Music Picks: Oct. 16-22

Santa Cruz County live entertainment picks for the week of Oct. 16

WEDNESDAY 10/16

HIP-HOP

INJURY RESERVE

On the opening track of Injury Reserve’s debut album, rapper Ritche with a T pretty much lays out the group’s MO: “This ain’t jazz-rap/This that spazz-rap/This that raised-by-the-internet, ain’t-had-no-dad rap.” The Arizona trio has been kicking around the underground scene for five years, releasing a handful of exceptional mixtapes. The group’s self-titled full-length goes full-on beast mode with some of the strangest oddball beats and playful verses of any crew on the scene right now, calling back to that old-school flow even with beats that land somewhere between punk and psych soundscapes. AC

9pm. Catalyst, 1011 Pacific Ave., Santa Cruz. $15. 423-1338. 

 

THURSDAY 10/17

ROCK

WHITE REAPER

White Reaper spit-shined its gritty garage-rock into something slicker and glossier, like a glammed-up Pinto ready to cruise the main street Taco Bell. It’s like if super-charged classic rock guitar riffs met super-sexy pop song, and together they shagged in a super arena and birthed White Reaper. No one knows why, but no one cares, either, because White Reaper is one-part Joe Dirt, two parts Weezer, three parts Killers, and fun as hell. AMY BEE

8pm. Felton Music Hall, 6275 Hwy. 9, Felton. $15. 704-7113. 

 

FRIDAY 10/18

AMERICANA

CHRIS PUREKA

When explaining the extended silence between 2010’s How I Learned to See in the Dark and 2016’s Back in the Ring, Chris Pureka is refreshingly honest: “I’m not interested in releasing songs I can’t get behind, or records I don’t love.” As a songwriter and performer, that honesty is one of Pureka’s greatest strengths. Whether in the slight twang of their voice, the emotional candor of their lyrics, or the time-worn ease of their guitar-work, the attitude is audible on nearly every track of Back in the Ring. MIKE HUGUENOR

8pm. Felton Music Hall, 6275 Hwy. 9, Felton. $15 adv/$17 door. 704-7113.

FOLK

ROCKS & SALT

Rocks & Salt’s Facebook event page describes the group’s origin as “birthed out of whiskey-soaked hardships and an unadulterated love for the mysticism that pulses through the American music lexicon.” Well, alright, you have my attention. While that sounds like a tall tale, something most bands do in their lyrics, Rocks & Salt keeps it straight, telling true stories. All these songs are true. They are brought to life as Jared Griffin’s gritty voice dances over the old timey-but-not-dusty folk melodies in coordination with Nancy Ridgwell’s angelic vocals. MAT WEIR

8pm. Lille Aeske, 13160 Hwy. 9, Boulder Creek. $15. 703-4183. 

 

SATURDAY 10/19

SURF

THE MERMEN

No band has worked harder to escape the surf label than locals the Mermen. It’s an understandable quest, considering how confining it is to be thought of as surf. The group formed in the late ’80s, influenced by the surfy instrumentals of the ’50s and ’60s, but got pretty psychedelic as the project aged, making atmospheric sounds its go-to anti-surf move. Latest album A Murmurous Sirenic Delirium is actually, well, pretty surfy. The group toned down the effects pedals and gives the audience a taste of those old-school ’50s and ’60s instrumentals that inspired the band in the first place. AC

8:30pm. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $15 adv/$20 door. 479-1854. 

COMEDY

HENRY PHILLIPS

What’s up with all those comedians who don’t play an acoustic guitar when they perform? Kinda weird, right? Luckily, Henry Phillips is here to make up for their failings. As a musical comedian, Phillips makes plenty of use out of his acoustic, gently plucking its strings as he soothingly intones about pissing himself and hating his ex-fiance. The beauty of music. You might have seen the tuneful comedian on his Comedy Central Presents special, or his Showtime Original film Punching Henry, maybe even on HBO’s Silicon Valley, on which he plays the decidedly unmusical John. MH

7 and 9:30pm. DNA’s Comedy Lab, 155 S River St., Santa Cruz. $20 adv/$25 door. 900-5123.

PSYCHEDELIC

WURVE

Wurve would like you to know it was once known as the band Teevee, so if you liked Teevee and wondered what happened, you don’t need to be sad anymore. Wurve is still up to its same old shiz, making fuzzed-up psych-rock and totally shoegazing the hell outta life. Really, don’t worry. It’s the same band. Maybe a little older and a little wiser, but it’s okay! AB

9pm. Crepe Place, 1134 Soquel Ave., Santa Cruz. $6. 429-6994.  

 

MONDAY 10/21

JAZZ

CHRISTIAN SANDS TRIO

There was never any doubting the persuasive prowess of pianist Christian Sands’ swing. Straight out of the Manhattan School of Music, he joined bass star Christian McBride’s Inside Straight and contributed to the 2013 album People Music, playing with blazing facility. Earlier this year, he demonstrated a far deeper tool kit as the music director for the Monterey Jazz Festival On Tour, an all-star sextet that featured an overlapping cast of five players and three singers. He’s touring with his consummate Monterey rhythm section partner, Japanese bassist Yasushi Nakamura, and drummer Marcus Baylor. ANDREW GILBERT

7 and 9pm. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $26.25 adv/$31.50 door. 427-2227.

 

TUESDAY 10/22

PROG ROCK

MARBIN

With eight years of touring, five studio albums, thousands of shows, and over 233,000 Facebook likes, we have to ask: who the hell is Marbin?!? Maybe they describe themselves best: “Two guys from Israel and two from Chicago playing really fast.” OK, that’s only part of the story. Marbin is actually a shocking mix of jazz fusion and prog rock that sounds a lot smoother, and surprisingly much better. For fans of Mr. Bungle, Phish and John Coltrane. MW

9pm. Blue Lagoon, 923 Pacific Ave., Santa Cruz, $10. 423-7117.

‘Apocalypse Now: Final Cut’ Debuts in Santa Cruz

When they hear that the 40th anniversary of Apocalypse Now’s release is bringing a brand-new version of the film from director Francis Ford Coppola that more closely reflects his original vision, a lot of the movie’s fans might say, “Wait a minute, didn’t he already do that?”

They’re referring, of course, to 2001’s Apocalypse Now Redux, which restored some of the scenes that Coppola was forced to trim from his now-legendary war film back in 1979. But as Coppola himself explained to me in an interview earlier this year, what was released in 2001 wasn’t really his “director’s cut.”

“The philosophy of the Redux version is not really understood too well,” Coppola told me. “A lot of distributors said, ‘Everyone’s talking about how there’s hours and hours of footage and scenes that weren’t used in the final cut,’ and that was true. So they said, ‘Why don’t you make a version where you put absolutely everything back in? There would be people who would be interested in seeing a version even an hour longer than the first one.’ I was not sure, but a lot of people said it, and they came up with a way to be able to hire the editors. So we did go and we just put everything back. That was the goal—it wasn’t to say, ‘OK, this is a more perfect version.’ It was just to say, ‘This is a version that has everything.’”

In other words, the distributors in 1979 made him take too much out, while the distributors in 2001 pushed to put too much back in.

The new version, Apocalypse Now: Final Cut, strikes the balance that Coppola says he always wanted. It will be making its Santa Cruz debut this Thursday, Oct. 17, at DNA’s Comedy Lab—part of the venue’s new Cinelab series—and I’ll be on hand for a Q&A afterward, where we’ll talk about what Coppola revealed about the film, and I’ll reveal what it was like to watch the fabled five-hour-plus Apocalypse Forever assembly print. We’ll also have trivia, prizes and some (really weird) surprises that will be a lot of fun. The screening starts at 7pm at DNA’s Comedy Lab, 155 S. River St., Santa Cruz. For more information, go to dnascomedylab.com.

Love Your Local Band: Jamie Coffis

Jamie Coffis normally hits the stage with his five-piece roots-rock band the Coffis Brothers. But every once and awhile, he’ll play a set that’s just him and his keyboard. This Thursday, Oct. 17, Lille Aeske will host one such solo show, where his songs are stripped down and vulnerable. 

“It’s a different kind of challenge. If I’m not doing anything, it’s going to be quiet. I’m not used to that,” Coffis says. “I got to carry the whole show. It’s a different mindset. I get nervous at these things.” 

Years ago, he played solo during the week at restaurants and other venues where he could play in the background and bring home a little extra cash, keeping his gaze on the weekends when he’d play shows with his band. But since the Coffis Brothers have taken off, that hasn’t been necessary. Now he does the occasional solo set when a friend reaches out to him. He’s likely to play a few popular Coffis Brothers songs, some lesser known ones, a few covers, and maybe a few works in progress. Generally, the songs that work best are the ones that are more in the ballad vein, or songs he can really lock into the groove on his keyboard, he says. 

“You learn about the song. You learn about how to perform,” Coffis says. “It makes you better. I get to improve my craft. There’s not much to hide behind.”

8pm. Thursday, Oct. 17. Lille Aeske, 13160 Hwy. 9, Boulder Creek. $15. 703-4183.

Patagonia, Homeless Garden Project Partner for Fall Dinner

The Homeless Garden Project is trying something a little different: an off-site dinner. The Spirit of Partnership Dinner happens at Patagonia on Thursday, Oct. 24. And I’m telling you this now because it will be almost sold out by the time you read this. 

Here’s why: Brad Briske. The chef for this celebration of generosity is the chef/owner of Soquel’s vibrant Home restaurant, formerly of Gabriella Cafe and Carmel’s La Balena. Briske, as many of you know, is an adventurous and passionate cuisinartist who produces dining surprises as well as deeply satisfying dining experiences. 

Patagonia is generously hosting this meal at their River Street retail location. Utilizing fresh produce from the Homeless Garden Project farm and the diverse line of Patagonia Provisions, chef Briske and the team from Home are devising a delicious meal featuring appetizers, salad, entrée and dessert guaranteed to reduce diners to a chorus of oohs and aahs. Keynote speaker is Kelly Damewood, CEO of California Certified Organic Farmers (CCOF), a dynamic nonprofit organization that serves organic producers throughout North America by providing USDA Organic certification services, organic advocacy and educational programs.  All proceeds from the dinner go to support the Homeless Garden Project’s Two Steps Closer to Home Campaign. 

Spirit of Partnership Dinner, 6-9pm on Thursday, Oct. 24. Patagonia, 415 River St., Santa Cruz. homelessgardenproject.org. Tickets from $85.

Destination Dining

Ah, the fish tacos, always a destination lunch dish at Gabriella Cafe. When I joined Rita for some endless philosophical chatter and a relaxed lunch there last week, that’s what we wanted—a plate of those irresistible tacos with succulent, shredded cod filet astride soft flour tortillas and splashed with shredded cabbage, cilantro and a sour cream drizzle ($15). The abundant salad that joined the tacos was a treat unto itself. We split one of pastry chef Krista Pollack’s blackberry-mascarpone tarts, which arrived with a lavish cloud of chantilly cream, fresh mint and strawberries ($9). With espresso, the tart could keep any foodie’s dessert lust in check.

Gabriella Cafe, 910 Cedar St, Santa Cruz. 457-1677, gabriellacafe.com.

Alfaro at Chaminade

Winemaker Richard Alfaro will take a break from the last of the grape harvest for Alfaro Family Vineyards for another stellar farm-to-table dinner at Chaminade Resort. A five-course dinner prepared by Chef Pete Page and team will join Alfaro’s specially selected wines. Panoramic views of the Santa Cruz Mountains and Monterey Bay are the secret weapon of Chaminade’s outdoor patio seating, with atmosphere to spare. The price of wines, dinner and Alfaro’s colorful vineyard tales is a bargain $115 (tax and tip included). 

6pm on Friday, Oct. 25. Chaminade Resort & Spa, 1 Chaminade Lane, Santa Cruz. 475-5600, chaminade.com.

Film Review: ‘Lucy In The Sky’

Walking in space is a lot like having sex with Jon Hamm. At least, that’s the takeaway from filmmaker Noah Hawley’s Lucy In the Sky, in which an astronaut played by Natalie Portman is so awed by her brief walk among the stars, her real life no longer measures up. Back on Earth, mostly in the arms of a fellow astronaut played by Hamm, she’s in a frenzy to replicate the same “feel”—a few minutes of euphoria, followed by a desperate craving to go back and do it again, even though she’s never quite satisfied.

Hawley would have you believe there’s more to the movie than that, an element of attempted profundity as Lucy keeps detaching from the minutiae of everyday life to soar again into the vastness of space that consumes her mind. Everything back on Earth now seems “so small.” Many aerial shots, often beautifully composed, scan whole neighborhoods from high above, or look down from balconies or through stairwells, and there are lots of arty shots where the image is stretched to letterbox proportions or otherwise manipulated to add to the sense of disorientation.

But these are all visual tricks and window-dressing. When it comes down to the heart of the matter—story, characters, plot, theme—this movie fails to launch. Despite its lofty, quasi-spiritual ambitions, the movie can’t escape the gravitational pull of its own mundane, disappointing plotting and chaotic execution to get into orbit.

Astronaut Lucy Cola (Portman) returns from her ecstatic space walk to her suburban home in Houston, and her genial nice-guy husband, Drew (an unrecognizable Dan Stevens), a NASA tech. But she doesn’t feel like she fits into her old life any more. All she cares about is getting back up into space, so instead of taking a break, she dives into the grueling training program for the next mission.

She feels a sense of kinship when fellow space-traveler Mark Goodwin (Hamm) invites her out bowling with the “Circle Club”—himself and two other astronauts who have walked in space. Pretty soon, she’s attempting manned space flight in the back of Mark’s pick-up truck, and sneaking around behind her husband’s back. Further complicating things is Lucy’s salty grandma Nana (Ellen Burstyn), an alcoholic who chain-smokes around her oxygen tube and swears like a stevedore, but has little other function than to provide Burstyn with the movie’s juiciest role.

It’s all loosely based on the story of real-life astronaut Lisa Nowack, whose notorious cross-country pursuit of a “romantic rival” made headlines. (“Inspired by real events,” it says on screen.) But as crazy as Nowack’s story was, Hawley’s invented flourishes are even more peculiar in the movie’s dizzy last half-hour, as Lucy drives off on her half-baked mission. Her sense of urgency is fierce, but her intent unclear. She also hauls along her bewildered teenage niece (Pearl Amanda Dixon); Hawley apparently hopes the teen-in-jeopardy element will ramp up the tension in a sequence so nonsensical, we can’t invest in it any other way.

The movie is riddled with details that may seem significant at first, but add up to nothing. The old screenwriter’s adage that a loaded weapon introduced into the plot means it has to get fired goes out the window here, when a handgun keeps causing alarm but is never explained or used. When something goes wrong during a training exercise and Lucy goes without oxygen for two minutes—with a beatific smile on her face—that’s not explained either. (Has she become bionic?) Nor does this miracle ever figure into the plot again.

And what on Earth (or off) does the eponymous Beatles song have to do with any of it, popping up on the soundtrack in a slightly tortured rendition by Lisa Hannigan toward the end of the movie? Hawley sends out feelers in many directions but can’t find a narrative thrust that can keep us engaged.

LUCY IN THE SKY

** (out of four)

With Natalie Portman, Jon Hamm and Ellen Burstyn. Written by Brian C. Brown, Elliott DiGiuseppi and Noah Hawley. Directed by Noah Hawley. Rated R. 124 minutes.

How Bookshop Santa Cruz Became a Symbol of Survival

One of the most devastating earthquakes in Northern California history struck on October 17, 1989, just minutes before the first pitch of the first World Series game to be played in San Francisco since 1962. When the quake hit, the shops and sidewalks of downtown Santa Cruz were not as populated as you might otherwise expect on a warm, jasmine-scented fall afternoon.

Three people died in collapsing buildings in downtown Santa Cruz that day, far fewer than could have been expected to perish under normal circumstances. Instead, many who might have been hanging around downtown on a normal day made the trip to Candlestick Park to see the game or were already home when the quake hit, mixing up their margaritas and making their guacamole while waiting for the first pitch.

Downtown Santa Cruz was about 12 miles from the quake’s epicenter, and it was walloped as badly as any city in Northern California. More than three dozen commercial buildings were leveled by or later demolished because of the quake, including the iconic old Cooper House, the symbol of Santa Cruz. Among the crippled properties was the Bookshop building. The Loma Prieta earthquake should have destroyed Bookshop Santa Cruz, as it did many other businesses. In a physical sense, that’s exactly what happened.

Manager Tatsat O’Connell, who normally worked until five, was among many who knocked off early to catch the World Series. Once at home, he noticed that his housemate’s dog was “going crazy” in the backyard. A few minutes later, some unseen giant picked up his house and shook it.

Like most native Californians, O’Connell was born factory-equipped with an intuitive inner gauge when it came to earthquakes. Right away, he knew that this one was beyond any he had ever experienced. He quickly returned to downtown Santa Cruz and parked near Mission Plaza, which is situated on a bluff overlooking the north end of downtown. From that vantage point, he could see that the second floor of the north-facing wall of the Bookshop building had peeled away. What he didn’t know yet, but was soon to learn, was the wall from the bookstore had collapsed in on the neighboring business, the Santa Cruz Coffee Roasting Company. Two of the employees working that day at Coffee Roasting were unaccounted for. By nightfall, the building would become a search-and-rescue site. O’Connell was there that night for hours, as the scene became a vigil for the missing employees.

If you were in the line of sight of downtown Santa Cruz that day, you would not have been able to see much. The area was obscured not by smoke from fires (though one house adjacent to downtown did catch fire) but from clouds of yellowish dust from so many suddenly collapsed buildings. One woman said the dust was so thick in the first few minutes, she couldn’t see her hand in front of her face. Then came the distinct mildewy smell from the trapped gases of the downed buildings. In the hours after the quake, when police had fenced off the area, a news photographer remembered the sound of falling brick and broken water mains providing an eerie soundtrack to the ruin all around him.

Ryan Coonerty, the 15-year-old son of Bookshop’s owners, was changing clothes after enduring an unusually hot day at football practice at Santa Cruz High School. He and his buddies were not yet old enough to drive legally but, as soon as the quake hit, they borrowed a car to cruise around town anyway, figuring the cops would be too busy with other things to notice them. They were right on that score.

Ryan’s dad, Neal, was nowhere near downtown Santa Cruz for reasons that had nothing to do with baseball. He had a doctor’s appointment in San Jose, part of the South Bay megalopolis beyond the Santa Cruz Mountains that Santa Cruzans tend to lump together as “over the hill.”

Neal Coonerty, a lifelong Californian, knew his earthquakes. He was a kid growing up in the San Fernando Valley north of Los Angeles when the 1952 Tehachapi earthquake struck (magnitude 7.3, the second strongest quake in California in the 20th century, behind only the epic 1906 San Francisco quake). “It was the middle of the night,” he says, “and I can remember feeling the bed moving across the floor and my dad coming in to see if I was all right.” Years later, in his early days as Bookshop’s owner, he remembers eating lunch at a downtown restaurant and watching a plate-glass window wobble ominously during a minor shaker.

What happened on Oct. 17 was of an entirely different character. He felt certain that it was epicentered in the Santa Clara Valley, where he was at the time. “My first thought was, ‘I wonder if they felt it in Santa Cruz.’” Electricity went down throughout the region immediately and phone service was spotty as well. Coonerty went to the home of his sister Roseanne in nearby Los Altos. He was finally able to connect with his wife, Candy, at the Coonertys’ Santa Cruz home, where the chimney had collapsed. As the scope of the disaster was first becoming apparent, Coonerty’s first focus was on the welfare of his family, Candy, Ryan and his middle-school daughter, Casey. His in-laws also lived in town and he was preoccupied that everyone was safe and accounted for. Highway 17, the famously treacherous connector between Santa Cruz and San Jose, was quickly closed after the quake, forcing Coonerty onto pokey, two-lane Highway 9 to get home. There wasn’t much traffic, he remembered, but the quake had thrown debris onto the roadway in several places, making it a long slog. It was while crawling home on Highway 9 that Coonerty heard a radio report from the local AM station KSCO that referenced Bookshop. Judging only by the intact façade – not even the windows were broken—the radio reporter announced that the Bookshop looked OK.

In fact, a desperate drama was unfolding on the site as first responders worked to recover the bodies of the two employees of the Santa Cruz Coffee Roasting Company who had been buried by the bricks of Bookshop’s wall. Coonerty was unaware of any of that. After he finally got home, well after dark, he was up most of the night, assessing the damage to his home and calming his daughter through the night’s many aftershocks. At first light, he made his way downtown, figuring there was inevitable damage at the bookstore, that he’d spend all day picking up and reshelving books. However, he was unprepared for what he encountered. As he approached the back door of the business, he was stopped by a Santa Cruz police officer who told him no one was allowed inside. “That told me something was very wrong,” he says.

He immediately noticed large cracks in the back of the building. He then saw an enormous U-shaped hole in the wall to his left and knew that his business had been crippled, maybe fatally so. It was only then that Coonerty became aware of the drama that had been going on at Coffee Roasting. The night before, rescue workers dug through the bricks in an effort to find the bodies of employees Shawn McCormick and Robin Ortiz, but the numerous aftershocks compelled the workers to retreat; much of the unreinforced brick wall was still standing and thus capable of collapsing, causing potentially more injury or death. Yet friends of the missing coffeehouse employees were vocally upset at the delays, and the scene became fraught with emotion and confrontation. Under the circumstances, few people were thinking about Neal Coonerty’s troubles, even if the ruins of Bookshop made it all too apparent to Coonerty himself. Given that loans on the bookstore were collateralized with his house, it appeared that he was poised to lose everything.

* * * * *

In the Hollywood movie that will surely never be made of this story, the image on the movie poster would be a bearded, burly Neal Coonerty a few days after the quake, standing on the sidewalk in downtown Santa Cruz, wearing a hardhat and two flashlights duct-taped around each forearm, looking like some lock-key 9-year-old kid pretending to be a superhero. But this was no fun and games. The stakes for Coonerty’s personal and professional life could not have been higher. The mood was tense, the crowd around him somber, emotional. Standing next to him was a sleep-deprived volunteer, acting as a city official, looking at her watch, poised to give the signal.

The fate of Bookshop quickly became a secondary concern in the quake’s aftermath. Two young lives had been snuffed out on site. Although its façade looked intact, the beloved bookstore had suffered grave damage. Indeed, it had been red-tagged for demolition by the roving band of structural engineers brought in to decide the fate of each building in the area. Red-tagged buildings had been deemed far too dangerous to enter, particularly given the frequent aftershocks, but many downtown merchants had insisted they be given a chance to retrieve some personal effects from their businesses.

The suddenness of the quake had caused people to leave behind their purses, coats, wallets and other valuables. In the days before widespread computer record keeping, many businesses, like Bookshop, also had essential records and documents in folders and file cabinets. The compromise was straightforward. The owner of each red-tagged business would be allowed access to his or her building for fifteen minutes only, for one person to collect and gather whatever they needed in a building with no light or electricity and with unknown dangers and hazards. There was a chance, who was to say how remote, that he or she would not come out alive.

Coonerty was in his mid-40s at the time. He was a bookseller with a decidedly Falstaffian physique, not some obstacle-course-running athlete. This weird stunt, which even today sounds like something from a Japanese game show, could not have been anything he thought he’d ever be called on to do. He had with him only a crude diagram that showed him roughly where to find specific items belonging to his employees. It was an absurd situation, but considering that bodies had only recently been pulled from the building and the chance that an aftershock might bring it down on his inadequately protected head, Coonerty was in no mood to laugh it off.

The moment came, and the bookseller dashed into the store. Hundreds of fallen books, Megatrends mingling with Michener, John Irving on top of Irving Wallace, covered the floor, creating a minefield of potential twisted ankles or falls, particularly for a man in a hurry not used to timed tests of physical agility. The only light in the store was the daylight streaming in through the collapsed wall, but the building had a basement. That’s where Coonerty’s office was, and where the staff kept their personal belongings. That’s where he was headed. The stairs closest to the front of the store were impassable and Coonerty had to go to the back of the store to access the only other staircase to the basement, then had to reverse course in the pitch-black basement, wielding his arm lights, to reach his office, hearing the tick-tock of his 15 minutes evaporate with every step. He retrieved what he could, stacking boxes on the sidewalk, winded and sweating, while a crowd looked on. He was even able to drag out an antique English desk that had been right by the front door.

The woman with the watch gently informed him that his time was up, although as he remembers it today, he was given more than 15 minutes. Still, he headed back in, telling her over his shoulder, “This will be a quick trip.” At that moment, Coonerty was overcome by the painful realization that he was spending his final moments inside the bookstore that he had nurtured and sustained for almost his entire adult life. He had achieved a dream, having purchased the bookstore at the age of 27. His marriage, his family, his community, his livelihood, his very purpose were all deeply entwined in Bookshop Santa Cruz. This thing is going away, he thought, and I’m not going to be able to save it.

“It was an emotional situation,” he says. “I thought, if I’m going to start over, or even if I’m not, I need to have at least one symbol of the bookstore.” He moved to the store’s children’s area and picked up a rustic wooden rocking horse. A couple of generations of Santa Cruz children, including his own son and daughter, had rocked away on that horse. This, he thought, was worth saving. When he emerged, finally, back outside carrying the rocking horse and one last box of financial records, he thought what everyone else gathered that day thought: Bookshop Santa Cruz was gone.

After his 15-minute dash through his red-tagged bookstore, Coonerty, his family, his employees and customers all had to face the reality that Bookshop Santa Cruz was gone. But Coonerty knew he had to act in some way, to exhaust all other possibilities, before he could walk off into a new life.

Coonerty carefully reviewed his options. He resisted surrendering to a circumstance that many people might chalk up to cosmic fate. A certain kind of survival instinct, familiar to most small businesspeople, kicked in. Yet he also knew that he needed to keep a cool head and develop a realistic vision of where he wanted to go. “I kept thinking, ‘I have to move forward, but I have no room to make a mistake. One error and it’s all over.’”

He found out the name of the structural engineer who was in charge of the demolition of the Bookshop building. Through a mutual friend, he was able to contact the man. Coonerty told the engineer, “Look, I know you’re going to pull down the Bookshop building. I have two things to ask. First, could you schedule it for the end of the run of the other demolitions? And two, can you do me the favor of walking through the building and then tell me if I could possibly get my inventory out? If you say it’s just too dangerous and unsafe for anyone to go in there, then I’ll accept my fate. But if you tell me it’s OK, will you allow me to tell the city manager?”

The engineer said that he would call the next day. He didn’t. At nightfall, an anxious Coonerty called him back. The engineer’s assessment gave Coonerty some breathing room. If he could prop up the roof with a beam or two and build a kind of tunnel for entrance and exit, the building would probably hold, for a while anyway. Coonerty was convinced that if he could get his books out of the building, he could somehow continue on. Even with that bit of daylight, there were still daunting logistical tasks: How to convince the city to go along with the plan, how to build a tunnel in and out of the building, how to get thousands of books out of the building and what to do with them once they were out. Still, Coonerty took the plan to Dick Wilson, Santa Cruz’s city manager. Wilson looked at the plans and, once he had made the modifications the engineer suggested, he gave Coonerty two days—daylight hours only—to get his inventory out. On top of that, every person who went into the bookstore had to sign a waiver acknowledging that entering the building was potentially fatal, and if it were to collapse, there would be no rescue efforts.

The next day Coonerty went on the air at the local public radio station in Santa Cruz to inform the community what was happening with the bookstore. Of course, he had another motive: He was looking for volunteers to help with the inventory recovery effort. Many of Bookshop’s 20 employees were hesitant to go inside the building, and Coonerty respected their choices. But even if they were all gung-ho, that still left him short-handed to carry out thousands of books, including the newly received inventory for the upcoming holiday season.

“The thinking was, ‘Let’s solve the problem that was in front of us,’” says Coonerty. “The larger concept of ‘Will we make it?’ ‘Will we survive?’ got immediately replaced by ‘What do we have to do today? What do we have to do this hour to move forward?’”

After a makeshift tunnel made from railroad ties had been constructed at Bookshop’s back entrance, the day of the big book evacuation arrived. Neal and Candy got up early and made their way to Bookshop, not knowing what to expect. Coming down the hill from their home toward downtown, they saw a huge crowd outside the store. More than 200 people—friends, readers, customers, community members—showed up willing to sign the “buried alive” waiver to help the Coonertys retrieve their books.

Those who were there that day remember a palpable sense of purpose. The sobering fact that two people had died on the site put a damper on any kind of celebratory mood. No one was certain that the crippled building would not collapse while the book rescue was going on, and the waiver was somewhat less than reassuring on that score. Yet, many people had been frustrated by a sense of helplessness since the quake. Here was something they could do to help. A task of physical labor like this one, with a patina of danger, of life-and-death seriousness, of limited time, is not something that many contemporary Americans experience much. The volunteers were motivated by that sense of mission and drama, and they got to work with enthusiasm.

Other businesses pitched in with vital help and supplies as well. A vegetable packer from the nearby strawberry-rich fields of the Pajaro Valley offered dozens of much-needed cardboard boxes. A local leather tannery loaned out an industrial roller that allowed boxes of books to be moved out of the bookstore, conveyor-belt style, more efficiently. A trucking company brought over a semitrailer in which to store the books. A friend who once ran a department store showed up with his forklift. Someone else contributed hardhats. Even Coonerty’s competitors appeared that day, including the owners and staff of the Capitola Book Café, as well as employees of the county’s library system.

A kind of bucket brigade was set up as a small number of specially designated workers inside the building would pass along the books, many of which were coated in dust and debris, to others waiting outside. Each book was assessed for damage, cleaned off as well as possible, sorted and boxed for storage in the trailer. The work was long and repetitive, but with an autumnal chill in the air (a welcome contrast to the blistering hot afternoon of the quake), the somber occasion turned to moments of levity, and the volunteers experienced a sense of meaningful camaraderie that for many ripened into elation.

Today, Coonerty still gets emotional looking back on that weekend. For years after, new hires at Bookshop would hear the story as if it were part of their orientation package. When the Coonertys say that the community saved their bookstore, they are speaking literally. “A community doesn’t come out to help a store proprietor,” says poet and teacher Patrice Vecchione, who grew up in Santa Cruz and was there moving books both days. “A community comes out to restore something that matters to them. This was our bookstore.”

By late Sunday afternoon, the bucket brigade had gotten all the inventory out of the damaged Bookshop building. The volunteers had gone home. Neal Coonerty decided to go back into his bookstore one more time. He called to his teenage son Ryan to join him. Ryan had watched dumbfounded for two days as strangers handled his dad’s books with meticulous care. In the darkness of the store as they moved downstairs, he expected his dad to say something poignant, to try to sum up his life as a bookseller or to articulate what the previous ten days had been like for him. Instead, Neal picked up a couple of bricks from the floor, handed one to his son and gestured toward the big windows in his office and Bookshop’s accounting office.

“So there we were, father and son, just throwing bricks through windows,” says Ryan, almost three decades later. “I often think about that. He was so moved by the community being there for him. His business had just been saved. I can’t imagine the emotional strain of that day and the weeks leading up to it for him. Yet he could still figure out a way to break the rules a little bit, to still be a risk-taker, to just not take it all so seriously.”

Excerpted from ‘A Light in the Midst of Darkness: The Story of a Bookshop, a Community and True Love,’ by Wallace Baine (Wellstone Books).

Sante Arcangeli Moves South

I left Sante Arcangeli’s tasting room in Pescadero with a splendid Rosé of Pinot Noir. We had out-of-town guests staying for a few days, and sharing a well-made local wine with them was such a joy. Undoubtedly one of the best and most respected area vintners, winery owner John Benedetti always produces top-notch wines.

The 2018 Rosé of Pinot Noir ($25) is made with grapes harvested from the Santa Cruz Mountains, Lester Family Estate being one of the premium vineyards. It is crisp, pale and bone dry, with notes of wild strawberry and grapefruit. Benedetti says it is “refreshing and fruit-driven, with an underlying earthiness that is unmistakably Pinot Noir.”

He recently opened another tasting room in the Aptos Village complex, alongside Cat & Cloud Coffee, New Leaf Market, Sockshop & Shoe Company, and more to come. If you haven’t yet visited the village, then you have a treat in store. Sante Arcangeli’s tasting room adjoins Sockshop, and you can walk around their store with a glass of wine while you check out the dazzling array of socks and shoes.

Sante Arcangeli Family Wines, 154 Aptos Village Way, Aptos. Open Thursday to Sunday, noon-6pm. 

Fireside Fridays at Big Basin Vineyards

From 5:30-9:30pm every Friday until the end of October, Big Basin Vineyards puts on Fireside Fridays, complete with fine wines and fire pits. Toast the start of the weekend with a tasting flight or wines by the glass and bottle. Small artisan snacks available, but guests are also welcome to bring outside food to enjoy with their wine. Winemaker Bradley Brown’s property is beautiful. His glorious fields of grapes are a wonderful sight. Tours of the estate are now available, too.

Big Basin Vineyards, 830 Memory Lane, Boulder Creek. 621-8028, bigbasinvineyards.com.

Fruition Brewing Dinner at Persephone Restaurant

Persephone Restaurant in Aptos will partner with Fruition Brewing for a four-course beer-pairing dinner on Sunday, Oct. 20. Cost is $60. persephonerestaurant.com.

Opinion: October 9, 2019

EDITOR’S NOTE

I only saw the Pacific Garden Mall once before the Loma Prieta earthquake, just a few months before downtown Santa Cruz was devastated. But over the years, I’ve heard countless stories about the the downtown’s pre-quake Golden Age, when lush greenery bloomed and street culture flourished. So it was a real gift to get a chance to tour Pacific Avenue last week with historian Ross Gibson, talking about the history of downtown’s most famous buildings in a preview of the tour he’ll give to the public this week. I wrote about that history this week as part of our big issue marking the 30th anniversary of the Loma Prieta quake. Inside, you’ll also find Wallace Baine’s inspiring tale of how the community rallied around one small local business in the darkest days after the quake, learn how the MAH is commemorating the public art that helped Santa Cruz heal, and see a collection of photos from that time that still retain their power to shock and awe to this day.

Lots of things to mention this week: First, we didn’t get it in last week’s cover story because it was confirmed after we went to press, but legendary skater Tony Alva will be at the Santa Cruz Film Festival’s screening of The Tony Alva Story today, Oct. 9, at noon at the Colligan Theater. The festival runs through Oct. 13; go to santacruzfilmfestival.org for info and tickets.

I also want to let you know that we are working again with our partners at UCSC, the ever-curious graduate students in the Science Communication Program, to answer your questions about Santa Cruz. In January, we got a great reader response from our cover story in which they researched the science and history of the Mystery Spot, shark attacks, the limestone quarry industry, monarch butterfly feeding habits, and many more of your inquiries. So once again, let us know what you’re most curious or puzzled about in our area—send your questions about local nature, wildlife, geology, the ocean, natural resources, and conservation to me at st***@*******es.sc by Friday, Oct. 18 (subject line: SANTA CRUZ QUESTIONS), and I’ll pass 10 of the best ones to the students to investigate. You’ll see the results as a cover story. We especially encourage middle school and high school students to participate. Thanks in advance for your ideas!

Lastly, as I always like to let you know where you can catch up with us around town, Wallace Baine will be part of a LitQuake event at Bookshop Santa Cruz on Tuesday, Oct. 15, at 7pm. The theme of the free event is “Santa Cruz Writers on Keeping it Weird,” and other writers participating in this 20th anniversary Litquake will be GT contributor Liza Monroy, Peggy Townsend, Elizabeth McKenzie, and Micah Perks.


LETTERS TO THE EDITOR

Read the latest letters to the editor here.

Re: “Commission Granted,” (GT, 10/2):  I was the last person censured by a Santa Cruz City Council. And I voted for my own censure. Yes, the drama around my censure was largely politically motivated. And yes, it was hard to quantify how my “crime” actually hurt anyone or was an abuse of power. However, there was an actual issue behind the censure that could actually be proven. I did actually break a rule, and it is reasonable to expect councilmembers not to violate city rules, however unreasonable the rules may be. So, beyond all the usual politics, there was a “there” there.

This move to censure is different. Chris Krohn and Drew Glover were accused of serious misconduct publicly, by a member of the Council, Mayor Watkins, who does not agree with their politics, and continues to struggle with them over the Council’s agenda. Her claims were carefully researched by an outside consultant who was paid $19,000 [Editor’s note: the total was $18,219] to do so. The senior City Staff who supervised the report have every reason to look for dirt on Krohn and Glover, as the two of them represent a threat to the usual way that the city operates.

However, the report does not find evidence of serious misconduct by Krohn or Glover. Krohn was found to be slightly condescending in one instance while Glover was found to be, in one instance, grumpy with another councilmember. These human failings are not breaches of city rules, procedures, or ethics.

The report further admonishes Mayor Watkins, stating that councilmembers should talk to other councilmembers prior to making public accusations. Because of my own subjective affinity for the politics of Krohn and Glover, I was careful not to weigh in on the accusations cast at them prior to reading the report. It is certainly possible that people who share my politics could be worthy of censure. I was. But Krohn and Glover are not.

Micah Posner
Santa Cruz

Re: “Bench Press” (GT, 8/20): “Not much law in family law,” a lawyer I knew would say.

That a judge finds themselves in their element in family court does not confer on them distinction as a great all-round jurist. The fact that, according to a lifelong divorce attorney in GT’s story, Judge Ariadne Symons, as a complete neophyte, immediately slid seamlessly into the family court groove, may signal limited fitness for working in all other areas of the law.

A vestige of English ecclesiastical courts, family courts are uniquely free of constitutional restraints (since federal courts refuse to touch divorces); the judge’s discretion reigns supreme and unchecked in deciding child custody, and their orders abound in weasel word terms of art like the in-practice-hollow “best interest of the child.” (There is no legal test for evaluating whether “best interest” has been achieved; no ruling can be appealed on grounds that it hasn’t.) This amorphous legal “framework” contrasts sharply with the courtroom rigor and judicial accountability demanded when the rule of law is implemented seriously, and due process, the presumption of innocence, the “beyond a reasonable doubt” standard of proof, etc., are insisted upon.

Since her “severe” censure, Judge Symons has been reassigned from hearing felonies to juvenile-dependency cases—in significant part, I conjecture, to avoid an expected embarrassing number of appeals and burdensome quantity of remands.

WM L Spence
Santa Cruz


PHOTO CONTEST WINNER

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

Watsonville Wetlands Watch will hold its Fall 2019 Docent Training from Oct. 16-Nov. 2. Participants in this three-week program get be treated to an inside look at the Pajaro Valley and its unique network of freshwater wetlands. They also have fun learning about the natural and cultural history of the wetlands, as well as how to stay committed to community education and environmental conservation. Those interested can call 455-6771 or email no****@**********************ch.org.


GOOD WORK

Every October at the Cocoanut Grove, the Santa Cruz County Volunteer Center honors the 50 people, groups and businesses who do the most to transform Santa Cruz County through volunteerism with the Be the Difference Awards. This year’s lunch event is Thursday, Oct. 10 from 11:30am-1:30pm. Individual winners include Carol Miller, of the Mountain Parks Foundation, mental health advocate Carol Williamson and Pleasure Point Surf Club coach Michael Allen. For more information on the lunch, visit scvolunteercenter.org.


QUOTE OF THE WEEK

“We learn geology the morning after the earthquake.”

-Ralph Waldo Emerson

5 Things To Do In Santa Cruz: October 9-15

A weekly guide to what’s happening

Green Fix 

Cyclists for Cultural Exchange Meeting

Cyclists for Cultural Exchange (CCE) is looking for the next generation of cycling leaders to carry on the mission of the Strawberry Fields Forever benefit bike ride. Each spring, the ride draws nearly 1,000 cyclists to Santa Cruz County for 30, 60 or 100 miles of scenic views and cycling memories. As the bicycling community in Santa Cruz County continues to grow and evolve, CCE wants to change with it by inviting the community to plug into the future of the event. Ahead of Bike to Work Day, they want the community to know how to get involved with shaping the future of the iconic ride. 

INFO: 7-9pm. Tuesday, Oct. 15. Simpkins Family Swim Center, 979 17th Ave., Santa Cruz. Free. 

Art Seen 

‘Contextual: Visualizing Language’

The Cabrillo Gallery’s latest exhibit showcases seven artists who synthesize art and language. The medium and the message vary from one artist to the next, each of them combining a transcript of text with the visual vocabulary of their medium. There is everything from printmaking and tapestry to mixed media and cut paper. 

INFO: Show runs through Friday, Oct. 25. Cabrillo Gallery, 6500 Soquel Drive, Room 1002, Aptos. 479-6308. Free. 

Saturday 10/12- Sunday 10/13 

Open Farm Tours

With fall in full swing, there is no better time to pick apples and get to know your farmer than now. They come out to the farmers market every week, so we can get it together to go visit them at least once, right? There will be 14 farms participating, including Alladin nursery, which will be hosting the marketplace, featuring live music, food preservation demonstrations and kids activities. Check online for a full list of events at all of the farms.

INFO: 10am-4pm. Locations vary; Alladin Nursery Marketplace, 2905 Freedom Blvd., Watsonville. openfarmtours.com. Free.

Saturday 10/12

Glow: A Festival of Fire and Light

The Glow festival began eight years ago, when local artists Steve Cooper and Drew Detweiler pitched their vision of a mini-Burning Man to the MAH. Cooper, Detweiler and the local Burning Man community were craving a space to share their art outside of the annual festival. Glow has since become the MAH’s (and downtown Santa Cruz’s) largest festival. The event completely takes over the MAH, Abbott Square and Cooper Street. With more digital art, science experiments and LED sculptures inside the museum and performances, flame throwers and flaming sculptures overflowing the plaza and Cooper Street. 

INFO: 7-10pm. The Museum of Art and History, 705 Front St., Santa Cruz. santacruzmah.org/glow. $20/$25. 

Thursday 10/17

Deepak Chopra on being ‘Metahuman’

Is it possible to venture beyond daily living and experience heightened states of awareness? Only Deepak Chopra knows the answer. Join the New York Times-bestselling author as he addresses some of life’s hardest questions. In this highly anticipated new book, Deepak Chopra unlocks the secrets to moving beyond our present limitations to access a field of infinite possibilities. How does one do this? By becoming metahuman.

INFO: 7pm. Santa Cruz Civic Auditorium, 307 Church St., Santa Cruz. 423-0900. bookshopsantacruz.com/chopra2019. $35.

The Earthquake That Ended the Santa Cruz Hippie Era

Everyone who was in Santa Cruz when the Loma Prieta earthquake hit has a story about it. But few of them are likely to be as tragically ironic as historian Ross Gibson’s. On Oct. 17, 1989, Gibson was going door-to-door downtown, talking to local business owners about his latest project.

“We were going to celebrate the 20th anniversary of the Pacific Garden Mall, and I had been preparing for it all that day,” he says. “And my experience of the earthquake was seeing the last minutes of the old downtown.”

In the late afternoon, he went back to his home on the Westside, and not long after, at 5:04pm, he felt the house shake for those infamous 15 seconds—though it felt like an eternity.

“Time stood still,” he says.

When he had gotten his bearings, Gibson walked out to see if anyone else had felt it. He was thrown off at first by the fact that there were still joggers on the sidewalk and surfers in the water. But then he saw an ominous sign that things were indeed as bad as he thought—in fact, much worse.

“This black cloud came up from the downtown,” says Gibson. “I thought, ‘Is downtown on fire?’ But it wasn’t fire. The buildings that had collapsed had sent up this smoke of debris.”

The downtown he had been preparing to pay tribute to had literally just gone up in smoke.

Walking Distance

Now, 30 years later, Gibson will be paying tribute to the Pacific Garden Mall in a different way: by celebrating its memory. On Saturday, Oct. 12, at 1pm, Gibson will lead a tour of downtown that will focus on what made the Pacific Garden Mall unique, pointing out where certain famous buildings once stood and how the very shape of Pacific Avenue was altered by the Loma Prieta quake.

Born in Santa Cruz in the ’50s, and returning in the early ’70s to attend Cabrillo, Gibson is a passionate champion of the unorthodox urban vision that sprawled out over the main street of Santa Cruz for two decades. As I walked along Pacific Avenue with him last week, and he pointed out various sites past and present that he’ll talk about in the tour—the Flatiron Building, the Palomar Arcade, the Trust Building, the Lulu Carpenter sign, and many more—it was obvious that Gibson can discuss any phase of Santa Cruz history, from the 1800s to the present.

But it was also obvious that he has a special place in his heart for the Pacific Garden Mall era, and especially for his favorite Santa Cruz building ever: the Cooper House. For that reason, the earthquake’s legacy for him goes beyond some astronomical dollar value or number of buildings lost. The cultural impact was every bit as significant.

“The earthquake marked the end of the hippie era in Santa Cruz,” he says. “Not that it didn’t continue in different ways, but the hippie movement here was really tied to the development of the Pacific Garden Mall from 1968 to when it was destroyed. And the Cooper House itself was promoted as a Renaissance art center, where you could go in and shop around and people would dress up in Victorian styles. But it was really counterculture. You had the rainbow dancer in front of the Cooper House, and the band Warmth playing, and the sidewalk café there with all the interesting characters. And then the Oak Room bar. There were just so many wonderful details to that as kind of the heart and soul of downtown. It was just a gem.”

As a participant in Vision Santa Cruz—a group formed in 1990 to aid in the redesign and rebuilding of the downtown—Gibson saw first-hand how much the physical nature of Santa Cruz’s main street, with its famously vibrant street culture, was going to change.

“Prior to this more straight street with trees along the edge, we had a very undulating street. That’s why they called it the Pacific Garden Mall, because the street was mostly garden, and the one-lane road would meander back and forth. By being one lane, it made it easier for pedestrians to cross without feeling like they were jumping into traffic,” he says. “There were a whole bunch of trees of different kinds. This was an arboreal mall, where every tree would have a little plaque under it describing what kind of tree it was. It was an arboretum, essentially.”

Abbott Flair

Perhaps even wilder than the civic experiment that Santa Cruz undertook in the 1960s is how close it came to never happening at all. As Gibson explains, the city was set on an entirely different design by 1960, one that could best be described as “post-World War II generic” or—as Gibson likes to call it—“corporate international style.”

“The plan was every building in the downtown would be torn down, except for the post office and the city hall and the civic auditorium,” he says. “And everything else would be either glass and steel skyscrapers or cinder-block, one-story shopping center style, without any artistic additions to it. They were planning to freeway-ize the entire downtown.”

Three year later, with plans for this freeway-ization the subject of contentious debate, Charles and Esther Abbott arrived in Santa Cruz. Charles—perhaps now best known to the general public as the namesake of Abbott Square—was alarmed to learn of what was in the works, since he and Esther had chosen Santa Cruz for their retirement precisely because of its history and distinctive Victorian flourishes.

“He was the one who saw what was happening as people tried to modernize, thinking, ‘We’ve been told this is the way we can become more successful as a downtown business district,’” says Gibson. “A lot of them were whitewashing historic buildings so that the details would not show up—because the more whitewash, the less you would know these were not modern buildings. But Chuck said, ‘Go in the opposite direction, bring out the detail, do it the way the Victorians did, and promote it as a unique place.’”

Incredibly, he was successful, and within a few years, the city had pivoted hard to Abbott’s vision. “He was able to create this as a national downtown historic district, and create the garden mall as a kind of park-like setting for the district,” says Gibson.

Finding the Way

Gibson has given this historic tour of downtown many times—in fact, the first time he did so was right after the earthquake, at the request of a group of planning commissioners and architects.

“They’d just completed most of the demolitions of the buildings they thought were going to fall over. And they said, ‘Now we can’t remember where anything is. You get down there, there’s this big hole in the ground, it doesn’t look anything like it used to look. Could you take us on a tour of Pacific Avenue and fill in the historical part of it, and let us know where we are?’”

Gibson was closely involved with many of the post-earthquake plaques and other architectural memorials that still exist today downtown; some he even designed himself. And though he misses a lot of the more than 30 buildings that were lost in the Loma Prieta quake, he’s proud of the work he did as part of Vision Santa Cruz trying to put the city’s rebuilt downtown on the right path. Even today, downtown does not have the cookie-cutter look seen in far too many cities.

“We said, ‘Whatever buildings are left, we don’t want them to end up looking lost in a modern setting,” says Gibson. “We need to have downtown design guidelines that will incorporate the humanist ethic that the old buildings were built with, and not the modernist ethic of freeway vernacular—design around cars instead of design around humans. We want detail and artistic elements; we don’t want them stripped down to just a square box.”

Ross Gibson will lead a walking tour of downtown on Saturday, Oct. 12, from 1-2pm. The tour begins at the Eagle Monument at Pacific and Front streets (in front of Jamba Juice). Wear comfortable walking shoes. The event is part of ‘Epicenter: The Loma Prieta Earthquake 30th Anniversary Oral Histories Project.’

Music Picks: Oct. 16-22

Chris Pureka
Santa Cruz County live entertainment picks for the week of Oct. 16

‘Apocalypse Now: Final Cut’ Debuts in Santa Cruz

Apocalypse Now
DNA’s Comedy Lab hosts screening and discussion

Love Your Local Band: Jamie Coffis

Jamie Coffis
Jamie Coffis of the Coffis Brothers plays a stripped down, vulnerable solo show at Lille Aeske on Thursday, Oct. 17

Patagonia, Homeless Garden Project Partner for Fall Dinner

Crystal
Chef Brad Briske of Soquel’s Home restaurant will cook

Film Review: ‘Lucy In The Sky’

Lucy in the Sky
NASA-inspired astronaut drama fails to lift off

How Bookshop Santa Cruz Became a Symbol of Survival

Bookshop Santa Cruz Loma Prieta
A deeply personal downtown crisis united the community after the Loma Prieta quake

Sante Arcangeli Moves South

sante arcangeli
Pescadero winery’s new Aptos tasting room features a stellar Rosé of Pinot Noir

Opinion: October 9, 2019

Plus letters to the editor

5 Things To Do In Santa Cruz: October 9-15

Glow fest, farm tours, Deepak Chopra book tour and more

The Earthquake That Ended the Santa Cruz Hippie Era

Loma Prieta Earthquake Cooper House
A Loma Prieta-themed walking tour of downtown
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