California Wants to Force Insurers to Reward Homeowners for Fireproofing Homes

From calmatters.org

When Ashley Raveche and her husband bought their home in Mill Valley, they thought they were doing everything right. The 1,300 square foot house already had vents with screens that make it harder for embers to get in and a tar and gravel roof, top-rated for fire safety. They installed double-paned windows, which are less likely to explode under extreme heat. They cut down four trees within 10 feet of their house. They kept the gutter and roof clear, and the local fire marshal performed an annual inspection.ย 

But their efforts โ€” totaling more than $10,000, by Ravecheโ€™s estimation โ€” werenโ€™t enough to insure their home in Marin County. In February, their insurance company said it wouldnโ€™t renew the policy because the โ€œrisk is unacceptableโ€ 

โ€œI panicked,โ€ she said. โ€œI was just like, โ€˜This is too much, we are doing absolutely everything we possibly can.โ€™โ€  

It was the second time an insurance company had declined to renew her home insurance coverage in five years, she said.ย 

When Ashley Raveche and her husband bought their home in Mill Valley, they thought they were doing everything right. The 1,300 square foot house already had vents with screens that make it harder for embers to get in and a tar and gravel roof, top-rated for fire safety. They installed double-paned windows, which are less likely to explode under extreme heat. They cut down four trees within 10 feet of their house. They kept the gutter and roof clear, and the local fire marshal performed an annual inspection. 

But their efforts โ€” totaling more than $10,000, by Ravecheโ€™s estimation โ€” werenโ€™t enough to insure their home in Marin County. In February, their insurance company said it wouldnโ€™t renew the policy because the โ€œrisk is unacceptableโ€ 

โ€œI panicked,โ€ she said. โ€œI was just like, โ€˜This is too much, we are doing absolutely everything we possibly can.โ€™โ€  

It was the second time an insurance company had declined to renew her home insurance coverage in five years, she said.ย 

New fire insurance guidelines

The proposed rules, rolled out in February, require insurance companies to do several things, including:

  • Make the models or tools they use to assess wildfire risk public, and require that companies send individual policyholders their wildfire risk scores on a regular basis
  • Explain to policyholders what specific factors influenced each consumerโ€™s score, what they could do to lower their score, and how much they can expect to see their premium go down if they take the actions outlined by the insurance company
  • When setting prices, insurers would have to take into account whether a homeowner or commercial property owner has reduced a propertyโ€™s wildfire risk by takingย specified steps, including clearing vegetation from under decks and installing fire-resistant vents
  • When setting prices, insurers would have to take into account whether a home is in one of three types of fire risk-reduction communities, such asย Firewise.

The state Department of Insurance also proposed giving policyholders the right to appeal their wildfire risk scores.

Part of the goal is to provide incentives to more people to protect their properties from wildfires. โ€œMoney is tight for most people,โ€ said Amy Bach, executive director of United Policyholders, a consumer group. โ€œIf I have a choice between spending money on taking out my favorite tree, and, like, buying a new flatscreen, Iโ€™m going to buy a new flatscreen, right?โ€ There has to be a compelling reason for people to do things they donโ€™t want to do, she said. 

โ€œHome hardeningโ€ is aimed at reducing a houseโ€™s risk of burning during a blaze. Thereโ€™s evidence to suggest it works, too: A 2020 study from the National Association of Insurance Commissioners found that โ€œstructural modifications can reduce wildfire risk up to 40%, and structural and vegetation modifications combined can reduce wildfire risk up to 75%.โ€

California already regulates insurance more than a lot of other products. Insurers, for example, canโ€™t just increase their prices whenever they want to โ€” they have to submit their pricing plans to the insurance department for approval. But, says Bach, thatโ€™s in part because they have an advantage most industries donโ€™t: People must buy their product in order to get a mortgage. 

โ€œThey sell economic security,โ€ said Bach. โ€œThey have a special obligation.โ€

Thatโ€™s why itโ€™s stressful for homeowners when an insurance company decides it will no longer cover them. 

When homeowners canโ€™t find a private company to cover them, they can turn to the state-created FAIR Plan, which offers bare bones coverage, often at higher cost. Coverage through the FAIR Plan is intended as โ€œa temporary safety netโ€ until a homeowner can find other coverage. 

โ€œA loophole that can swallow the ruleโ€

Steve Poizner, who lives 15 minutes from the San Jose airport, said he took some extra steps to protect his home after an insurance agent came out to inspect the property. He said he upgraded his fireproof vents and cleared vegetation around the house, and the company gave him a policy.ย 

โ€œThat was that. For years,โ€ Poizner told CalMatters. Then, he said, early this year he got a letter. His insurance company wouldnโ€™t renew his coverage, he said, and he was โ€œstunned.โ€ Poizner is no naif: He was Californiaโ€™s insurance commissioner from 2007 to 2011. 

The number of Californians who are not renewed by their insurance companies each year increased in 2019, according toย insurance department data, after especially damaging wildfires in 2017 and 2018. Itโ€™s a small share of policyholders: less than 3%, according to the department. The numbers are higher in areas with greater fire risk. Temporaryย bans on non-renewalsย in areas hit by wildfires, imposed by Insurance Commissioner Ricardo Lara, have helped, although the issue is stillย a key partย of the election race for insurance commissioner.

Itโ€™s far from certain the numbers will stay low. The number of California properties facing severe wildfire risk will grow sixfold over the next 30 years, according to projections from First Street Foundation, a nonprofit. 

Three consumer groups โ€” Consumer Watchdog, Consumer Federation of America and Consumer Federation of California โ€” sent feedback to the insurance department, pointing to what they see as a loophole: The rules require insurers to take home-hardening efforts into account when setting prices, but not when deciding whether to cover someone or renew a policy.

โ€œA homeowner could literally rebuild their home in concrete, in the middle of a concrete field, and still be non-renewed by an insurance company,โ€ said Carmen Balber, executive director of Consumer Watchdog. 

โ€œIt is a loophole that can swallow the rule,โ€ she said.ย 

Insurance department spokesperson Michael Soller rejected the term โ€œloophole.โ€ He pointed to the departmentโ€™s initial reasoning for the rules and expected benefits, which says insurance companies โ€œmay become more comfortable writing and retaining policies for properties with completed mitigation actions, even if the property is located in an area with a higher overall risk of wildfire.โ€

Not wading into coverage decisions may also have been a pragmatic decision for the department. Insurers would be more likely to sue over rules that mandate coverage, since the departmentโ€™s authority to regulate coverage decisions is not clear cut, said Michael Wara, a lawyer and climate scholar at Stanford Law School. A suit could keep the rules from going into effect for years.

โ€œThis may be a situation where you kind of have to choose between doing something thatโ€™s sort of pretty good โ€” maybe even really good โ€” but not perfect,โ€ said Wara.

Insurers want to protect their risk tools

Consumer groups arenโ€™t the only ones pushing back against the proposal. Trade organizations representing insurers have their own set of concerns. 

One is that the science on wildfire mitigation is still developing, said Mark Sektnan, vice president for state government relations for American Property Casualty Insurance Association, a trade group. That means there may not be good data on exactly how much one strategy โ€” or several โ€” reduces a homeownerโ€™s fire risk, and insurers need data to decide how much of a discount to offer. 

The proposed rules, for example, would require companies to take into account whether a home is in a โ€œFire Risk Reduction Community,โ€ a new certification created by the state Board of Forestry and Fire Protection. The criteria for the certification was finalized last month, according to Edith Hannigan, the Boardโ€™s executive officer, and the list of the communities that meet the requirements is yet to be released. There hasnโ€™t been any significant analysis on how much safer certified communities are, since itโ€™s brand new, Hannigan said. 

Thatโ€™s problematic, said Seren Taylor, senior legislative advocate for Personal Insurance Federation of California, another insurance industry trade group,  because everything in insurance โ€œis about understanding risk and having data.โ€

The new program was โ€œestablished with the expertise of the Board of Forestry, with consideration of community programs like Firewise,โ€ said Michael Soller, a spokesperson for the Department of Insurance.

Another concern Taylor cited has to do with intellectual property. Many insurers rely on models, often provided by separate companies, to assess the risk of wildfire to a particular home or area, taking into account factors like the slope a home is on, or the kind of roof it has. The rules require insurers to make those models public. 

โ€œThese companies spend tens of millions of dollars building complex computer models,โ€ said Taylor, and they want to create models that are more accurate than their competitors. 

โ€œWhat our folks are concerned about is that these modelers will say, โ€˜Well, weโ€™re not going to use our most innovative new models, because why would we invest in that technology if weโ€™re just going to have to hand it to our competitors? So weโ€™ll give you version 2.0, but youโ€™re not going to have version 4.0,โ€™โ€ Taylor said. 

Still, he said, the federation completely agrees with the goals of the proposed rules โ€” they point in the direction some insurers are already heading. 

Currently 20 insurance companies voluntarily give homeowners some kind of discount for reducing their wildfire risk, according to the insurance department

Still trying in Mill Valley

Ravecheโ€™s community, meanwhile, is using some cutting edge measures to prepare for wildfire.

More than 250 Mill Valley residents piled into their cars to simulate an evacuation, with Google researchers standing by and gathering data to model traffic flow. Her community partnered with NASA, so fire officials can access high-quality satellite images during an active fire, she said. Raveche, who is a board member of her fire district, just wrote a guide for short-term rentals so that visitors can figure out evacuation routes and sign up for emergency alerts.

After her insurer declined to renew her policy in February, she was able to get coverage from another company. But despite her many efforts, sheโ€™s not optimistic it will last. 

โ€œI think itโ€™ll probably be covered for two years, maybe three,โ€ she said. โ€œAnd then I see them dropping us.โ€

Things To Do in Santa Cruz: May 25-31

ARTS AND MUSIC

ARTS AND OPPRESSION COMICS EXHIBITION Promoting freedom of expression, combating censorship and building diversity, equity and inclusion through arts, the exhibit features artwork from Art Professor Dee Hibbert-Jonesโ€™ comics student awardees and see sneak previews from the newest limited edition Slug Comic featuring Thought Drinker by Amy Gerstler and Elektro by Ivan Brandon. Each work celebrates graphic works as a medium of resistance. Free. Wednesday, May 25, 4-5:30pm. McHenry Library, Special Collections and Archives (third floor), UC Santa Cruz. Face covering required while inside the gallery, and be prepared to show proof of vaccination. calendar.ucsc.edu.

(CANCELED) INTIMATE STARES WITH KING TIDE With multi-instrumental Seaside musician James Findlay at the helm, Intimate Stares deliver engaging noise rock in the vein of Dinosaur Jr., Hum and Fu Manchu. Meanwhile, the genre-defying Oedipus & The Motherfuckersโ€™ Steve โ€œAcidhorseโ€ Zero and Kage โ€œSpace-Hoboโ€ O’Malley โ€œhave no influencesโ€ and have โ€œnever even heard their own music, so please write them and tell them what you think.โ€ $10. Friday, May 27, 8pm. The Crepe Place, 1134 Soquel Ave., Santa Cruz. thecrepeplace.com.

CAPOLOW AND DB.BOUTABAG WITH FREDOBAGZ Straight outta East Oakland, Capolowโ€™s Bay Area hip-hop reached the masses in the 2010s with โ€œOutta Sightโ€ and โ€œDrip.โ€ But Capo truly made a name for himself in 2018, racking up millions of views with โ€œHighway Robberyโ€ and โ€œVomit.โ€ His 2019 mixtape, Sandman, is considered a concise collection of the rapperโ€™s โ€œbrag-centric, Bay Area trap.โ€ Most recently, Capo teamed up with Kamaiyah for the collaborative tape, Oakland Nights. $20-25 plus fees. Friday, May 27, 8pm. The Catalyst Atrium, 1101 Pacific Ave., Santa Cruz. catalystclub.com.

JERRYโ€™S MIDDLE FINGER Since 2015, the Los Angeles-based outfit โ€œdelivers the best Jerry Garcia Band tribute experience in the worldโ€”performing and celebrating the music of JGB with unparalleled sound and energy.โ€ The quintetโ€™s wholehearted enchanted dance parties have no end in sight, so โ€œwhether you saw Jerry 500 times or were born after his time on earth, this much is true: JMF will make you feel like heโ€™s still here.โ€ $25 plus fees. Friday, May 27, 8pm. Felton Music Hall, 6275 Highway 9, Felton. feltonmusichall.com. 

HARRY AND THE HITMEN WITH MAMMATUS From a tradition of improvised rock and years of experimentation behind tight arrangements, Harry and the Hitmen unleash the best of Stax and Motown and original blue-eyed soul. Donโ€™t be fooled by the suits; the longtime sextet is made up of perpetually evolving musical risk-takers who deliver โ€œone-of-a-kind dance parties wherever needed!โ€ For Mammatus, ear protection is recommended. The psych-stoner-desert rockersโ€”think Hawkwind meets Blue Cheer while liquified peyote rains down on themโ€”play loud, in a hurts-so-good way. Since 2005, the Santa Cruz outfit has gone on a few hiatuses here and there, but they are psyched to be working their way back into the publicโ€™s consciousness. $15/$20 plus fees. Friday, May 27, 9pm. Moeโ€™s Alley, 1535 Commercial Way, Santa Cruz. moesalley.com.

โ€˜THE FAIRY QUEENโ€™ Henry Purcellโ€™s The Fairy Queen celebrates the return of fully-staged, live opera at UCSC. Considered a โ€œsemi-opera,โ€ the work was initially written as โ€œincidentalโ€ music for Shakespeareโ€™s A Midsummer Nightโ€™s Dream. In this version, the beautiful vocal and instrumental movements are blended with dialogue from the play. Visaliaโ€™s Sequoia Symphony members join UC Santa Cruz singers and actors. Bruce Kiesling conducts, and Sheila Willey directs. (Read this weekโ€™s cover story). $15-32/Free for students. Friday, May 27, and Saturday, May 28, 7:30pm. Quarry Amphitheater, UC Santa Cruz. calendar.ucsc.edu.

MARIACHI WOMEN WARRIORS The all-female Mariachi Divas de Cindy Shea has recorded 17 albums and scored two Grammys and 11 Grammy nods. Since 2003, the collective has been the official mariachi outfit of Disneyland. Formed by trumpet talent Cindy Shea, the band is one of the world’s most accomplished all-female mariachi groups. Also on the bill, all-female trio Ellas developed a unique fusion of mariachi and modern music using guitar, guitarron (bass), violin and their captivating harmonies, their debut Ellas #primerafila hit No. 7 on iTunesโ€™ Latin charts. Each member has earned Grammys in their individual musical careersโ€”inevitably, theyโ€™ll soon be taking home the award as Ellas. Presented by the Mariachi Womenโ€™s Foundation. $27-57. Saturday, May 28, 7pm. Henry J. Mello Center, 250 E. Beach St., Watsonville. mariachiwomen.org/mwc-2022.

JAMS AND VISIONARY ART SHOW BENEFIT FOR WYLDER LEE Tatiana & Treetop Bandโ€”special guest Matt Hartleโ€”offer original tunes inspired by a plethora of genres and โ€œserendipitous experiences.โ€ The Santa Cruz group jams hard from Americana to Afro-Latino grooves while driving an improvised odyssey into the unknown. As word spread, the six-piece has become increasingly noticedโ€”recently, they opened for the California Honeydrops. There will be live painting from Hana Stanke, Tess Elation, the Letter Mermaid and others, and a silent auction. $15. Saturday, May 28, 7:30pm. Michaelโ€™s on Main, 2591 S. Main St., Soquel. michaelsonmainmusic.com.

JASON KAHN WITH MINISTRY OF APATHY Each Jason Kahn performance is different because the music is improvised. Still, the source material relates directly to each venue he plays in. This twisted conglomeration of Kraftwerk and Brian Eno also features chaotic feedback and a purposely overloaded synthesizer, resulting in momentary collapse. Additionally, a variety of contact microphones, electromagnetic inductors and the synthesizerโ€™s output via a mixing board are used to modulate the synthesizer’s parameters. The result is difficult to control but allows Kahn to achieve grandiose expressivity. $8/$16. Saturday, May 28, 8pm. Indexical, 1050 River St. #119, Santa Cruz. Proof of vaccination is required. indexical.org.

JOSHUA RAY WALKER WITH BEN CHAPMAN Texas singer-songwriter Joshua Ray Walkerโ€™s new albumโ€”his third full-length record in three yearsโ€”See You Next Time is an accurate depiction of a honky-tonk dive and the loners who inhabit it: โ€œbarflies and wannabe cowboys, bleary-eyed dreamers and hopelessly lost souls.โ€ Itโ€™s the final installment in a trilogy launched with Walkerโ€™s 2019 debut Wish You Were Here and the praised follow-up Glad You Made It, which made No. 5 on Rolling Stoneโ€™s โ€œBest Country and Americana Albums of 2020โ€ list. $20/$35 plus fees. Sunday, May 29, 8:30pm. Moeโ€™s Alley, 1535 Commercial Way, Santa Cruz. moesalley.com.

ARTEMIS Celebrate Kuumbwa Jazzโ€™s belated 45th anniversary with Artemis, an all-star group featuring six of the worldโ€™s top jazz performers: pianist and musical director Renee Rosnes, trumpeter Ingrid Jensen, clarinetist Anat Cohen, saxophonist Nicole Glover, bassist Noriko Ueda and drummer Allison Miller. Named after the Greek goddess of the hunt, forests and moon, Artemis is a cooperative of artistry at its best, unleashing unforgettable performances fueled by mind-blowing musical interaction. $68.25/$73.50; $36.75 students. Tuesday, May 31, 7pm. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. kuumbwajazz.org.

COMMUNITY

ANNUAL SANTA CRUZ LONGBOARD UNION MEMORIAL DAY SURF CONTEST Itโ€™s an annual tradition: Nearly 200 contestants compete every Memorial Day weekend in the longest-running longboard surf contest on the West Coast. The Santa Cruz Longboard Unionโ€™s mission is to โ€œpreserve, promote and perpetuate the values, belief and essence of surfing.โ€ No better spot than Santa Cruz to assemble. Free for spectators. Saturday, May 28, and Sunday, May 29, 7am-4pm. Steamer Lane at West Cliff Drive, Santa Cruz. santa-cruz-longboard-union.com (competitor sign-ups).

VETERAN SURF ALLIANCE MEMORIAL DAY PADDLE OUT The Santa Cruz nonprofit creates fellowship and community among veterans through surfing as an activity to ease the transition from military service to civilian life. The VSAโ€™s Memorial Day gathering and paddle out in Capitola honor fallen service members. The memorial paddle out follows the color guard presentation. All veterans, community members and visitors are welcome. Free. Monday, May 30, 9am-noon. Capitola Beach and Esplanade, Capitola. veteransurfalliance.com.

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, May 30, 12:30pm. 831-457-2273. womencaresantacruz.org.

LAUGHTER YOGA Having fun, feeling good and relaxing. Thatโ€™s what Laughter Yoga is all about. Laughing is a form of stress relief. The group laughs as a form of exercise, and through eye contact and childlike playfulnessโ€”fake laughter becomes genuine and contagious. The body doesnโ€™t know the difference between fake laughter and the real thing, so chemicals (dopamine, serotonin) are released, easing our minds and bodies. Free. Tuesday, May 31, 3:30-4:30pm. Inner Light Ministries (Fireside Room), 5630 Soquel Drive, Soquel. sa-cc.org.

OUTDOORS

COASTAL BIRDING WALK Nothing like a mellow 2.5-mile hike to soothe the soul. There will be many stops to view the birds, plants and scenery. Bring binoculars if you have them and good walking shoes. Meet in Wilder Ranch’s main parking lot next to the park map. Rain cancels. Masks required. $10 (day-use parking fee). Friday, May 27, 9am-noon. Wilder Ranch State Park, 1401 Coast Road, Santa Cruz. santacruzstateparks.as.me/schedule.php.

SEASONAL WILD PLANT WALK WITH JESSICA TUNIS The โ€œlearning journeyโ€ delves into the abundant world of wild plants. Local naturalist Jessica Tunis leads the mile-long excursion, identifying wild plants and their unique properties. Learn about local plants’ healing and nutritional properties and the symbiotic relationships to the ecosystems that support them. Additionally, learn what makes a plant invasive. The walk concludes with tea, tastings, picnic snacks made from some of the wild edibles identified and a Q&A. $60; $10/children (7-12 years old with paying adult). Saturday, May 28, 11am-1pm. Quail Hollow Ranch, 800 Quail Hollow Road, Felton. pe********@***il.com.

The Jewel Theatreโ€™s โ€˜An Iliadโ€™ Reimagines an Epic

Possibly the greatest story ever told about human folly, Homerโ€™s Iliad sings of the entwining hubris and rage that led to the Trojan War three millennia ago. In the Jewel Theatreโ€™s production of An Iliad, by Lisa Peterson and Denis Oโ€™Hare, a lone poet recounts, reenacts and refreshes the ecstatic energy of the 10-year conflict between the Greek hero Achilles and the Trojanโ€™s great warrior Hector. Deeply flawed and deeply human, the mythic characters have been drawn from the highly readable Robert Fagles translation, and reimagined.

As the play opens, a lone poet takes the stage and calls upon the Muses for help to once more sing the song of rage, a song sung across the ages. As performed by a spectacular Patty Gallagher, the tale becomes as shocking and vivid as footage of the current war raging in Ukraine. This is a part Willem Dafoe would kill for. But I canโ€™t imagine he could do it as well.

We see the endless armada of ships in that wine-dark sea, the tens of thousands of soldiers battling on blood-soaked shores, the bickering of Achilles and his general, the atrocities on both sides. It is Homerโ€™s epic poem come to life through the extraordinary physical skills of Gallagher and her treasury of gestures, but itโ€™s also a tour de force punctuated with asides in contemporary language, inflected with humor and visual puns. Lighting design by David Lee Cuthbert becomes an effective player in what is essentially a one-person show. As Gallagher points, lights flash. As the battlefield blooms with corpses, the air glows blood red.

The success of this bold theater piece depends entirely upon the central player, and in this case Gallagher delivers a master class in full-body acting. She is not only vocally flawless, but infinitely inventive in giving new voices to each character described. Shifting accents, changing walks, stances, pitch, volume. But more than that. Gallagherโ€”in league with director Kirsten Brandtโ€”unleashes an arsenal of gestural leitmotifs, much as Richard Wagner does for his mythic opera themes and characters. Death has its own choreography, as does the forging of armor and the hacking of limbs. So do Achilles, Hector, Hecuba, Priam and on and on. The motifs help to keep each mythic character distinct to the audience.

It is such a dazzlingโ€”and yes, epicโ€”performance that one wonders why so much stage space was squandered. The only other figure on the stage plays the poetโ€™s Muse, sitting at the piano and plunking out tuneless sounds. He then takes up a guitar and plays what are intended to be mood-inducing sounds. Not speaking, nor adding any substance. Another instrumentโ€”a single guitar or double bassโ€”would have been more effective and less distracting. Same for the square banners dangling from the ceiling. Visually distracting. Ditto the sheer scrim, and wires and ropes. All in all, the set felt cluttered. A bare stage, one or two places to sit, and this single actor could, like Homer, have kept us spellbound the entire time.

As the play lengthened I began to realize that I was watching Homer tell the great poem embodied within and by Gallagher. In an era before screens or books, live storytelling enthralled listeners. History unfolded before their very eyes. And so Patty Gallagher became Homer, using only the human voice, body and such intense focus that time dissolved and we were witnesses to the very spectacles of the Trojan War. And other wars as well.

So brilliant is Gallagher, and her astonishing memory, that I wished there might have been more room/space for her anecdotes and colorful episodic narrations to unfold. It is the fault of the play that not only does it continue on a full 15 minutes after the magnificent denouement, but that it tries to fit in so much granular detail that there’s no room to breathe. We canโ€™t fully enter the picture the poet has just painted for us before we are hustled out into the next episode, and then the next. More breathing space would have allowed the full impact of each spoken scene to penetrate our imaginations, and our hearts.

But I was in tears more than once, moved by Gallagherโ€™s utter conviction, her own heartbreak over the picture that she as poet/player was materializing.

Itโ€™s a virtuoso performance, never more so than in the long, astonishing strands of monologue that only Homer himself might have equalled. (This production will have you running for your copy of The Iliad, the magnificent translation by Robert Fagles whose text inspired the play.) An Iliad is theater at its most powerful, and a remarkable evening of one-person magic by an epic storyteller.

Jewel Theatreโ€™s โ€˜An Iliad,โ€™ by Lisa Peterson and Denis Oโ€™Hare, directed by Kirsten Brandt and starring Patty Gallagher, runs through June 12 at the Colligan Theatre on the Tannery campus, 1010 River St., Santa Cruz. jeweltheatre.net.

Letter to the Editor: No Deception in D

Re: โ€œA County Dividedโ€ (GT, 6/18): I would much rather have a beautiful, peaceful greenway along that publicly owned scenic corridor, with separate paths for vehicles and pedestrians, than an industrially ugly and dangerously disruptive narrow partial path next to a train line that will never be built. 

There is nothing โ€œdeceptiveโ€ about railbanking, a federal designation to preserve the possibility of building a new train line there (the old rails are coming out regardless) if you can ever sell the public on an incredibly expensive and unwise proposal for that. (Electric light rail for transportation should go down the middle of the freeway, paid for by the feds and the state.) The reason why railbanked old freight lines are rarely turned back into trains is because people around the country love greenways (I enjoy them when I visit my friends in New York). 

Steven Robins

Felton


These letters do not necessarily reflect the views of Good Times.To submit a letter to the editor of Good Times: Letters should be originalsโ€”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

Letter to the Editor: Not Rocket Science

Re: โ€œA County Dividedโ€: We are the neighbors of Silicon Valley, home of the brains, ingenuity and visionary leadership of the technological world right now. 

Here in our precious and gorgeous coast side land, with a wee bit of delight and real political will, we could install an electric passenger train running on our tracks in just a few years. We could be riding in quiet style and connecting to the larger rail network.

Itโ€™s not rocket science. With a clear vision, coupled with our amazing thinkers, leaders and the current technology, all of our needs could be satisfied. The train would be safe, useful, link us to buses, trains, and be adjacent to a lovely pedestrian and bicycle trail. 

We are leaders. This is our opportunity to create a positive future and set an example of how to quickly advance this world into non-fossil fuel transportation. Concern for public welfare, desire to mitigate the climate crisis, and improve the public transportation system all can invigorate us.

I am proud to be a Watsonville resident and applaud our Council members who took a stand. After studying the issue, the City of Watsonville voted unanimously in opposition to the measure D initiative.

Letโ€™s wow the world. We can have the trail and build a wonderful public transportation system.

Judy Gittelsohn

Watsonville


These letters do not necessarily reflect the views of Good Times.To submit a letter to the editor of Good Times: Letters should be originalsโ€”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

Letter to the Editor: Rail for Mom

Re: โ€œA County Dividedโ€: My mother was known as the Mother of California Bike Trails for her early and successful advocacy to use part of the gas tax to support bikeways. Her first bike advocacy project connected our semi-rural community to the more urban areas, giving cyclists a safe path far from the high-speed traffic. She wanted everyone to be safe on their bicycle, not just those accustomed to watching over their shoulder for speeding vehicles. 

Her commitment to safety and access led her to write three popular trail guides to Bay Area trails and take countless community members on hikes where she was known for her kind smile and welcoming manner. She was a visionary environmentalist who helped save thousands of acres of the Santa Cruz mountains from development, leading to parks we all enjoy now.

My mom passed on recently at 101, leaving three generations of the family in Santa Cruz Co. As she aged, she watched carefully as the Santa Cruz County rail corridor project came into being, excited about the possibilities, and I think of her perspective now as we weigh our options.

Will we give future generations the option of clean light rail and have a trail next to it, or make a path that would be mostly recreational while condemning our neighbors in South County to ever-longer commutes?

Will we keep open the possibility of connecting commuter rail to our bus system and increasing ridership by 150%, or eliminate all possibility of even planning for rail transit and build an extra-wide bike path that wonโ€™t help small children, people with disabilities, or those carrying packages get from one town to the next?

My mom was committed to preserving the beauty of our region for future generations, and to making the best our community can provide available to everyone, not just a few. She loved the idea of rail and trail, a simple choice to keep our options open, serve our people and safeguard our climate. Letโ€™s listen to her wisdom, and Vote NO on D.

Kaki Rusmore

Santa Cruz


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Opinion: A Different Kind of Opera

EDITOR’S NOTE

Steve Palopoli editor good times santa cruz california

Claude Debussy said, โ€œIn opera, there is always too much singing.โ€ Surely tongue-in-cheek coming from a composer who thought Tristan und Isolde was the greatest piece of art ever made, but as someone who likes my stage drama talky, I actually agree. So UCSCโ€™s new โ€œsemi-operaโ€โ€”a phrase I had never heard until reading Christina Watersโ€™ cover story this weekโ€”is kind of perfect for me. And best of all, the spoken dialogue of The Fairy Queen, a fascinating 17th century work from composer Henry Purcell, is from Shakespeareโ€™s A Midsummer Nightโ€™s Dream. Between this and Santa Cruz Shakespeareโ€™s upcoming premiere of local playwright Kathryn Chetkovichโ€™s The Formulaโ€”based on the same workโ€”itโ€™s going to be a Midsummer summer around here. I wonโ€™t give away any more about what Sheila Willey and UCSC Opera have in store with The Fairy Queen; be sure to read Christinaโ€™s cover story to find out.

We also have more election coverage this week, and will wrap it up in next weekโ€™s issue. Iโ€™ve been buried in reader response to last weekโ€™s Measure D issue; thank you to everyone who wrote in and commented online. I will get as many of those letters in as possible before the election!

STEVE PALOPOLI | EDITOR-IN-CHIEF


PHOTO CONTEST WINNER

DEFENSE STRATEGY In case you were wondering why puppies can get away with everything. Photograph by Kira Lee Martin.

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

RACE INFORMATION

The June 7 election is coming up, and time is running out to learn more about the candidates vying for a spot on the County Board of Supervisorsโ€”luckily, Community Bridges is hosting a free forum to get you caught up. Hear about the 3rd and 4th District Santa Cruz County Supervisorial candidatesโ€™ views on Santa Cruz County support for food security, health care, early childhood education, fire recovery and other important issues. The forum is on May 25. To participate, contact in**@******es.org.


GOOD WORK

BIG SMILESTONE

Dientes Community Dental Care, the nonprofit offering access to low-cost oral health care, just hit a milestone. On May 19, Dientes officially celebrated 30 years of providing affordable and high-quality dental care for patients who are on public insurance or uninsured. The nonprofit has helped 50,000 patients, many who live at or below the poverty level. Having good teeth is an important part of being healthy and having confidence, so huge thanks to Dientes for making oral healthcare more equitable.


QUOTE OF THE WEEK

โ€œNo good opera plot can be sensible, for people do not sing when they are feeling sensible.โ€

โ€” W.H. Auden

Cali Roots is Back and Bigger Than Ever

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Following a two-year pause, Cali Roots is still one of the largest and most popular reggae-rock festivals. And the 11th annual gathering’s lineup is full of big-time acts, ready to perform for the 50,000 plus expected to flood the Monterey County Fairgrounds from May 26-29.

See the full schedule and lineup.

Cali Roots veterans Damian โ€œJunior Gongโ€ Marley (9:30pm, Sunday, May 29; The Bowl) and Atmosphere (6:05pm, Friday, May 27; The Bowl) join festival newcomers Ice Cube (7:10pm, Sunday, May 29; The Bowl) and Hirie (6pm, Sunday, May 29; The Cali Roots Stage). 2022 marks the eventโ€™s expansion from three days to four, kicking off Thursday with a full roster, punctuated by Stephen Marley (8:45pm, Thursday, May 26; The Cali Roots Stage) and Dirty Heads (9:50pm, Thursday, May 26; The Bowl).

Meanwhile, Santa Cruzโ€™sย The Expendables, another Cali Roots mainstay, play The Bowl on Friday at 3:20pm.ย The Soquel High buddies Geoff Weers (vocals and guitar), Raul Bianchi (lead guitar) and Adam Patterson (drums) formed The Expendables in 1997โ€”bassist Ryan DeMars joined three years later. DeMars, an Aptos High grad, is thrilled to return to the Fairgroundsโ€”the band played Cali Roots in 2019, before the two-year gap.

โ€œCali Roots was the first festival of our genre, and a couple of more festivals have popped up,โ€ DeMars says. โ€œYou tour with these bands; you become really good friends, then you donโ€™t see each other because youโ€™re working with other bands. And then you come back to all these festivals; itโ€™s like you never left playing with each other.โ€

The Expendables have come a long way. DeMars recalls the early days, opening for Eek-a-Mouse at the Catalyst and selling their demo In the Weeds at a table hidden in a dark corner next to the bar. Now, the quartet is a headlining act performing at a world-renowned festival. 

The Santa Cruz-Cali Roots connection runs deeper. 

Jeff Monser, the guy behind the entire event, hails from Santa Cruz. He went from slinging T-shirts at festivals around the country to creating Montereyโ€™s most successful music festival ever. 

Monser started with a $4,000 sponsorship from Kona Brewing Co. and a product sponsorship from Monster Energy, but it wasnโ€™t quite enough. The artist/screen-printing shop owner had to put up most of the cash he made from his business and worked a second full-time job, screen-printing for Specialized Bicycles.

In 2010, Cali Roots debuted at the Monterey County Fairgrounds on the small Garden Stage. The afternoon event featured eight bands, with Dirty Heads headlining (Tribal Seeds, Thrive and The Holdup were also on the bill). About a thousand people attended. 

In 2011, Cali Roots expanded to two days and drew 5,000 on both daysโ€”Monser had no previous experience producing music events before Cali Roots but knew he had struck gold.

In 2019, Ben Harper headlined the first night of Cali Roots’ 10-year anniversary. PHOTO: ProPix Medi

By its third year, Monser was out of his league. He had to bring someone on who knew what they were doing.ย Dan Sheehanโ€”now, the festival producer and co-ownerโ€”came on and transformed the event into an internationally lauded gathering. The happening has hosted Slightly Stoopid, Matisyahu,ย 311,ย Don Carlos,ย Nas, Thievery Corporation, The Roots, Cypress Hillย andย Rebelutionโ€”it’s become a bastion of Memorial Day weekend; sold-out, smoked-out musical bliss.

Rebelution drummer Wesley Finley is a product of North Monterey County High Schoolโ€™s music department. He met bandmates โ€‹โ€‹Eric Rachmany (vocals/guitar), Rory Carey (keyboards) and Marley D. Williams (bass) at UC Santa Barbara. Finley says performing in a venue that he considers his home turf is incredible.

โ€œIt feels kind of surreal and serendipitous, too, in a way, just because Iโ€™m from here and I actually live just a couple of miles from the Fairgrounds,โ€ he says. โ€œI can hear music [from my house] sometimes. It takes place right here. Itโ€™s one of the biggest reggae festivals, itโ€™s my hometown, and itโ€™s also my birthday weekendโ€”itโ€™s this crazy culmination of circumstances that I get to be a part of, and itโ€™s special to me.โ€

Night Market 831, inspired by global open-air street bazaars, is an inclusive, collaborative space for festivalgoers to experience a rotating roster of local performers, artists and artisans. No matter how big Cali Roots goes, it continues to embrace the local talent. Salinas reggae outfit The Rudians make their festival debut on Thursday, May 26 at 2:45pm on the Pop-Up Stage.

California Roots Music and Arts Festival happens Thursday, May 26 -Sunday, May 29. Monterey County Fairgrounds, 2004 Fairgrounds Road, Monterey. $141.35/Thursday single-day pass; $176.44/Friday, Saturday and Sunday single-day pass. californiarootsfestival.com.

UCSCโ€™s โ€˜The Fairy Queenโ€™ is an Unusual Take on Opera

Vivaldi, Bach, Mozartโ€”what do they have in common? Baroque music, thatโ€™s what. Bold, ornamental and irresistible, Baroque music was the rock โ€™nโ€™ roll of its day. Commissioned by kings, adored by everybody, Baroque songs, symphonies and oratorios still delight us three-hundred-plus years later.

Spanning (roughly) the years 1600-1750, it was the nursery for the complex performance pieces we know today as operas. The earliest operas arrived in northern Europe from Italy in the mid-1600s; their plots came from myth, legend, gossip and history, featuring love stories refreshed by comic relief.

In 1689, Henry Purcell wrote the first English opera, Dido and Aeneas. Purcell was a court musician and the organist at Westminster Abbey when he was a mere 21 years old. First performed in 1692, Dido and Aeneasโ€”based on the story of Queen Dido of Carthage, who is said to have taken her own life after her heart was broken by the Trojan prince Aeneasโ€”made the 30-year-old composer famous. And so he composed more musicโ€”but not too much more, because he died at the age of 36.

He followed up Dido and Aeneas two years later with The Fairy Queen, a delicious fairy-tale extravaganza which proved so popular that it was revived the next year with additional comic scenes and songs, including โ€œThe Plaint,โ€ a mesmerizing solo reminiscent of Didoโ€™s lament in Purcellโ€™s debut work.

Alternately regal and spritely, Purcellโ€™s melodies and harmonic counterpoints can suggest palatial processions, much as Handelโ€™s did. The Messiah was composed 50 years after The Fairy Queen, yet many of its instrumental flourishes, solo arias with intricate coloratura vocal work and its broad rapturous choruses are similar to Purcellโ€™s composing style. The Fairy Queen gives the audience shimmering choral landscapes on which to graze. Arias jump and leap through a gossamer web of coloratura vocal runs, much as the fairy queen and her entourage weave a gossamer web of enchantment in the spoken dialogues.

The dreamy and theatrical work, which will be performed this weekend by the UCSC Opera company, is made from vignettes of singing and dancing written to accompany Shakespeareโ€™s A Midsummer Nightโ€™s Dream. Technically The Fairy Queen isnโ€™t an opera, nor a dramatic play, but a hybrid of the twoโ€”a semi-opera. Edited by Purcellโ€™s librettist, the spoken dialogue prompts the musical interludes for soloists and chorus. The spoken text is Shakespeareโ€™s, and the musical portions donโ€™t so much illustrate that text as embellish and interpret it. Giving visual opulence to the singers of the UCSC Opera program and Concert Choir will be costumes from San Franciscoโ€™s Academy of Arts University, wigs and makeup by Santa Cruz Shakespeare’s Jessica Carter, scenic design by Sean Reilly of Visible Gravity and lighting by Legend Theatricalโ€™s Dave Dunning.

Director Sheila Willey calls โ€œThe Fairy Queenโ€ a โ€œbaroque musical.โ€ PHOTO: KEANA PARKER

Fairy Story

Shakespeare had been dead for 75 years when The Fairy Queen burst onto the English theater scene. Word is the debut production was incredibly costly, given its many moving parts. All of the short musical vignettes are introduced by Titania, the queen of the fairies, or her king, Oberonโ€”or by an abundance of gods and goddesses who have little actual bearing on the dramatic story, but appear to add texture and color to the entertainment.

These little in-between scenes respond in imaginative ways to the acts of the Shakespeare play, interpretive musical commentary on the underlying emotions and agendas of the theatrical actors. Think of it as a play within the play, with supernatural beings added for visual and musical sex appeal. Here we find Juno, the Roman queen of the gods, the sun god Phoebusโ€”and in the ultimate scene, Hymen, the goddess of marriage. Purcellโ€™s librettist, of whose identity we are not 100% percent certain, included little scenes of crowd-pleasing comedy; e.g. drunken poets, perhaps an inside critique of the Bard’s comedic characters. Those familiar with Shakespeareโ€™s play will be quite at home with this rare and very early opera. Those who arenโ€™t will still enjoy all the gorgeous music and the spectacular sylvan setting of the UCSC Quarry amphitheater.

The fairy-tale story involves the interweaving of nature and magic, and the settingโ€”a quarry amphitheater embraced by towering redwoodsโ€”is perfect to conjure the transition from everyday reality into the enchanted forest of Oberon and Titania, king and queen of the fairies. Purcellโ€™s fantasy creation is strewn with sensuality and a bold emphasis upon pleasure.

Collective Dream

UCSCโ€™s Opera Program is directed by Sheila Willey, who describes Purcellโ€™s music interwoven with roughly 20 minutes of the Shakespeare play as a โ€œBaroque musical.โ€ The timing is serendipitous: the Santa Cruz Shakespeare season kicks off next month with a world premiere of Kathryn Chetkovichโ€™s romantic comedy The Formula, which is also based on A Midsummer Nightโ€™s Dream. Willey and her colleaguesโ€”UCSCโ€™s orchestra director Bruce Kiesling, concert choir director Nathaniel Berman and vocal instructor Emily Sinclairโ€”chose Purcellโ€™s work because it seemed to be the perfect joint project to link together the opera program, orchestra and concert choir.

โ€œThere will be short dialogues from the Shakespeare within the performance,โ€ Willey explains. โ€œFive short acts, with one intermission, roughly two hours.โ€

The group chose the Quarry as the venue before the quarantine.

โ€œThen it became necessary,โ€ says Willey, referring to the outdoor setting, but also to the fact that the universityโ€™s main musical performance space, the Recital Hall, has been out of commission due to structural malfunctions over the past two years.

โ€œDuring lockdown, we did remote opera projects,โ€ Willey says, with a slight roll of the eyes. โ€œEven did one from the Quarry, shot with green screen and lots of creative filming. So I was very familiar with the space. Weโ€™re bringing in a ton of equipment. Itโ€™s so beautiful, and now that it’s safe to perform together outside, the quarry is perfect! Purcellโ€™s early opera is intimate, intricate, charming and magical.โ€

Rock Concert

In her planning, Willey consulted with Quarry manager Jose Reyes-Olivas, who oversees the concerts that have filled the huge space over the past five years. Once the center of campus life, the Quarry Amphitheater has hosted countless political rallies and historic performances. The likes of Angela Davis, Ravi Shankar, Peter Singer, Joan Baez, Alfred Hitchcock and Dolores Huerta have filled this atmospheric space. But time took its toll, and the venue closed in 2006. But in 2017, the quarry reopened, with the Dean of Students taking over management, and plans to bring the amphitheater back to life as a vibrant venue for cultural events.

โ€œWe are really looking forward to welcoming our audiences to this magical open-air beauty of a venue,โ€ says Reyes-Olivas.

Sara Harnden, Spencer Greene and Nyla Rizvi get into character in rehearsals for โ€˜The Fairy Queen.โ€™ PHOTO: TARMO HANNULA

Now seating over 2000, the venue was carved from a former lime quarry, tucked within redwoods and amidst rocky outcroppings. An inspiring, almost meditative space in the quiet of midday, it will come to life this weekend with Purcellโ€™s Baroque creation. The operaโ€™s director reminded me that the production offers various seating options. โ€œThere are cushions on the amphitheater seats, people can bring beach chairs, or even have blankets on the ground, like the Santa Cruz Shakespeare productions.โ€

Division of Sound

UCSC Orchestra conductor Bruce Kiesling, whoโ€™ll be at the helm for this weekendโ€™s performance, has brought in his Visalia-based professional orchestra to join hand-picked musicians from the university orchestra.

โ€œWeโ€™re doing a split orchestra,โ€ Kiesling explains. โ€œHalf student performers and half the Sequoia Symphony. The student players were hand-selected, by invitation, to play in this concert for which there is a very limited rehearsal period.โ€

Kiesling says that this instrumentation is historically accurate. โ€œThe orchestra would have been between 15 and 25 players in Purcellโ€™s day.โ€ In the late 17th century, such musical events were intimate, performed at the royal court and in smaller theaters than in our day. โ€œEverybody will be lightly amplified, so everybody will be heard clearly,โ€ Kiesling says. โ€œThe sight lines, even with such a large cohort of performers and musicians, will work just fine. The orchestra on the ground in front, the players on the stage and the chorus up behind the stage.โ€

Like everyone involved, Kiesling is a big fan of The Fairy Queenโ€™s composer. โ€œPurcell is such a fantastic composer and a true musical dramatist,โ€ he says. โ€œThe word-painting is incredibleโ€”the music makes a colorful companion piece to the words. Plus, itโ€™s in English! And weโ€™ll have scenes from the play itself to compliment the opera.โ€

Concert choir director Nathaniel Berman knew he wanted the choir to be involved in this yearโ€™s opera production.

โ€œItโ€™s magnificent music that works very well for younger singers,โ€ says the longtime lecturer in choral music and director of UCSCโ€™s wind ensemble. He illustrates his point by referencing opera composers such as Belliniโ€”whose Norma or La Sonnambula, for example, makes technical demands of the vocalists (involving bel canto virtuosity) that are best handled by extremely seasoned opera performers.

โ€œIn our program at UCSC, weโ€™re casting undergraduates in full operas. Thatโ€™s rare,” he says. โ€œSingers come here to develop their vocal techniques.โ€

Berman adds that while Purcell is a technical challenge for singers, the Middle Baroque period music is โ€œextraordinarily accessible. The words are sung in rhyming couplets, in English so that it feels immediately intuitive for singers, and for the audience.โ€ The choir director agrees with Willey that the music is โ€œcharming and joyful. The melody takes a journey through the voices and instruments. Rather than radically different music for voice and for instruments, itโ€™s almost the same music from soloists to orchestra to chorus.โ€ In other words, the melodies will become quickly familiar.

โ€œPurcell is absolutely wonderful,โ€ Berman agrees. โ€œI have a personal connection to his music because Dido and Aeneas was the first opera I conducted in my professional career. And there are echoes of Dido in this semi-opera. And our singers love the music!โ€

That sentiment is echoed by one of the altos working with this production, Concert Choir singer Beverly Norleen, who has performed with a half-dozen local choral groups. She confesses that the music is โ€œlots of fun to sing. I highly suspect that Gilbert and Sullivan lifted a few things from Purcellโ€™s Fairy Queen when they wrote their opera Iolanthe, with all the fairies dancing and tripping about.โ€

Asked how hard it was to work on such an ambitious production during Covid, Willey confesses, โ€œItโ€™s insane. This production couldnโ€™t have been more complicated. Bringing all the infrastructure to the Quarry would be daunting enough by itself. But the coordination of elementsโ€”I went over and over the scripts, trying to decide how much Shakespeare and how much Purcell to combine. Knitting things together. But it will look phenomenal. Our costumes are once again in collaboration with artists from the Academy of Arts University in San Francisco. We will use the surrounding quarry rocks a bit in the beginning, then centralize the action onto the stage as it grows darker.โ€

An opera production is as complex as performance gets.

โ€œItโ€™s such hard work. But getting to be creative with the students [is] so rewarding,โ€ says Willey. โ€œThis is opera at its most engaging.  It will be so special and memorable for the performers. After two years of lockdown, weโ€™re not taking making live music together for granted.โ€

The Fairy Queen will be performed in the UCSC Quarry Amphitheater on Friday and Saturday, May 27-28 at 7-9:30pm. Tickets are $15-$32, free for students under 18 or with student ID. Proof of Covid vax required. Tickets at eventbrite.com, go to ucsc.edu for more information.

District 3 Supervisor Candidates Lay Out Their Visions

The June 7 primaries are right around the corner, and County Supervisor candidates are making their final case ahead of North Coast and Santa Cruz residents casting their votes to determine who will be their representative. 

The three candidates vying for the spot on the Santa Cruz County Board of Supervisors include Santa Cruz City Council Members Justin Cummings and Shebreh Kalantari-Johnson, along with nonprofit director Ami Chen Mills. They all hope to represent District 3, which encompasses parts of Live Oak, the City of Santa Cruz and up the North Coast. 

The race has focused on the candidatesโ€™ positions on hot-button issues like homelessness and climate change. That was until last Wednesday, when Chen Mills held a press conference where she claimed that Kalantari-Johnson broke campaign finance and election laws during a fundraiser hosted by advocacy group Santa Cruz Together. Chen Mills claimed she has a recording of Santa Cruz Together improperly soliciting donations for Kalantari-Johnson’s campaign at the fundraiser. Kalantari-Johnson refuted the claims, saying they are โ€œentirely baseless and nothing more than a desperate political stunt.โ€ 

Regardless, as the race winds down, the three candidates are running in a district that is facing some of the most dire effects of climate change and the affordability crisis. We posed questions to the candidates that address top concerns for District 3 residents. 

Santa Cruz has one of the most expensive rental markets in the country. What is your plan for addressing the affordability crisis?

Ami Chen Mills: Having spoken to residents, local workers and students sleeping in their carsโ€”and with several friends currently facing homelessness nowโ€”I believe the county must immediately declare a countywide housing emergency. Then we must engage the community in a wide-scale discussion toward solutions. This would likely include a countywide bond measure to build affordable housing and further incentivize and educate landlords to accept Housing Authority vouchers (Section 8).

Through the use of pension fund-investors, we can rapidly build โ€œworkforceโ€ or โ€œmissing middleโ€ housing with strict covenants for affordability, and prioritize occupancy for those who currently live and work here. We must use appropriate county lands such as the County Building parking lot and the Emeline complex site to build permanent supportive housing post-haste. We must pass a recommended countywide minimum wage of at least $22/hour. 

The county must proactively plan for affordable housing along transportation corridorsโ€”and that includes changing the Housing Element and zoning in the Countyโ€™s General Plan so that we are โ€œpre-planning,โ€ rather than reacting and โ€œspot planningโ€ for developments that support neighborhood diversity, affordable infill development, walkability, mass transit and homes for all of us.

Justin Cummings: During my four years on the Santa Cruz City Council, we have effectively leveraged local resources, including city-owned property, Section 8 project-based vouchers, and the city’s Affordable Housing Trust Fund to secure competitive grant funding for multiple 100% low- and very-low-income projects. 

I am committed to working on similar strategies within the county. As County Supervisor, I plan to increase the percentage of affordable units in new developments from 15-20%, and would explore increasing the number of affordable units further in projects that receive density bonuses by using Section 8 housing vouchers. This would allow developers to receive market-rate returns on those units and provide housing for low- and very-low-income residents in the Section 8 program.  

We also need to incentivize the production of workforce housing, to provide affordable housing opportunities for essential workers like teachers, city and county workers, service industry and more. We also need to increase pressure on the UC regents to create and provide affordable housing for students and tie UCSC’s enrollment to the number of beds they can provide students. Finally, we need to work with our state and federal legislature to allocate funding for the production of affordable housing.

Shebreh Kalantari-Johnson: We have an opportunity to plan differently as we revise our Countyโ€™s Housing Element. We must pursue a new model that encourages both housing, safety and environmental sustainability. After adopting a strong housing element, we can revise our zoning ordinance to facilitate the approval of housing projects on sites identified as suitable for affordable housing for low- and middle-class individuals and families. This could include considering special fast-tracking for 100% affordable projects or expediting and removing barriers to building backyard ADUs. 

Additionally, itโ€™s important to increase resources for affordable housing. We can do this through bond measures or special taxes that would fund the Affordable Housing Trust Fund, in addition to setting aside money from existing funding streams (i.e. should the county sales tax increase in November, designating some of these revenues towards affordable housing). 

Throughout this process, we must ensure transparent community engagement so that we are listening to community needs and shaping projects so that neighborhoods donโ€™t feel imposed upon.

District 3 encompasses areas that were hit hard during the CZU fires. Two years later, residents up the North Coast are still rebuilding their homes, many stalled by the countyโ€™s lengthy permitting processes. Where do you see room for improvement when it comes to helping people rebuild after wildfires? With wildfire risk increasing across California, what is your plan for ensuring residentsโ€™ safety during wildfire season?

Ami Chen Mills: Residential areas and wildlands of the unincorporated areas will be a priority for me as Supervisor for District 3. The county is combining the Public Works and Planning Departments, bringing various divisions into one building, under one supervisor. By the time I get into office, I will need to listen to constituents in Bonny Doon, Last Chance and Davenport to understand if this has been helpful. All planning staff should receive customer service training, and even attend meetings with burn area residents so they can hear their concerns as insurance timelines run down.

The Board must ensure the state hires enough firefighters to cover multiple fires in multiple regions. We must also thoroughly review our current contract with CalFire and give the county more authority over our fire districts. We must ensure volunteers are able to join with less rigorous commitments, and encourage better communication between residents of the WUI and local CAL FIRE leaders.

The Amah Mutsun Tribal Band sees it as their sacred responsibility to steward this land, and their burn program is in place to lessen the severity of wildfires. We must expand such burning and offer county land as โ€œLand Backโ€ and reparations to indigenous descendants.

Justin Cummings: As an environmental scientist, we have been sounding the alarm to address the need to reduce carbon emissions and prepare for the impacts of climate change. Each year we are now seeing record fire seasons across the state and the expectation is that it is only going to get worse in the short term. The county needs to create more low-barrier training opportunities to allow citizens to help defend their communities. We also need to create emergency policies that can help people expedite rebuilding after natural disasters. We need to pressure the state to purchase more aerial equipment that can help firefighting efforts.  

Furthermore, we need to invest in communications so that when fires occur, people know how to mobilize and where to get accurate information. This can come in the form of both old and new technology by using sirens and radio to relay emergency information, the installment of pico microbase stations that can help increase internet access in rural areas, microgrids to help provide power during power outages, and cell towers to increase reception. We also need to create vegetation management plans based in rural, indigenous, and scientific knowledge so that we can mitigate the intensity of fires when they occur.

Shebreh Kalantari-Johnson: This is a priority for me. We have issued just over 140 permits to those who have lost their homesโ€”a small fraction of those who need to rebuild. I will do a deep dive into addressing the red tape that is causing the delays. Many of our barriers to rebuilding rest with state statutes (i.e. around fire roads, septic tanks, water). I have strong relationships with our state legislators and have worked with them over the years on addressing local issues (i.e. homelessness, substance abuse, healthcare). I will leverage these relationships to reduce our local barriers to rebuilding for CZU fire survivors and plan ahead to put measures in place to both prevent and be better prepared for future disasters.  

Additionally, I will look internally at ways that the Board of Supervisors can expedite these efforts. This may include waiving of certain standards (without impacting safety) and fees to allow people to build more quickly. Any of these policy decisions will require three votes on the Board of Supervisors to move towards action. I have built strong relationships with each Supervisor through my years of policy work with the county. Strong relationships and partnerships is what is needed to make changes that will help CZU survivors rebuild, and I will personally lead the charge to make this happen.

Homelessness is a top concern, especially for residents in your district. There is strong support for funding programs like mental health response and ensuring reliable services for the unhoused (storage, hygiene services, etc.). Residents in your district also rank emergency shelters and affordable housing projects as critically important to addressing homelessness. How will you prioritize these different areas and programs that need funding? How important are camping laws and restrictions when addressing homelessness?

Ami Chen Mills: As a member of the Santa Cruz Advisory Committee on Homelessness, and having worked in mental health for 25 years, we must do a far better job coordinating funds and services between the County and City of Santa Cruz.

We must utilize county lands to build housing, like our Project Homekey projectsโ€”and ensure support is funded to promote the success of residents. In the short term, we should explore appropriate sites for well-managed encampments and tiny home villages with opportunities for constructive activities, like growing food/permaculture gardens, libraries, peer support and mobile mental health so that community members who are unhoused feel a sense of belonging and purpose.

When dangerous and criminal behaviors are happening, we must address these, and ensure any correctional facility is therapeutic and a place where someone could turn their life around. 

Our unhoused population has different problems that require different solutions. We need to complete a rigorous database to provide case managers and the county with comprehensive information about each individual. We must secure state and national funding to build direly needed rehab and psychiatric facilities, and enroll our housed population to volunteer so we can see ourselves, and feel ourselves, as one community.

Justin Cummings: As vice-mayor and mayor of Santa Cruz, I served on the City County Homeless 2×2 committee for two years and am familiar with the challenges the city and county face. During my time as mayor, we stood up the most homeless shelters in the history of the City of Santa Cruz, which had minimal impacts on the surrounding communities. I will prioritize services that have been effective and had minimal negative impacts on communities, so we can invest in models that work. Services will need to meet the range of needs for people experiencing homelessness. 

Rental assistance is critical to keep people housed. Our working homeless need places to sleep safely, while we help them secure housing. We need to expand mental health and substance abuse treatment programs and beds, and expand case management. We must explore a variety of housing optionsโ€”including managed encampments, tiny-home villages, safe parking programs, a navigation centerโ€”and expand these options throughout the county. Finally, the state of being homeless should not be criminalized. There are certain behaviors that our community finds unacceptable that should have consequences, but we need to start with a programming, housing and case-management approach first. 

Shebreh Kalantari-Johnson: The growing crisis of homelessness in our community and the level of individual suffering is urgent and unacceptable. We need to take a regional approach to bring attention to the devastating and growing challenges around homelessness. One of the first steps is to move people out of unmanaged encampments and into safe transitional shelters/bridge housing with supportive services that are located throughout the county. The City of Santa Cruz cannot meet the needs of street homelessness alone. The other is unmet mental health and substance abuse needs. We need to examine our existing resources and programs, what outcomes they are producing, and where there are remaining gaps. 

Nearly a third of our last homeless count were youth and young adults under the age of 24, many having exited the child welfare system. We have started some of this work, but there is much more we can do to prevent our youth from ending up chronically homeless. We must support families from becoming homeless by working with and supporting community organizations that help with rent relief and other resources. 

Finally, we have failed to build enough housing for our middle-class and low-income community members. All of this will take more financial support from the state and federal governments and I will look to partner with our state and federal representatives to make this happen.

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