Children’s Day Camps: Attend at Your Own Risk

As summer kicks off, more than a million California children are gearing up for horseback riding, swimming, archery, computer coding, and hip hop day camps. As parents scout out fun activities for their kids, most are likely unaware of the risks.  

Unlike child care facilities and schools, children’s day camps are not required to conduct employee background checks, be licensed by the state, require CPR certification or report injuries or deaths to the state. No state agency conducts inspections for child safety, audits lifeguard certifications or reviews safety plans for activities that include zip-lining, swimming and shooting guns.

Doug Forbes and his late wife Elena Matyas didn’t know this when they dropped their daughter Roxie off at the Summerkids camp in Altadena one morning in June of 2019. 

Less than an hour later they were racing toward the same hospital in Pasadena where Roxie was born. Their daughter had drowned in the camp pool. She was 6 years old.

Only as the couple sought answers about her final minutes of life did they discover the lack of oversight  for children’s day camps in California. They filed an ongoing lawsuit against the camp for wrongful death and began advocating for state officials to mandate regulations. The camp denies that it was negligent. 

“What we found out was that nobody is watching over these camps,” Forbes said. “Millions of children are at operations that are completely unlicensed.”

There are no statistics on how many camps there are or how many children attend each year. There also is no data on how many kids are injured, abused or die at day camps because the camps do not have to report those statistics.

The American Camp Association, a camp membership organization, estimates there are more than 700 day camps in California that enroll more than 1.2 million kids each summer. Day camps run for weeks or months during the summer and sometimes during school breaks. Manys also offer before and after care to accommodate parents’ work schedules.

REGULATIONS PROPOSED

At the end of May, the state Assembly passed Assembly Bill 1737 to create some oversight for day camps — legislation carried by Pasadena Democratic Assemblymember Chris Holden in response to what happened to Roxie. Its fate is now in the Senate.   

California can’t have a group of “children who are susceptible to great bodily injury and potential death,” Holden said. “It would be totally irresponsible for us to continue operating this way as a state knowing what we know and the great harm that has happened to children.”

California is one of about a dozen states that do not regulate day camps, according to Holden’s office. Most states, including New York, have regulations in place and some cities require camp operators to attend city-run orientations and follow extensive rules.

Holden’s bill would require all day camps to register with the state Department of Social Services, conduct background checks for all staff and require staff be trained as “mandated reporters,” people legally required to report suspicions of abuse. It would also require non-government camps with certain activities like ziplining, archery, river rafting and riflery to submit their operational and emergency plans. 

Under the bill, the Department of Social Services would also conduct random, unannounced inspections of all children’s camps annually. The bill exempts government-run camps from most requirements.

Currently, the proposal places oversight responsibility with the California Department of Social Services, which oversees child care throughout California. Originally, oversight of day camps was going to fall under the Department of Public Health but that was changed last week. Holden said neither agency wants to take this on. 

Both agencies refused requests for interviews. In email responses, both departments said they don’t oversee day camps because day camps are not defined in state statute. State law only defines “organized camps,” which are overnight camps where kids stay five nights or more. These fall under the purview of the state Department of Public Health, which leaves oversight to local counties. The state does not require the counties to report anything about the camps.

Originally, Holden’s bill included licensing, regular inspections and a designated health supervisor. Those requirements were removed from the bill after lobbying by camp advocates and organizations representing county officials, as well as after meetings with the state departments of Public Health and Social Services. Now, the bill includes registration, random inspections, background checks for all staff and, depending on the type of activities a camp offers, the submission of operational and emergency plans.

“It’s very complicated trying to find who will be the regulator of this,” Holden said. “Everybody says this needs to happen but no one wants to take hold of it.”

Holden said he intends to try to strengthen the law in future years if this bill is enacted. 

When Roxie drowned, Los Angeles County Sheriff’s Department reports show that the lifeguards who were poolside didn’t see her until another camp counselor outside the pool area yelled at them that Roxie was floating face down in the shallow end of the pool.

The family’s lawsuit alleges that the camp was negligent and that the camp’s lifeguards were not trained properly.

“We both jumped in the car that morning with her, went to camp, kissed her on the lips, said ‘Goodbye, I love you sweetheart.’ And boom, she’s gone,” Forbes said. “A six-year-old was left in a pool in need of help and nobody helped her.”

In the response to the lawsuit, the camp argues that none of the actions that day were “performed with the requisite malice, oppression, or fraud” for the camp to pay punitive damages.  

While there are no regulations for day camps the state has extensive regulations for child care facilities. At times, the distinction between the two types of businesses is not clear.   

After Roxie’s death, the Department of Social Services received two unrelated complaints that the Summerkids camp was operating as an unlicensed child care facility. The agency inspected the camp, determined it was operating an illegal child care program and cited the owners.

The state attorney general’s office filed a lawsuit against the camp on behalf of Social Services. It alleges the camp fits the definition of a child care and does not fall under any of the regulatory exclusions, which include health care facilities, cooperative agreements between parents, and public recreation programs. Neither Social Services nor the attorney general’s office would comment on the case, which is ongoing.

Despite the lawsuit, Summerkids is still operating and opened this weekfor summer camp. The Department of Social Services had asked a judge to shut it down as part of the ongoing lawsuit, but said its request was rejected.

Summerkids camp owners are declining interviews because of the pending litigation, said attorney Steve Madison, who is representing the owners in the attorney general’s lawsuit. 

“Summerkids very much denies that it was negligent in any way or caused the tragic death of Roxie,” said Madison, who is also a member of the Pasadena city council. He added that the camp maintains it “paid for the appropriate CPR training” for staff. 

He said the camp is not a day care facility and never has been. Madison said day care sites are usually indoors and required to have a certain number of kids per square footage and are staffed by certified teachers. Summerkids is held outdoors and is staffed by college kids and alumni campers, he said.

“There are numerous day camps in California that are not licensed as day care facilities under the statute that the AG has sued on,” Madison said. “They seem to be saying now that to be a recreational day camp you have to become this square peg in a round hold and apply to be a licensed day care facility.”

State law defines child care as providing “nonmedical care to children under 18 years of age in need of personal services, supervision, or assistance essential for sustaining the activities of daily living or for the protection of the individual on less than a 24-hour basis.”

The Department of Social Service would not provide a more detailed description of the differences and whether differences have to do with the age of the children, the activities, the hours of the program or how parents view camps for their children. However, in a video on the agency’s website about understanding licensed and unlicensed care, a narrator explains that one of the exempt groups from child care licensing is “public and non-profit programs designed to provide recreation on a part-time basis.”

Cathy Barankin, executive director of the California Collaboration for Youth, said she believes there is a vast difference between child care and day camps. Her organization represents the American Camp Association, Girl and Boy Scouts, and the Western Association of Independent Camps.

Barankin said child care facilities operate during the school year, focus on child development and taking care of kids while parents are working, and are conducted mainly indoors by teachers. Day camps, she said, usually happen when kids are out of school, emphasize outdoor activities and are led by camp counselors who are usually college students.

Mike Stillson, president of the Western Association of Independent Camps and a camp operator in Los Angeles County, said the differences are also based on the activities of the camp and the duration. 

“Unfortunately, there is not much clarity from the oversight bodies,” he said.

Within weeks of Roxie’s death, her parents started the Meow Meow Foundation, named after Roxie’s favorite stuffed animal. The mission: to increase awareness about drowning prevention and improve day camp safety. 

The foundation recently pulled its support from Holden’s bill because it no longer requires licensing and regular inspections, and allows for the American Camp Association to potentially be involved in how day camps report to the state.   

This is the second time the foundation and the family have withdrawn support for similar proposed regulations — the same thing happened two years ago after a bill was watered down and shelved by its author. 

Forbes encourages parents to be wary of camps and ask questions. Roxie was born with a rare autoimmune disorder that kept her parents vigilant about her safety. So, he said, when they selected Summerkids, they asked a lot of questions about the protocols and workings of the camp — assuming state licensing and oversight was required.

CRITICS OF PROPOSED DAY CAMP REGULATIONS

Some camp operators say they welcome safety regulations but are opposed to the current proposal. 

“We want to be regulated to make sure as an industry that we are able to provide the safest programs for children,” said Stillson, executive director of Valley Trails Summer day camp in Castaic and Tarzana. “Right now anyone who wants to set up a camp and call themselves a camp can do it, and no one is out there to tell them they can’t.”

Even so, Stillson vehemently opposes the bill. He believes the Department of Social Services is not the right agency to oversee day camps, that the bill is too broad and that it should include city- and government-run camps, which serve thousands of children each summer, and that the state should recognize accreditation by the American Camp Association 

The California Collaboration for Youth also opposes the bill, saying it is too broad and onerous.

“Day camps should be narrowly defined and overseen, not open to every single program that services children in the entire state,”  she said.

Instead, Stillson and Barankin say camps belong under the purview of Public Health, which already oversees and inspects “organized camps.”

Forbes is still watching the bill closely. 

His wife, Elena Matyas will not see the work the foundation has been doing lead to meaningful change. In March, she died after a second bout with breast cancer, Forbes said — adding that he  believes his wife was more susceptible to a recurrence because of her intense grief.

So now he lives alone in the home the couple had once been renovating with their daughter in mind. Roxie would be 10 this year.

“I live with ghosts. The silence is deafening,” said Forbes, as the family pool glistened unused beyond double glass sliding doors off the dining room. “What I do every day is a constant reminder of despair, but I have to do this work and I don’t want to.”

Three days after Roxie died, the Los Angeles County Department of Public Health  inspected the pool at the camp and found nine violations. It shut the pool down until those violations were fixed. Counties do oversee public pools but do not regulate day camps.

“If (they) would have gone out to inspect Summerkids’ pool before the camp season started, my daughter may be alive right now,” Forbes said. “We must manage each day knowing our little girl’s death could and should have been prevented.”

Madison, Summerkids’ attorney, said that the camp tried to get a county permit after Roxie died, but it is exempt from licensing because it is not considered an organized camp. That may change. 

Last year the Los Angeles County Board of Supervisors voted to create an ordinance that would regulate both day and overnight camps. At the end of June, the board is expected to approve the detailed regulations.

Counties are Forebes’ new focus, given the obstacles to strict statewide legislation. He’s got a list of California counties and he’s working his way through it, starting with the most populous.  

“The camp world is the wild, wild west,” Forbes said. “They want the kids to let loose, but there are consequences.”

calmatters.org (June 16, 2022)

Former Cabrillo Administrator Pleads Guilty to Embezzlement

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A man who was fired last year from his administrative job at Cabrillo College after his previous employer–also a community college–accused him of embezzlement has pled guilty to one of the charges and will avoid jail time.

Paul De La Cerda, 49, was charged with overbilling roughly $1,575 to East Los Angeles College–where he served as a dean–for trips he took between March 2017 and 2019. He was also accused of forging documents he submitted for reimbursement.

De La Cerda was put on administrative leave by the board after he was charged with embezzlement by the Los Angeles County District Attorney. Hired by Cabrillo in June 2021, his employment officially ends June 30.

In a prepared statement, De La Cerda’s attorney David Diamond said that the plea includes two years of probation. The remaining charges will be dismissed.

“It could have taken us the same two years to get to trial, and as such, this avoids the costly burden of a trial and stress on his family with the same result,” Diamond stated. 

He added that De La Cerda submitted receipts for reimbursement, sometimes under-reporting his out-of-pocket expenses. The person responsible for ensuring the numbers were correct, Diamond says, was put on leave. 

“Any inadvertent overpayment for reimbursement will be returned to East LA College,” he said. 

Things To Do in Santa Cruz: June 15-21

ARTS AND MUSIC

XTRA LARGE Free live music returns to the Santa Cruz Beach Boardwalk! The series starts with Santa Cruz County’s favorite Extra Large, a sextet that invites listeners to shake their booties. “It’s our goal to make you whole by doing what we do with the unadulterated soul,” sings frontman Russ Leal. The self-proclaimed “fiesta facilitators” deliver an extra-large serving of funk, Latin, reggae and classic rock—originals and covers—rolled into an extra-large musical burrito. All Boardwalk shows are on the Colonnade Stage, located on the beachside of Neptune’s Kingdom—the dance area is in front of the stage. Free. Thursday, June 16, 8:30pm. The Colonnade at the Santa Cruz Beach Boardwalk, 400 Beach St., Santa Cruz. beachboardwalk.com.

JENNY TOLMAN Chaminade’s second “Nashville Nights” concert, in the courtyard overlooking Monterey Bay, Jenny Tolman. “There have always been multiple sides to me,” the singer-songwriter says. “I like to make people laugh, have a good time and be entertaining. But then, I also love to use that personality to get people engaged in listening to the deep stuff.” From humorous to tragic, the country musician has become known for weaving personal stories—highly personal—into her music. It might be a bumpy ride, but it’s always engaging. $25-30. Friday, June 17, 8pm. Chaminade Resort & Spa, 1 Chaminade Lane, Santa Cruz. chaminade.com.

‘THE GOONIES’ There’s nothing like the crashing waves of the Pacific to accompany an outdoor viewing of one of the most seminal cinematic experiences of the ’80s for millions of 40-year-olds. A few pieces of Goonies trivia: Richard Donner’s 1985 flick was shot almost entirely in sequence over five months; the pirate ship was completely real—the shots were all filmed inside the 105-foot-long boat; in the novelization of the movie, Chunk’s parents do “adopt” Sloth, going so far as to throw him a Bar Mitzvah; and in 2017, the film was selected to go into the National Film Registry for being “culturally, historically or aesthetically significant.” Free. Friday, June 17, 9m. The Colonnade at the Santa Cruz Beach Boardwalk, 400 Beach St., Santa Cruz. beachboardwalk.com.

WHITE ALBUM ENSEMBLE: RUBBER REVOLVER The White Album Ensemble has been a Beatles phenomenon on the west coast for nearly two decades and continues to expand while keeping their motto intact: “We do the music the Beatles never did live!” The pair of “Rubber Revolver” shows—Rubber Soul, Revolver and singles of the era—will feature special guest James Durbin (of American Idol fame), former members of the Doobie Brothers, the Little River Band, the Tubes and Snail. There’s more: Mind Over Matter Horns and the WAE String Quartet will also be on hand, ensuring a Fab Four wall of sound. (Read story). $30/$45. Friday, June 17 and Saturday, June 18, 8pm. Rio Theatre, 205 Soquel Ave., Santa Cruz. riotheatre.com.

LIFE: A JOURNEY THROUGH TIME – THE PHOTOGRAPHY OF FRANS LANTING AND THE MUSIC OF PHILIP GLASS The concepts and imagery of distinguished photographer Frans Lanting and the hypnotizing compositions of renowned minimalist maestro Philip Glass will be showcased in the LIFE Symphony, a multimedia orchestral production that “celebrates the splendor of life on Earth.” LIFE interprets the history of nature’s existence on the planet in seven movements, from its earliest beginnings to the present. The unique and unforgettable presentation combines visual and performing arts with earth sciences. (Read story). $47-$121 plus fees. Saturday, June 18, 7:30pm. Santa Cruz Civic Auditorium, 307 Church St., Santa Cruz. santacruzsymphony.org.

ESPERANZA DEL VALLE 40TH ANNIVERSARY Celebrate music and dance con todo nuestro amor y pasión! Mexican Folklórico Dance Company of Santa Cruz County will honor the work of master teachers of Mexico and showcase signature dance regions, including Veracruz, Jalisco and Nayarit. The show will also include the original choreodrama, Los Dos Hermanos, and music by Cuatro Con Tres. $16; $13/seniors; $10/students; $8/children. Saturday, June 18, 8pm and Sunday, June 19, 3pm. Henry J. Mello Center, 250 East Beach St., Watsonville. esperanzadelvalle40.event brite.com.

ROBERT EARL KEEN After four decades on the road, the legendary Texas singer-songwriter is making a final curtain call. 2022 Keen’s last tour, dubbed “I’m Comin’ Home: 41 Years on the Road,” says it all. “I’ve been blessed with a lifetime of brilliant, talented, colorful, electrical, magical folks throughout my life,” Keen said in a message he posted online. “This chorus of joy, this parade of passion, this bullrush of creativity, this colony of kindness and generosity are foremost in my thoughts today. It’s with a mysterious concoction of joy and sadness that I want to tell you that as of September 4, 2022, I will no longer tour or perform publicly.” $68.25 plus fees. Monday, June 20, 8pm. Rio Theatre, 205 Soquel Ave., Santa Cruz. folkyeah.com.

HOT CLUB OF SAN FRANCISCO Hot Club takes listeners away to Paris jazz clubs of the 1930s. The longtime ensemble is a tribute to the music of Django Reinhardt and Stephane Grappelli’s Quintette du Hot Club de France. Under the leadership of frontman guitarist Paul Mehling, the San Francisco outfit delivers a fresh and innovative spin on classic arrangements. $36.75/$42; $21/students. Monday, June 20, 7pm. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. kuumbwajazz.org.

MARY GAUTHIER WITH JAIMEE HARRIS Grammy-nominated singer-songwriter/author Mary Gauthier’s title track on her recently released Dark Enough to See the Stars is about mourning the loss of mentors John Prine, Nanci Griffith and David Olney. Meanwhile, the other tunes on the record are jubilant and bright, a celebration of new love and inner happiness. In 2021, Gauthier released her first book, Saved by A Song: The Art and Healing Power of Songwriting—Rolling Stone included it in its “Best Music Books of 2021.” $22 plus fees. Tuesday, June 21, 8pm. Felton Music Hall, 6275 Highway 9, Felton. feltonmusichall.com.

DAVE ALVIN AND JIMMIE DALE GILMORE WITH THE GUILTY ONES PLUS DEAD ROCK WEST Legends Dave Alvin and Jimmie Dale Gilmore are touring the country, swapping songs, telling stories and sharing their life experiences. Gilmore, twice named “Country Artist of the Year” by Rolling Stone, and Alvin, one of the founding members of the late ’70s Los Angeles punk group the Blasters, might have initially come from different musical worlds professionally. Still, their musical roots, founded in old-timey blues and folk, align. The pair’s spontaneous setlists move all over the genre wheel, from Merle Haggard’s outlaw country to Sam Cooke’s early soul (Read cover story). $30/$35. Tuesday, June 21, 8pm. Moe’s Alley, 1535 Commercial Way, Santa Cruz. (The artist requests attendees show proof of vaccination). moesalley.com.

COMMUNITY

CAPITOLA FOOD TRUCK FRIDAY “Music, beer, friends and food—how can it be better?” Event host UNION serves up a tasty fusion of Asian and Mexican cuisines and is joining all the other amazing Santa Cruz food trucks, adding even more variety to the plethora of choices already available. Free. Friday, June 17, 4:30-7:30pm. Monterey Avenue Park, 688 Monterey Ave., Capitola. 

EL MERCADO FARMERS MARKET The weekly farmers market aims to decrease food insecurity and improve access to health resources for Pajaro Valley families. The goal is to make shopping as easy as possible and offer healthy choices to everyone. Free. Tuesday, June 21, 2-6pm. Pinto Lake City Park, 451 Green Valley Road, Watsonville. pvhealthtrust.org/el-mercado.

GROUPS

WOMENCARE ARM-IN-ARM This cancer support group is for women with advanced, recurrent or metastatic cancer. Meets every Monday on Zoom. Free. Registration required. Monday, June 20, 12:30pm. 831-457-2273. womencaresantacruz.org.

OUTDOORS

SATURDAYS IN THE SOIL Playing in the dirt never gets old—neither does learning about local ecology, native plants and sustainable gardening. It’s all about coming together as a community to steward Tyrrell Park through Santa Cruz’s Adopt-A-Park program. Free. Saturday, June 18, 10am-noon. Santa Cruz Museum of Natural History, 1305 East Cliff Drive, Santa Cruz. Email vo*******@*************um.org to RSVP.

FOR FISH AND FLOWERS Help restore the native habitat in Arana Gulch by removing invasive plants. In partnership with AmeriCorps, the California Conservation Corps Watershed Stewards Program is dedicated to improving watershed health by actively engaging in restoration science, civic service and community education while empowering the next generation of environmental stewards. Free. Saturday, June 18 and Sunday, June 19, 8:30am-1pm. Arana Gulch Trail, Agnes Street entrance, Santa Cruz. RSVP tinyurl.com/5m39r6x7.

Santa Cruz Poet Laureate David Sullivan’s ‘Agents of Change’

Two years ago, Cabrillo College literature and film instructor David Sullivan was named the poet laureate of Santa Cruz.

Poet laureates are appointed to represent and engage with their communities, writing original poems and performing them at schools, city council meetings and more. Sullivan says it has been “a great honor” to be Santa Cruz’s poet laureate, despite the fact it has been during the pandemic.

“It’s been interesting to do this right now—a lot more Zoom time,” he says. “But it’s been so nice connecting with everyone. I feel lucky to live in a place so diverse with creative talent.”

When he received the honor, Sullivan was already looking for ways to connect different creative groups in his community. He started up his new art and poetry project, Agents of Change, to do just that.

“I wanted to do something positive and inclusive,” he says. “I wanted to create Agents of Change as a way to make connections between different artistic fields.”

Last week, an Agents of Change exhibition opened at the Downtown Public Library in Santa Cruz. The show features a variety of work, including many different artistic mediums (painting, photography, lithographs and more) and poems. 

Calls for artists and poets were sent out early this year, asking participants to create pieces that represented the subject of change. The broad theme resulted in a diverse pool of work, Sullivan says. 

“It’s been great to see the kind of response and the variety of subjects people have tackled,” he says. “From the wildfires to the pandemic, women’s issues, Black Lives Matter … I really think we are in a tumultuous time, a reassessment of what we value and how we connect in this world.”

Many noted local artists will be showing work, including photographer Shmuel Thaler, Watsonville poet laureate Bob Gomez and Cabrillo College instructor and Hive Poetry Collective member Nikia Chaney. Sullivan says a number of artists and poets have teamed up to create pieces together.

“That was unexpected, but wonderful,” he says. “I’m really looking forward to having people coming by the library this summer and seeing these incredible works.”

Sullivan is a writer himself, with a number of books under his belt, and his English 1B at Cabrillo class puts together the Porter Gulch Review, a literary and arts publication, every year. 

His latest book, Black Butterflies Over Baghdad, was released last year. The book of poetry highlights Iraqi artists, with translations of Iraqi poets. Sullivan says the book grew out of another he wrote a decade ago, Every Seed of the Pomegranate.

“That book was half in the voices of U.S. soldiers and citizens and half in the voice of Iraqi soldiers and citizens,” he says. “This book is all about listening to the Iraqis in their own voices. It tries to listen and understand a different culture, and give a voice to the people.”

Sullivan worked directly with the poets and artists to put Butterflies together.

“They all have tremendous hospitality—every time I meet the Iraqis it’s just been incredible,” he says. “They have such a dark, black humor about them. Which helps them survive through everything. It’s been very moving, their openness and willingness to talk and teach me has been amazing. I feel very privileged.”

Sullivan says he hopes that the Agents of Change show will inspire people to expand their worldview and be more understanding to others.

“We are in a situation where we are so disconnected, not listening to each other,” he says. “Both art and poetry emphasize passionate connection and understanding to those who are different from us. They are vital tools to open us up and make us think outside the box. I would hope something would get stirred in people by some of the pieces. That they investigate and reach out to others that they maybe didn’t talk to before. We must begin to lead with kindness and compassion.”

Agents of Change will run through early September at the Downtown Library, 224 Church St., Santa Cruz. On Saturday, June 18, there will be an Agents of Change poetry workshop from 11am-noon, and an art show and poetry reading from noon-1pm; free. For information, visit bit.ly/3tsOMbM.

The White Album Ensemble is Performing a Pair of Shows at the Rio

For those who’ve felt the last two years of the pandemic have left them feeling like a nowhere man, lost in a Norwegian wood, then it’s time to think for yourself. Look at all the lonely people and say, “Good day, sunshine” because tomorrow never knows. If you’re picking up what we’re putting down then yes, it’s time to be here, there, and everywhere with Santa Cruz’s famous Beatles tribute band, the White Album Ensemble.

“I think the people really need it,” says legendary local musician and unofficial White Album leader, Dale Ockerman (ex-Doobie Brothers/Quicksilver Messenger Service). “We’re really looking forward to it.”

Starting June 17, the WAE will rock a two-day residency at the Rio Theatre, performing one of their most beloved shows, “Rubber Revolver”—the songs of Rubber Soul and Revolver along with the singles from that period.
“In the old days [the Beatles] wouldn’t put the singles on the album,” Ockerman explains. “‘Daytripper’ and ‘We Can Work It Out’ were Number One singles, they weren’t on Rubber Soul. So we include them.” 

This will be the Ensemble’s first show since the 2021 Santa Cruz County Fair; their last five shows were all canceled at the last minute due to Covid.

For their two-night gig the six-piece core group of the White Album Ensemble will be joined by 11 other musicians, including the Mind Over Matter Horn section, the White Album Ensemble String Quartet and American Idol himself James Durbin–performing John Lennon’s vocals. 

“The first time I saw him, my jaw dropped,” Ockerman remembers. 

He and Durbin have worked together for over 15 years, and Ockerman originally brought a young James into the White Album Ensemble in 2007, after the Across the Universe movie release when there was a resurgence of young people discovering the Beatles.

For Ockerman, the White Album Ensemble’s 19 years of success represents just how captivating and ageless the Fab Four’s music truly is. 

“It was really a magical time, and looking back, it’s amazing to see their influence on the world,” he says, then adds with a smile. “When we play shows, the audience is hypnotized. And they’re not even on drugs—just listening to the music and digging it.” 

The White Album Ensemble performs ‘Rubber Revolver’ at 8pm on June 17-18 at the Rio Theatre, 1205 Soquel Ave., Santa Cruz. Tickets are $30/$45, available in advance at tix.com or Streetlight Records. 

Santa Cruz Symphony Celebrates Frans Lanting’s ‘Life’

On June 18, the Santa Cruz Symphony (SCS) will present Life: A Journey Through Time, a multimedia performance that first premiered at the Cabrillo Festival of Contemporary Music in 2006.

Featuring music by acclaimed composer Philip Glass, with imagery from Santa Cruz’s Frans Lanting, the show combines performing arts and science, telling the history of life on Earth—from its earliest beginnings up to the present.

Lanting is a world-renowned and award-winning wildlife photographer whose work has appeared in books, magazines and exhibitions across the globe. His assignments have taken him from the Amazon Basin to the subantarctic. 

Life was produced for the Cabrillo Festival with music director Marin Alsop, who worked with Glass, editor Chirstine Eckstrom, arranger Michael Riesman, visual designer Alexander V. Nichols and Lanting, who acted as creative director. Since its premiere, it has been performed around the world, from New York City and London to Rome and Amsterdam. 

Lanting says it feels great to bring it back to Santa Cruz, and praises Glass’ contributions.

“It feels like closing a circle to be doing it again in Santa Cruz,” he says. “Philip Glass’ music has always inspired me. It has this pulsing, organic quality that is reminiscent of how patterns in nature evolved.”

The performance will be led by SCS Maestro Daniel Stewart. Prior to the show, a panel of leading UC Santa Cruz researchers will be held, featuring astrobiologist Natalie Batahla, paleoecologist Paul Koch, genetics scientist David Haussler and geologist Gary Griggs. Lanting will join them, explaining the ideas behind Life.

Lanting says that the show has evolved since its premiere, and will include new imagery.

Life is an immersive experience that affirms the unity and the diversity of all life on earth,” he says. “In these tumultuous times, it is important to be reminded of the fundamental connections we share with other forms of life.”

‘Life: A Journey Through Time’ will be presented at the Santa Cruz Civic Auditorium on Saturday, June 18 at 7:30pm. The science panel will start at 6:30pm. Ticket prices range from $47-$121. bit.ly/3mI2C6i.

Letter to the Editor: Let’s Go Organic

In 2020, there were 147 organic farms in the county on 8,000 acres, generating $135 million. We need to convince and incentivize even more growers to transition to healthy-soils-based organic farming. Only 15% of county farm owners/renters are Hispanic, but the numbers are growing. If a larger percentage of the 64,000 acres (100 square miles) of agricultural and ranch land in the county sequestered just a few tons of carbon per acre per year, we could vastly accelerate our progress toward zero greenhouse gas emissions.

The USDA has allocated $2.3 billion to “help farmers adopt and maintain conservation systems that protect water and air quality, reduce soil erosion, protect and enhance wildlife habitat and wetlands, conserve water and sequester carbon.” California’s $10 million Healthy Soils Program has similar goals.

Lakeside Organics in the Pajaro Valley is the largest family-owned organic grower/shipper in the country, with 3,000 acres producing 45 varieties of fruits and vegetables. Let’s build on this to make our county a model of farm-to-fork organic, healthy-soils agriculture for the benefit of future generations. Let’s make quality food affordable and available to all families—including the farmworkers who produce it—while addressing climate change by putting carbon back in the soil.

Woody Rehanek

Watsonville


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Letter to the Editor: Stand for Gun Reform

Re: “Santa Cruz and Racism” (Letters, 6/8): My daughter and son-in-law, both elementary school teachers, will be returning to the U.S. after eight years teaching abroad in Singapore. With another school shooting in Texas, I am loath to think that my two young grandchildren, both born abroad, will not have a life free from the threat of violence, even in their elementary school. I remember having “earthquake drills,” getting under desks and holding our heads while in my earliest school days in San Francisco. Now children need to be taught how to be “still and silent” when there is an active shooter in their school! How horrifying is that?

They are thinking about moving to Canada for the sake of my grandbabies. I am heartbroken and way-too-sad to think about the state of the politics in this country that does nothing about this senseless violence. We need to stand for gun reform, non-violence, anti-racist, human services, social justice and love for our fellows. Otherwise, we are lost.  

Linda Sutherland

Santa Cruz


These letters do not necessarily reflect the views of Good Times.To submit a letter to the editor of Good Times: Letters should be originals—not copies of letters sent to other publications. Please include your name and email address to help us verify your submission (email address will not be published). Please be brief. Letters may be edited for length, clarity and to correct factual inaccuracies known to us. Send letters to le*****@*******es.sc

Opinion: The Good Parts I Left Out

EDITOR’S NOTE

Steve Palopoli editor good times santa cruz california

Dave Alvin and Jimmie Dale Gilmore are two of my favorite people to interview. I’ve been writing about both of them since the ’90s, and if you’d asked me back then if I thought they’d ever play together, I would have said, “No, they’re way too different.” But in my cover story this week, you can read about how they found they had way more in common than even they realized.

One thing I have always found is true about both of them is that I tend to get lost in a series of unexpected, highly entertaining tangents when I talk to them. For instance, in our interview this time, Alvin and I somehow got on the topic of Daniel Johnston.

“I met Daniel Johnson,” he told me. “He bummed cigarettes off me.”

“Oh yeah?” I said. “What was he like?”

“A cigarette stealer, man!” Alvin exclaimed. “He promised me he’d get me some cigarettes, and he didn’t. He never paid me back.”

Later on, Alvin told me about meeting Richard Berry, and being too intimidated to ask him about “Louie Louie.” Meanwhile, Gilmore told me about being friends with Brownie McGhee and Lightnin’ Hopkins. This is the kind of stuff I wish I had room to include in this week’s story; someday I swear I’m going to do a story that’s just all the best outtakes from these interviews. But I think you’ll find what I did get to include every bit as interesting—and nowhere near as random. These two will be at Moe’s Alley on Tuesday, and I can’t wait to see them play together. I hope they tell some very cool, very random stories.

STEVE PALOPOLI | EDITOR-IN-CHIEF


ONLINE COMMENTS

Re: Railbanking

The fact of the matter is that when the Sun Tan Special was re-routed south of San Jose through Gilroy and Watsonville to Santa Cruz in 1940, it was fifteen minutes slower than the old SP line that ran through the Santa Cruz Mountains into Santa Cruz, part of which is used for the Beach Train by Roaring Camp. So, it really isn’t necessary to rebuild that RR line. Pajaro Junction is bound to be a key hub of either Capitol Corridor’s or Cal Train’s extension to Salinas, and the same with Castroville, where there also will be a rail stop.

The Tig-M demo in October of 2021 was proof that a light-rail vehicle that does not rely on overhead wires or a third rail could work well in not just Santa Cruz County, but on the old Monterey Branch line if and when the tracks are restored in Seaside and Monterey to their old train depot near the wharf. There could then be a Santa Cruz/Salinas/Monterey rail connection. That’s a great way to get people out of their cars and off Highway One. The sooner it will happen, the better, and now that Measure D/Greenway has been defeated, it can happen sooner.

— Lawrence Denis Freitas


PHOTO CONTEST WINNER

BEE HERE NOW Some pollination action goes down on Goss Street in Santa Cruz. Photograph by Craig Ferguson.

Submit to ph****@*******es.sc. Include information (location, etc.) and your name. Photos may be cropped. Preferably, photos should be 4 inches by 4 inches and minimum 250dpi.


GOOD IDEA

SIGNING OFF

The primaries are over and done, and we can all get back to our normal lives—for now. But as you yank your political yard signs from the grass, think again before you toss them triumphantly—or woefully—into the recycling can. They can’t be recycled via the standard bins, but the City of Santa Cruz has a list of proper places to do so, and also some creative upcycling ideas, at cityofsantacruz.com.


GOOD WORK

CELEBRATE PARKS

Join in on State Parks Week, where you can celebrate our local parks through events like hiking, tours and other outdoor activities. Each day has a special theme, ranging from learning how state parks work with local tribes to volunteering at campgrounds and helping steward our beautiful parks. Santa Cruz locals can find a list of the local events at castateparksweek.org.


QUOTE OF THE WEEK

“Every bad situation is a blues song waiting to happen.”

— Amy Winehouse

Dave Alvin and Jimmie Dale Gilmore Bridge the Texas-Cali Gap at Moe’s

Woody Guthrie’s song “Deportee (Plane Wreck at Los Gatos)” is not about the town in the foothills of the Santa Cruz Mountains. But you’d be forgiven for thinking that it is, because in the 74 years since Guthrie wrote it, the song has become even more relevant to this—and every other—region of California, a state where 1 in 3 workers are immigrants.

On January 29, 1948, Guthrie read about a plane that had crashed the day before in Los Gatos Canyon, near Coalinga in Central California’s San Joaquin Valley. Among the 32 passengers killed were 28 migrant farm workers being deported to Mexico. Guthrie, who lived in New York at the time, was angered that while the names of the flight crew were printed, the national press did not extend that dignity to the farm workers who died—instead, they were referred to simply as “deportees.”

In response, Guthrie wrote the lyrics to “Deportee (Plane Wreck at Los Gatos),” which was really more of a poem until it was set to music in the ’50s by a schoolteacher named Martin Hoffman.

Guthrie’s lyrics showed a surprisingly sophisticated understanding of what immigrant laborers from Mexico faced under the Bracero program that began with the Mexican Farm Labor Agreement in 1942, and lasted until 1964—limited protections for officially processed workers (who were, among other things, given physical examinations and sprayed with DDT at “reception centers”), and increasingly harsh penalties for those in the country illegally: “Some of us are illegal, and others not wanted/Our work contract’s out, and we have to move on/Six hundred miles to the Mexican border/They chase us like rustlers, like outlaws, like thieves/Goodbye to my Juan, goodbye Rosalita/Adiós mi amigo, Jesus y Maria/You won’t have a name when you ride the big airplane/And all they will call you will be ‘deportee.’”

It’s a powerful statement from a folk songwriter who by that point—at age 35—was an American legend, but whose incredibly prolific output in the 1940s was already coming to an end. For a long time after his death in 1967, some considered “Deportee (Plane Wreck at Los Gatos)” to be Guthrie’s last great song, although the release of the Mermaid Avenue albums by Billy Bragg and Wilco in the late ’90s and early 2000s proved that Guthrie had continued to write remarkable lyrics through the rest of his life.

Like the Mermaid Avenue songs, “Deportee” wasn’t popularized by Guthrie himself. It was when Pete Seeger began playing it in the 1950s that it caught on; since then, it has been covered by dozens of artists, from Judy Collins to the Byrds to Bob Dylan and Joan Baez to Bruce Springsteen, Concrete Blonde and Dan Bern.

In fact, no one knows the sheer number of artists who’ve covered the song quite like Dave Alvin, who decided he needed to hear how every single one of them had interpreted it before he and Jimmie Dale Gilmore could cover it themselves on their 2018 collaborative album Downey to Lubbock.

Alvin working on the ‘Downey to Lubbock’ album. As producer, he wanted to bring out sides of his friend’s talent that no one had heard before. PHOTO: JOE MURRAY

“That was a difficult one. Jimmie really wanted to do it, and I was game to do it,” says Alvin. “But the night before we went into the studio to cut it, I was up all night watching 150 versions of ‘Plane Wreck at Los Gatos’ on YouTube. Because, well, I didn’t want it to sound like all the others. There are some great versions, you know? And because it’s one of those things that had been done so many times, it’s like, ‘OK, how do I navigate this minefield?’”

The way Alvin discovered what he wanted their version to sound like was by first figuring out what he didn’t want it to sound like.

“I’ve used accordions on a lot of my records, I’ve used mandolins and things like that,” he says. “But with this, it was ‘no accordion, no mandolins,’ because that’s the first thing you hear in recordings of ‘Plane Wreck at Los Gatos.’ So it was like, ‘Okay, let’s try to make it ambient.’”

The result is a haunting, aching version that sounds like it’s sweeping over the very landscape once worked by the tragic figures Guthrie memorialized.   

“Jimmie brings a lot of the heartbreak to it,” Alvin says. “Other people bring the politics to it. They’re both valid. But with this it was like, ‘Okay, what do we do musically around his voice?’ Because when he sings it, he means every goddamn word.”

“That song has always just touched me so deeply,” Gilmore says. “Because, you know, living in Texas, we have a little house down on the border, down in Terlingua. Butch Hancock [one of Gilmore’s bandmates in the Flatlanders] lives there full-time, and now we spend as much time as we can there. So we’re real connected with people that are affected by all the insanity of the border and the wall and all that stuff—all the stupidity. And I realized that Woody Guthrie, in this really subtle kind of way, had spoken to the ages about that. That’s why I started doing the song again.”

QUICK TO CLICK

To Gilmore—the Texas native who got his start in the early ’70s with legendary Lubbock alt-country band the Flatlanders, before finding solo success in the Americana radio wave of the ’90s that local stations KFAT and KPIG pioneered—the process that produced “Deportee” is an example not only of Alvin’s skill as a producer, but also of how much the duo complement each other. 

“By the time we were making the record, Dave and I had already discovered that we were a very good team,” he says. “Dave fills in the gaps of expertise in the studio that I don’t have. I just don’t think in that way. I think purely in songs.”

It’s also an example of the dizzying organic quality of their musical partnership, which despite their 30-year friendship didn’t come about until Gilmore’s booking agent suggested it out of the blue in 2017. Both of them jumped on it.

“When Dave and I were on the road, we would just pull something out of a hat, because we didn’t rehearse or anything,” says Gilmore. “[‘Deportee’] was one of the ones that popped up, and after that Dave would request it.”

Guthrie’s song wasn’t the only tune they both knew, as they quickly discovered.

“We figured it was going to be a song swap thing. We knew that we got along well with each other, so we knew that would be fun. It was like an experiment, you know, like, a funny experiment,” says Gilmore. “But playing acoustically, both of us started doing the kinds of things we did before we were in bands. So, the stuff that you’re doing when you’re learning how to play. And both of us were blues fanatics. I don’t think we even had a rehearsal, we just jumped into the first gig, and almost immediately I’d start doing a song and he would just jump right in on it. He would already know it completely, or know it well enough that he could learn it within the first verse. And his playing—he’s such a much better guitarist than I am, that just really added something, it was really exciting to me. Then we started getting into harmonies and stuff. And then, really quickly on that tour, Dave said, ‘Hey, we’ve got to make a record together.’”

BACK TO THE BLUES

Alvin, of course, had gotten his start in the Blasters, which he and his brother started in 1979 in their southeast-L.A. hometown of Downey. Though it was a roots-rock band influenced by everything from rockabilly to blues to country, the Blasters were hugely popular within the L.A. punk scene, which had a bit of an Americana streak to it all through the ’80s. (Alvin also joined X for a while, and played in X’s country side project the Knitters.) Alvin’s love of the blues came out again on his first solo record, 1986’s Romeo’s Escape, and subsequent records.

His passion for the genre is no surprise considering that he spent his formative early-teen years hanging out at L.A.’s iconic Ash Grove club, which lasted from 1958 to 1973 and drew blues greats like Howlin’ Wolf, Willie Dixon, Mississippi John Hurt, and Muddy Waters. What Alvin didn’t know until he started performing with Gilmore is that during a short, pre-Flatlanders period in which Gilmore had lived in L.A., he’d also hung out at the Ash Grove, and had even gotten to be friends with Lightnin’ Hopkins, one of Alvin’s musical idols.

The Ash Grove gets a mention in the album’s title track, a burning blues-rocker that cleverly lets both musicians testify to their musical histories, while at the same time imagining what would happen if Alvin—whose most popular album is King of California, and is so Cali to the core that he wrote a song about Highway 99—transplanted himself from Downey to Lubbock, and Gilmore did the opposite.

On their first tour together, Alvin and Gilmore discovered they had begun their careers playing a lot of the same songs. PHOTO: DANIEL JACKSON

“I’m a wild blues blaster/From a sunburnt California town/And I got a loud Stratocaster/That can blow any roadhouse down,” sings Alvin, while Gilmore replies in the next verse, “Well, I’m an old flatlander/From the great high plains/Like wanderlust and wonder/West Texas wind blows through my veins.”

The funny thing is that neither move would be such a stretch. After all, one of Alvin’s best songs is “Abilene,” about the Texas city (and a girl named after it), and Gilmore did dip his toes in the California hippie-cowboy life.

“You know, there’s not that much difference, really, between Downey and Lubbock,” says Alvin. “They’re both flat.”

Once he understood the depth to which Gilmore shared his passion for the blues, Alvin sought to bring that out on record for the first time.    

“The thing about Jimmie Dale is he’s an incredibly unique songwriter with an equally unique voice,” says Alvin. “His records, some of them captured him perfectly, and others, maybe not quite so much. But, you know, you can say the same about me. But one thing that kind of got overlooked or pushed aside was Jimmie Dale’s a hell of a blues singer. And when we started doing the gigs together, the more blues stuff I played, the more blues stuff Jimmie Dale would pull out. And I was like, ‘Man, you should make a record of that.’ So when we went to make the record, I was kind of leaning towards the two things Jimmie Dale’s never done—he’s never made a bluesy kind of record, and he’s never been in a rock ’n’ roll band. I mean, a flat-out rockin’ band, you know? It was great on the tours that we did together to watch him rockin’ out sometimes, like he was leading his high school band. I saw that in him, and he always, I think, saw that in himself, as well. I think that that’s one of the reasons we worked very well together.”

SECOND CHANCE

The pandemic, of course, derailed plans for more touring, but it wasn’t just that. In May of 2020, Alvin was diagnosed with prostate cancer, the beginning of a two-year battle that included months of chemotherapy and radiation. He kept his health struggles private, but Gilmore says the band knew something was very wrong while they were touring in 2019.

“On the last tour, Dave was showing some signs,” he says. “It never impacted his performance, and he didn’t talk about any health issue or anything, but you’re traveling in a van together, you know? I mean, it was subtle, because Dave would not complain, ever, about anything. And when it really got serious, he didn’t want to talk about it.”

The cover art for the ‘Downey to Lubbock’ album is a painting by another Americana legend, Jon Langford of the Mekons.

Eventually, though, Alvin did open up about it to his close friends, and Gilmore and his wife went and spent a week with him after his surgery. The rest of the world, however, still didn’t know.

“He didn’t want us to talk to the press about it,” says Gilmore, “until he got to a place where he felt like he had kind of conquered it. Which happened, he did get to that place. But it was … it was frightening.”

In April, Alvin announced he was cancer-free. Explaining his health situation now, he says, “It’s good as of this moment, which with the cancer monster is the best that you can hope for. It can come back at any moment. So I am knocking on wood that it doesn’t, and proceeding as if it won’t.”

For a musician who in Gilmore’s estimation of his friend “wants to be playing his music for real people live every night,” their new tour together, which comes to Moe’s Alley on Tuesday, June 21, is everything Alvin could want. Although he’s pretty damn happy about life in general right now.

“To be alive, to be out of a hospital, is a great feeling. It’s the greatest feeling ever,” he says. “I gotta admit, there’s times where I’m not this cosmic about it, but overall, the way I view things now is I had a pretty good life. That was a nice chunk of cake. And now what I’ve got, you know, is the frosting part. These upcoming gigs just mean the world to me. I’m living for them. Because it’s like even the bad notes will be frosting. And I predict there will be some bad notes. But what the hell? They’re frosting notes.”

JIMMIE DALE GILMORE AND DAVE ALVIN play at 8pm on Tuesday, June 21 at Moe’s Alley, 1535 Commercial Way in Santa Cruz. $30/$35. moesalley.com.

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A letter to the editor of Good Times

Opinion: The Good Parts I Left Out

There’s never enough room for the tangents

Dave Alvin and Jimmie Dale Gilmore Bridge the Texas-Cali Gap at Moe’s

Rock and country outlaw legends find common ground in the blues
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