Start the year off with a bang and get a luscious bottle of pinot. I recommend Silver Mountain’s estate-bottled 2016 Pinot Noir. Silver Mountain founder/winemaker Jerold O’Brien has been in the wine business since the ’70s, becoming a leader in “organic” and “sustainable” farming—long before it became de rigueur.
The 2016 Pinot Noir ($50) is made with organically grown grapes from O’Brien’s property and some from the adjacent Nelson family property, both farmed by Silver Mountain. The end result is a fruit-laden elixir bursting with flavors of earth, spice, smoke—and gorgeous aromas of red fruit, mushrooms, leather.
In 2007, O’Brien installed one of the largest solar arrays in the Santa Cruz Mountains, making Silver Mountain entirely self-sufficient. It saves resources and is in keeping with O’Brien’s practices.
Silver Mountain also sells pinot noirs from Sonnet Wine Cellars, the label of consulting winemaker Anthony Craig.
My first day of work at Good Times was January 17, 2000, as proofreader, which I did for 17 years, while also doing weekly restaurant reviews. I now love writing my Vine & Dine column on wine and food-related topics. To celebrate 25 years at Good Times, I’m toasting myself with a good bottle of bubbly!
Wine on Sale at Shopper’s Corner
Shopper’s Corner, owned by the Beauregard family, carries a wide selection of wine, with regular on-sale offers by the case or by the bottle. Look for bargain bottles for under $15. You’ll find Andre Beauregard in the store to help you with any questions.
The Amah Mutsun Land Trust, an organization led by the Amah Mutsun Tribal Band, works to preserve and restore the lands of its ancestors. The nonprofit is participating in Santa Cruz Gives, a fundraising initiative created by Good Times in 2015.
Both this year and last, the Amah Mutsun Land Trust has been near the top in both the amount of money raised and the number of donors. To see this year’s leaderboard—and to donate now through Dec. 31—visit SantaCruzGives.org.
Celebrating its 10th anniversary, the Amah Mutsun Land Trust is using this fundraising drive to build its land acquisition capabilities, protect sacred sites and establish its first-ever climate change program.
The Amah Mutsun are a tribal band of the Ohlone people, inhabitants of California’s central coast of California. Before European contact, the Ohlone lived in small, independent communities and relied on hunting, fishing and gathering for subsistence. They had a rich cultural and spiritual life, and a deep understanding of their environment.
The Ohlone were deeply affected by the establishment of the Spanish missions in the 18th and 19th centuries. Among the destructive practices inflicted on the Ohlone and other tribes were forced conversion to Christianity and suppression of Native American spiritual practices, forced labor and harsh living conditions. Forced relocation resulted in loss of land and resources and the separation of families.
European diseases led to devastating epidemics and high mortality rates among the Ohlone tribes.
Despite these challenges, the Amah Mutsun and Ohlone people have endured, and they continue to work to protect their ancestral lands and preserve their cultural heritage.
The last fluent speaker of the Mutsun language was Ascensión Solórsano de Cervantes. She was a healer and an herbal expert. In the 1920s and ’30s, she shared her knowledge of language, culture, plant uses and customs with John P. Harrington, an ethnographer from the Smithsonian Institute.
Today, the Amah Mutsun Tribal Band builds upon her contributions to revive their cultural heritage and traditional ecological knowledge.
The land trust is an initiative of the Amah Mutsun Tribal Band, which aims to access, protect and steward lands that are integral to their identity and culture. The trust was formally established in 2013, and in 2015 became a fully incorporated 501(c)(3) organization.
Its stewardship area covers a large portion of the traditional territory of the Amah Mutsun Tribal Band, stretching from Año Nuevo in the north to Santa Clara in the south. The trust is involved in a variety of initiatives—including archaeological and fire research, educational gardens and land conservation—and has formed partnerships with conservation organizations, land managers and research institutions to further those goals.
One of the trust’s projects is the Amah Mutsun Relearning Program at the UC Santa Cruz Arboretum, a collaborative initiative with the Amah Mutsun Tribal Band. PHOTO: Amah Mutsun Land Trust
With a focus on Santa Cruz County, the trust engages approximately 200 tribal members and 500 county residents annually in programs promoting Indigenous leadership in conservation.
Partnering with conservation organizations and research institutions, the trust has successfully collaborated on projects at the UCSC Arboretum, the Museum of Art and History, Cotoni-Coast Dairies National Monument, Wilder Ranch State Park, Soquel Demonstration Forest and San Vicente Redwoods. Through these efforts, the trust aims to foster healthier and more resilient ecosystems in Santa Cruz County and beyond.
One of these projects is the Amah Mutsun Relearning Program at the UC Santa Cruz Arboretum, a collaborative initiative between the Amah Mutsun Tribal Band and the Arboretum. The program’s primary goal is to assist the tribe in cultural revitalization and relearning traditional knowledge, particularly in the field of native plants and their uses.
Through workshops, classes and hands-on experiences, the Relearning Program engages tribal members and the broader community in learning about the Amah Mutsun’s cultural heritage and the importance of native plants in their traditions. By working together, the UC Santa Cruz Arboretum and the Amah Mutsun Tribal Band aim to foster respect for Indigenous cultures and promote the preservation of traditional knowledge.
The AMLT Coastal Stewardship Camp for Native Youth is a program organized by the Amah Mutsun Land Trust, which aims to reconnect Native American youth with their coastal territories and provide culturally relevant environmental education. The camp is typically held over a period of two weeks and focuses on a variety of themes, including Mutsun stewardship, traditional culture, coastal and river ecosystems, climate change and traditional foods.
Participants engage in hands-on cultural learning and recreational activities, fostering an appreciation for the coastal environment and their cultural identity. The camp is hosted in collaboration with various partners, including the Costanoa Lodge and the California Coastal Conservancy, and is designed to create a space for Native American youth to connect with their ancestral lands and heritage.
In this season of giving, the Amah Mutsun Land Trust is counting on the generosity of community members to make a meaningful and historic difference. With a mission to restore Indigenous lands and traditions, protect sacred sites and restore traditional food systems, the trust invites the community to help create a lasting, sustaining impact on the region’s cultural heritage.
Santa Cruz Gives is funded by the Volunteer Center of Santa Cruz County, Community Foundation Santa Cruz County, Applewood Foundation, Joe Collins, Driscoll’s, Inc., Monterey Peninsula Foundation, 1440 Foundation, Santa Cruz County Bank, and Wynn Capital Management, as well as readers of Good Times, Pajaronian and Press Banner.
From All About Theatre to Theatre 831, performance entrepreneur Lindsey Chester isn’t afraid to leap over tall buildings. Taking over the former Tannery Arts Center home of the Jewel Theater with her new project, Theatre 831, Chester is already reaching out to local arts groups.
Giving priority to performance groups at the Tannery World Dance and Cultural Center, Chester is determined to expand the jewelbox theater’s event offerings in much the way that Kuumbwa and the Rio Theater have done.
Theatre 831 is one of 63 organizations participating in Santa Cruz Gives, the holiday fundraising program started by Good Times in 2015. To donate, visit SantaCruzGives.org by midnight on Dec. 31, 2024.
Within weeks of assuming management of the theater vacated last spring, Chester and her All About Theatre performers have already mounted a production of The Little Mermaid, essentially diving into her exhilarating new venture with little time for thinking twice. Many of her young students have gone on to larger regional stages, even Hollywood and Broadway.
“All About Theatre was my first child,” she admits. While Chester’s AAT will maintain a vigorous performance schedule at the Colligan, Chester has plenty of room for community groups to schedule musical and theatrical events throughout the year.
“We’re promoting it as a venue space,” Chester asserts. “It is the Colligan Theater, and All About Theatre happens to do some shows. I want to put it where we are more collaborative within the community.”
Chester sees artistic direction in Santa Cruz being refreshed by a post-COVID turnover in leadership. She cites Andrea Hart and the Cabrillo Stage, Charles Pasternak with Santa Cruz Shakespeare, and her own new leadership with Theatre 831. “I think we have an opportunity for education with new, vibrant people. We should all collaborate now.”
The last thing the Colligan’s new management wants is to create another exclusive performing arts silo. Chester acknowledges that there are grumbles about the Jewel becoming strictly a kids’ theatrical venue.
“I think those grumblers need to actually come and see a professional kids’ production. They are amazing. Some of our students have performed in [Actors’ Theatre’s] 8Tens, at Cabrillo Stage, and have been cast in [Santa Cruz Shakespeare’s] A Christmas Carol.”
Musing on the future of the Colligan Theater, Lindsey Chester says, ‘What we are aspiring to do is build an annual calendar where treasured groups from the local area can be expected here at those dates at that same time of year, every year.’
Chester senses a new attitude within local performance groups. “That us-versus-everybody-else attitude has never, ever served performing arts. People want more collaboration.”
Tuition from AAT parents has helped to support maintenance of a warehouse for costumes and other theatrical props, as well as leasing the Colligan Theater as a venue. “Our aspiration is that we would keep our current studio and would also be able to offer evening classes. There’s the main theater here, but there’s also the lobby where we could have open mic nights, other community events, exhibitions with live guitar music. We’re going to be applying for a liquor license so that other artists could have an intimate setting in the lobby, a little reception area also. Creative concession offerings will also bring in more support revenue.”
Yes, there are big challenges.
“We are literally hitting the ground like not just gazelles but cheetahs,” Chester says. “We basically had two and a half weeks to get in to learn the whole system. Getting it ready has taken copious amounts of manpower and labor, some of which are volunteers.”
But the goal is big, too: “What we are aspiring to do is build an annual calendar where treasured groups from the local area can be expected here at those dates at that same time of year, every year, so it becomes more of a consistent venue space.”
The next big challenge, she admits, “as we grapple with what this beautiful vision could be, is how to handle hiring. How do you hire somebody if they’re not needed full time? Maybe it will end up as the full-time position, but only maybe. That’s the beauty of having All About Theatre in there is that the bills get paid. We’re looking at how we adjust the infrastructure and find the environmentally friendly way of running things. So there’s a big learning curve, but once we’ve hit the ground running within the next couple of shows, I do feel that we will be able to move past the chaos.”
Find out about Theatre 831 and Colligan Theater programming at colligantheater.org.
Vampire pics are a perennial. Tales of undead blood suckers are probably the sturdiest horror film subgenre—outranking Frankenstein’s monster or, say, zombies—largely because of their morbid sexual component.
Typically, vampires sneak into their victims’ bedrooms late at night while they’re asleep, loosen the victims’ clothing, enter their dreams, and mount them in order to bite them and drain their blood. Those who survive are left in a somnambulistic daze. They typically wonder out loud, before they “die” and become vampires themselves, about this sensual, recurring nightmare they can’t seem to escape.
F.W. Murnau made the single best vampire film, Nosferatu: A Symphony of Horror, as a silent in Germany in 1922. Of all the various remakes and spinoffs, among the scariest are Tod Browning’s Dracula (1931), Carl Theodor Dreyer’s Vampyr (1932), Werner Herzog’s Nosferatu the Vampyre (1979), Francis Ford Coppola’s Bram Stoker’s Dracula (1992) and the Hammer Films remakes, especially Terence Fisher’s 1958 Horror of Dracula. Most of the rest are burlesques.
With that in mind, we arrive at writer-director Robert Eggers’ brand-new Nosferatu with a certain weary wariness. Surely we already know everything this kind of film could ever show us.
Eggers—maker of such iffy oddities as The Lighthouse and The Witch—hews closely to the Murnau and Herzog versions with his tale of a strange foreigner with evil intentions, vamping on a placid 19th-century European family.
Decadent undead nobleman Count Orlok (Bill Skarsgård) fits into the moldy gothic milieu quite adequately, but it’s Eggers’ disturbing scene construction that draws the viewer in. The modified black-and-white settings in Wisburg and Transylvania objectify various night terrors—frightened Rom villagers, a naked young woman on a horse, incomprehensible Romanian dialogue and above all Orlok’s castle, with its deep-black recesses. It’s a place where nothing lives.
The ancient names of Paracelsus and Agrippa, stirred into the discussion by learned Professor Albin von Franz (Willem Dafoe, dependable yet too familiar in this sort of costumer), only reinforce the murky mysticism. The dread enveloping the figure of Orlok is the dread of decomposing flesh come to life and now suddenly clawing at the existence of ordinary, unassuming people. Men and women with warm blood in their veins. The idea of Orlok’s apparent eternal invincibility is more frightening than any makeup effect.
Nicholas Hoult’s Thomas Hutter and his melancholic wife Ellen (overmatched Lily-Rose Depp) offer only token resistance to the threatening forces around them. Under Orlok’s influence, Ellen kisses Thomas in a way he’s never been kissed before. Meanwhile, the experience of their friend Anna Harding (Emma Corrin) is truly terrifying—being haunted by a fiendish Carpathian vampire is no way to spend a period of gestation.
Contrast the travails of these discomfited bourgeois folks with the plight of real estate agent Knock (Simon McBurney), Count Orlok’s insane, lick-spittle slave, confined in a Victorian madhouse yet monstrously obedient to his master’s commands. The vampire/Dracula subgenre has enjoyed some delightfully gaudy performances by its Renfields/Knocks over the years: the unforgettable Dwight Frye, Tom Waits, Roland Topor and Richard Jenkins (a standout in Matt Reeves’ Let Me In) immediately come to mind. McBurney’s Knock tends the garden admirably.
Eggers’ Nosferatu is not perfect. There’s too much superfluous dialogue, and the omnipresent sound cues detract from the creepiness—Murnau’s silence was far more disconcerting. When Ellen goes into Exorcist-style paroxysms in one scene, her husband shtups her violently—what kind of supernatural sexuality is that? As for Dafoe’s learned expert, when that actor turns on the sub-Freudian blather, there’s nowhere else to go.
The moody black-and-white cinematography of Jarin Blaschke is the best reason to stay with this well-intentioned tribute to the vampires of the past. There are a few nicely composed scenes, but nothing to make us forget about, for instance, Chloë Grace Moretz’s feral teenager in Let Me In. Eggers’ Nosferatu is a reminder of other, better horror films. Let it rest in peace.
Playing at Cinelux in Capitola, Scotts Valley and Watsonville; and Santa Cruz Cinema.
“Every person is a new door to a different world.” —Six Degrees of Separation
Village Santa Cruz County is a nonprofit, peer-support group of volunteers dedicated to aging better by increasing our social engagement and connections, and through shared knowledge and mutual support. The Village helps older adults remain independent, with less reliance on public services, and gives them a sense of purpose.
Mary K., a group member, explains, “On retiring I lost my daily social group; I felt isolated. With Village I found folks who share my joy of making new friends and helping others learn ways to celebrate or cope with life’s changes. I appreciate that we all come with unique stories.”
Now the Village wants to bring together adults of all ages to improve life for everyone.
Recent studies show that across the age spectrum, people are affected by social isolation and loneliness. And while the highest rates of social isolation are found among older adults, young adults are almost twice as likely to report feeling lonely as those over 65.
Breaking apart age group silos opens us to different perspectives. Just like members of Village help solve each other’s difficulties as they come up, to best solve community and world problems we need to all come together, sharing talents and strategies to make our world a better place. No single group can do this alone.
A Village Santa Cruz County gathering at Wilder Ranch. PHOTOS: Contributed
Our Village project for 2025 will add monthly co-generational programs with a long-term goal of forming lasting bonds between older and younger adults.
Forming lasting bonds takes time and a commitment to showing up. Area-based Community Circles and concept-focused Interest Group meet-ups are ongoing and in small groups, providing a venue where members can develop trusted relationships, ask for help from each other, and socialize with and learn from each other.
One such gathering is the Memoir Group, going into its fourth year. Participants Bruce and Dede share their thoughts on participating, with one describing it as “a safe and supportive place to share the highs and lows of my life’s journey” and the other explaining, “The confidential nature of our writings has enabled us to know one another at a deep and meaningful level and has enriched all of our lives.”
Sandy started the Solo Agers group in 2023, after her daughter moved to Portland, leaving her with no family in town. Solo Agers meet once a month to share their specific concerns and issues. They go out to lunch after the meeting. “So far, we’ve helped each other during knee replacement recovery, rides to/from medical procedures, and we’ve shared experiences and resources for repairs,” Sandy says.
Members reside throughout Santa Cruz County. In FY23-24, Village held 247 events with a total of 1,545 attendees. A monthly newsletter containing a wide variety of information is sent to more than 500 community members. And educational presentations are often open to the public.
Village Santa Cruz County is participating in Santa Cruz Gives, the holiday fundraising program started by Good Times in 2015. Donations via SantaCruzGives.org will help launch and sustain Co-generational Connections, bringing together the talents of young and old to build a more resilient Santa Cruz County community. Aging better together…at every age and stage.
Mary Howe is chair of the Village Advisory Board.
Santa Cruz Gives is funded by the Volunteer Center of Santa Cruz County, Community Foundation Santa Cruz County, Applewood Foundation, Joe Collins, Driscoll’s, Inc., Monterey Peninsula Foundation, 1440 Foundation, Santa Cruz County Bank, and Wynn Capital Management, as well as readers of Good Times, Pajaronian and Press Banner.
Some wonderful-looking Chinese food, Hunan beef and chicken.
Malou Knapp, 80, Retired
MARIA
I’m Venezuelan, and we make hallacas.They’re wrapped in banana leaves instead of corn husks. It’s a dough filled with beef stew that you spend a day making. We put peppers and raisins and an almond. So good!
Maria Isabel Alvarez, 28, Founder & CEO, Leaf and Vine on Pacific Avenue
ATHENA
Our son Charlie was born on Christmas, so he picks the meal every year. It’s kind of stress-free for us. The first year it was Cheetos and Mac and Cheese. This year he turns 20, and it’s going to be carbonara and burrata bruschetta and ube flan.
Athena Taylor, 38, Team Leader
CREO
I look forward to making tamales. Sometimes we make a pot roast, and with the leftovers we make tamales. I make a chipotle and guajillo chile sauce, fresh, and it’s great.
Creo Manrique, 32, Barista at Cat and Cloud, Abbott Square.
CLAY
My mom makes little thin Italian breadsticks, wrapped in bacon, and then covered in brown sugar. And then you bake it. It’s delicious!
Clay Powell, 32, Operations Supervisor, Leaf and Vine on Pacific Avenue
CARLOS
We try to make tamales every year for Christmas. We make chicken and pork, and then cheese with jalapeno strips, which is called rajas. Sometimes we make sweet ones made with pineapple or strawberry batter.
Choosing not to imbibe at a holiday gathering can feel a bit like turning down cake at your best friend’s birthday party.
Whether you’re skipping alcohol for health reasons, staying sober for the drive home or simply wanting to keep it light, there are plenty of reasons to go alcohol-free. And here’s the good news: it doesn’t have to be all or nothing.
If, like me, you love a good glass of pinot but don’t want to overindulge in the holiday season, there are better alternatives than to be stuck clutching a V8 or Diet Coke in a can.
Why not put mocktails in a class all their own? It’s easy to make them as much of a treat as the best seasonal cocktail, muddle and all.
That’s why I’m here to celebrate the art of the mocktail—to create something so delicious that you’ll never feel like you’re missing out. And with a few sensational local ingredients to guide you, it’s easy to make it your own.
A great mocktail should channel the vibe of its cocktail muse, matching it in flavor, presentation and garnish. Instead of cranberry, orange juice and seltzer with a squeeze of lime for effort, a real mocktail needs complexity, aromatics and adult taste appeal. It needs to be served in a proper glass and garnished appropriately.
With the right ingredients and a little know-how, you can whip up non-alcoholic drinks that are as much of a conversation starter as the finest craft cocktail. And no, it doesn’t have to be complicated. Let me share a few simple recipes that pack a punch—minus the next-day regrets.
Strawberry Lemon Shrub
This is a longtime favorite courtesy of the Homeless Garden Project’s Strawberry Meyer Lemon Shrub. A shrub (or drinking vinegar) is a concentrated syrup that combines fruit, sugar and vinegar. This version is made from strawberries grown at the garden and harvested by the trainees.
To make it, simply fill a wine glass with one cup of cold water and add 2 tablespoons of shrub. Stir to combine, and enjoy.
Cranberry Pear Sparkle
I love combining sparkling water with an intensely fruit-flavored balsamic vinegar. A visit to Olive Oil Story in Aptos led to a helpful conversation with Julia Jafarian, who recommends Cranberry Pear balsamic as a flavorful way to level up your mocktail.
Here’s how to make it:
Add a few cubes of ice to a highball glass.
Fill with ¾ cup sparkling water.
Add a tablespoon of Cranberry Pear balsamic.
Splash in some cranberry juice for extra color.
It’s tangy, refreshing and as festive as any cocktail on the menu.
Hibiscus Pom Fizz
Looking for something bold and colorful? This tea-based mocktail looks and tastes like a less sugary version of your favorite sangria. Pick one box each of your favorite hibiscus and ginger teas. I use looseleaf, but pre-bagged works just as well. Here’s the recipe:
Bring 1 cup of water to a boil and pour over 2 teabags, one hibiscus and one ginger.
Let the water cool to room temperature and remove the tea bags.
Stir in a tablespoon of pomegranate or elderflower syrup (found at many grocery stores).
Pour over ice, add a splash of sparkling water, and top with an orange slice.
The result? A drink that’s as complex and satisfying as anything you’d find at the cocktail lounge.
The Takeaway
NA drinks don’t have to be whatever the children are drinking. With just a few key ingredients and a dash of creativity, they can become the star of your holiday gatherings—giving you all the cheer without any of the regrets. So raise a glass to festive drinks that everyone can enjoy.
Just a few months ago, many of us believed that weed might easily be federally legalized soon, assuming that Kamala Harris would win the presidency and the Democrats would win at least one house of Congress.
After Election Day, when Harris and the Democrats lost it all, the presumption was that those hopes were dashed, given congressional Republicans’ refusal to get any such measure through. The Senate proved to be the place where legalization bills, and many other cannabis reforms, went to die, thanks mainly to Majority Leader Mitch McConnell.
Last week, the podcastInside Cultivation, hosted by “BigMike” (Michael Straumeiti, the CEO of Advanced Nutrients), seemed to indicate that maybe things don’t look so bleak for legalization after all. It promised to reveal Trump’s “Blueprint for legalization.”
It turns out, though, that even the optimistic guest—GOP apparatchik, Trump advisor and lobbyist Bryan Lanza—thinks it will take longer than Trump’s four-year term to get it done, though he does believe that the feds will liberalize medical-pot laws and make some other reforms, like finally passing a bill to shield banks from liability for serving cannabis clients.
Lanza called that a “short window.”
Lanza is a longtime Republican operative from California whom the U.S. Cannabis Council, a lobbying group, recently decided to hire to push its agenda in Washington. He is a “senior advisor” to the Trump transition team.
For normal people, at least those who were adults before the rise of fascism in the United States starting a decade ago, there’s something very disturbing about watching people talk about Donald Trump as if he were a normal political figure and as if he cared one way or the other about policy in general. He cares mostly, of course, about himself and what people are willing to do for him, or against him.
This happens across the media. The New York Times, CNN, NPR and the Washington Post all treat Trump as if he were basically a more colorful version of the dull Republican policy wonk Jack Kemp from the ’80s and ’90s. This installment of Inside Cultivation was all that and more, with these two guys talking calmly about Trump’s supposed “plans” for cannabis as if they were talking about Ronald Reagan’s budget policies on Meet the Press in 1987.
Not mentioned during the podcast: that Donald Trump represents a grave threat to the American republic. Immediately after this podcast in my email feed was a news roundup from The Guardian about Trump’s allies talking publicly about him running for an unconstitutional third term and about Trump threatening to criminally prosecute his political enemies. He’s also talking openly about filing defamation lawsuits against news organizations, and he’s planning to deport perhaps tens of millions of people after herding them into concentration camps.
Meanwhile, he’s nominated a bunch of deeply unqualified lunatics and buffoons for cabinet posts and other positions, with zero regard for how well they’ll run their offices. The man has never shown the slightest interest in policy except when it will in some way affect him.
We can’t possibly know what he will do, or what he will ignore. Cannabis is likely way, way down on his priority list even though he talked about it some during the campaign. (He said he favors medical pot and decriminalization, but not legalization.)
Perhaps the best thing that can be said for the cannabis industry as Trump takes office is that he’ll likely leave it alone for the most part, and maybe a few reforms will be passed that he doesn’t care about, but will sign into law. But legalization is clearly not part of his “blueprint,” despite what Inside Cultivation says.
First things first: this ain’t yo mama’s circus; this is the Heavy Drift by Flynn Creek Circus: an original and comedic holiday circus act in the film noir style featuring acrobatics, aerialists and entertainers. Under the big top, audiences will meet Danger Jones, PI, and his trusty assistant Patsy as they embark on several entertaining and high-flying capers. Between Dec. 20 and Jan. 5, only five shows out of 29 are adults only, meaning circus lovers can bring the kids during the daytime for popcorn and hot chocolate with a family-friendly show, then bring their dates later for beer, wine and a titillating good time. MAT WEIR
Trinidadian reggae pioneer Marlon Asher doesn’t stop at celebrating his love of all things marijuana in his lyrics; he also chronicles the difficult lives of weed farmers dealing with authorities raiding their operations, burning their fields and putting them behind bars. His single “Ganja Farmer” was quite controversial upon its release, and he was called on to address lyrics describing a rocket launcher being used against law enforcement. Asher explained, “I am showing the anger that a farmer has inside when he sees his field being burnt. That anger and frustration is real.” The air will indeed smell a certain way when he and Bay Area favorites Native Elements take the stage. KEITH LOWELL JENSEN
Grateful Dead has been honored, covered, reinterpreted, and otherwise filtered through myriad sensibilities for over half a century since the groundbreaking group began making its mark on the musical and cultural landscape. While a common method to the Dead’s body of work involves the spontaneous and inspired interplay between several musicians, Joel Martin’s take on the Dead strips the music to its bare essence with a one-person, acoustic guitar and voice approach that puts the focus upon the songwriting artistry of Jerry Garcia and his band mates. BILL KOPP
It’s safe to say real Santa Cruzans are already familiar with SambaDá. For well over a decade, the Afro-Brazilian group has excited audiences and kept the dancers twirling across venues throughout the county and beyond. Their unique blend of samba and African reggae funk unites cultures and traditions, paying homage to their roots while bringing new life to the music. This is SambaDá’s last performance of the year, filled with all-night jams, deep grooves and catchy melodies, lots of laughter and tons of fun. MW
After a year-long battle of not one but two complaints brought by neighbors to city hall against Woodhouse Brewery’s outdoor event space, dancers and music lovers throughout Santa Cruz can rejoice, thanks to the overwhelming support of the local community who showed up to support the brewery. The Santa Cruz City Council unanimously denied the latest appeal, keeping the door open for Woodhouse to throw events like this weekend’s Outernational Dance party. Deejayed by Selecta 7 and some special guests, the party features the hottest, irie-est in reggae, dancehall, dub and rocksteady. What’s more Santa Cruz than reggae during the holidays? After all, the Christmas colors are two-thirds of the Rasta flag. MW
6pm, Woodhouse Brewery, 119 Madrone St., Santa Cruz. Free. 313-9461.
ROCK
FLEETWOOD MACRAMÉ
While Fleetwood Mac started in the ’60s as a searing British blues band under the leadership of Peter Green, it’s the ’70s version of the band—the one legendary for soft-rock hits and internecine affairs—that sold records in blockbuster proportions. With many of the highest-profile musical acts of the ’60s and ’70s (including Fleetwood Mac) disappearing from the touring circuit due to breakups, death, well-earned retirement or even all three, tribute bands have rushed in to fill the vacuum. The Bay Area’s Fleetwood Macramé gets the sound and the look just right, providing a fun and nostalgia-filled experience. BK
8pm, Felton Music Hall, 6295 Hwy 9, Felton. $27. 704-7113.
INDIE
EYES LIKE LANTERNS
Combining Southern rock with folk rock elements, Santa Cruz foursome Eyes Like Lanterns headline a four-band evening featuring all local talent. (See article in this issue.) Also on the bill are tradition-minded Rumors in Virgo (who describe their music as twee), Corralitos-born folk rocker Alecia Haselton (performing with a full band) and Thelves, a San Jose indie surf-alt group. BK
8pm, Catalyst, 1101 Pacific Ave., Santa Cruz. $19. 713-5492.
SUNDAY 12/29
ROCK
THE WHITE ALBUM ENSEMBLE
The Beatles have exerted incalculable influence over popular music, and this Bay Area ensemble often pays tribute to the group by presenting albums performed from start to finish. The core lineup is augmented with additional players (strings, brass, etc.) when needed to allow faithful recreations of the later years’ more complex material. This show presents a slimmed-down White Album (presumably eliminating the musique concrète of “Revolution 9” and a few others) to make way for a complete run-through of the very different but equally monumental 1965 classic Revolver. BK
8pm, Rio Theatre, 1205 Soquel Ave., Santa Cruz. $38. 423-8209.
MONDAY 12/30
HIP HOP
GRIEVES
Hailing from Chi-town is hip hop wordsmith Benjamin Laub, known as Grieves. The Seattle-based artist signed to Rhymesayers Entertainment and debuted with Irreversible in 2007. He’s since gained recognition with albums like Together/Apart, which hit #112 on the Billboard Top 200. His albums Winter & the Wolves, Running Wild and the acclaimed EP The Collections of Mr. Nice Guy showcase the rapper’s evolution in the genre. LA producer DJ Hoppa and Tucson hip hop artist Marley B. rounds out the evening. MELISA YURIAR
8pm, Catalyst, 1011 Pacific Ave., Santa Cruz. $27-$86. 713-5492.
An amalgamation of traditional Irish, English and American pubs, Parish Publick House in Aptos is described by co-owner Joel Sawtell as “the community’s second living room.” Born in Maine and raised in New Hampshire, Sawtell came to Santa Cruz on a one-way train trip at age 19. He began working in local restaurants both back-of-house and front-of-house, getting bit by the industry bug and eventually meeting future business partners Nate and Erik. They saved their money and were able to partner with Karen, a prominent local restauranteur, becoming a part of the Parish seven years ago.
Sawtell describes their menu as pub-based California cuisine with European influence and twists. Palate-awakening appetizers include chicken wings with choice of eight different sauces and beer-battered Southern pickle spears. Entrée bests are the Bangers and Mash with locally sourced sausage and the Irish Dip sandwich with roast beef, Irish cheddar cheese, Irish stout mayo and Jameson au jus. Another favorite is the Out and In Burger, a play on an In-N-Out animal style burger. The dessert headliner is the house specialty chocolate bread pudding.
How do you find purpose in owning a restaurant?
JOEL SAWTELL: One of my passions that I try and pay forward came from previous owners and co-workers mentoring me and giving me a chance to grow in the industry. They helped me carry on and embody what it means to be a family restaurant that supports each other and the community, and now I try to pass along those same virtues. I love getting to be a part of seeing people grow and move on to college and other jobs, finding direction in their lives as they go through life’s journey.
What does the Parish mean to Aptos residents?
I feel like we have become a great place in the community, providing a welcoming spot for locals to come together. We have many regulars who are here multiple times a week, and we greatly appreciate their support. We also host a lot of special events like birthdays, holiday parties and wedding receptions. We have a great private party room that really makes these events extra special and fun; people have a great time.
What is your favorite Christmas dinner tradition?
Some wonderful-looking Chinese food, Hunan beef and chicken.
Malou Knapp, 80, Retired
I’m Venezuelan, and we make hallacas.They’re wrapped in banana leaves instead of corn husks. It’s a dough filled with beef stew that you spend a day making. We put peppers and raisins and an almond. So good!
Maria Isabel Alvarez, 28, Founder & CEO,...
