California’s Trust Act, statistics appear to support these claims. The Trust Act, enacted in January, overrides Secure Communities by prohibiting police from holding individuals for immigration authorities unless they are charged or convicted of a serious offense. The result has been a whopping 44 percent decline in the number of people held for potential deportation in California, according to an Associated Press study. If Obama truly supports compassionate and rational immigration reform, he should take these numbers as evidence that he should follow California’s lead and amend Secure Communities to stop the mass deportation of minor criminal offenders. Ω | A F T E R | 06.05.14 | SN&R
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ometimes Liv Moe is amazed to have even reached this point. “I keep looking back,” she says, walking through the Verge Center for the Arts on a recent morning. “And it’s a miracle.” After a nine-month closure, Verge will reopen on June 5 with Champagne, an exhibit curated by Yarrow Slaps, a San Francisco-based visual and performing artist. It’s not just any opening. Inarguably, Verge’s relaunch cements its status as the region’s most important arts destination outside of the Crocker Art Museum. And it signals a major tipping point, not just for local artists and enthusiasts, but the city as a whole. Certainly, there’s no other place like it around. And while Verge has long earned notice at home, nationally and abroad, this next chapter just further boosts its profile. At nearly 25,000 square feet, the center boasts two exhibition spaces and 37 artist studios, making it a centerpiece in Sacramento’s Southside Park neighborhood—one poised to help revitalize this sleepy, tree-lined row of blocks into a creative enclave. But first, there’s still much to complete: Moe makes her way through Verge, dodging ladders here and checking light fixtures there. The building booms with the sound of hammers, saws and yelling construction workers, who must rush to turn this landscape of drop cloths and heavy equipment into a finished canvas. No easy mission, especially since the contractor’s just informed her the interior paint crew is actually only available for one day. And yet, amid the chaos, Moe remains easygoing, philosophical even. “The deadline will come and go either way,” she says with a shrug. In other words, Verge will open and continue to do what it already does very well. Shelly Willis, executive director for the Sacramento Metropolitan Arts Commission, says this next phase is vital. “A healthy visual-arts scene relies upon a contemporary-arts center—which is what Verge is,” she says. “It’s essential for any city.” Moe shares a similar view. Sacramento already has much to recommend it to artists: It’s pretty, easy to navigate and, importantly, affordable. But, she adds, that’s not enough. “It needs more in terms of building on and refining resources that we’re offering,” she says. “It’s about striking more of a balance between supporting who you have and then bringing in [new] things.”
As the Verge Center for the Arts launches its new contemporary-arts center this week, it signals a major cultural tipping point for the city
by Rachel Leibrock
rachell @news review. com
photos by Taras Garcia 18 | SN&R | 06.05.14
T h e a RT e c oN om y On any given Second Saturday, Sacramento can feel overrun with artists’ receptions. But while complimentary cheese cubes and Two Buck Chuck may lure people into galleries, such things don’t necessarily make for a vibrant arts community. It’s one reason why Moe envisions Verge as a place that promotes a sense of “ownership.” “The way the art scene and the art world have been shifting, things are more integrated, and people want to have more participation,” she says. “We wanted to establish a space
where people … could be involved and do something—not just come here for a little bit and then leave.” To that end, Verge offers lectures, classes and workshops, including labs with Myrtle Press, the only printmaking facility of its kind in the region outside of a college setting. “It’s increasing, but historically, there haven’t been a lot of artist resources in the community,” Moe says. “I wanted to establish a place where people could rent a studio and have an educational experience.” Verge’s model is a fundamental necessity, SMAC’s Willis says. “[It’s] a multifaceted place to show work that is of the moment; with it you have this energy that is created.” But that’s just one component, she adds. A scene also requires education, museums and a robust commercial gallery scene. Sacramento has the Crocker, of course, as well as acclaimed programs through UC Davis, Sacramento State University and area community colleges. Still, its art economy lacks. “We don’t have a strong buying community here yet; we haven’t reached critical mass,” Willis says. Getting there is crucial. “You want artists to be able to stay here because they’re selling work,” Willis says. “You need [that] to get to [be like] places like Portland and Seattle—all those great, visual cities that we talk about. It’s the whole story.” Local artist Gioia Fonda agrees. She’s been with Verge as a studio artist since its inception, and says Sacramentans aren’t accustomed to buying art. “There’s the disposable income … but people aren’t quite trained to think about what art can do in our lives,” she says. As a nonprofit, Verge’s success doesn’t rely on sales. It’s a model many other local venues have adopted. Beatnik Studios, located a block away from Verge, started as a photography cooperative, but now markets itself as a “space to be creative” with live music, studio rentals and even event space for weddings. Likewise, in nearby Curtis Park, Sol Collective has established itself as a multiplatform center for the visual and performing arts. Founder and director Estella Sanchez launched the venue in 2003 on Del Paso Boulevard. Money, she says, has never been flush, but also not a deterrent. The ongoing question was simple: How do you grow a business without money? Her best tools, Sanchez says, were already around her. “When I opened, I was funding it myself, paying the rent,” she says. “A lot of the programing we had came from community members, which kept our costs down.” Following a 2008 fire, Sol Collective reopened in 2009 on a shady stretch of 21st Street near Broadway, calling on community elders, artists and former professors to help. It worked. Modeled after Berkeley’s La Peña Cultural Center, it focuses on art, culture and activism with 3,000 square feet of industrial vibe with colorful, graffiti-styled art that includes a recording studio. Over the years, it’s partnered with local arts venues including Verge, the Crocker and the Sacramento History Museum as a way to develop and expand its programming. BEFORE
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The newly opened Verge Center for the Arts, located at the corner of S and Seventh streets, boasts nearly 25,000 square feet, two exhibition galleries and studio spaces.
Liv Moe, Verge’s executive director, says the new space will strike a balance between supporting local works and well-known national and international artists.
It’s also home to Spanglish Arte, a tiny gallery and retail space, and also hosts workshops, a poetry open-mic, live music and festivals, such as a recent one devoted to piñatas. “This is a community space before anything, and art is the tool we use to educate,” Sanchez says. Back at Verge, Moe says she admires Sanchez’s work and role in the local art scene. Certainly, they’ve experienced similar financial struggles. In 2010, Verge relocated from its original spot at V and 19th streets; at the time founder Jesse Powell had stepped away from day-to-day oversight and still funded some expenses. But it wasn’t enough. “There was money to pay for the building, but not to run it,” Moe says. And so she went without a paycheck for eight months, picking up odd jobs to pay her own bills.
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“I don’t even know that it was a choice,” she says now. “It was either pay the lease or take a paycheck. I paid the lease in order to keep the whole thing alive.”
‘A h igh t i de RAiSeS All ShipS’ There may not have been money, but Verge was already successful from a critical standpoint. The center, which opened in 2008 as the Verge Gallery & Studio Project, quickly earned acclaim for high-profile exhibits. There was Doug Biggert’s Hitchhikers and Other Work exhibit, including a series of provocative
“Historically, there haven’t been a lot of artist resources in the community. I wanted to establish a place where people could rent a studio and have an educational experience.” l iv Mo e
“ART EVOLUTION”
executive director verge center for the arts
continued on page 21
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CALL FOR
ARTISTS THE SN&R NEWSSTAND ART PROJECT SN&R is seeking artists to transform our newsstands into functional art. To see how you can be a part of this project, please contact grege@newsreview.com
20 | SN&R | 06.05.14
“ART EVOLUTION” continued FRoM page 19 Polaroids from the longtime Sacramento resident. Museum of Love: The Work of Daniel Johnston featured illustrations and early musical works from the celebrated Sacramento-born, Texas-based artist. And there was Nuclear Projects and Other Works, a four-decade retrospective by regional artist Stephen Kaltenbach, whose works are included in permanent collections at the Museum of Modern Art in New York City and the Crocker Art Museum. Kaltenbach’s exhibit—Verge’s first, in fact—earned a review in Art in America magazine, while Vice magazine covered Biggert’s Hitchhikers exhibit, which also later showed in New York. Moe, who started at Verge as a resident artist before joining its staff, says the curation of those exhibits was strategic. “These were people who came out of the region who had big national followings but, with the exception of Steve—because he’s in the Crocker—weren’t [well-known here],” she says. “Those exhibits were about getting people to refocus on some of the things that are happening in our community that are of value and worth.” In other words, they put a major spotlight on Verge. That’s critical, says Fonda. “We have a lot of local pride, but we also shoot ourselves in the foot when we don’t show artists from other cities,” Fonda says. “We’re not having an exchange; there’s a lack of dialogue.” That shortsighted approach hurts emerging local artists, too, she adds. “We do these things like celebrate [Wayne] Thiebaud and [Gregory] Kondos over and over again,” she says. “When those guys were in their 30s and 40s, they hadn’t accomplished anything of that importance yet—it’s time to celebrate new hometown heroes.” That’s still a focus, at least in part, in Verge’s latest phase. The center’s front, 1,900-square-foot gallery space is home to Axis Gallery, a contemporary-arts collective previously located on 19th Street. Its members’ works will give Verge a local presence, allowing Moe to focus on national and international exhibits. Axis president Phil Amrhein said he immediately recognized the collaboration as as a “great opportunity” for all involved. “We’re going to bring a lot of people in for Verge, and vice versa,” Amrhein says. There are other benefits, too, besides increased visibility. Axis’ participation was crucial to Verge’s transformation. Although the center boasts an impressive board of directors, including Powell and former Sacramento mayor and state Assemblyman Phil Isenberg, when it came time to secure a loan to purchase the building, the banks wanted to see an income stream. That bit of red tape epitomizes the troubles Verge—and other local arts venues—face on a regular basis. “There was a lot of frenetic energy [on the arts], but none of it really focused in one direction, and it didn’t provide any tangible resources,” Moe says. “Nothing concrete was happening.” BEFORE
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Moe sits with Delfina Piretti’s “Nonna Sin Eater.” The mixed-media installation is part of the current Champagne exhibit curated by San Francisco artist Yarrow Slaps.
Financially, that meant that while Verge had its supporters, it was still in desperate need of cash. Advisers told her to think big: Solicit large corporation donations. Without them, they said, the center would sink. Donors, however, weren’t initially receptive. “At that point, we were in this holding pattern: The Crocker had just reopened [after an expansion], which was kind of like a morale boost, … but the one drawback was that people didn’t realize the difference,” Moe says. “The Crocker is awesome, and we have to have it for a healthy arts community, but you also need resources for artists, you need to have emerging work. … A high tide raises all ships.” And so Moe shifted focus, turning to the community with efforts that included a massive rummage sale and crowdfunding. The new efforts were an immediate success. Verge’s inaugural campaign in October 2012 was driven by social media, with 85 percent of funds raised coming through Facebook. “We realized this is more of a grassroots effort,” she says. Now, although Moe expects Verge will be sustainable, at least in part, through memberships, studio rentals and events such
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as the recent silent auction and dinner that raised more than $80,000, those early efforts continue to reverberate. “This model ended up working better,” Moe says. “You’re not just focusing on small pockets of people, but instead a community behind you.”
‘A N A m A z i N g time to be iN S Ac R A m e N t o’ When it comes to art, the strength of community sometimes barely feels like a match for the process of creating spaces for it. Moe saw that a few years back when Verge collaborated with an Oakland gallery. There, the city promotes art via its Oakland Art Murmur program, which, in 2012, hosted more than 1,200 artists and 400 exhibitions and reached an estimated 84,000 people, according to organizers. With several monthly art walks, exhibits and food trucks galore, it’s an example of how art can fill a public space. “It was really eye-opening,” Moe says now. “Verge had just cleared all of its permits, and here we are in Oakland setting up a show in an auto-body shop … with hundreds of people coming through the space.”
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Moe asked the gallery curator how he got around the city’s occupancy rules. Simple, he said. Because the program was based in one of Oakland’s less-established neighborhoods, the city viewed their presence as part of a rehabilitation effort. “They’re not going to come down with a bunch of restrictions, because this is breathing new life into the community,” he told her. That’s not always the case in Sacramento. For Verge, Moe spent months drawing up plans and meeting with city officials in order to get the space correctly zoned. Without the rezoning, the center would have faced even more time-consuming—and expensive—fixes. Anecdotally, tales of what must be the 10th circle of hell reserved for obtaining various permits and city approvals abound—something local artist Melanie Bown learned firsthand when she launched Milk Gallery with a partner in 2011. The permit process makes for a frustrating maze of applications and intricate city-code checklists, she says. “It’s very complicated, and we never knew if we had done everything we were supposed to do. There were just a lot of hoops.” These days, Bown is out of the gallery business—at least in the conventional sense. In addition to curating exhibits at various venues, she also stages pop-up shows. No permits. No paperwork. Minor expenses. Less headaches. “I don’t know how many people are actually making it anymore with just the traditional gallery model,” she says. Candice Adams, an intern at Verge, agrees. Later this month Adams will graduate with an undergraduate art degree from UC Davis, but her next chapter remains unclear. Sacramento artists need more resources, she says. More opportunities to create, exhibit and sell. “I’m 100 percent for more interactive spaces—spaces that thrive,” says Adams. For example, she says, in North Carolina, there’s Elsewhere, a “living museum” that’s home to vintage objects, clothing and furniture that artists use to create new pieces and installations. “That’s what art begs to be,” she says. “There are a lot of things happening in Sacramento, but I’m not sure if they’re the right things. There should be more crossover, more collaboration.” Willis at SMAC acknowledges artists and venues face frustrating obstacles. The commission, she says, can offer resources. But more important, she adds, the city’s stance toward and support for art is changing. “We’re on the verge of something, and we have been for a long time—for five or six years now,” Willis says. “All these elements are starting to fall into place; it’s an amazing time to be in Sacramento.” Specifically, Willis points to the Warehouse Artist Lofts, 116 low-income living spaces currently under development in the R Street historic district between 11th and 12th streets.
“ART EVOLUTION” continued on page 22
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invites visitors to “feed” dried pasta to the artist’s rendering of an Italian grandmother. A few feet away, Dustin Fosnot’s “Tree Houses” Continued froM Page 21 makes for a dreamlike forest of trees and birdhouses. Nearby, Brett Amory’s “Waiter #9” oil on canvas looms large, its depiction of a seated The infill project, lead by CFY Development corpulent man both capturing and eliciting a Inc. vice president Ali Youssefi with the Capitol sense of weary awkwardness. Area Development Authority, will be a mixedYarrow Slaps, the exhibit’s curator, will be at use space with studios and apartments offered at the June 5 opening reception, as will many of its affordable rents for artists of all disciplines. artists. In addition, the center will hold docentThat’s vital for fostering a community that led tours of its studios. develops and promotes up-and-coming artists, Verge will also be open for Second Saturday, she says. and throughout the month, the center will teem “To have artists who live here, work here with workshops, events and—always—a crew and stay here—that’s part of a healthy scene,” of working artists. she says. “You don’t want to educate artists and Manuel Rios, one of Verge’s studio occuthen have them leave.” pants, welcomes the energy. Willis adds that the lofts’ location further Rios, who met Moe as an art undergrad at creates a sense of identity in a neighborhood Sac State before receiving his master’s from UC already undergoing something of a cultural Davis, says the center reminds him of time spent renaissance. Located just blocks away from in grad school. Verge, they’re also in close proximity to the “You get to be around a bunch of artists, Crocker Art Museum, Beatnik Studios, Vox and that’s a good thing—we always have a Sacramento gallery, Beers Books and Insight dialogue, and you can just kind of walk around Coffee Roasters. and poke your head Moe sees that into a studio,” says potential, too. When Rios, whose work it was time for Verge currently focuses on to relocate, she and mixed-media and Powell scouted installations. numerous candidates, That’s crucial, including spaces on he says. Broadway and Del “I grew up in Paso Boulevard. The a small town, in former Southside Hollister [Calif.]. Park space, once It had nothing—no home to a furniture avenue for me to store, just felt right. go down. There “This is the first are so many things neighborhood I lived [offered] here—to in when I moved put that many things downtown in 1994,” in one art center, Moe says. “I just have it’s almost unreal in a sweet spot for it.” Sacramento.” The reasoning And it’s just the wasn’t purely sentistart. Looking ahead, mental. Moe wanted Moe’s working on to keep Verge on the several exhibits grid, and Southside gioi a Fond a and projects. Later Park, unlike other studio artist, Verge Center for the arts this month, Verge nearby areas, will partner with remained affordable. the Center for “Magpie [Cafe] Contemporary Art, Sacramento, for a summer had just opened, and the R Street Corridor was student art camp; in September, it’ll host the happening,” Moe says. “It’s sleepy and quiet, annual Capital Artists Studio Tour on behalf of but we realized there was a ton of potential CCAS, a two-weekend event featuring more here.” than 100 local artists. And in 2015, Moe will Now, Willis says, it’s just a matter of time show Couch Bleachers, a giant installation in before the neighborhood explodes with real partnership with Nate Page’s Machine Project growth. collective. “When you start to talk about [hundreds of] In the moment, however, Moe remains artists living in a concentrated area, then this pragmatic. city will see the change artists can make in a “In the short term, I just want to get this place,” she says. “Where the neighborhoods open and survive the first year,” she says. became what they are because of artists who And her long view? drove the creation of great spaces and galleries Work hard, diversify, start conversations, she and really changed the economy of that place.” says. Sacramento is ready. “It can happen if you build up the infrastrucA N e w e N e R gy ture—it’s not like the people aren’t here, already doing it,” she says. “We’re just still doing it It’s one week before Verge’s reopening. The under the radar.” Ω building still hums with the din of hammers, the air still smells of fresh paint, but Moe and her Verge Center for the Arts reopens on Thursday, June 5, with crew were here late the night before hanging the an artists’ reception for Champagne, from 6 p.m. to 9 p.m. at Champagne exhibit, and the central gallery now 625 S Street; www.vergeart.com. pops with potent, colorful pieces. Just past the entrance, Delfina Piretti’s Visit Sol Collective at 2574 21st Street and at “Nonna Sin Eater,” a mixed-media installation, http://solcollective.wix.com/solcollective.
“ART EVOLUTION”
“ We have a lot of local pride, but we also shoot ourselves in the foot when we don’t show artists from other cities. We’re not having an exchange; there’s a lack of dialogue.”
Look for crispin on the corner of 20th & k BEFORE
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by jaNelle bitker jaNelleb@Newsreview.com Photo courtesy of NeoN hitch
sacram eN t o P rid e f es t iv a l h e a d l i N e r NeoN h it c h rej ec t s l a b el s , e m b r a c e s beats , l o v e a N d N o Nc o Nf o r m i ty
Singer-songwriter Neon Hitch once lived with Amy Winehouse, knows how to fire dance and looks like a young Madonna. In other words, she’s just way cooler than the rest of us.
Get those labels away from NeoN hitch. The British pop star doesn’t care for the “bisexual” label, and she probably cares even less for record labels. It’s why she loves playing gay-pride festivals, and it’s all because of her highly unconventional, bohemian upbringing. Hitch, who performs on Saturday, June 14, at the Sacramento Pride Festival (see sidebar), signed with Warner Bros. Records in 2010. She sang on Gym Class Heroes’ “Ass Back Home”; co-wrote Ke$ha’s hit single, “Blah Blah Blah”; and topped the Billboard Dance Club chart with her own singles, “Luv U Betta” and “Gold.” They’re catchy, synth-heavy and clubbing-ready, but they reveal little about the spunky, pink-haired free spirit who sings them. But that will change. Last month, Hitch ditched Warner Bros. She told the world by performing a new song, “Warner Blvd,” live on VH1. On it she sings: “All I need is my freedom, I don’t need no label.” 24 | SN&R | 06.05.14
Her new sound is still pop, but with a colorful, record. When will it come out? She doesn’t know. And worldly, Gypsy vibe. There’s live instrumentation— she loves that she doesn’t have to know. trumpet, trombone, drums, guitar—over a tribal beat. But she does have a name for it: It matches her story, and she wants to explore topics Eleutheromaniac, “Which means ‘creature that needs of personal significance in her music: breaking down freedom,’ which is me,” she says. barriers, self-expression, indeThat comes from Hitch’s pendence, abusive families and unusual childhood—Neon Hitch stripping are among them. is her real name, after all—as a “I didn’t like feeling held traveling circus performer. “I just feel like back, so it made more sense In Kingston upon Thames, we all believe in to be my own boss,” she England, her family’s house burned told SN&R. down the day she was born. Her the same things: In four years, Hitch never father eventually got a flat in London, freedom and put out a full-length album. but her mother took the rest of the There was one promised and family—Hitch, her siblings and their self-expression.” much-hyped record, Beg, fathers—on the road. Borrow, and Steal, originally Conventional schooling also Neon Hitch slated for 2012. The wait wasn’t an option—Hitch says on performing for lGbt audiences exasperated both Hitch and that classmates desperately stuck fans. She eventually scrapped it, to the status quo, and she could independently releasing an EP, never fit in—but she still kept up Happy Neon, and a mixtape, with the curriculum. 301 to Paradise, out of frustration instead. When she was 11, Hitch became the subject of a short Plus, Hitch says Warner Bros. didn’t let her be BBC documentary related to the legality of wandering herself. She’ll have more of her personality, beliefs families. In it, she’s quick, eloquent and already wise and life experiences to share in her self-released debut beyond her years. But when Hitch talks about her
Stretch pants OK See NIGHT&DAY
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Norm! See COOLHUNTING
childhood, she describes herself as an outcast, insecure about being so different. “Only now do I fully accept and embrace who I am,” she says now. “Not only that, I promote who I am. I’m in a better place.” Approaching her teens, Hitch learned how to do trapeze and dance with fire. At age 15, she says she ran away to India to escape a turbulent relationship with her stepfather. She loved making jewelry on the streets, but there, she also first felt the need for something very new: a career. She had performed her whole life, but making music was still foreign to Hitch. “I remember one day driving, and the heavens opened up,” she says. “And I just got this voice.” She was 16 at the time, and though it’s hard to imagine, Hitch says she was shy about singing. Eventually, she pushed herself to perform, moving back to the United Kingdom and landing on independent label The Beats Recordings, owned by Mike Skinner of the Streets. At a high point, she got to open for rapper 50 Cent at England’s Nottingham Arena, but then, the label fell apart. She was broke, squatting again, until Amy Winehouse offered her a roof. They got along famously. Now she sports an “Amy” tattoo. One day—in the car, again—she says she had a psychic vision: She would live in the United States. “I had never been to the U.S. before, but it was powerful,” she says, laughing. “I really do have psychic abilities. I just need to work on harnessing them.”
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Jealous much? See ASK JOEY
Sure enough, Grammy Award-nominated producer Benny Blanco’s manager discovered Hitch on Myspace. He liked her, and wanted her in New York. “I remember thinking, ‘You know I’m homeless, right? Are you really going to pay to fly me out?’” He indeed paid to fly her out, and before not too long, Warner Bros. signed her. She was 21. Blanco became her producer. She made No. 1 singles, years passed, and now she’s independent again. Hitch is currently on her “freedom” tour, which takes her to Sacramento Pride this month. She says she feels at home performing for the queer community. “I just feel like we all believe in the same things: freedom and self-expression,” she says. Plus, the events are usually big, fun, potentially outrageous affairs. And that’s especially important for Hitch, who doesn’t like to be stiff with choreography, set lists or any real plans at all. “I feed off the energy of the crowd,” she says. “So if they’re giving me colorful, positive energy, that’s the way I’ll perform.” Hitch still keeps in touch with her family—her mom continues the wanderlust life and continues to beg Hitch to return to the caravan. But Hitch says her new lifestyle isn’t so different from the way she was raised. The music industry is its own kind of circus. “There’s more work and stress, sure, but I still travel all the time,” she says. “My home is still where I lay my head scarf.” Ω
A quick And eAsy guide to sAcrAmento Pride The Sacramento Pride Festival kicks off at 11 a.m. on Saturday, June 14. The parade starts on Third Street and runs along N Street toward the Capitol. The festival takes place on Capitol Mall between Third and Seventh streets, and admission is $10. Even though headliner Neon Hitch doesn’t like to limit herself to plans, festivalgoers can expect to hear at least one song at Pride: “Queen.”
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“It’s a beautiful song—my gift to the gay community,” she says. The entertainment bill also features Washington, D.C.based, Catholic seminarianturned-troubadour Tom Goss. His acoustic-pop sound is often compared to Jason Mraz, but Goss sings just as much about love as he does politics. His music videos in support of marriage equality and against “don’t ask, don’t tell” have racked up millions of views on YouTube. With major dancing skills and a passion for disco, rap
and rock, Xavier Toscano should deliver a dynamic, energetic show. The San Francisco-based musician creates a brand of pop that’s Top 40-influenced and radio-ready. Local spoken-word artist (and, full disclosure, SN&R’s ad-services coordinator) Jovi Radtke will also perform. The artist, who identifies as “they,” is Texas-born, Christian, Republican and queer, and poetry is an ideal outlet for their understandably complicated identity questions. Radtke also regularly speaks out about LGBT issues such as transgender education, AIDs awareness and suicide due to homophobic bullying. Apart from sonic pleasures, there will also be a visual spectacle, courtesy of Raven and Mayhem Miller in drag. For more information about the festival and its entertainment schedule, visit www.sacramentopride.org.
Fake, nonplastic Radioheads See SOUND ADVICE
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SCENE& HEARD Desert outfitters Burning Man starts in 86 days. The official newsletter sent out last week summed up my own sentiments pretty well: “Right about now’s the time Burners look at a calendar, then at a project, then at a spreadsheet, and proceed to freak the f*ck out because Burning Man is right around the corner!! GAAAH!!” Yup. Though, I’m not really a Burner yet. This will be the first year I travel to Black Rock City and take part in the most mysterious of magical festivals. Luckily, I live in a house with people who have been going for years, and this year, they’re creating their own camp. Er, we’re creating our own camp. I feel pretty useless during Burning Man-planning talks. It’s tough to give any input when the most common thing people tell me is something like, “No one has invented any words yet to adequately talk about Burning Man.” Expectation: impossible. So, during a three-hour discussion last weekend, I sat and listened. There were big ideas: a giant kaleidoscope, a bicycle-powered snow-cone machine, a cocoonlike sanctuary, brunch with no hands, a school-bus dance party and other things that sound awesome in theory, but I can’t quite imagine erecting in a desert. There were also basic, important logistical questions about water, transportation, power and shade. But the others in the circle have experienced Burning Man before, and they looked excited. I trust that I’ll be able to roll with it when the time comes. I am, at the very least, confident in my attire. A week prior, we went on a related mission to Thrift Town. All clothing was serendipitously half-off on Memorial Day, which just happened to be when Black Rock City happened to enter our minds. “Do you go shopping for Burning Man clothes every year?” I asked one campmate. “Yes,” she said. “Does that mean everything gets destroyed?” “No. It’s just fun—my favorite part of Burning Man.” It’s the chance to wear anything—anything—your heart desires. And usually suppresses. As another campmate eloquently put it: “Fur. Leather. Anything gaudy. Sequins. Glitter. Anything shiny.” Six of us filled up two shopping carts and squeezed into a dressing room, trying on and trading our finds. We walked away with enough to later hold a pretty decent fashion show. Futuristic bodysuits, hot-pink and teal leotards, sequined silk tops from India, suede pants, sparkly jackets, gemstone-covered cocktail dresses, fuzzy shirts, flowing tutus and shiny-sheer bro tanks were all strutted down a poorly designated moving catwalk. I am now the proud owner of a burgundy jacket best imagined on a grandfather, smoking a cigar in his den. Except it has a velvet shawl, shiny-gold threading and a silver, glittery handkerchief attached to a fake breast pocket. And a purple two-piece that I can only describe as something Jasmine from Aladdin might wear. I’m still debating how I can get some use out of it in Midtown, before it’s covered in white dust.
It’s the chance to wear anything— anything— your heart desires. And usually suppresses.
—J.B.
—Janelle Bitker
ja ne lle b @ ne wsr e v ie w.c o m BEFORE
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For the week of June 5
wEEKLY PIcKS
Bringing it Home Friday, June 6, and Saturday, June 7 I’m a big fan of hemp products. Not like weed, or anything—I’m talking about a couple of pairs of FILM hemp shoes I own, which are probably the most comfortable and durable pairs I’ve ever worn. Anyway, this film screening is part of a national Hemp History Week, which aims to raise awareness of industrial hemp. Food will also be served. $5-$10, 7 p.m. Friday and Saturday at the California State Grange, 3830 U Street; www.hempsteadprojectheart.org.
—Jonathan Mendick
Sacramento Black Book Fair Friday, June 6, through Sunday, June 8 Celebrate the rich literary history and present-day landscape of black authors with the Sacramento Black Book Fair. The festival will feature more than 80 writers, including actress and author Victoria Rowell, and award-winning poet BOOK FESTIVAL and former Sacramento State University poet-in-residence Eugene B. Redmond. Free, 7 p.m. to 9 p.m. on Friday; 10 a.m. to 6 p.m. on Saturday and Sunday; various locations; www.sacramentoblackbookfair.com.
—Deena Drewis
Yogi Style Yard Sale Saturday, June 7 Sacramento takes its yoga very seriously. And why shouldn’t it? Any opportunity to wear stretch pants and take a nap after exercisYARD SALE ing makes sense in my book. Every weekend, McKinley Park plays host to yogis taking their practice outdoors for Yoga in the Park, and this particular Saturday offers up a massive yard sale put on by the organization. Free, 8 a.m. to 2 p.m. at McKinley Park, 601 Alhambra Boulevard; www.yogaacrossamerica.org.
A
s I write this, there’s a red-flag warning from the National Weather Service, which means weather conditions (gusty wind, low humidity) make for critical fire danger. But for Sacramento natives, this wind is also a cool reprieve from treacherous heat. Soon will come July and August—the two hottest months of the year, where the highs average above 90 degrees, and consecutive 100-degree days are common. Basically, this means that June is the month to get out of the house and spend some time in the outdoors while you still can. Luckily, a bunch of events this week seem geared toward getting people (and animals) outdoors and enjoying the reasonably hot June weather. If you’re not normally a fan of the outdoors, a worthwhile foray outside might include viewing the 1949 film On the Town in the protected but open-air E. Kendell Davis Courtyard at the Crocker Art Museum (216 O Street). The film screening ties into the gallery’s current exhibition “Workt by Hand”: Hidden Labor and Historical Quilts. The musical comedy stars Gene Kelly and Frank Sinatra, and starts at 8:30 p.m. on Thursday, June 5. Tickets cost $5-$8 and are also good for museum admission. Find out more at www.crockerartmuseum.org.
—Deena Drewis
The Elk Grove Performing Arts Festival presents live dance, music and theater performances in Old Town Plaza (9615 Railroad Avenue in Elk Grove, www.facebook.com/elkgroveperforming artsfestival) on Saturday, June 7. Though the event—from 10 a.m. to 6 p.m.—is free to attend, some proceeds from vendor booths will benefit the American Renaissance Institute of Arts, a nonprofit performing-arts group. That same night, East Sacramento’s Pops in the Park series of outdoor concerts kicks off with the Chris Gardner Band performing at East Portal Park (1120 Rodeo Way, http://eastsacpopsinthe park.com). It starts at 6 p.m., and there’s food and drinks available, with proceeds going toward neighborhood projects. Pups and dogs can enjoy relatively nice weather, too, at the Sacramento SPCA’s Doggy Dash (www.sspca.org/dash), from 8:30 a.m. to 1 p.m. on Saturday, June 7. It features a 2k or 5k walk around William Land Park (3800 S. Land Park Drive), plus agility demonstrations, pug races and talent shows. Entry into the event is free, but registration for the walk is $35-$40 (or $10 for children under the age of 12).
Kiwanis Art Fiesta Saturday, June 7, through Sunday, June 8 If you can’t wait for this month’s Second Saturday on June 14, then you’ll probably appreciate the Kiwanis Art Fiesta. The 56th annual edition of the free festival features photography, ART paintings and more. Free, 10 a.m. to 5 p.m. both days at Pavilions, 653 Pavilions Lane; (916) 837-1737; www.kiwanisartfiesta.org.
—Jonathan Mendick
Yolo Brewing Company preview party Sunday, June 8 Get a taste of the new Yolo Brewing Company before everyone else at its final preview party. Attendees will taste beer, take a tour and observe the brewing and bottling process before the brewery offiBEER cially opens this month. Tickets include beer tastings and food from LowBrau and Block Butcher Bar. $40, 3 p.m., 1520 Terminal Street in West Sacramento, (916) 379-7585, http://yolobrew.com.
—Jonathan Mendick
—Deena Drewis BEFORE
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Heat
Take a break from the
Tasty traditions, renewed Strings Urban Kitchen 1500 Seventh Street, (916) 444-6500, http://stringsurbankitchen.com The newest outpost of Alexis Ventures, parent to Rail Bridge Cellars, is called Strings Urban Kitchen (SUK). It has an unfortunate acronym for by Ann Martin Rolke such a promising place. Located in the Capitol Towers complex, Strings (we’re just going to avoid its acronym) opened in early March. It’s a more upscale version of the Gold River-based Strings Italian Cafe chain, putting it squarely in the Il Fornaio camp of mid-level Italian, but with a lower price point. Strings is loosely based on a Rat Pack-era style, with a custom painting of that iconic group dominating one wall, and cocktails rating: named after Frank and Sammy, et al. Even HHH 1/2 Marilyn Monroe is included, with the eponymous offering of prosecco with a side of house-made potato chips. On our visit, the bubbly was lovely, but the chips were sadly dinner for one: unavailable. A 4 p.m. to 6 p.m. happy hour $5 - $25 during the week will get you half-price cocktails and select drinks. For lunch, diners order at the counter. There’s some seating inside at rough-hewn wooden tables and plenty more outside H flawed overlooking the pool. Small pots of fresh herbs grace each table. HH haS momentS At my table, we tried the minestrone, which is a simple version with lots of sliced carrots, HHH cabbage and beans. Shards of broken pasta—a appealing traditional use for those bits—round it out. The HHHH flavor is nicely clean, rather than muddy, as authoritative some minestrones tend to be. HHHHH The cold pasta salad, with red onion, olives, epic pepperoncini and an unusual cucumber-garlic dressing is a nice change. The peppers give it a bit of spice, and the dressing is creamy without being too rich. It’s also included as a side with the meatball sandwich, which is equally wellexecuted. The roll is perfectly chosen—not too soft and not too crunchy—and flavored with garlic and herbs before enclosing sliced meatballs, marinara and cheese. It’s a good version for the lunch crowd, because it’s flavorful but Still hungry? not too sloppy. Search Sn&r’s At dinner, Strings offers table service. We “dining directory” shared the Bruschetta Rustico, with chunky to find local restaurants by name toasts layered with seasoned cheese, grape or by type of food. tomatoes, basil and balsamic vinegar. With less Sushi, mexican, indian, garlic than many versions, it’s a delicious and italian—discover it date-friendly choice. all in the “dining” The house salad, often an afterthought on section at www.news menus, has some interesting additions with review.com. sunflower seeds and raisins and a judicious amount of creamy Italian dressing. Pizzas are offered at 7 or 16 inches, with lots of optional additions. A small Pomodoro Mozzarella, with sliced tomatoes and marinara, was a serviceable version. The crust is mediumthick and chewy, the toppings plentiful. A signature frutti di mare pie with shrimp, scallops, mussels and seafood sauce is a more unique take on the category. Some dishes from the original Strings have made the jump to the new place, among them BEFORE
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the Pasta Sienna. It’s a somewhat daring combo of Alfredo and curry sauces over penne, chicken and shrimp. A dusting of chili pepper perks it up. There are quite a few vegetarian choices, including Vegetale de las Casa. Eggplant, peppers, zucchini and other veg are sautéed in oil and tossed with Parmesan and Gorgonzola. It’s a bit oily on its own, but would be great over pasta or rice. Don’t miss the great deal on $2 sides with entrees, such as soup, salad or thick-cut garlic fries.
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The Pasta Sienna is a somewhat daring combo of Alfredo and curry sauces over penne, chicken and shrimp. A dusting of chili pepper perks it up.
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For dessert, we were happy to see tiramisu, with sprightly ladyfinger sponge cake and an airy mascarpone topped with cocoa and cinnamon. The house-made Amaretti Morbidi cookies feature a soft, warm inside and a slightly crunchy outer layer. They’re baked to order and worth a try. Another interesting item is the caffè sospeso (“pending coffee”), in which you pay for a cup for the next guest. It’s an old tradition that deserves renewed attention. The food at Strings is similar: traditional dishes with new attention to detail and flavor. It’s a nice addition to the downtown grid. Ω
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shaved snow and desserts
Flavor caution to the wind Popcorn is a blank canvas. It’s lovely
on its own, of course, but shake some salt and spray some olive oil onto those craggy kernels, and it’s so much better. Take it a step further with a sprinkling of sumac. The merlot-hued spice is often used in Middle Eastern cuisine, and tastes phenomenal on the fragrant white rice that accompanies your veggie kebabs. If you’re really feeling like throwing flavor caution to the wind, dissolve mustard powder in the oil before drizzling, and then make it rain with those dried bits of enchantingly tart sumac berries. You’ll impress your foodie friends with this snack, but probably disgust your friends that were featured on that cable-TV reality show because they only eat mattresses or detergent. —Shoka
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Downtown Blackbird Kitchen & Beer Gallery
Where to eat?
Here are a few recent reviews and regional recommendations by Janelle Bitker, Ann Martin Rolke, Garrett McCord, Jonathan Mendick and Shoka updated regularly. Check out www.newsreview.com for more dining advice.
Blackbird is back with chefowner Carina Lampkin again at the helm. It’s located in its original space with a similar aesthetic, though with more focus on beer and bar food to better complement the seafood-inspired dinner menu. A burger served with house pickles, seven-day housecured bacon, cheddar and sweet ’n’ chivey “awesome sauce” make for one of the city’s best burgers, no question. Chowder fries, however, are nifty in theory—fries covered in bay shrimp, bacon and parsley, then doused with chowder. It’s a play on poutine, but a lack of acid and serious sogginess issues mar it from being a landmark dish. Better yet? Fish tacos featuring fried pollock served with pickled cabbage and chipotle crema. These and a beer will remedy any bad day you’re having. American. 1015 Ninth St., (916) 498-9224. Dinner for one: $10-$30. HHH1/2 G.M.
Mother It’s no secret that Mother is a vegetarian-vegan restaurant, but this is not just a place that replaces the meat in a meal. Instead, Mother celebrates an endless array of fresh vegetables and grains. The chile verde here comprises chunky potatoes, pinto beans and hominy for a “meaty” texture. Try it topped with a soft-poached egg, and stir the yolk into the zingy chile sauce. Kale has been done almost to death,
but Mother’s version is a take on the Waldorf salad that makes eating your greens easy. Lots of golden raisins, celery, walnuts and balls of apple with a bit of skin attached join dilled yogurt and baby kale. Dessert includes the now-legendary brown-butter and sea-salt cookies. Do yourself a favor and get some. Vegetarian. 1023 K St., (916) 594-9812. Dinner for one: $10-$15. HHHH1/2 AMR
Midtown The Coconut Midtown The food here travels a path between standard and inventive. Cream-cheese wontons, for example, aren’t the epitome of culinary Southeast Asian traditions, but damn it if they aren’t delightful. Soft cream cheese and chives in a crispy wrapper and served with a sweet chili sauce? Nothing wrong with that. The chicken larb—a spicy minced-meat salad—is fragrant and intense. Mint, chilies, basil and iceberg lettuce are drenched in a spicy lime dressing punctuated with a heavy hand of fish sauce. The Coconut has warnings in its menu about which dishes are spicy, but unless you’re a newborn kitten, trembling and mewling, you might not even be aware of the chilies in your food. Thai. 2502 J St., (916) 447-1855. Dinner for one: $10-$15. HHH1/2 G.M.
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Der Biergarten This spot is a slightly quirky, low-key place with only nine food items on the menu: four appetizerstyle options, four sandwichtype offerings and a sausage platter, plus about 30 cold ones on tap. Patrons order from a building that was built from a couple of cargo containers and dine outdoors on communal benches, traditional German biergarten style. The Derfinater Dog is a gussied-up hot dog, and despite its seemingly excessive number of toppings, everything served a tasteful purpose. The mayo and garlic sauce helped moisten a somewhat dry roll, and the bacon added saltiness, which balanced the sweetness of cream cheese and barbecue sauce. The pretzel disappointed by being a bit on the flaky and brittle side. The sausage platter was the best item on the menu: a pork sausage, chicken sausage, and a veal-and-pork sausage— much more plump, juicy and flavorful than the frankfurters—served alongside piles of sauerkraut and German potato salad. German. 2332 K St., (916) 346-4572. Dinner for one: $5-$10. HHH J.M. Thai Basil SN&R readers consistently vote this place among the city’s top Thai restaurants for this paper’s annual Best of Sacramento issue. And for good reason. The restaurant’s tom yum soup may be one of the best foods served in the City of Trees. It features an
incredibly savory broth with layers of flavor. Likewise, the tom kha gai—a coconutbroth soup—is a veritable panacea against Delta winds. Salads make up a large part of Thai cuisine and should not be overlooked. Larb gai consists of simple shredded chicken over mixed greens, cucumber and tomatoes. Fresh mint and a chili-laden dressing heavy with fish sauce and vigorous squeezes of lime juice pull it all together for an addictive and satisfying lunch. One of Thai Basil’s true highlights is its homemade curry pastes. These balanced constructions of basil, lemongrass, shallots, chilies, kaffir lime leaves and other ingredients, when roasted, have been known to drive hungry Sacramentans into a berserk craze. Service here is impeccable. Thai Basil has earned its reputation. Thai. 2431 J St., (916) 442-7690. Dinner for one: $10-$20. HHHH G.M.
Tidbit Catering & Gelateria Chef Eric Lee has crafted an eclectic, bargain-friendly menu. Fried calamari are lightly seasoned with a crispy exterior and served with a marinara-ish bland sauce. A carrot-and-ginger soup possesses a slow burn, and a chicken-lettuce wrap is sophisticated: a modest portion of food of moderate size that’s highlighted with slivers of cucumber and a shaking of vinegar. The frozen bits, however are the real winners. Gelato and sorbet are both
available in astounding offthe-cuff flavors that mostly draw inspiration from Asian cuisines. A vanilla-and-adzuki-bean gelato tastes sweet and earthy, with a flavor reminiscent to Chinese moon cakes. A nutty soy-based black-sesame-seed gelato is as rustic and charming as your favorite Instagram filter. American. 1907 Capitol Ave., (916) 442-7369. Dinner for one: $5-$10. HHH1/2 G.M.
Land Park/ Curtis Park Spice Kitchen The menu here has a few tangential dishes like pad thai, but it’s mostly focused on Japanese cuisine, with a side menu of Chinese-American favorites. Tasty options include the vegetable tempura, lightly fried with slices of Japanese sweet potato and yams. If you want ramen, the hot soup dish these days, try the red tonkotsu version: It’s served with lots of nicely chewy noodles, spinach and the requisite soft-boiled egg. Spice Kitchen also serves bento boxes in lunch and dinner portions for a good price. Here, diners get soup, rice, salad and tempura, as well as a meat of choice. Japanese. 1724 Broadway, (916) 492-2250. Dinner for one: $10-$15. HHH AMR
South Sac Bodhi Bowl This Vietnamese eatery’s menu is all vegetarian and mostly vegan, with plenty of high notes. The Heavenly Noodle is a can’t-go-wrong salad comprising snow-white vermicelli noodles with cooling mint, cucumber slices, house-roasted peanuts and jagged pieces of faux beef. The “beef” actually is slightly sweet, plenty umami and pleasantly inoffensive, as far as fake meat goes. Nearly everything here has a faux-meat product or tofu element. So, sorry diners with soy allergies—it can’t even be escaped in the papaya salad. Not an issue? Soldier on with the Hot & Sour soup, a not-too spicy sunset-orange broth that teems with a tomatoey and citrus flavor, chunks of pineapple, semicircles of trumpet mushrooms, cubes of fried tofu and slices of faux crab. Or, try the stir-fried Eight Fold Path. It features al dente celery, red bell pepper and triangles of the most savory, salty, dense tofu perhaps ever. Vietnamese. 6511 Savings Place, Ste. 100; (916) 428-4160. Dinner for one: $10-$15. HHHH S.
Kansai Ramen & Sushi House This place serves its own take on ramen and sushi, with varying degrees of success. The kakuni ramen, which features three thick slices of braised pork belly in lieu of the house ramen’s thin slices of chashu, boasts a nice, sweet marinade; tender consistency;
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Yang’s Noodles This is perhaps the only place in town that serves niu rou jian bing (sliced beef rolls)—a specialty of northern China—and the ones at Yang’s hit the spot. This is basically the Chinese version of a burrito: meat (thinly sliced beef marinated in soy sauce) plus veggies (diced green onion, cucumber and cilantro) wrapped in a large, flat carbohydrate crepe. Elsewhere on the menu, Yang’s eponymous noodles are homemade, alkaline and chewy. Chinese. 5860 Stockton Blvd., (916) 392-9988. Dinner for one: $10-$15. HHHH J.M.
Arden/ Carmichael Field House American Sports Pub Launched by the same team that raised Shady Lady Saloon, this spot brings a
bit more culinary hope to an often forgotten part of Sacramento. The whiskey burger is a mighty sammich of perfection with smoked Gouda cheese and bacon that serve as excellent counterpoints to the achingly sweet maplebourbon glazed red onions. Fries-slash-chips arrived pencilthin and fiercely crispy. If you visit for brunch, don’t miss the signature bloody mary: a 32-ounce bloody mary that doesn’t skimp on the horseradish. It’s served with skewers of beet-pickled egg, sausage and bacon, tiger prawn, pickled veggies, and the most amazing slider. American. 1310 Fulton Ave., (916) 487-1045. Dinner for one: $15-$25. HHHH G.M.
The Kitchen Diners here don’t receive a menu: They receive a program, divided into seven acts, and, yes, there’s an intermission. Guests all eat together, like a reservationsonly giant dinner party, dining on seasonal dishes such as chilled, minty pea soup, served with creamy pea pudding, cured scallops and Sterling Caviar. The offerings, which include the likes of lamb, steak and pasta, change monthly, but the highlights are the chefs’ tasters—small bites scattered throughout the dining area. A recent visit included oyster, faux lasagna bites, citrusy duck, and “kettle corn” cones of puffed wild rice, amaranth and corn
with black-truffle caramel, which tasted sweet, salty and positively deadly. American. 2225 Hurley Way, Ste. 101; (916) 568-7171. Dinner for one: $100-$300. HHHH J.B.
Roma’s Pizza & Pasta This eatery claims to serve “authentic Italian-style” food, but that’s only partially true when it comes to its pizza. That’s because it actually serves two types: one with the kind of thick, doughy crust usually found on an American-styled pizza, and another with a thinner crust, resembling a pie one might actually have in Italy. The thicker crust is chewy, but ultimately lacking in flavor. However, the tomato sauce makes up for the dough with a nice, spicy kick, and Roma’s doesn’t skimp on the toppings. The thin-crust pizza impresses: It’s light and crispy like a cracker and clearly is the superior option. Italian. 6530 Fair Oaks Blvd. in Carmichael, (916) 488-9800. Dinner for one: $10-$20. HHH J.M.
Stirling Bridges Restaurant and Pub This British- and Scottishthemed gastropub offers an adequate beer selection and an extensive menu that goes beyond standard deep-fried pub fare. Try the Irish onion soup, a French onion-styled soup kicked up with Irish whiskey and Guinness beer. Or order the house-made veggie burger—it’s one of the tastiest black-bean patties around. The most unusual dish on the menu is the Scottish
M a k E
IllustratIon by Mark stIvers
and copious flavor. Be sure to order noodles al dente, and it’ll make for a good option, even with its run-of-the-mill broth. Or amp it up with the spicy tan tan men, which uses a beefy and seafood-tinted soup base that teems with flavor. The sushi rolls here are Western style—a.k.a. loaded with toppings. Try the Mufasa roll. With crab and avocado on the inside and salmon and sauce outside, it’s particularly tasty, seasoned in sesame oil and baked—a somewhat unusual technique for sushi. Japanese. 2992 65th St., Ste. 288; (916) 455-0288. Dinner for one: $10-$20. HHH J.M.
Mafia Pizza. Topped with turkey pastrami, potatoes, cabbage and Swiss cheese, it falls short with its too many flat flavors to actually benefit from their unusual pairing. Thankfully, there’s Tabasco sauce on the table. Pub. 5220 Manzanita Ave. in Carmichael, (916) 331-2337. Dinner for one: $10-$20. HHH1/2 J.M.
Tasty Thai It’s hard to find a better lunch deal than the one offered here: Each one includes rice and a salad with an entree—and costs $11 or less. There are 23 options, plus daily specials. (The dinner menu is similar—only bigger). Choose from four categories— wok, rice and noodles, soup, or curry—and add a protein. The Thai basil, served with green beans, onion, bell pepper and basil in a spicy garlic sauce, is cooked in a wok and has a nice smoky flavor with veggies cooked slightly al dente. In the rice and noodles category, the pad Thai and the pad see ew both impress, but the latter has just a bit more of that savoriness that make Asian noodle dishes uber-comforting. Service is friendly, even when it’s busy, and nearly every order is big enough for two meals. Expect leftovers. Thai. 2598 Alta Arden Expy., (916) 977-3534. Dinner for one: $10-$20. HHHH J.M.
Loco for local
Despite its large corporate sponsor, the Save Mart Supermarkets Grape Escape (4 p.m. on Saturday, June 7, at Cesar Chavez Plaza, 910 I Street) couldn’t be much more local. There’s food and drink
from Sacramento’s Block Butcher Bar, Grange Restaurant & Bar, Temple Coffee and more than 20 other Sacramento-area businesses. There will be also hundreds of wines from fourdozen wineries representing eight (Amador, Calaveras, El Dorado, Nevada, Placer, Sacramento, San Joaquin and Yolo) counties—all of which are more “local” than Napa Valley. Then, in perhaps the most fun part of the food-and-wine festival, four regional chefs—Carolyn Kumpe of Renwood Winery, Ian MacBride of Lucca Restaurant & Bar, Brian Mizner of Hook & Ladder Manufacturing Co., and Jason Poole of Dawson’s—will compete in a cooking competition. Tickets cost $35 at any Save Mart, $40 in advance online, or $50 at the event. Visit www.grapeescape sacramento.com for more information. —Jonathan Mendick
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FIND OF THE WEEK
Pretty rash Seea Swimwear
Rich-people problems The PhanTom of fifTh avenue
we
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Meryl Gordon’s The Phantom of Fifth Avenue: The Mysterious Life and Scandalous Death of Heiress Huguette Clark (Grand Central Publishing, $28) is once again proof that the rich are very BOOK different. Huguette Clark, a recluse, was the daughter of a Montana robber baron who loved the spotlight and made boatloads of money. Gordon’s research is impeccable and covers Clark’s privileged upbringing, two decades spent housebound, and her declining years in a private room at Beth Israel Deaconess Medical Center. It’s fascinating and possible proof that money can’t buy everything, but it certainly buys a great deal. —Kel Munger
Gas up roadTriPPerS It’s practically summer, which means it’s time to partake in that classic ritual: the great American road trip. Don’t know where to go or how to get there? The mystery’s part of the fun, but those who need a little direction can find it at the Roadtrippers website. This free-membership site helps users plan trips with tools such as fuel-estimation guides, navigation and tips. For example, a Sacramento-Grand Canyon jaunt would WEBSITE take nearly 13 hours and cost $143 in gas. Sync up directions via the free app (available for most smartphones), and hit the road. www.roadtrippers.com. —Rachel Leibrock
Puss in books PawS To read wiTh norm LoPez
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As a kid I used to sometimes read out loud to my dog Sheba, a black border collie. She was good at acting interested, although I’m sure that millionth reread of Little Women didn’t thrill her. Sacramento celebrity cat Norm Lopez probably has a good reading game face—we’ll find out for sure on Sunday, June 8, when he serves as M.C. (“master cat,” get it?) at EVENT the Central Library as part of its summer reading session. The beloved, furry “Mayor of Midtown” will be on hand to, uh, look aloof and take photos. While you’re there, sign up for the online program for which you can log read books to qualify for badges and prizes. The event starts at 1 p.m. Sacramento Public Library, Central Library, 828 I Street; (916) 264-2920; www.saclibrary.org. —Rachel Leibrock
SFGate’s blog recently put up a slideshow of the evolution of women’s swimwear, including the completely covered-up look of the late 1800s, women getting arrested in 1922 for not wearing “required leg coverings” in Chicago (for shame), the universally unflattering high-cut-thigh style of the 1980s (for—a different kind of—shame) and the modern iteration of the bikini. But the swimwear SWIMWEAR made by Seea, a Southern California-based company, should make those historical ranks, because its designs consist of athletic pieces geared toward surfing, so they are practical for any type of water hijinks, but for goodness’ sake, they are gorgeous. The retro cuts make them classic, and the patterns and colors make them feminine and modern. Even the unpretty-sounding rash guards—long-sleeve tops that protect surfers’ skin against their boards, which are also great for preventing lobster-red shoulder sunburns—are lovely. The elegant Hermosa one-piece suit also has long sleeves, but it contrasts against a sweetheart neckline and color-block “belt” and bottom. It’s definitely Seea’s signature design. However, there are several other vintage-inspired suits, like the black-and-white-striped Malibu that has black boy-short bottoms and suspenders. The adorable factor here is hard to beat. There are also classic bikini sets, crop-top rash guards and surf leggings that can be mixed and matched—and rompers (yes, for swimming)—all made in Seea’s attempt to make any water-playbound lady feel like a total beach babe. www.theseea.com. —Shoka
Haters to the left I’m an artist who has always had some commercial success, but nothing like what I’ve experienced this year. The reason is simple: I’m working harder and more focused than ever before. I’m pumped about all of the good things happening professionally. The problem is that most of the people around me are not supportive of my success. When I tell them about something good by Joey ga that happened, they don’t rcia celebrate with me. A lot of them don’t say anything a skj oey @ ne wsreview.c om positive at all. It’s hurtful, and I don’t understand why. Are they jealous or just haters? They’re naked, actually. Your Joey achievements force your friends loved the film Belle, to strip away the veneer of the now playing at the life they have settled for. When Tower Theatre. they see your accomplishments, they come face to face with their unlived lives. Every life is shaped by the choices made. Often those choices are safe, easy and in accordance with familial, social or religious expectations. Yet the call to a creative life demands that we invest our devotion in art and craft. In the process we discover that our art should not become God, but it is our communion with God.
Let your family and friends keep every one of their worries, accusations and judgments. Doing so is a sign of your evolution. When a person is in union with the divine, that individual embodies a light that makes their very presence threatening to others. To be aligned with and living a calling is to step fully into spiritual evolution. Often family and friends refuse to reflect on themselves and engage the necessary risks to evolve into a truer reality. Instead, they will criticize, shame or ostracize the artist (or musician, entrepreneur, poet, etc.), until the artist buckles and is brought back into whatever lifestyle the family and friends prefer. But here is the lovely secret about that experience: It’s not personal. Don’t permit yourself to fall under the spell of their fears. Let your family and friends keep every one of their worries, accusations and judgments. Doing so is a sign of your evolution. It’s also a gift.
Got a problem?
Write, email or leave a message for Joey at the News & Review. Give your name, telephone number (for verification purposes only) and question—all correspondence will be kept strictly confidential. Write Joey, 1124 Del Paso Blvd., Sacramento, CA 95815; call (916) 498-1234, ext. 3206; or email askjoey@ newsreview.com.
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As any artist advances, criticism from the public increases in volume. The insecurity of your family and friends allows you to practice listening to criticism and shaking it out to discover whether it includes anything valid for you to consider. If a parent worries that art is not a stable career, for example, that concern allows you to consider whether you harbor similar fears. You can challenge yourself to continue clinging to that belief or ditch it. After all, is any career stable? Of course not, every career has up and downs. Knowing the truth encourages you to breathe freely and trust your creativity. At the conclusion of this form of reflection on other people’s (well-meant) concerns about you, something amazing happens. You grow stronger in compassion for the pain of people who fail to live their own lives fully. You also begin to understand that family and friends who are attached to criticizing are actually deeply codependent. Rather than seeing your achievements as inspiration to change their lives, they focus on your life and lavish you with their fears. Spiritual evolution frequently calls us to release our past circle of confidantes. Sometimes artists, writers, innovators, entrepreneurs and social-change agents fear letting go of family and friends. These creative people may dread the potential for loneliness. Or they may worry about being seen as disloyal. Don’t sit in these dramas for too long. Loneliness prepares us to value solitude, an essential ingredient for a creative life. And, while some relationships end completely and are eventually replaced by connections in alignment with who we have become, other relationships circle back around eventually, sometimes decades later. The lesson for the artist is that all relationships are important, but none as vital as the one with the divine. P.S. Congratulations on your success! Ω
Meditation of the Week “Creativity requires the courage to let go of certainties,” wrote psychologist Erich Fromm. Who would you be if you knew you could not fail?
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Something wicked this way comes Wicked The witch from The Wizard of Oz flew into town this week for a three-week visit. Which witch, you ask? Why, both of them: The good one and the by Patti Roberts wicked one, though after seeing the musical extravaganza that is Wicked, you may question which witch is which. This spectacular spectacle has all the elements of a memorable musical: great storyline taken from a best-selling book, an emotional connection with one of the best-loved movies of all time (The Wizard of Oz), a talented cast, a soaring score (though without particularly memorable songs), colorful costumes and an amazing set with major movable parts.
The colorful and clever sets and costumes have a steampunk Hunger Games-esque appearance, which adds to the overall dramatic flair. Wicked is a game changer for Wizard of Oz fans: Once you go down this yellow-brick road, you won’t be able to return to Oz unaffected again. Ω
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4 PhoTo By Joan MaRCuS
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One’s kind of good, and the other one’s pretty bad. But which witch is which?
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Wicked, 8 p.m. Tuesday, Wednesday, Friday; 2 p.m. and 8 p.m. Thursday, Saturday; 2 p.m. and 7:30 p.m. Sunday; 2 p.m. only on Sunday, June 8; $25-$198 (a lottery for a limited number of orchestra seats will be held two-and-a-half hours prior to each performance). Broadway Sacramento at the Community Center Theater, 1300 L Street; (916) 557-1999; www.broadway sacramento.com. Through June 15.
This is a Broadway road show that doesn’t look like a road show, which explains why it takes 14 trucks to haul sets and costumes, and four days for set up. It’s massive and complicated and looks as impressive as a New York City theater production. The story is simple yet complex. It’s the backstory of the Wicked Witch, the green menace that warned Dorothy—along with her mangy mutt Toto and the crew of a lion, a scarecrow and a tin man—to surrender. In the Stephen Schwartz-Winnie Holzman awardwinning musical, all these characters take a backseat to the story of two schoolmates who eventually become the Wicked Witch of the West and Glinda the Good Witch. You’ll never view The Wizard of Oz the same after witnessing the heart, brain and courage of Elphaba, who grows up to be known as the Wicked Witch. The two leads—Emma Hunton as Elphaba and Gina Beck as Glinda—are a mischievously funny and eventually heartbreaking pair who play off each other like a classic theater duo. Both have showstopping voices and perfect timing. Hunton adds the soul to Elphaba, while Beck brings on a wicked sense of humor to the picture-perfect Glinda. The supporting cast is equally talented in song, dance and story development.
The Producers
The key to a good Mel Brooks show is broad, raucous farce and a high giggle rating for jokes about sex, bodily functions and ethnic stereotypes. These are skills that Runaway Stage Productions brings—along with a wink-winknudge-nudge self-ironizing attitude—to their latest offering, The Producers, directed by Bob Baxter. The musical, based on Brooks’ 1967 film of the same name, is the tale of a hack Broadway producer, Max Bialystock (Brent Null), and an accountant with a fondness for musical theater, Leo Bloom (Tyson Wheeler), who discover that they can actually make more money on a flop than on a hit. They set out to perpetrate a fraud, raising $2 million (Max schtups rich and lonely little old ladies for the money) to produce Springtime for Hitler, a guaranteed flop. Except it isn’t, and our ethically impaired heroes are on the hook for fraud. The show relies on its leads for both chemistry and humor, and Null and Wheeler come through. Null’s blustering, obnoxious Max is exactly what we’d look for, equally incompetent as a con man and a producer. Meanwhile, Wheeler’s Leo is trying desperately to avoid anxiety attacks and become inured to deceit, all the while falling for the beautiful—and tuneful—Ulla (Jennifer Zimny). But the scene-stealing performances here truly belong to Matthew Rives as Franz Liebkind, the Nazi pigeon-keeper who authors Springtime for Hitler in an effort to rehabilitate der Führer’s reputation, and Darryl Stroh-De Herrrera, who puts the swish in director Roger DeBris, while also choreographing the show with Amy Jacques-Jones. Both have a strong grip on the power of farce and no apparent concern for embarrassment. While the sets are a bit on the flimsy side—and seemed to be a bit difficult to deal with—the production benefits, as usual, from a wonderful live orchestra, under the direction of Glenn Disney. The production is funny, provided one is not easily offended. But that’s kinda what Mel Brooks is all about. —Kel Munger
The Producers, 8 p.m. Friday, Saturday; 2 p.m. Sunday; $18-$25. Runaway Stage Productions at the 24th Street Theatre, 2791 24th Street; (916) 207-1226; www.runaway stage.com. Through June 22.
Now playiNg
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The Bluest Eye
Celebration Arts mounts an extremely well-done version of Toni Morrison’s first novel, adapted by Lydia Diamond and directed by James Wheatley. On a spare stage, the tragedy of the Breedlove family (Carol Jefferson, KT Masala and Zarati Depaz) is narrated by the young Claudia (Brooklynn Solomon) and her sister, Frieda (Eliza Hendrix). Although the serious subject matter is handled compassionately, this is probably not suitable for younger children. Th, F, Sa 8pm; Su 2pm. Through 6/14. $8-$15. Celebration Arts, 4469 D St.; (916) 455-2787; www.celebrationarts.net. K.M.
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A Steady Rain
Dave Pierini and Kurt Johnson star in Keith Huff’s dark drama about the complex relationship between two lifelong friends—Chicago cops—when violence, affairs and a killer cannibal muck things up. Lyndsay Burch’s direction is swift and sure, and Ron Madonia’s punchy lighting design effectively illuminates Huff’s script. Joey and Denny (Pierini and Johnson, respectively) play the cops as crisis unfolds in a series of he-said,
she-said recollections, monologues, dialogues and addresses to the audience. Ultimately, one cop will “win,” and one will not, but it’s hard to cheer the outcome. In A Steady Rain, moral ambiguity reigns. Tu, W,
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Th, F 7pm; Th 2pm; Sa 8pm; Su 1pm. Through 6/15. $23-$35. B Street
Theatre, 2727 B St.; (916) 443-5300; www.bstreetheatre.org. J.C.
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Vanya and Sonia and Masha and Spike
FAIR
B Street Theatre’s regional premiere of Christopher Durang’s Tony Award-winning satire is based on—and pokes fun at—the works of Chekhov. While there are laughs aplenty, the production does veer from satire to farce. It’s directed by Buck Busfield, and stars B Street company members Greg Alexander, Jamie Jones, Stephanie McVay and Jason Kuykendall. Tu 6:30pm; W 2pm & 6:30pm;
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Th, F 8pm; Sa 5pm & 9pm; Su 2pm. Through 6/15. $23-$35. B Street
Theatre, 2711 B St.; (916) 443-5300; www.bstreettheatre.org. K.M.
SUBLIME–DON’T MISS
Short reviews by Jim Carnes and Kel Munger.
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Eugene B. Redmond will bridge the gap between poetry and rap in his lecture.
Hip-hop and you don’t stop Throughout the month of June, an art exhibition and hip-hop festival called The Art of Hip Hop: Celebrating the 5 Elements takes over The Brickhouse Gallery (2837 36th Street). An opening reception happens at 6 p.m. on Thursday, June 5, with a lecture by Eugene B. Redmond (pictured) called “TAOHH Bridging the Literary Gap: Rap/Write Now!” that talks about the correlation between rap and poetry. The evening will also feature performances by Noah Hayes, Dante Pelayo and Paul Willis, plus a tribute to Maya Angelou. Tickets cost $7-$10. The lineup for the rest of the festival includes: a panel discussion, graffiti and deejay showcase (noon on Saturday, June 14); an openmic night (8:08 p.m. on Monday, June 16); a performance by poet Karega Bailey and emcee ISSA (8 p.m. on Saturday, June 21); performances by Chad Adams and Century Got Bars (5 p.m. on Saturday, June 28); and an art reception by Demetris “BAMR” Washington (3 p.m. on Sunday, June 29). Head to www.thebrickhousegallery.net for more information.
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Every once in a great, long while a movie comes along that doubly astonishes you—first that anybody would even think to try it, and second that they by Jim Lane managed to pull it off. Writer-director Steven Knight’s Locke is one of those movies. Tom Hardy plays Ivan Locke, a construction foreman in Birmingham, England. As the movie opens, Locke climbs into his SUV and drives away from his construction site. At the first intersection, he signals for a left turn, then suddenly changes his mind and turns right. He’s made a snap decision, which, as the next 85 minutes make clear, is going to change his whole life. Will it be for better or worse? I have my own ideas, but that’s a question that is likely to drive post-screening discussion of Locke for decades to come.
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On one level—by far the simplest—Locke is a bravura stunt, brilliantly executed. Once Locke turns the key in the ignition, the entire movie takes place in that car, and Ivan Locke’s face is the only one we see. But he’s not the only character we meet: Locke is heading to London, and he spends the entire 101-mile trip juggling calls on his handsfree cellphone. Locke is expected home for dinner and to watch an important soccer match with his teenage sons. He’s expected at work the next morning to oversee the most important job of his career, a massive concrete pour beyond anything ever seen in Europe. But his presence is demanded in London, and that’s where he’s decided to go. As these phone calls proliferate, we learn the kind of man Locke is, what has brought him to this night on this rainy English highway, and we get a glimpse of what his life will be like when his night’s driving is over. We also learn more than we ever thought we wanted to know about the ins and outs of pouring concrete. That these passages are riveting, even when the talk between Locke and his co-workers becomes most arcanely technical, is a tribute to both Knight’s writing and and Tom Hardy’s performance, which is simply brilliant. Even these passages give us insight into the rest of Locke’s life. He’s a conscientious
man, and we hear it when he talks about the importance of pouring that concrete exactly right: “If the concrete at the base of my building is cracked, if it slips half-an-inch, cracks appear. Cracks appear, and they will grow and grow, and one day the whole thing will collapse. You make one mistake, one little fucking mistake, and the whole world comes crashing down around you!” The irony of this speech is wasted on Locke, but it’s not wasted on us. Because he’s made that “one little fucking mistake”—in every sense of the F-word—and what we are watching is the appearance of those cracks, and the beginnings of Locke’s world coming crashing down around him. It’s this spectacle that rivets us, even beyond the sheer technical challenge of mounting the movie itself. For the record, it was rehearsed and filmed in less than two weeks, shot almost in real time, with three cameras in and on the car with Hardy (Haris Zambarloukos’ cinematography is almost abstractly beautiful), while the voice actors spoke on the phone from a nearby hotel. Since the voices are so crucial and so well-done, they deserve mention even though their faces never appear: Ruth Wilson as Locke’s wife Katrina, going from confused to shattered to furious; Ben Daniels as Gareth, Locke’s boss, identfied on his phone screen as “Bastard”; Andrew Scott as Donal, the alcoholic underling terrified at Locke’s having left him in charge; and Olivia Colman as Bethan, Locke’s needy, neurotic partner in a drunken one-night stand that has led to the present crisis.
Once Ivan Locke turns the key in the ignition, the entire movie takes place in that car, and Locke’s face is the only one we see. One character who never appears even on the phone, but whose presence we feel almost as keenly, is Locke’s despised absentee father. It is Locke’s determination not to repeat his father’s abandonment of him that has led to this crisis. In Hardy’s subtle hands, Locke is a good and decent man, and he is doing exactly the wrong thing for all the right reasons. In his resolve to be completely unlike his father, this good man’s conscience is driving him to do exactly what his father did. Sadly, that irony too is lost on him. Ω
by daniel barnes & JiM lane
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Belle
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Almost every “costume drama” deals with the inequities of privilege, with the focus usually falling on class and gender divides. Amma Asante’s Belle adds racial inequality into the mix, and the wrinkle is almost compelling enough to forgive the superficial treatment it receives. Newcomer Gugu Mbatha-Raw is all big, pleading eyes as Belle, a biracial orphan left with wealthy white relatives and forced to live under a set of dehumanizing guidelines. This is where Belle should burrow into the intersecting and often contradictory concepts of power and privilege, but the film is content to skim the surface. Draco Malfoy himself (Tom Felton) is cast in the role of an invective-spewing rich bigot, just to prove that racism is bad. The courtroom drama subplot, which invokes a real-life case instrumental in dismantling the British slave industry, feels tacked on for the sake of a quasi-inspirational finish. D.B.
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Blended
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Chef
A divorcée (Drew Barrymore) and a widower (Adam Sandler) survive a blind date from hell, then—through a ridiculously contrived chain of circumstances—wind up on the same African vacation, this time with all their kids (her two boys, his three girls). It’s the usual string of dumbass gags from Sandler and his crony and director Frank Coraci, with the South African locale allowing for a little patronizing racism thrown in for bad measure. Barrymore should make fewer movies with Sandler, but he should make more with her. She raises the level of his game, and when they’re onscreen together, makes his presence palatable (now that’s talent!). Among the supporting cast, Bella Thorne as Sandler’s oldest daughter and Wendi McLendon-Covey as Barrymore’s best friend come off best. J.L.
The chef at a high-end Los Angeles restaurant (writer-director Jon Favreau) melts down under a barrage of problems—a bad review from a critic (Oliver Platt), frustration with his pompous boss (Dustin Hoffman), issues with his ex-wife (Sofia Vergara) and son (Emjay Anthony)—and impulsively quits his job. Trying to rebuild his career, he takes on operating a broken-down food truck, bonding with his son and a colleague (John Leguizamo) while driving the truck back from Florida, serving as they go. Favreau’s movie is looselimbed, even a tad aimless, but it’s appetizing in more ways than one (you’ll probably be famished by the time you leave the theater), and it may prove to be the feel-good movie of the summer. Big-name cameos provide seasoning: Scarlett Johansson, Robert Downey Jr., Bobby Cannavale and Amy Sedaris. J.L.
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Godzilla
Although strapped with an exponentially larger budget, director Gareth Edwards gives his Godzilla recharge the same lo-fi Spielbergian treatment as his debut feature film Monsters. In that lowbudget 2010 business card, Edwards kept the creatures and their destruction largely out of frame, instead focusing on a squabbling couple wandering through the aftermath. It’s an admirable strategy, and a potentially profound one, but it only works if the characters are well-rounded and the story is worth a damn. Unfortunately, Edwards lacks Spielberg’s storytelling zest and deep reservoir of humanity, and the execution in both films is humorless and dull. There are moments of spectacle and mystery in Godzilla, and the San Francisco-set “big finish” is impressive, but it takes 90-plus minutes of one-dimensional characters, ancient clichés, and idiotically awestruck gazes (there are more here than in Spielberg’s entire oeuvre) to get there. Giant, radioactive lizards deserve better. D.B.
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Maleficent
Disney’s 1959 Sleeping Beauty gets a do-over, this time from the viewpoint of the wicked fairy (Angelina Jolie). It turns out she’s the jilted girlfriend of King Stefan (Sharlto Copley), so it becomes the story of the revenge of a woman scorned. Writer Linda Woolverton’s feminist rewrite makes a hash of the animated original, and it doesn’t even make sense on its own terms. These revisionist fairy tales all tend to make the same mistake: The villain’s very wickedness is the reason he or she is so interesting. Making them wronged or misunderstood can
BEFORE
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NEWS
“AN UPLIFTING TALE.” - Matthew Kassel, NEW YORK OBSERVER
words and pictures STARTS FRI., 6/6
FRI-TUES: 11:45AM, 2:15, 4:45, 7:15, 9:40PM
“AS IRRESISTIBLE AS IT IS MOVING.”
BELL - Manohla Dargis, NEW YORK TIMES
WED/THUR: 11:50AM, 2:15, 4:50, 7:15, 9:55PM FRI-TUES: 11:50AM, 2:10, 4:35, 7:00, 9:30PM NO SAT 11:50AM • NO TUES 7:00, 9:30PM
Is there a cheat code for “cocksureness”?
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“A VIRTUOSO NARRATIVE.”
LOCKE - David Rooney, HOLLYWOOD REPORTER
WED-TUES: 12:00, 2:00, 4:00, 6:00, 8:00, 10:00PM NO SAT 2:00PM
“MAGICAL AND MAGNETIC.” -
Dave Calhoun, TIME OUT
ONLY LOVERS LEFT ALIVE ENDS THUR., 6/5
WED/THUR: 11:45AM, 2:10, 4:45, 7:20, 9:45PM
HENRY IV PART 1 SAT., 6/7 AT 12:00PM • ROH-VERDI: NABUCCO TUES., 6/10 AT 7:00PM FOR ADVANCE TICKETS PLEASE VISIT FANDANGO.COM
Edge of Tomorrow
Out of nowhere, Edge of Tomorrow is an exhilarating mix of Verhoeven-esque sci-fi subversion, existential comedy straight out of Groundhog Day, and the slaughter-and-reset structure of a first-person shooter game. Tom Cruise plays a glib military P.R. man shanghaied into a losing battle against parasitic aliens, where inadvertent contact with their blood causes him to absorb their power to “reset the day.” Like an Xbox geek clearing levels, Cruise cashes in limitless lives and replays the battle until he can figure out how to defeat the aliens. Director Doug Liman doesn’t completely shake Cruise from the airtight terseness of his recent performances, and the script has more holes than female speaking parts (although Emily Blunt is very good as a war hero), but the film has fun undermining and reconstructing Cruise’s image of “Go for it!” cocksureness, and the action scenes are incredibly effective. D.B. only diminish their dramatic power. (Meanwhile, the movie makes King Stefan wicked without making him interesting.) Robert Stromberg, a visual-effects technician here promoted to director, is an example of the Peter Principle in action. Nice effects, though. J.L.
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Million Dollar Arm
One of the businessmen in Craig Gillespie’s Million Dollar Arm refers to India as “the last untapped market.” It is intended to be a dig at global capitalists who worship money and treat humans like assets, but it’s more evocative of the mercenarymissionary strategy at the heart of this dogeared Disney sports film. Jon Hamm plays struggling sports agent J.B. Bernstein, and although this emotionally withdrawn huckster is right in his Don Draper wheelhouse, the film’s dewy-eyed sentiment is a bad look on Hamm. J.B. launches the “Million Dollar Arm” talent competition throughout India, hoping to convert hard-throwing cricket players into pitchers. Once the film flies to Mumbai, we are treated to a half-hour of racial stereotypes, before returning to America for another hour of fish-out-of-water stereotypes. At one point, J.B. calls India “a study in extremes,” but Million Dollar Arm is a study in squishy middles. D.B.
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A Million Ways to Die in the West
In 1882 Arizona, a sheep rancher (Seth McFarlane, who also directed and cowrote with Alec Sulkind and Wellesley Wild) meets a new lady in town (Charlize Theron), not knowing she’s the wife of a vicious outlaw (Liam Neeson). Unlike Mel Brooks with Blazing Saddles, McFarlane doesn’t spoof Western movie conventions: Being under 50, he barely knows what they are. His movie is more of a raunchy sex comedy with guns, horses and old-fashioned clothes. McFarlane and Theron make a sweetly appealing couple, and many of the gags are hilarious; trimming the almost equal number that misfire would have kept the movie from outlasting its welcome. Amanda Seyfried is wasted as McFarlane’s ex-girlfriend, but Neil Patrick Harris is fun as her new squeeze, likewise Giovanni Ribisi and Sarah Silverman as yet another couple. J.L.
3
Neighbors
A middle-class couple (Seth Rogen, Rose Byrne) try to stay cool when a party-hearty fraternity (led by Zac Efron) moves in next door, but hard feelings sprout and escalate into an all-out war. This one goes straight onto the guilty-pleasures list.
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The script by first-timers Andrew J. Cohen and Brendan O’Brien is short on logic, with important scenes apparently never written, never filmed or left on the cutting-room floor. Director Nicholas Stoller keeps the joke parade rolling but can’t iron out the script’s wrinkles. Rogen’s comic-schlub shtick is well-deployed, and Byrne shows a nice flair for comedy, while Efron’s earnest performance feels piped in from a different movie. Still, enough of the jokes land to make the movie pretty funny, even with enough misfires to put the “guilt” in guilty pleasure. J.L.
3
Sacramento Vedanta Reading Group
Words and Pictures
As damaged private-school teachers who connect over a war between art and literature, Clive Owen and Juliette Binoche possess real chemistry in Fred Schepisi’s Words and Pictures. After a string of playing dewy-eyed duds and stone-faced actioners, Owen gets a chance to indulge in the sort of fiercely intelligent roguishness that forged his fame, and while Binoche successfully sells her character’s brittle selfdenial, she can also power a small town with the beams that emanate from her smiling face. Unfortunately, the dialectic about the relative “honesty” of words vs. pictures is never as smart or inspiring as Schepisi and screenwriter Gerald Di Pego would like us to think, and the terrain gets more and more sludgy as the film’s heart starts to warm. Words and Pictures piddles along comfortably enough, but also shows an unfortunate fondness for shallow conclusions and unearned reconciliations. D.B.
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X-Men: Days of Future Past
Since the release of Bryan Singer’s X-Men, Sam Raimi’s Spider-Man, and their slightly superior follow-ups, every release under the Marvel Studios banner has been an increasingly paler version of its predecessors. Over the years, it has developed an inane house formula immune to auteurs, and indeed the only auteurs guiding the franchise crossover Days of Future Past are the talent agencies that put it together. One of the strangest things about the film is how much it revels in murdering its mutant protagonists in the most disgusting manners possible, including beheadings and disembowelments, only to immediately respawn them in alternate timelines. It’s bad enough all of that sick violence plus one F-bomb equals a PG-13 rating, but the more immediate effect is that we know no one can get hurt, which dramatically lowers the stakes of a story that concerns the survival of the entire planet. D.B.
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Every Friday 7:00 - 8:30 pm · Free admission Sacramento Yoga Center @ Sierra 2 Community Center, Room 6 2791 24th Street, Sacramento Parking in back
The whole world is your own. — Sri Sarada Devi
For more information please see www.SacVRG.org
tickets availaBle at ftffest.com
auGust 15 & 16
Nor Cal’s oNly CampiNg all FuNk musiC Festival Featuring
Brownout | JellyBread | the niBBlers | stymie & the PJlo moksha | tracorum | moJo Green Plus 13 more! sponsored by |
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FACEBOOK.COM/BAR101ROSEVILLE 101 MAIN STREET, ROSEVILLE 916-774-0505
JUNE 6
EGG & ALEX VINCENT
The sweet hereafter
JUNE 8
Life in 24 Frames on making records, video games and selfies
VAGABOND BROTHERS (UNPLUGGED 2-5PM)
JUNE 13
BUCKLE RASH & ZACH BELLAS BAND JUNE 14
TIJUANA WEEKEND
Strangely enough, most Life in 24 Frames fans are video-game nerds who live far from Sacramento. When the band dropped its sophomore by Janelle Bitker album Bitter End in March, people downloaded it from Canada, Japan, Brazil and j a ne l l e b @ Bosnia, of all places. The band’s domestic ne w s re v i e w . c o m mailing list features subscribers hailing from 48 out of 50 states.
PHoTo by LoveLLe HArrIS
JUNE 20
CITY OF TRESS BRASS BAND JUNE 21
JUNE 7
HUCKLEBUCKS
HUMBLE WOLF
TRIVIA MONDAYS @ 6:30PM TACO TUESDAYS $1 TACOS, $2 CORONAS OPEN MIC WEDNESDAYS SIGN-UPS @ 7:30PM KARAOKE THURSDAYS @ 7:30PM O P E N 7 D AY S A W E E K F O R L U N C H & D I N N E R
2ND THURSDAYS | PRIDE | JUNE 12, 2014
If a band stands in front of a tree in a forest … oh, wait. Wrong existential question.
Catch Life in 24 Frames on Friday, June 6, 5 p.m. at Cesar Chavez Plaza, 910 I Street, for Concerts in the Park. There is no cover, and Dance Gavin Dance is also on the bill. Need more? Life in 24 Frames also plays on Friday, June 13, at 6:30 p.m. at Assembly Music Hall, at 1000 K Street. Tickets are $13, and Geographer headlines the show. For more, visit www.lifein24 frames.com.
#artmix crockerartmuseum.org 38 | SN&R | 06.05.14
Meanwhile, Smith plays in a few local bands, including indie electronic-pop outfit Saint Solitaire. And Pavao is the Lindsey Pavao, semifinalist on season two of NBC’s hit competition show The Voice. Pavao has been working on her own solo album for years—being a perfectionist takes time—and she jumped at the opportunity to join the band a couple months ago. “It was really exciting to be part of something, to just be a contributor,” Pavao says. All together, it’s a glorious fit. And Bitter End is a beautiful indie record, with gradual builds, hooks and story arcs. It’s thoughtful, mature. Adams is deservedly proud—he says Bitter End is the best thing he’s ever been a part of. So it was infuriating to negotiate with record labels for months and months. Eventually, the band decided to give the album away for free instead. “Our motive behind making music has never been for fame or money,” Adams says. “We put a lot of heart and effort into this record, and this just felt right.” Fans can download Bitter End—and the band’s debut Time Trails—for free on the band’s website with the code CTRL+Z. It can be also purchased via iTunes, if folks felt like donating a little cash. And now, it can also be preordered on vinyl; delivery is estimated for late July.
That’s because Life in 24 Frames has fans in high places—at IGN, specifically. IGN is the go-to video-gamer website, and Life in 24 Frames provides an unofficial soundtrack for IGN podcasts. Millions listen every week. “It’s weird,” admits frontman Kris Adams. “We’re a local band, but the majority of our fans can’t drive out to a show and see us play.” Live webcasts are a future possibility to satisfy that global audience. But, as guitarist Richie Smith says, “Selfies will have to do for now.” Adams founded Life in 24 Frames six years ago, but he’s the only one still standing. The band added members and instruments and evolved from ambient rock to something more lush and cinematic. Much of the band’s heavy turnover had to do with Adams’ desire for complex vocal harmonies—not every guitarist likes to sing. The band finally hit its stride when Life in 24 Frames recorded Bitter End two years ago. Gorgeous, five-part harmonies became a reality. “That’s when we took shape and became what I had envisioned,” Adams says. “I hope this is the family we keep for a long time.” The family is an accomplished bunch, with Joe Strouth on drums, Jason Brown on bass, Lindsey Pavao on keys, and Adams and Smith on guitar. Geoffrey Knecht of indie pop band SunMonks is no longer in Life in 24 Frames, but he wrote Bitter End with Adams.
Bitter End is a beautiful indie record, with gradual builds, hooks and story arcs. It’s thoughtful, mature. It’s not just band members who are passionate about vinyl. Strouth says fans and friends asked for it—and preorders are already coming in from as far as the United Kingdom. “People wanted a physical copy,” Strouth says. “People didn’t just want it for free.” Bitter End has been remastered. It has new album art. The band promises a completely new, potentially semireligious experience. “Music is cheaper than therapy,” Adams says. “We hope it can help others like it has helped us.” Ω
A cheaper Radiohead No surprises: After the massive success of last year’s Radiohead tribute show, the gang decided to do it again. Last time, the event capped off a day at the Launch music and arts festival. This time, James Cavern designated it as the official after-party for his own Concert in the Park on May 30. Wristbands from the park meant free entrance to the show, and sure enough, Marilyn’s on K was completely packed shortly after the doors opened. It’s tough to say if folks were more excited to support the 30 local musicians who joined forces and traded roles all night, or if they just wanted to scream the lyrics to Radiohead songs without paying $90 to actually see Radiohead. Regardless, there was a lot of Sacto love and pride going around, on and offstage. Life in 24 Frames opened the show with a few of their own songs— an excellent fit to the sound of the rest of the evening. (To read more about the band, see “The sweet hereafter,” SN&R Music, page 38.) They also played the first Radiohead cover of the night with “How to Disappear Completely.” It delivered. Musicians cycled in and out, but the hits—and the quality—kept coming: “15 Step,” “Everything in its Right Place,” “No Surprises,” “Street Spirit (Fade Out),” “Karma Police” and so many more. They weren’t all popular anthems off Radiohead’s most mainstream albums though. Hail to the Thief’s “2 + 2 = 5 (The Lukewarm)” was epic, as was “I Might Be Wrong,” off Amnesiac. Plus an obscure B-side track that I won’t even pretend to know. Other highlights: “Fake Plastic Trees,” sung by Autumn Sky and Lindsey Pavao, with Joe Kye on violin, was particularly gorgeous. I may now forever think of “Idioteque” as a bumpin’ dance track. At the end, the musicians piled onstage and everyone in the room sang “Creep,” with the microphone circling the crowd. It was a moment of unity that never could have happened at a real Radiohead show—because Thom Yorke refuses to play the song. And who needs the real Thom Yorke, anyway? We had Saint Solitaire’s Andrew Barnhart, to whom I give the Best Thom Yorke Dance Award. In complete seriousness, seeing so much talent and collaboration at once was a huge treat—a treat I hope can happen more often. But until then, I’ll wait for next year’s Radiohead tribute show.
Nineties nostalgia and $20 wine: Last year’s inaugural BottleRock Napa festival was an artistic success, but a financial disaster. While bands like Kings of Leon and the Black Keys were paid top dollar and put up in extravagant wine-country digs, mulitple vendors were allegedly stiffed, and the original promoters filed for bankruptcy. They left an unpaid tab of more than $8 million and a general feeling that the festival wouldn’t continue. Then Napa local David Graham and the Latitude 38 Entertainment group intervened. Long story short, the result was last weekend’s successful reboot with notable headliners such as Outkast, Weezer, Eric Church and the Cure. Better yet, the event was fan-friendly, simple to navigate and boasted a terrifically tempting food garden that featured reasonably priced offerings from Napa’s eateries—well, reasonably priced for Napa, anyway. A nice glass of cabernet ran about $20. With four stages, music played constantly. Still, prior to the festival’s start, there’d been some carping about the lineup being a little heavy on the ’90s acts. Ultimately, it seemed to satiate festivalgoers. On Friday night, the Cure played a two-and-a-half-hour set and sounded amazing in what was the first of only a handful of scheduled U.S. shows it’ll play in 2014. Other highlights included Matisyahu surprising the audience by playing a set that almost entirely comprised brand-new songs from his new album Akeda, which at that point had not yet been released. Also, Matt and Kim blew the crowd away with frantic antics and pure enthusiasm. Outkast may have been the festival’s loudest, but Weezer had a great moment where the sound cut out and the crowd gleefully took over the singing until it came back on. Robert Earl Keen played one of the event’s finest sets. And Sacramento’s Autumn Sky made the most of its opportunity, playing a well-received set early on Saturday. Going forward, Graham says he wants to keep the festival reasonably sized while constantly improving upon the talent, food and wine offerings. “We are not ever going to bring in 50,000 people even if we could,” the promoter said Saturday, as attendance neared a comfortably crowded 30,000. “It’s about experiencing music on a level [the fans] experience.” —Paul Piazza
—Janelle Bitker
jane lleb@ n ew s r ev i ew . com BEFORE
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Emily Kollars
Noah Clark and the Homewrecking Crew
Jesse Terry
Loverboy
Harlow’s Restaurant & Nightclub, 6 p.m., $10 It’s been only a short while since Emily Kollars began her solo musical pursuits, but she’s been involved with music her whole life. SOUL/R&B She’s not only played in a bunch of bands, but has parents that were in bands back in the day (the ’80s). Her choice of music is soul, though she mixes it with a healthy dose of jazz and R&B. The drums and bass pop with pure funk, while the keyboards bring a smooth-jazz vibe to the tunes. As a singer, she oscillates between a number of styles. She has the raw passion of Aretha Franklin and the grace and intonation of Ella Fitzgerald. 2708 J Street, www.emilykollars.com.
—Aaron Carnes
The Palms Playhouse, 8 p.m., $20
Witch Room, 7 p.m., $5-$10 Noah Clark boasts an impressive résumé. He might be best known as the drummer of Brilliant Red Lights, local pop-rock band circa 2008. But he’s played, arranged, recorded or somehow worked with Cake, Chk Chk Chk (a.k.a. !!!), Doombird and a slew of other bands. In fact, I creepily recognize him from a Dave Smallen gig in San Francisco a few years ago. Regardless, the multi-instrumentalist has recently formed his first legitimate band under INDIE his own name, and it plays its first legitimate gig on Friday. Its debut EP Feel Free is streaming online now—out in other forms on June 23—and highlights Clark’s folky voice and promising, well-crafted songwriting. 1815 19th Street, www.noahclarkmusic.com.
Jesse Terry knows how to charm. Over the course of three albums, Terry has taken listeners on a variety of sonic and lyrical journeys. Ambling country and Americana ditties like “Edges” showcase Terry’s indelible sense of melody and songcraft, while COUNTRY the midtempo pop-rock number “This Should Be Home” is perfect radio fodder about home being where the heart is. You never know what you are going to get from Terry—as evidenced by the filthy, blues-rock riffs that appear in a song like “Devil Will Dance”—and that is part of the attraction. Terry is touring in support of his newest release, Stay Here With Me. 13 Main Street in Winters, www.jesseterrymusic.com.
—Janelle Bitker
2708 J Street Sacramento, CA 916.441.4693 www.harlows.com - June 8 -
WALKING SPANISH
- June 5 -
J. SIRUS
GO BY OCEAN • 7PM • $8 ADV
VARSITY BLUES RELEASE SHOW 7PM • FREE ALL AGES
- June 12 -
- June 6 -
FLIES IN THE KITCHEN
VINCE DI FIORE OF CAKE • 9:30PM • $10
BROWNOUT PRESENTS
BROWN SABBATH 7PM • $15
- June 7 -
THE TUBES 8PM • $30
- June 13 -
HILLSTOMP
GOOD LUCK THRIFT STORE OUTFIT WEST NILE RAMBLERS 8PM • $12ADV
40 | SN&R |
06.05.14
COMING SOON 6/6 EMILY KOLLARS BAND / JAHARI SAI 6/8 COMEDY IN MOMO 6/11 AGES AND AGES / MUSICAL CHARIS 6/14 GLOBAL GUITAR GREATS 6/14 PREZIDENT BROWN 6/15 AVERAGE WHITE BAND 6/16 ROBIN ZANDER OF CHEAP TRICK 6/19 TOMMY AND THE HIGH PILOTS 6/21 TAINTED LOVE 6/25 SOUTHERN CULTURE ON THE SKIDS 6/27 THE BROTHERS COMATOSE 6/28 SAMBADA / NIBBLERS 6/29 HELLBOUND GLORY 07/3 ESAU MCGRAW 07/5 MIDNIGHT PLAYERS 07/6 BEATLES TRIBUTE 07/9 BLACK PUSSY / MOTHERSHIP 07/11 ROBERT FRANCIS & THE NIGHT TIDES (EARLY) 07/11 FEVER THE GHOST / MORAN DELT (LATE) 07/12 JOY & MADNESS
Thunder Valley Casino Resort, 6:30 p.m., $29.75-$84.75 Say what you want about Canada’s Loverboy, but this group has been making quite a mint recording and touring for several decades. And unlike most classicrock bands, Loverboy still touts four of the original five members (bassist Scott Smith died in a boating accident in 2000). Far from being one-hit wonders, the band produced four platinum records, one gold and was inducted into the Canadian Music Hall of Fame. If songs like “Turn Me Loose,” “Working for the Weekend” or “When It’s Over” don’t move you, you may want get your pulse checked at the door. ROCK Loverboy and Eddie Money open for Rick Springfield. 1200 Athens Avenue in Lincoln, www.loverboyband.com.
—Brian Palmer
—Eddie Jorgensen
thur 06/05 // 8pm // $5
four guys from reno isaac bear, guero fri 06/06 // 9pm
you front the band live karaoke
sat 06/07 // 8pm // $5
city cats moon mantis sun 06/08
, open mic showcase sunday auditions 8-12am comedy 6-8pm // band free
the cold hard show cash tribute to johnny cash glenn symmonds wed 06/11 // 8pm // $5
california sons cash cartel band
upcoming shows: past nine 06/14 juke box johnny & nine
908 K Street • sac 916.446.4361 wwwMarilynsOnK.com
08SUN
08SUN
09MON
10TUES
OneRepublic
Walking Spanish
The Americas
Loud
Sleep Train Amphitheatre, 7 p.m., $23-$105.50
Harlow’s Restaurant & Nightclub, 8 p.m., $8-$10
Plaintive singer-songwriter Ryan Tedder not only possesses a crisp, strong falsetto, but he’s also a gifted songwriter who’s penned tracks for pop stars like Jennifer Lopez, Backstreet Boys and Pussycat Dolls. At age 23, he forged a friendship with producer Timbaland, who recorded and backed OneRepublic’s breakout 2007 single “Apologize.” The group’s debut album Dreaming Out Loud, was a global sensation that 2009’s Waking Up couldn’t match. However, last year’s Native has proven to be POP OneRepublic’s most successful release, propelled by the infectiously philosophical hit anthem “Counting Stars,” where he confesses “everything that kills me makes me feel alive.” 2677 Forty Mile Road in Wheatland, www.onerepublic.com.
In the past five years, Walking Spanish won three Sammies in the rock category, and it’ll release its third album, Phoenix Down, ROCK at this show. The band consists of vocalist and guitarist Alexander Nelson (trivia alert: the younger brother of Jackie Greene) backed by the sibling rhythm section of Timothy and Patrick Picchi on bass and drums, respectively. Tom Gunterman adds violin flourishes on Phoenix Down’s title track, giving it an Americana feel, and Nelson’s vocals on the up-tempo rocker “Come Around” are mature for his 26 years—they seem to combine the pop sheen of Rivers Cuomo and Billie Joe Armstrong and the edginess of Mike Ness. 2708 J Street, www.walkingspanish.com.
Witch Room, 7 p.m., $7
The Press Club, 9 p.m., $5
It’s been more than a decade since Chico indie rockers the Americas got their start, and they’re still playing with a ton of urgency. Even on their most recent recording, 2010’s Sweet Release, their frenetic math-rock chops seem to have only gotten better. Their songs vary in length, though many surpass five minutes. But even on the shorter songs they twist and change patterns and melodies constantly. Some INDIE ROCK of the most interesting moments are when the guitarist slows down to play some gorgeous arpeggios, the singer belts some emotive melodies and the drummer prog-rocks away with insane fervor. 1815 19th Street, www.theamericas.bandcamp.com.
—Jonathan Mendick
—Aaron Carnes
I received a press release for this dance party, but I’m still not really sure what to expect. It’s described as both a “bassdriven dance party” and a “cross-genre voyage to the low end with comedy and live HIP-HOP/DANCE entertainment.” Whatever the case, it’s hosted by emcee Andru Defeye and DJ Amp One (pictured), and the debut event this Tuesday features special guest DJ Kittie Lynne. For the comedy portion, there will be trivia and “gangster-rap lip-synch contests.” When I told the author of the press release that the Michael Bolton character from Office Space would enjoy these contests, he responded, “Exactly.” Loud happens every other week. 2030 P Street, www.zfgpromotions.com.
—Chris Parker
—Jonathan Mendick michael mancini wOrlD’s funniesT cOp june 5-8 Th:7:30 fri: 7:30/9:45 saT: 7/9:45 sun: 7:00
sheryl unDerwOOD
frOm “The Talk” june 13-14 fri: 7:30/9:45 saT: 7/9:30/11:45
TOmmy DaviDsOn june 21-22 saT: 7/9:45 sun: 7:00
cOcOa BrOwn
july 17-20 Thu: 7:30 fri: 7:30/9:45 saT: 7:00/9:45 | sun: 7:00
r special 2 fo d e t 1 for selecly! shows on
916-608-2233 www.tommyts.com 12401 folsom Blvd rancho cordova ca 95742 BEFORE
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june 27-29 fri 7:30/ 9:45 saT 7/ 9:45 sun 7:00
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SUMMER GUIDe
2014 2014
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NIGHTBEAT
THURSDAY 6/5
FRIDAY 6/6
SATURDAY 6/7
CAKED UP, OSCAR WYLDE; 9pm, $14.50
SECRET BAND, SIANVAR, TILIAN, STOLAS, OUR NATIVE TONGUE; 7pm, $13
SUPERSUCKERS, DRY COUNTY DRINKERS, THE DEVILS TRAIN; 8pm, $15
2003 K St., (916) 448-8790
Tipsy Thursdays, Top 40 deejay dancing, 9pm, call for cover
Fabulous and Gay Fridays, 9pm, call for cover
Saturday Boom, 9pm, call for cover
BAR 101
Karaoke, 7:30pm, no cover
ALEX VINCENT, EGG; 9:30pm, call for cover
HUCKLEBUCKS, 9:30pm, call for cover
BLUE LAMP
Blues jam, 4pm, no cover
THE BOARDWALK
KURENAI, RHFM, JUDHEAD, CRAZY
ASSEMBLY MUSIC HALL 1000 K St., (916) 832-4751
List your event!
Post your free online listing (up to 15 months early), and our editors will consider your submission for the printed calendar as well. Print listings are also free, but subject to space limitations. Online, you can include a full description of your event, a photo, and a link to your website. Go to www.newsreview.com/calendar and start posting events. Deadline for print listings is 10 days prior to the issue in which you wish the listing to appear.
BADLANDS
101 Main St., Roseville; (916) 774-0505 1400 Alhambra, (916) 455-3400
9426 Greenback Ln., Orangevale; (916) 988-9247 DOG, THE DEAF PILOTS; 8pm
D WRECK, NOAH FORD, A. DUB, CHIS HENERY, LIL BIT; 8pm, call for cover
FORTY FATHOMS, CONFLICTS, SOULS, SALYTHIA, FILTHPIT; 8pm, $10-$12
CENTER FOR THE ARTS
JOHNNYSWIM, 8pm, $20-$22
Paula Poundstone, 8pm, call for cover
314 W. Main St., Grass Valley; (530) 274-8384
THE COZMIC CAFÉ
Open-mic, 7:30pm, no cover
JONNY MOJO, 8pm, $8
1016 K St., (916) 737-5770
DJ R3lease, DJ Bphree and DJ Freezy, 10:30pm, call for cover
JULIAN PIERCE, 10pm, call for cover
DIVE BAR
Deuling Pianos, 9pm, no cover
594 Main St., Placerville; (530) 642-8481
DISTRICT 30
1022 K St., (916) 737-5999
FACES
2000 K St., (916) 448-7798
FOX & GOOSE Hey local bands!
Want to be a hot show? Mail photos to Calendar Editor, SN&R, 1124 Del Paso Blvd., Sacramento, CA 95815 or email it to sactocalendar@ newsreview.com. Be sure to include date, time, location and cost of upcoming shows.
N-MEN, 7pm, call for cover
1001 R St., (916) 443-8825
MARTY COHEN & THE SIDEKICKS, 8pm, no cover
MONDAY-WEDNESDAY 6/9-6/11
Sin Sunday, 8pm, call for cover
Mad Mondays, 9pm M Trivia, 6:30pm M, no cover; Open-mic, 7:30pm W, no cover
Get Down to the Champion Sound reggae night, 9pm-2am, $3
Hip-hop and Top 40 Deejay dancing, 9pm, $5-$10
THE CHICK P’S, THE RUMBLERZ; 9pm, $5
JOE GETTY & THE DEAD FLOWERS, MONONYMOUS; 9pm, $5
DJ Dr. Freezy, DJ B Funky, DJ Curty McDurty, 10pm W, call for cover ZUHG, EGG; 9pm, no cover
THE BELL BOYS, 9pm W, no cover
Dragalicious, 9pm, $5
Queer Idol, 9pm M, no cover; Latin night, 9pm Tu, $5; DJ Alazzawi, 9pm W, $3 Open-mic, 7:30pm M; Pub Quiz, 7pm Tu; Northern Soul, 8pm W, no cover
DANK OCEAN, 9pm, no cover
228 G St., Davis; (530) 756-9227
HALFTIME BAR & GRILL
ROAD 88, 9pm-midnight, $5
PARTY RUMOR, 9pm-midnight, $5
J.SIRUS, 8pm, no cover
EMILY KOLLARS, JAHARI SAI QUARTET; 6pm, $10; FLIES IN THE KITCHEN, 10pm
THE TUBES, 9pm, $30
LUNA’S CAFÉ & JUICE BAR
Joe Montoya’s Poetry Unplugged, 8pm, $2
CHICKEN & DUMPLING, DR. HALL & THE BLUES PRACTITIONERS; 8pm
BONEYARD RATTLERS, 21 B, TYLER MEHLHAFF; 8:30pm, $5
MARILYN’S ON K
FOUR GUYS FROM RENO, ISAAC BEAR, GUERO; 8pm, call for cover
You Front The Band Live Karaoke, 9pm, call for cover
CITY CATS, 9pm, call for cover
MIDTOWN BARFLY
Dubstep, glitch-hop, house and electron- Dubstep, glitch-hop and deep bass deeic deejay dancing, 9pm, call for cover jay dancing, 9pm-2am, call for cover
Electronic, house, nu-disco, techno, dub- Goth, darkwave, industrial, electronic step deejay dancing, 9pm, call for cover deejay dancing, 9pm-3am, call for cover
Swing dancing lessons, 7:30pm Tu, $6; Salsa lessons, 7:30pm-midnight W, $5
NAKED LOUNGE DOWNTOWN
MEETING JOE SUMMERS, PCB TRIO, SMALLTALK; 8:30pm, $5
SCOTT MCCONAHA, LOS PATRONES, NOT FOR PROFIT; 8:30pm, $5
Jazz session, 8pm M; JION JUGO, THE GENTLEMEN, DANI JOY; 8:30pm W, $5
5681 Lonetree Blvd., Rocklin; (916) 626-6366
HARLOW’S
2708 J St., (916) 441-4693 1414 16th St., (916) 441-3931 908 K St., (916) 446-4361 1119 21st St., (916) 549-2779 1111 H St., (916) 443-1927
ELIJAH EGBERT, ROYAL JELLY, HONYOCK; 8:30pm, $5
ACE OF SPADES FRIDAY, JUNE 6
LES CLAYPOOL’S DUO DE TWANG REFORMED WHORES FRIDAY, JUNE 13
MICKEY AVALON
RICHARD THE ROCKSTAR - HOPE IN DISGUISE
SATURDAY, JUNE 21
WARREN G
ANDRE TRUTH - PLAYAH K & REIGN - RAE ROCK - EL CAPITAN - I80 PLAYAZ – GFN - DTR
MONDAY, JUNE 23
INGRID MICHAELSON
Trivia night, 7:30-9pm Tu, no cover WALKING SPANISH, GO BY OCEAN; 8pm, $8-$10
TUESDAY, JULY 1
FUTURE QUE - RICO LOVE
Marilyn’s Talent Showcase, 6pm, no cover
SN&R
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Karaoke, 9pm M, no cover; Greatest Stories Ever Told, 8pm Tu, no cover
1417 R Street, Sacramento, 95814 www.aceofspadessac.com
ALL AGES WELCOME!
SATURDAY, JULY 12
NWA RESURRECTION
CALI BEAR GANG – WEDDOJANSON - DIAMOND DEZ
WEDNESDAY, JULY 16
MKTO
COMING
SOON
07/22 Rittz 07/23 Philthy Rich D-Lo Kidd Swag
THURSDAY, JULY 17
07/24 Moonshine Bandits
HOT RAIN - GAPPY RANKS
07/25 Soulja Boy
J BOOG
07/27 Soulfly FRIDAY, JULY 18
THE POLYPHONIC SPREE BLOOD ON THE DANCE FLOOR
MILLIONAIRES - HALEY ROSE - LONELY AVENUE INTERNET FRIENDS - ZACH VAN DYCK
08/22 Common Kings 08/23 Y & T 09/06 Tribal Seeds 09/27 Amon Amarth 10/28 Airborne Toxic Eventa 10/29 Colt Ford
Tickets available at all Dimple Records Locations, The Beat Records, and Armadillo Records, or purchase by phone @ 916.443.9202 |
AGES AND AGES, MUSICAL CHARIS, MAC RUSS; 8pm W, $10 Nebraska Mondays, 7:30pm M, $5-$20; Comedy night, 8pm W, $6
SATURDAY, JULY 19
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Acoustic open mic, 8pm M, no cover; Naughty Trivia, 8pm W, no cover HARPS, MONICA WAY, ERICA STYLES, MONICA JOY, CLAYBOURNE; 8pm W
DJ Luigi, 10pm, call for cover
Hip-hop and Top 40 Deejay dancing, 9pm, $5-$10
G STREET WUNDERBAR
SUNDAY 6/8
THURSDAY 6/5
FRIDAY 6/6
OLD IRONSIDES
SATURDAY 6/7
SLOTHS, THE TROUBLE MAKERS, DRIVE-THRU MYSTICS; 8pm, $8
1901 10th St., (916) 442-3504
SUNDAY 6/8
Lipstick Weekender, 9:30pm, $5
ON THE Y
MIND FURNACE, PRIMER 55; 8pm, $10
670 Fulton Ave., (916) 487-3731
THE PALMS PLAYHOUSE
13 Main St., Winters; (530) 795-1825
STEVE SESKIN, SINCLAIR, JESSE TERRY; CHRIS WEBSTER, TRACY WALTON, 8pm, $20 BILL EDWARDS; 8pm, $20
THE PARK ULTRA LOUNGE
DJ Eddie Edul, 9pm-2am, $15
1116 15th St., (916) 442-7222
MONDAY-WEDNESDAY 6/9-6/11 Karaoke w/ Sac City Entertainment, 9pm Tu, no cover; Open-mic, 9pm W, no cover
Open-mic comedy, 9pm, no cover
Karaoke, 9pm Tu, no cover
Asylum Downtown: Gothic, industrial, EBM dancing, 9pm, call for cover
DJ Peeti V, 9pm-2am, $15
PINE COVE TAVERN
MYCHEL, 9pm, call for cover
502 29th St., (916) 446-3624
PINS N STRIKES
3443 Laguna Blvd., Elk Grove; (916) 226-2625
Deejay dancing, 9pm, $10
MIDNIGHT PLAYERS, 9pm, $10
Ballroom dancing with Jim Truesdale, 6:30pm W, no cover
POWERHOUSE PUB
TWO STEPS DOWN, 10pm, call for cover
KISS TRIBUTE BAND, 10pm, call for cover
TAKE OUT, 10pm, call for cover
JEFF WATSON, 3pm, call for cover
THE PRESS CLUB
DJ Travis, DJ Rafter, 9pm, call for cover
Top 40 w/ DJ Rue, 9pm, $5
Top 40 Night w/ DJ Larry Rodriguez, 9pm, $5
Sunday Night Soul Party, 9pm, $5
Loud dance night, 9pm Tu, $5; DJ Esef, Selector I-Lone, 9pm W, call for cover
SHADY LADY SALOON 1409 R St., (916) 231-9121
TESSIE MARIE AND THE POOR MAN BAND, 9pm, no cover
CRESCENT KATZ, 9pm, no cover
ZORELLI, 9pm, no cover
EMILY KOLLARS, 9pm, no cover
DJ Crook, 9pm Tu, no cover; DESWINGIN, 9pm W, no cover
SOPHIA’S THAI KITCHEN
SHELBY EARL, 9pm, $5
STARLITE LOUNGE
1517 21st St., (916) 706-0052
BACHELORS OF FINE ART, SAD TIRE, SHOUJO KITTEN; 9pm, call for cover
PLAN 9, THE STRANGE PARTY, THE LEFT HAND, THEM CREATURES; 9pm
DEVON GALLEY, BRADEN SCOTT, REVERBERATION DANCE, KISS THE SKY; 6pm
STONEY INN/ROCKIN’ RODEO
LACE AND LEAD, 8pm, $5
Country dancing, 7:30pm, no cover; $5 after 8pm
Country dancing, 7:30pm, no cover; $5 after 8pm
Country dance party, 8pm, no cover
EVERETT JAZZ CONSORTIUM, BIG STICKY MESS, ZUHG; 6-10pm, $5
RHODES HAIGHT PROJECT, HANS! AND THE HOT MESS; 2-10pm, $8
LIFE IN THE FAST LANE, 3-7pm, $8
KYLE ROWLAND, 9pm, $8
Blues jam, 4pm, no cover; LONESOME LOCOMOTIVE, 8pm, $5
614 Sutter St., Folsom; (916) 355-8586 2030 P St., (916) 444-7914
129 E St., Davis; (530) 758-4333
1320 Del Paso Blvd., (916) 927-6023
DOUG GILLARD, COCKTAILS; 9:30pm, $6
SWABBIES
5871 Garden Hwy, (916) 920-8088
TORCH CLUB
X TRIO, 5pm, no cover; HANS & THE HOT MESS, 9pm, $6
PAILER AND FRATIS, 5:30pm, no cover; TERRY HANCK, 9pm, $10
WITCH ROOM
MR. P CHILL, BEATKNOCKS, CLEEN & ELEPHANT GERALD; 8pm, $5
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JAMES CAVERN, STEVIE JO, MADI SIPES, THE AMERICAS, GHOSTNOTE; 7pm M, $7; LAKE STOVELL; 7pm, $5 HEAVY HAWAII, EMOTIONAL; 7pm Tu, $5
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A RT S & C U LT U R E
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June 21 June 26 June 28 July 01 July 02 July 05 July 11 June 15 July 17 July 18 July 19 July 29 Aug 02 Aug 05 Aug 10 Aug 16 Aug 17 sep 20 oct 12
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I visit Fresno often for work, and people tell me that groups are challenging the ban [on growing marijuana] down there. Do you know anything? —Ray Zen The medical-marijuana community in Fresno, led by the Fresno Cannabis Association (www.fresno cannabis.org), are attacking the ban on two fronts. First, it is suing to overturn the ban because the city of Fresno did not file an environmental BEALUM impact report before implementing the ban. by NGAIO The group kind of has a point, but I am not sure how successful this lawsuit will be because the California Environmental Quality Act a s k420 @ ne wsreview.c om reviews and EIR lawsuits are becoming seen as nuisance lawsuits usually used by radicals and NIMBYs when the law doesn’t go their way. ’13 But maybe the FCA can get a preliminary injunction and tie this thing up in court for a few years while the lawyers hammer out a deal. The second, and more interesting, lawsuit has been filed against the city of Fresno by the American Civil Liberties Union. You heard me: the frickin’ ACLU! These guys are the big guns. The ACLU’s argument is that these total bans on growing medical cannabis This is going to take go against California state law. Proposition a lot of time, 215 and Senate Bill 420 qualified patients to effort and money. allow grow their own marijuana without fear of criminal penalties. The city and county of Fresno should not be able to contravene state law. I think the ACLU has a good case. The problem I have with Fresno, and all the other cities and counties trying to ban medical-marijuana growing, is: It doesn’t work. Prohibition never works. I know I say this in just about every other column, but it’s still true. This is America. We do what we want. It is smarter to have reasonable regulations than to attempt the impossible. Keeping people from growing a plant that helps them stay healthy is more than a Sisyphean task: It can’t be done. Fresno has already banned medical-marijuana collectives, and with a ban on growing, how are patients going to get good medicine? Drive to Sacramento? Go to Los Angeles? Move to Stockton? Ha! Say hello to your friendly neighborhood underground pot dealer. Ngaio Bealum All that being said, this is going to take a lot is a Sacramento of time, effort and money. The FCA is throwing a comedian, activist fundraiser at 8 p.m. on Sunday, June 8, at Full Circle and marijuana expert. Brewery Co. in downtown Fresno. There will be Email him questions at ask420@ music, comedy (I will be performing there), a raffle newsreview.com. and other entertainment. If you can’t make it to the fundraiser, please make a donation. If the FCA and the ACLU can win their lawsuits, other activists can use those results to overturn bans in their respective cities and counties. We are all in this together. Correction: In my last column about cannabis-infused edibles, I mistakenly stated that Tainted Inc. brand edibles were made in a home kitchen. I have been informed by owner Mickey Martin that Tainted edibles are made in an awesome 9,000-square-foot commercial kitchen. My bad. Ω
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Norwood
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EL DORADO’S ORIGINAL COLLECTIVE
MMCA ES T. 2 0 0 4
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Quick Hits
How to talk to your budtender
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aybe it’s your first time at a medical cannabis dispensary. Maybe not. Either way, here are a few tips on etiquette for interacting with your budtender:
Remember to use the proper terms. You aren’t at a “weed club,” you are at a medical cannabis dispensary. Referring to cannabis as anything other than “cannabis” or maybe “marijuana” will get you a few sideways glances. So no “weed,” “grass,” “fire,” “dope” or any slang terms. Be professional.
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If you use it for insomnia or anxiety or pain relief, let them know, and they will point you to a strain or two that fit your needs. If you can tell them about a strain you’ve used and enjoyed before, even better.
Don’t show up at the dispensary too high. Sometimes people come in too high to interact with the budtender — there are patients in line behind them, and they are obviously too high to make timely decisions. Try to keep it together. And that’s about it. Follow these simple rules and your medical cannabis buying should be easy as pie.
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Shop Talk Things to know when choosing a dispensary Vaughn from MMCA (Medical Marijuana Caregivers Association) of El Dorado County. “You want a place to be responsive to what your needs are rather than try steering you into what they want to sell you.” Vaughn says the dispensary should feel like going to a regular pharmacy, where a pharmacist would listen to your questions and help you find what’s best for you, without being too pushy on products.
“It’s just like going to a restaurant — no different.” Kevin Holmes, manager, Cloud 9
Of course, you need to ask questions of your own to make sure the dispensary carries the variety of cannabis you need and the method of delivery you prefer (for instance, inhaled or edible). You may be able to learn some of the answers online, if the dispensary is part of an informational network (such as 420101.com) or has its own website. Finally, don’t be afraid to ask about price — it can vary from dispensary to dispensary. As Laleh Shakib, manager of Sacramento’s Horizon Non-Profit Collective, explains: “Everyone wants a deal, but some people want the best.”
Medical Marijuana Evaluations Enterprise Dr
7 2 4/ o n ti ifc a r e V
Howe Ave
F
or patients with their first prescription for medical marijuana, finding a dispensary can seem like a daunting task. The greater Sacramento area offers many options — apart from proximity, what should patients consider? What questions should they ask when calling or visiting a dispensary? Turns out, the most important question may be the one you ask yourself. According to local dispensary managers, the key to finding the right place for you is finding a dispensary that feels right: comfortable environment, good employees and, of course, the right cannabis. So, that key question is: How do you feel about it? “It’s just like going to a restaurant — no different,” says Kevin Holmes, manager of Cloud 9 in Sacramento. “Everybody’s got different taste. You look for the things you personally like: cleanliness, artwork, what’s the vibe, are they playing good music, are people friendly, what’s the lighting like? And how much attention is your budtender or the person at the window paying to you?” Holmes adds that — just like a restaurant — if you have a good, memorable experience, you’ll keep coming back again and again. Also reflect on what the dispensary staff asked about you. Not only does it show their interest, but it also demonstrates their knowledge about cannabis itself. “There’s such a wide spectrum of what people need to have,” says Matt
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STORY
Blum
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BEFORE
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ARIES (March 21-April 19): “We are born with whirlwinds, forest fires, and comets inside us,” wrote novelist Robert McCammon. “We are born able to sing to birds and read the clouds and see our destiny in grains of sand. But then we get the magic educated right out of our souls. We get it churched out, spanked out, washed out, and combed out. We get put on the straight and narrow path and told to be responsible.” That’s the bad news, Aries. But now here’s the good news: The next 12 months will offer you a series of excellent opportunities to remagic yourself. If you have not yet caught wind of the first invitation, I bet you will soon.
SCORPIO (Oct. 23-Nov. 21): U2’s
Bono has called Leonard Cohen’s song “Hallelujah” the “most perfect song in the world.” It is mournful and triumphant, despairing and uplifting. It’s a riddle that improbably offers cathartic release. More than 300 recording artists have done cover versions of it, and it has even been the subject of books. And yet it was a challenge for Cohen to compose. He wrote more than 80 verses before choosing the few he would actually include in the final version, and in one famous session, he resorted to banging his head on the floor to stimulate his creative flow. “To find that song, that urgent song,” he said, took “a lot of work and a lot of sweat.” I nominate “Hallelujah” to be one of your sacred symbols for the next 12 months, Scorpio. From your strenuous effort, I predict, will come masterful creations.
choice between owning an object and having an experience,” said art critic Holland Cotter, “I always choose the experience.” He prefers to spend his money on adventures that transform his sense of self and his understanding of the world. I recommend that approach to you in the coming weeks, Taurus. The most valuable “possessions” you can acquire will be the lessons you learn, the skills you hone, and the relationships you ripen.
GEMINI (May 21-June 20): In Marcel
Proust’s novel Swann’s Way, the narrator speaks of how profoundly he is inspired by an older writer named Bergotte: “Each time he talked about something whose beauty had until then been hidden from me, about pine forests, about hail, about Notre-Dame Cathedral ... with one image he would make that beauty explode into me.” I bring this to your attention, Gemini, because in the coming days I suspect a great deal of beauty will explode into you. Why? I think it’s because you’re more receptive than usual to being delighted and enchanted. The triggers could be anything: exciting people, eavesdropped conversations, good books, surprising music and who knows what else?
CANCER (June 21-July 22): “Little
horses cannot carry great riders.” So says a Haitian proverb. Now, in accordance with the astrological omens, I’m urging you to meditate on its meaning for your life. Here are four possible interpretations: 1. Are you a “little horse” trying to carry a “great rider” who’s too much for you? 2. Are you a little horse that could grow into a bigger, stronger horse worthy of a great rider? 3. Are you a great rider who is in need of a horse that is big and strong enough to serve your big, strong ambitions? 4. Would you like to be a great rider, but you can’t be one as long as you have a horse that is too small and weak?
LEO (July 23-Aug. 22): Declare victory,
SAGITTARIUS (Nov. 22-Dec. 21):
Let me outline the breakthroughs I hope to see for you in the coming months. First, what is pretty good about you will not interfere with what is potentially great about you, but will instead cooperate with it and boost it. Second, your past accomplishments won’t hold back your progress; you will not be tempted to rely on them at the expense of your future accomplishments. And third, the brave ideas that have motivated you so well won’t devolve into staid old dogmas; you will either renew and reinvigorate them or else move on to a new set of brave ideas.
CAPRICORN (Dec. 22-Jan. 19): If you are in even moderate alignment with cosmic rhythms during the next 12 months, you will be a connoisseur and master of recycling. I’m speaking metaphorically here. What I hope is that you will reanimate worn-out inspirations and convert faded dreams into shiny new fantasies. You will find ways to revive alliances that went off track. A once-vibrant shtick or trick that lost its cool could be retrieved from the ash heap of history and turned into a fresh, hot asset. Gear yourself up for some entertaining resurrections.
AQUARIUS (Jan. 20-Feb. 18): I wish I
could tell you that your power animal this month is the eagle or dolphin or panther. Having a glamorous creature like that as your ally might boost your confidence and charisma. To be paired with one of them might even activate dormant reserves of your animal intelligence. But I can’t in good conscience authorize such an honor. That’s not what the astrological omens are suggesting. In fact, your power animal this June is the bunny rabbit. Please understand that there is no shame in this. On the contrary. You should be charmed and appreciative. It signifies that you will be fertile, fast, a bit tricky and very cute. (To read an essay on the mythology of the rabbit as trickster, go here: http://tinyurl. com/rabbittrickster.)
Leo. Even if victory is not quite won yet. Even if your success is imperfect and still a bit messy around the edges. Raise your arms up in elated triumph and shout, “I am the purified champion! I am the righteous conqueror! I have outsmarted my adversaries and outmaneuvered my obstacles, and now I am ready to claim my rightful rewards!” Do this even if you’re not 100 percent confident, even if there is still some scraping or clawing ahead of you. Celebrate your growing mastery. Congratulate yourself for how far you’ve come. In this way, you will summon what’s needed to complete your mission and achieve final, total victory.
VIRGO (Aug. 23-Sept. 22): Give special
attention to what will last the longest. That’s my main recommendation for you in the coming weeks. Devote less of your energy to transitory pleasures and shortterm hopes. Turn away from the small obsessions that demand far too much of your energy. Withdraw from the seemingly pressing concerns that will soon start to fade because they really aren’t that important. Instead, Virgo, devote your love and intelligence to the joys and dilemmas that will animate your life well into the future. Express reverence and care for the mysteries that will teach you and teach you and teach you for years to come.
LIBRA (Sept. 23-Oct. 22): My favorite
bridge in the world is the Golden Gate Bridge. In the hundreds of times I have driven on it over San Francisco Bay, it has never let me down. I’ve always gotten from one side to the other without any problem. In addition to its reliability, it
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uplifts me with its grandeur and beauty. What’s your most beloved bridge, Libra? I suggest that in the coming weeks you make it your lucky charm, your magical symbol. Why? Because the next chapter of your life story requires you to make a major crossing. You will traverse a great divide. Having your favorite bridge as a shining beacon in your imagination will inspire your strength and courage as you travel.
TAURUS (April 20-May 20): “Given the
PISCES (Feb. 19-March 20): The
Buddhist meditation teacher Chögyam Trungpa said that one of the best ways to become fearless is to cultivate tenderness. As you expand your heart’s capacity to feel compassionate affection for the world, you have less and less to be afraid of. That’s the opposite of the conventional wisdom, which says you become brave by toughening up, by reinforcing your psychic armor. Of all the signs of the zodiac, you Pisceans are best set up to benefit from Trungpa’s method—now even more than usual.
you can call rob brezsny for your expanded Weekly horoscope: (900) 950-7700. $1.99 per minute. must be 18+. touchtone phone required. customer service (612) 373-9785. and don’t forget to check out rob’s website at www.realastrology.com. |
F E AT U R E
photo by alec moreno
by ROb
For the week of June 5, 2014
STORY
Cold-blooded keeper Kate Gore is Sacramento’s queen of reptiles. As a zookeeper in the Sacramento Zoo’s Reptile House (3930 W. Land Park Drive), she looks after 80 species of scaly, cold-blooded creatures. Lizards, snakes, turtles, crocodiles, plus salamanders, frogs and tarantulas abound. Gore’s tasks include feeding (trivia: Reptiles don’t eat every day), cleaning up after them and (trying) to train lizards to do various tricks. Gore speaks about them with adoration. She even calls them cute—although she admits they could kill her.
How does one even become a zookeeper? Well, I started out as a visitor to the zoo, and then a member, and then I saw that there was a keeper-aide volunteer program, so I signed up for that. It basically entailed following keepers around and doing their tasks. After about four years, I went ahead and applied and got a job as a full-time float keeper—I wasn’t assigned to a certain area. And then, one day, they said, “I’d like you to work in reptiles.” Then reptiles became my domain.
So reptiles weren’t the dream? I was just happy being a zookeeper. I do like reptiles. I’m very passionate about them, but I would have been happy doing anything.
What’s your day-to-day like? Busy. I come in, make sure everyone’s alive and kicking, and then I wander around, feed everything that needs to be fed, because reptiles don’t eat every day. Then clean. That’s usually my whole morning. By afternoon, it’s time to build new exhibits or change out exhibits. Also, there might be an exam for an animal, and if they’re going to the hospital, you have to catch that animal.
What’s one of your most fun facts? Quite a few lizards make noises, which a lot of people wouldn’t believe. Geckos make a loud barking sound, and when they’re trying to court other geckos, they’ll make other noises. It can get pretty noisy in here when all the frogs start going as well as the geckos.
Don’t you find some of your reptiles creepy? No, actually I don’t. I’m pretty cool with all of them. I can’t say that for all my co-workers, though. (Laughs.)
What do you think of people who are scared of snakes? Are they irrational? I think every fear can be irrational. I just think they haven’t had the opportunity to really know an animal. My mother is |
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terrified of snakes, but knowing that I work with them, she tries to work with that fear. She’s actually touched some snakes, so I’m proud of her. Everyone has fears of things. I have a fear of leeches.
Do you feel attached to any of your residents? Almost all of them. With some, it’s harder because they couldn’t care less about me. But each one has its own special little thing. Even these little spotted pond turtles— they’re cute. Kinda chubby.
Tell me about some others. This species of snake was the reason why I really started to like snakes—she’s a Brazilian rainbow boa. They’re called rainbow boas because they’re actually very iridescent. Most snakes after they shed are so iridescent and sparkly, but in her case, she stays that way. They’re really great snakes, always pretty with great patterns. … This blue tree monitor is my favorite, and I have no problem saying it. She’s bright blue and exceedingly intelligent. She knows if I’m trying to take a photo or video of her, and she’ll stop what she’s doing and just walk away. She’s done it to me many times, especially when I try to train her.
You can train lizards? How does that work? Basically, I’ll have her favorite food—crickets—and I’ll go in with a target stick and clicker. I’ll hold it out wherever I want her to
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go, and as soon as she touches the target, I’ll click and hand her the crickets. Sometimes I’ll have her hang on a branch with her front legs free, just because it’s cute. Or stand up on her hind legs. I’ll also work on her to see if she can stand on this board here, which is how I weigh her, rather than grab her and cause stress. That’s the primary reason for all the training. It’s not so we can look cool. Stress can kill these guys. That’s why we always say, “Don’t touch on the glass.” You have people pounding on the glass, and they’re just like, “Oh my goodness, it’s loud!” [The reptiles] don’t like it at all.
Where are your venomous snakes? They each have a little red lock over here. We only open these if there are two of us here, and we don’t handle our venomous animals unless there’s a medical reason to. We use hooks, like ones you’ve probably seen on nature shows, and we put them in two areas on the animal, lift gently and hope the animal plays along. Everyone that works with reptiles has to be venomous trained. We only have New World venomous stuff—rattlesnakes, a couple South American species. No cobras or anything like that. Nothing that they say can kill you in five-minutes flat. We have an alarm and a red phone that goes directly to fire dispatch—if that thing is ever knocked off the hook, they send somebody like that (snaps). This stuff can be pretty dangerous, but it’s not scary-dangerous. Ω
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