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Interview with The Legend of Hercules star Kellan Lutz

Because every demigod needs an origin story.

Kellan Lutz as Hercules.
Kellan Lutz as Hercules.

The Legend of Hercules is the first of this year's two Hercules films. The second, due in July, will star Dwayne Johnson, a suitably gigantic actor for the part of the original strongman. But Kellan Lutz, whose most famous role to date has been that of Emmett Cullen in the Twilight films, is happy to lend his leaner (but no less chiseled) physique to a story that treats Hercules as a young man who is still figuring out his identity.

Matthew Lickona: You've said that Hercules was a great favorite of yours growing up. What do you remember about your early attraction to the demigod?

Hercules and the Nemean lion coloring page.

Kellan Lutz: I've always been into the arts. I drew the animals on the farm. I was into my coloring and my oil painting. I'm a middle child, and I think I have that middle-child syndrome. Middle children are kind of the creative ones, the more artistic ones.

When I was around five, I remember coloring, and one of the pictures that really stood out was of a hero with his sword out, about to attack this beautiful, huge lion. That was Hercules. Then, when I was ten, my grandmother showed me that picture — she kept all my [artwork] — and I just fell in love with who that was, him as a hero. Maybe I just did a great job of coloring him in, but I was really drawn to him, the hero fighting the lion.

After that, I fell in love with mythology. I read books; I read articles; I read the Iliad and the Odyssey. I could lose myself in the different stories. I would go outside in our back yard or the woods with a cutout cardboard sword and just play Hercules — it was Kellan's land, my fantasy land. I loved the superheroes of my own time — Thundercats, the Teenage Mutant Ninja Turtles — but Hercules always stood out to me. He's part god and part man, and he deals with a lot of human issues throughout his journey.

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Zeus sneaking up to Alcmene.

ML: When you were a kid, did you ever think about that whole aspect of a god coming down and having sex with a woman and then taking off, and Hercules being the result of that? It seems to leave room for Hercules to have all sorts of Daddy issues, and from what I've gathered, that's sort of a theme in your movie.

KL: I've always thought that was funny. I'm a man of faith, and it's a bit Biblical, [like] having God come down to the Virgin Mary, and her having Jesus, who was the savior of the people. There's a small difference between our story and that one, though, because Jesus had a direct connection with God. He was able to speak to His Father. In our story, Zeus will not meddle with mankind, so Zeus doesn't really talk to Hercules. And once Hercules realizes that the evil king isn't his real father, and that his real father didn't show up when his mother was murdered, he's pissed off at his father.

ML: Does some measure of Hercules' power eventually come from acknowledging who his real father is?

Hercules, realizing he is good enough and strong enough.

KL: I believe so. He always had that strength. But if you deny yourself that strength, mentally — if you say you aren't good enough and you aren't strong enough — then you won't be good enough and you won't be strong enough. I think we all have that power within us — not to be godlike, but to do whatever we can. When Hercules accepts who he is, his power is unlocked. When he denounces that self-denial he's been dealing with on a human level, he can live to his fullest potential, which is his godlike state.

ML: You've said that there's a real journey from boyhood to manhood here. What would you say marks the completion of that journey?

Hercules and the hydra at the Getty Villa.

KL: I think, for Hercules, it's a state of mind. When we pick up the story, his only focus is the love of his life. Then he's taken away from her, he's enslaved, his mother is murdered by his stepfather, and he learns that he's the son of Zeus. He has all these things in his mind, and it helps him to mature quite quickly. He's fighting to the death as a gladiator, and so you either die or man up to the circumstances, accept your new identity, and fulfill your destiny. That's when his central focus starts to become more broad — he starts to care about his village, about dethroning the evil king, about righting injustice.

ML: I understand you took a trip to the Getty Villa with director Renny Harlin in preparation for the film.

Hercules lifting Antaeus.

KL: Renny has done so much research, even down to set design and costume design. I've always been a fan, but I never had a reason to do intense homework on Hercules until now. He found the Getty Villa and told me about it, and I went up there. It was fascinating to go in there and see the pottery, see the statues, see the paintings. We found a lot of cool little things — in the film, when I'm being branded as a slave, the symbol I'm being branded with is the symbol for Hercules. It's cool; there are always new twists on the telephone game of "What happened here?" Even if 99% of people agree on what the twelve labors of Hercules were, there are still things within those labors that change. At it's core, it's a myth, and there are always new twists.

When I was in Rome, I was at the Hilton, overlooking the whole city, and I saw this painting of Hercules lifting up this other super-strong human. But the human's strength comes from being connected to the ground, so Hercules lifts him up and takes away his strength, and then Hercules crushes his lungs and his ribcage. I had never heard that story, and I was fascinated.

ML: You've mentioned your love of mythology. Why are myths important?

Russell Crowe in Gladiator.

KL: It's the origin of faith. It's pre-Christ, pre-Biblical times. It's the telling of a tale time and time again. It's the core of faith — just being able to believe. People need something to believe in; they need to believe in a higher power in times of desolation and destruction and injustice. They need a stronger power to believe in, to make them better. In our movie, when I save the villagers from the soldiers, they ask me, "Is it true that you are the son of Zeus?" And I say, "No, I am just a man." I love that. I'm saying, "I'm just like you; and we can all do this together."

ML: Do you have any favorite sword-and-sandal pictures from your own childhood?

Kevin Sorbo as Hercules.

KL: Ben-Hur is probably one of my favorites, and then Gladiator. That's what really drew me to our script, because it's quite similar: the story of having his family taken away, being enslaved, being forced to fight in the arenas. It's the hero's journey. Everything, character-wise, really connected. I also watched all the Hercules movies; to this day, the animated one from Disney is probably my favorite. But I grew up watching Kevin Sorbo on the Hercules TV show, and he is Hercules in my eyes.

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Cassie and crew at the Las Vegas Sphere.
Cassie and crew at the Las Vegas Sphere.

Basketball great and San Diego icon Bill Walton died on May 27. The next day, sports commentator John Canzano posted an interview clip on TikTok in which he asked Walton how many Grateful Dead concerts he had attended. “Not enough,” replied Walton, before recounting that his first Dead show had been when he was in high school. “I was 15. I’m listening to FM radio and the disc jockey, it had to have been Gabriel Wisdom, that was the guy that everybody listened to, and he said, ‘Boys and girls, that last jam you just heard, that was a new band from San Francisco, and they call themselves The Grateful Dead.’” Wisdom then said that so many people had showed up to the Dead’s recent show in San Francisco that everyone got in free, and that maybe the same would hold true for their upcoming show in Los Angeles. “We said, ‘Yeah, that’s us, let’s go chase the dream!’ So one of the guys stole their parents car for the weekend, right? Nobody had driver’s licenses, nobody had any money, we just went up there in our shorts and our tennis shoes and a T-shirt. We just went up there, got in free somehow, went right to the front, and our lives were never the same.”

“Not enough” Grateful Dead concerts translates, in Walton’s case, to somewhere north of 850. Many of the stories written after his death made mention of his devotion, sometimes to the point where his storied basketball career seemed to be secondary. What were two decades on the court compared to more than five decades in the stands — and on the stage? (Walton famously joined the Grateful Dead offshoot band Dead & Company onstage as a white-bearded, rose-crowned Father Time for its 50th anniversary celebration in 2015.) Drummer Mickey Hart recalled that his dear friend Walton would “regularly send messages that said, ‘Thank you for my life.’ He was the biggest Deadhead in the world and used our music as the soundtrack of his life.”

Three days after Walton’s death, Dead & Company paid tribute to him during a performance of his favorite Dead song, “Fire on the Mountain.” The biggest Deadhead got the biggest sendoff: his image, name, and player number 32 splayed across the gargantuan curved screen of the Las Vegas Sphere, where Dead & Company are in residence until August 10. They started their run in May, after finishing their farewell tour in July of last year, and my wife was in attendance opening night. When she returned, she insisted that she needed to go back — this time, with me. She insisted that Dead & Company was not simply a glorified cover band, rehashing old favorites with the help of relative youngster John Mayer. She insisted that the band was revitalized, in an almost literal sense: the Grateful Dead were alive again, somehow, lo these 30 years after the death of founding member Jerry Garcia.

She knew just what to say. Like many fans, I had thought the Grateful Dead era ended when Garcia died. My wife understood my feeling, if only because she was a little like Walton and other devotees who talked about the Dead — and Garcia in particular — in tones that bordered on the religious.

Garcia was a reluctant high priest — he saw himself as a working man — but that didn’t stop the true believers, even if the best they could offer to explain themselves was, “They are a band beyond description,” one that provided, through their music and the community that formed around it, the closest thing to a religious experience they had ever found. “I am the human being that I am today because of the Grateful Dead,” Walton once said. And like converts, it wasn’t enough for them to attend; they had to tell the world, convince them to come along. “You’ve got to get on the bus, man!” They were friendly, wide-eyed, hopeful you’d join them. But for many, including myself, it felt like they were trying to describe a rainbow to a blind person.

On May 5th, 1990, I got on the bus — or tried to. My best friend at the time was a drummer named Steve Harris. He know I was into progressive rock: polished bands delivering tight performances of frequently complex music. He did not care. He insisted that the Dead were something I had to see, “a band beyond description.” He bought me tickets to see a set of weekend shows in a field at Cal State Dominguez Hills. He proudly declared that these were his first Miracles. I had no idea what he was talking about, but he had a sincerity that was hard to resist, and it seemed important to him that he share this experience with me. Besides: free tickets.

We wound up sitting on the grass, fairly close to the stage. It was extremely hot. A lady seated in front of us said, to no one in particular, “I wish I knew somebody who was at their first show.” Steve quickly let her know that I was just what she was looking for. “Here,” she said, handing me a tiny square of colored paper. “Eat this.” I looked at Steve for reassurance. He was happy to provide it. That set us up for a 16-hour psychedelic ride. But before the acid kicked in, the band strolled onstage and spent what seemed like five minutes tuning their instruments. I had never seen that before, or heard it. It sounded…disorganized. And when they started playing, they kind of fell into the song. The vocals seemed sloppy. I didn’t hear any of the songs I had heard the band play on the radio. The rest of the crowd seemed to approve, but I didn’t get it.

Then they took a break, and when they came back, well, only the drummer came back. The drummer played for what seemed a long time, and when the rest of the band came out, they started doing the strangest thing I had ever heard musicians do. It seemed like they were playing badly on purpose, making sounds that did not link together in any discernible way. By this point, I was thoroughly altered, and the discord sounded weird and even ominous.

By way of consolation, Steve leaned over and said simply, “Space.” I was not consoled. I was annoyed. I had heard so much hype about how good these guys were. Then, finally, they started in on a song that the crowd seemed to recognize, and it was like the whole audience exhaled and relaxed in unison. Then this guy who looked more like somebody’s grandfather than a rock and roll star started to sing something about needing a miracle every day. Steve leaned over again, and explained that a miracle wasn’t just a free concert ticket — it was a gift.

By this point, the LSD had taken hold. I had never experienced it before, and after an hour, I found it close to overwhelming. When we left the venue, we were in no condition to drive. So we sat in Steve’s car, and he played his current favorite Dead song on his car stereo — a slower number called “Box of Rain.” He explained that the song was about the bass player’s father dying of cancer. I remember still not getting it. I remember saying that they sounded like a low-budget Crosby, Stills, Nash & Young, with passable but loose harmonies.

Later, my friend Steve died of cancer. Now, when I hear the song “Box of Rain,” I am taken back to the good times we shared before the sickness blossomed in him like a poison flower, and invariably, I will weep. The song has become a time stamp for a moment in my life. It hits deep. But even so, and even though I saw the Dead again a year after that first “miracle,” I did not become a Deadhead until I saw the band’s current iteration at The Sphere. The Dead are an acquired taste; it took me three decades to acquire it.

My wife kept showing me videos taken of Dead & Company at The Sphere. She told me it was a must-see event, that the venue was as much a part of the show as the band, and the internet seemed to share her opinion. Okay then. But our flight out of San Diego was delayed, and despite skipping dinner and making a mad dash to the venue, we arrived after the show started. I should have been soured on the whole experience, but the experience was too sweet for that.

Trying to describe The Sphere makes me sympathize with Deadheads trying to describe the Dead. I will say this: it feels like the future. There are something like 40 individual speakers per seat, and the sound is focused like a laser beam. One section might receive audio in Chinese and another in English, and there would be no confusion. Despite the sonic excellence, it was hard at first to judge the band’s music, because the visual experience was placing such a massive demand on my attention. The curved screen behind the band was enormous; the graphics, all but overwhelming.

But as I settled in, I found I couldn’t help but be impressed by the musicianship of John Mayer (and the rest of the Dead’s new blood). He was doing Jerry Garcia’s guitar licks, but taking them further. And while he got all the words in all the right places, he wasn’t trying to sound like Jerry. He was doing his own thing, and it was working. In short order, I was dancing along with the rest of the crowd.

Back in my younger days, when the band did their “drums and space” thing, that was bathroom and beverage time. No longer. This giant contraption with dozens of drums and assorted instruments was played by three members of the band — and that’s when I noticed the haptic seats. When the drums hit certain notes, I could feel it through the chair. The sound seemed to be three-dimensional, at times bouncing noticeably off the front, back, and sides of the Sphere. But it wasn’t like panning a speaker left and right; it was all around me. And then Mickey Hart did something with an instrument called The Beam that triggered light effects that were unlike anything I had ever experienced before. A one-hundred-and-fifty-foot brain appeared on the screen, the nerves pulsating as if stimulated by whatever it was he was doing. It was incredible! I would pay the ticket price just to see that one aspect again.

As it was, we came back for the Friday show with better seats, and again on Saturday. Each night, the emotional impact grew. The old favorite songs were new again. I started to get it, to understand why the Dead got so big, so ongoing, and why the scene is still so vibrant today. It’s something profound, something beyond music. After the last show, while we were doing the exit shuffle, riding the escalators down, we found ourselves face-to-face with people on another escalator. Our eyes met, and we started cheering, not for the band, but for each other. That’s the kind of love and goodwill I encountered.

Back home, I sought out the local Dead cover band scene. To my amazement, I found around a dozen. Does any other band have a dozen cover bands in one town, or 1800 nationwide, with at least six being full-time touring acts? Dead & Company called their Sphere residency “Dead Forever;” given what I saw and felt, it does seem like the long, strange trips will be going on for a long, long while.

— Albert Barlow

In 2023, Dead & Company announced that their current tour would be their last. They hadn’t played San Diego since 2021. I had to travel to Los Angeles to see the second show of that last tour at the Kia Forum and then to San Francisco to see the very the last one at Oracle Park. But just because they’re no longer touring doesn’t mean they’re no longer playing, which explains their residency at The Sphere. Or helps to explain it.

I frequent a bar in Coronado. One of the bartenders there is Cassie. She’s tall, with dusty blonde hair, the most beautiful brown eyes I’ve ever seen, and she’s drop dead gorgeous. That aside, she’s got heart and soul and is a Deadhead. One day, I went in for a beer. Cassie gave me a wide smile; her eyes sparkled. “I just got a bunch of tickets for Dead & Company shows at The Sphere.”

My interest was piqued. “How do I get in on that action?”

“I got tickets for the first weekend and second weekend. I think we’re going on the second weekend.”

“That’s the weekend I want to go!”

Buzz began to build within the local Dead community; people wanted to know who was going to which show. It intensified when the first clips hit the internet after the opening show on May 16. I didn’t want my experience to be spoiled, so I resolved to avoid them. But the thing about spectacles is that you want to look at them. Happily, they didn’t lessen my excitement about the real thing.

Cassie, her friend Fil, Evan and I were the Coronado Tribe, headed for the May 24 show. Unlike Raoul Duke and Dr. Gonzo in Hunter S. Thompson’s Fear and Loathing in Las Vegas, we opted to fly instead of drive. (Cassie let me know which flight to book and already had a hotel lined up.) Like Duke and Gonzo, we had plenty of drugs to keep us company: eight hits of LSD (4 microfiche and 4 liquid gels), five infused joints with kief and rosin, one pressed Ecstasy pill, sixteen Molly caps, four cannabis pens, one bottle of 1000 milligrams of THC tincture, and a quarter of mushrooms.

That Friday morning, Evan came to pick me up in his golf cart. Golf carts are not uncommon on the streets of Coronado. Evan is 26, and is in the Navy. The Navy promises one sort of adventure; our journey promised an entirely different sort. We met Cassie and her roommate Luke at their place to catch a Lyft to the airport. (Luke was heading to London and his flight was around the same time as ours.) Fil was already inside the airport bar, waiting for us and drinking a beer. Cassie and Evan opted for Starbucks, but I stayed with Fil and ordered a $14 Tito’s & soda on the rocks. I’m not a big fan of flying, so a stiff drink was in order. Fil is 43, svelte, and has eyes that pierce into one’s soul. That gives him authenticity.

We arrived at our hotel around 1:30. Fil had arranged for a suite at the Hilton Grand Vacations Club. After unpacking, it was time to change into our Dead attire and head out to Shakedown Street. For non-Deadheads, Shakedown Street is the designated vending area set up in the parking lots of Grateful Dead concerts. Vendors sell clothing, jewelry, arts and crafts, food, drinks, and illicit items. In this case, Shakedown Street was at Tuscany Suites & Casino, less than a mile away from The Sphere. We arrived at 4 pm, and after we had taken a couple of laps around the lot, we concluded that it wasn’t as robust as others we had visited. (I recently learned that the vendors eventually moved inside the hotel due to the heat.) Fil noticed something odd: “I don’t hear any tanks or see any balloons! Headshops sell tanks here in Vegas, though.”

Cassie bought a hoodie and we decided to walk towards the Sphere. Along the way, we passed by Lawry’s Prime Rib Steakhouse on Howard Hughes Parkway. I was telling my crew that the place was an iconic restaurant when I noticed something else: “There’s a headshop!” Inside, we learned that 2.2-liter nitrous oxide tank prices ranged from $45-$99. We all pitched in for the $45 tank and some balloons. People sell nitrous balloons for up to $20 at shows.

We found a staircase at a shopping center across the street from the Sphere to do our balloons. But we got kicked out by security immediately after doing our first round. We decided to head into the Sphere parking lot to see if there was a space for us to do our thing. First thing we saw were police officers getting ready for their concert shift. We needed a different spot after that encounter. We looped around and found an abandoned parking lot. There, we were free to do our derelict activities: inhaling balloons, smoking joints, and playing music.

After our frolic it was time to march to the Sphere (but not before hiding what was left in our tank in the bushes). We found the line to the entrance. While in line, I saw fellow wordsmith Emily Elizabeth Allison from San Diego. I went to say hello and get her thoughts. This is what I got.

Dead Forever

Giant round belly

against the sky,

an egg, giving birth

within itself

to itself.

Outside-in

swirling dervish

calling across dry sun,

an unforeseen spectacle

so full of nothing

but offering something…

spiraling dreams

in a bubble

that no dawn can burst.

You are a memory

of past desert days

and simpler times.

You are the magic ball

of the future

telling fortunes

in rapid blinks,

sensory reminders

of parts of ourselves

that had been forgotten

and now beg to be

remembered.

You are a balloon

with its exhale

catapulting itself

against hopeful blue

sky water.

You are my bucket of joy

and then my hollow of grief.

I never could have known

how I would be swallowed

into your orbit

and spun within your cycle

of a million stars.

You remain for me

a single planet

unmoving

like a gift

with no corners

or ribbons

and seemingly no end.

Perhaps,

like Christmas,

your smile will subside

and you’ll start a new list

of naughty and nice.

But for now,

you are the wizard

behind the curtain

showing all the love

and unexpected tears

are my own.

Decades ago

I never could have imagined

you are rolling up to my gaze

like God’s spaceship,

offering a portal

that demands no vehicle

but breath.

You, round star,

watch my arrival

then spin behind me

as life pulls me away

back to the sea.

You are indifferent

to my comings and goings

and still, I see your wink

inviting me back

each week

to swim in your sphere.”

Our seats were in the 300 section. Once at our seats, we ingested our LSD. The information I was getting on social media was that the 300 and 400 sections were the best for catching all the visuals of the show, and the floor was good for dancing, spinning and being up close to the band. I haven’t experienced the floor yet. (I stress “yet!”), but confirmation can be provided that the 300 section is good for the visual aspects. Viz: the doors opened to the Grateful Dead House in Haight-Ashbury while the “Music Never Stopped” and then everyone was floating up into outer space. Not to mention standing underneath a waterfall, letting the water run between my fingers and catching the rain with my mouth, only to arrive at that cathartic moment viewing Jerry’s silhouette during “St. Stephen.” The crowd on the floor looked like amoebas moving in their pseudopodal state.

The show ended and it was time to find our tank. Cassie had a pin on it, but wasn’t confident one of our brains would work enough to get us there. Good thing I’ve had children, because my fatherly instincts for finding the child kicked in, and we found our parking lot and continued our derelict activities. There was enough in the tank for two more balloons, and we smoked a joint. That was night one.

Next day was recovery by the pool, drinking beers, hitting the vapes, putting tincture under our tongues and relaxing. At one point, Cassie sat up from her lounge position and declared, “We fucking deserve this! I know all of us work so hard!” After sufficient relaxation, the plan was to get cleaned up and head to the Venetian for the Dead exhibit they had there. When we arrived at the Venetian, we learned the exhibit was (and is )at the Palazzo. Exhibits about the history of the Grateful Dead; I probably don’t need to recommend that. Cassie, Evan and I started eating mushrooms at a microdose pace; we didn’t want to trip out too hard before the show.

The Palazzo connects to the Venetian, and the Venetian connects to the Sphere. Because we were in Vegas with some time to kill before the show, we all splintered off to do some gambling. We set a meeting spot, and after meeting at our designated rendezvous location, we shared our stories of being up and down and happy to lose only around $60. We all considered that a win.

Time to go to the show. Night two was not as intense and I was able to grasp and capture everything better because I was in a more stable state of mind. We all opted to head back to our hotel after the show because we had to wake up at 7 am for a 9:30 flight. Our flight back only took thirty-six minutes, but we were stuck on the tarmac for over an hour because there was a plane with maintenance problems stuck at our gate. That was the worst thing that happened on our trip.

There were firsts for each one of us. It was my first back-to-back shows. It was Cassie and Fil’s first indoor show. It was Evan’s first Dead show ever, and the first time he did LSD. He had moments of going deep inside himself, trembling and being confronted with moments from his youth. He made it out with enlightenment. None of that can explain, nor can anyone explain what happened. As Cassie said, “It’s inexplicable!” Our own experience is the one we have. I got to share and rejoice with my sister and brothers.

As the late Bill Walton (Rest In Power) once said, “We all won, and everybody wins.”

Gabriel Garcia

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