Local Treasure Sabieng Delivers Phenomenally Spiced Classics

In honor of the young Thai soccer players during their underground ordeal, we decided on carry-out from Sabieng Thai Cuisine. So convenient, so inexpensive—we’ve loved Sabieng since the dawn of time. One of the pleasures of bringing home dishes from Sabieng is that we can kick back and enjoy one of our favorite white wines—Birichino Chenin Blanc is our summer go-to—along with the complex spicing of Sabieng’s classic dishes.

So what do we like? Always, always a curry. In this case the wonderful Spicy Green Curry ($10.75) with its slow after-burner of spice, its thick veggies, plump shreds of chicken, and basil-coconut sauce. For balance, we split an order of the magical bean thread noodles laced with fat prawns, ground pork, lime juice, cilantro, micro-onions, red peppers, and whole cashews ($8.95). Bite for bite, I’d have to say that this dish is my all-time favorite Thai specialty. A third dish added plenty of texture excitement, roast duck (which leans toward a duck confit as far as I’m concerned) nestled on a crunchy bed of wok’d cabbage and spinach ($15.95). A little container of pickled peppers—not kidding—in a haunting black bean vinegar, comes with the dish. And we splashed it all over everything.

Creamy curry, fiery cellophane noodles and rich duck with greens. All these wonderful dishes went brilliantly with, 1) the crisp, chilled wine, and 2) Sabieng’s outrageous brown rice ($2.25) which must be the chewiest, most delicious rice on the planet. I do not say that lightly. All of the above, minus the wine, was ours for $41. Two meals, and one lunch. Sabieng’s spice-laden foods make even more sense on hot days. Don’t know why. There’s probably a physiological explanation. Doesn’t matter. Sabieng Thai RestaurantA local treasure!

1218 Mission St., Santa Cruz. 425-1020. Open daily for lunch and dinner.

Not by Bread Alone

Change happens. Gayle’s Bakery no longer delivers its signature breads to local restaurants, groceries or other retail shops. Rita and I were stricken when lunch at Avanti no longer provided that outstanding francese we’d come to adore. We needed to know why. So I emailed Gayle Ortiz, founding matriarch and co-owner of the entire shebang. Here’s what she had to say.

“Like so many other businesses, we are suffering a lack of all types of employees. A combination of low unemployment and housing costs have made it difficult to find good, qualified staff, especially drivers.” She also confessed that they’ve thought about ending wholesale “for many years even though it was good to have our name out in the community. Plus, we love our wholesale accounts, some of whom have been taking our bread for over 30 years.” Ortiz acknowledged that it was a difficult decision, “But owning a business is getting more and more stressful with regulations and laws being what they are in California. So the we decided to focus on the mainstay of our business … the customers who come in the door each day.” You know where to go to get your fix of Gayle’s breads. Gayle’s!

504 Bay Ave., Capitola. gaylesbakery.com.

Ewe Tube

Love sheep? Love sheep cheese? You can help subsidize the pampered dairy sheep out at Rebecca King’s Monkeyflower Ranch. For $500 you’ll receive regular shipments of all-natural lamb, as well as a selection of aged cheeses, yogurt, feta, and fresh sheep cheeses.

Or consider a Pork Package? Or a Wool Package? Each $500-package covers the costs to feed and care for a naturally raised dairy sheep. You receive in return roughly $600 worth of farm products from July through December.

gardenvarietycheese.com/adopt-a-ewe.

Review: ‘Leave No Trace’

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Complex family relationships seem to fascinate filmmaker Debra Granik. In her absorbing 2010 thriller, Winter’s Bone, a young woman in the Ozarks backwoods desperately searches for her wayward, absent father before the family property can be seized. The mood is outwardly more calm and reflective in Granik’s new film Leave No Trace. Yet the tension builds steadily between a reclusive father determined to live off the grid, in the wilderness, and the loyal teenage daughter he means to shield from the complications of civilized life.

Adapted by Granik and co-scriptwriter Anne Rosellini from the novel My Abandonment by Peter Rock, the story begins in a lush green forest preserve on the outskirts of Portland, Oregon. Tom (a poised and poignant Thomasin Harcourt McKenzie), now 13, has grown up in the woods with her father Will (Ben Foster). A wary war vet mistrustful of the noise and skewed values of modern society, Will has taught his daughter all the woodcraft skills she needs to survive, as they live off the land, under the radar.

Their base camp—tent, cookware, tools and supplies—is well concealed under the foliage. They canvass the woods with their backpacks, foraging for food, and make occasional expeditions over the bridge into town to stock up on necessities like eggs. But in general, they keep a low profile and practice drills in the forest to see how fast they can run and hide themselves should their camp ever be discovered.

One day, a passing jogger reports them, and their camp is invaded by police with dogs. They are taken into protective custody and turned over to Social Services, where a dismayed Will undergoes psychological testing (profound existential questions that must be answered “true” or “False”). Tom is taken under the wing of sympathetic counselor Jean (Dana Millican), who is surprised that Tom’s reading and comprehension skills surpass those of most schoolgirls her age. Still, as Jean explains, “it’s not a crime to be unhoused, but it’s illegal to live on public lands.”

Thus begins Will and Tom’s attempt to play be society’s rules. Reunited, they’re given shelter in an empty worker’s house at a Christmas tree farm, in exchange for Will’s labor. Tom finds she rather likes running water, electric lights, and the fellowship of other kids at the nearby 4H Club. But while Tom never says a word about it, we see how soul-numbing it is for this expert nature lover to take part in cutting down trees, lopping off branches, and wrapping them in plastic for the marketplace. Pretty soon, father and daughter are on the run again.

It’s not exactly a rift, but what begins to complicate Tom’s relationship with her father is his fierce need to live independently from society verus her budding desire for community. Until now, she’s been perfectly happy being her dad’s companion in their wilderness adventure, reveling in dewy spider webs and wild mushrooms and the glories of the unspoiled natural world. But once she’s gotten a taste for the companionship of other humans, she might not be as willing as her dad to turn her back on them.

There are no villains in this story, nobody with an evil agenda; indeed, the opportunities for shelter, friendship, and purpose keep presenting themselves to a degree that feels a bit too easy—opportunities that many “unhoused” people rarely get in real life.

But this is a family drama, not a Social Studies discourse, and in that respect, it succeeds with quiet grace. McKenzie carries the brunt of the drama as her curious Tom slowly awakens to the possibilities of an alternate life. And Foster (who’s come a long way since he played Angel in the early X-Men movies) turns in a performance of aching, simmering reserve as taciturn Will.

LEAVE NO TRACE

*** (out of four)

With Thomasin Harcourt McKenzie and Ben Foster. Written by Anne Rosellini and Debra Granik, from the Peter Rock novel My Abandonment. Directed by Debra Granik. A Bleecker Street release. Rated PG. 109 minutes.

Beauty, Tragedy and Meaning in America’s Southwest

Tomomi Hanamure had a deep, insatiable love of American landscapes.

Hanamure made several trips from Japan to the U.S., trekking across the Grand Canyon, visiting Wounded Knee, and learning the painstaking art of Navajo basket weaving. But it was Hanamure’s deep connection to American landscapes and Native American history that ultimately lead to her tragic murder in May of 2006.

It was Hanamure’s 34th birthday and she was treating herself to a solo trip in Havasu Falls, Arizona. Her adventure ended when 18-year-old Havasupai tribe member Randy Redtail Wescogame stabbed her 29 times. Hanamure’s murder would go down in history as the most brutal murder ever in the Grand Canyon. Journalist Annette McGivney covered the murder extensively for Backpacker Magazine, where she currently serves as Southwest editor. But even after her 8,600-word article was published in 2007, the story felt somehow unfinished.

McGivney shared Hanamure’s love of nature, the vast open space of the Southwest, and the Grand Canyon in particular. After finishing the article, McGivney would spend a decade writing about what happened for her book Pure Land, which came out last year. The book chronicles the murder, as well as the stories behind it that McGivney wasn’t able to include in her original article. But the book also includes a twist, with McGivney including threads of her own history—which made the project not only more personal, but also more challenging.

“I thought I was just diligently researching, and next thing I know I’m in a mental health facility,” says McGivney, who will be talking about her book at the Santa Cruz Downtown Public Library on Sunday, July 22. “It took at least a year from that time that I started to feel like I could write about my own experience at all.”

From the start, she had felt a connection to Hanamure’s passion and determination. She notes that she might very well have passed Hanamure on a trail one day, since they frequented the same places and loved the same landscapes. As McGivney delved further in, she found herself also identifying with Wescogame, the 18-year-old killer, who had endured a harrowing childhood. McGivney experienced flashbacks to her own long-repressed memories of abuse at the hands of her father.

Wescogame was a drug addict who came from a broken and abusive home on the Havasupai Indian Reservation. McGivney understood Wescogame in a way others didn’t, since she, too, came from a dysfunctional and psychotic home (her mother, for instance, would drop McGivney and her two sisters off at school while wearing a gas mask). She sympathized with him when she read notes from his school teachers explaining what a problem he was.

“I felt a connection to him and felt a desire to stand up for the child that he was in an effort to show people that if he was in an environment where he could have gotten help, Tomomi would still be alive,” McGivney says. “When we take people and say ‘He’s a sociopath and we have nothing in common with him,’ that doesn’t do anything to help stop the cycle of violence that causes people to keep killing other people.”

Up until she wrote the book, McGivney’s life had been one of endurance and repression. An avid hiker and backpacker, a teacher and mother, she explains that she was always the shoulder others cried on, the self-proclaimed robotic journalist who does everything to get the story right.

“There was a lot of reluctance to make myself part of the story, because not only am I a journalist, but I am a journalism teacher, and I give people bad grades for putting first person in their stories,” laughs McGivney, a teacher at Northern Arizona University. “I was kicking and screaming the whole way, putting myself in the story. It was a gradual process.”

McGivney attributes her lifelong sense of independence to her freedom as a young child.

“I am so glad that I wasn’t a girl growing up in a home where I was being bossed around all the time, especially by men, and made to feel like I wasn’t capable of making my own decisions. Or that if I didn’t allow the men in my life to take care of me, I would be unsafe,” McGivney says. “As a woman, it gives you a sense of ‘I don’t need you to tell me what to do, I can handle this myself.’”

It was a similar independence and security that gave Hanamure the freedom to explore nature, especially coming from a culture where women often weren’t independent, McGivney adds. She remembers that when she was reporting on the story, law enforcement rationalized Hanamure’s murder as something that “happens when women hike alone.”

“For me, that was so repulsive. I was like, ‘What are you talking about?’ Women should be able to hike alone in the same way that men hike alone,” McGivney says. “The problem is that we are living in a world where women are being assaulted in the wild. We have to keep pushing back against this culture that preys on women.”

Pure Land was first and foremost a promise to Hanamure’s family. McGivney promised Hanamure’s father, Tetsushi, that she would write it to tell Hanamure’s story and preserve her memory. Unfortunately, Tetsushi, who lives in Yokohama with Hanamure’s beloved dog, cannot read the book because he doesn’t speak English. McGivney had a chapter translated for him, and says that, because he is reeling over his daughter’s murder, reading about her life in America made him “very, very sad.”

“They don’t have the resources to translate the book,” McGivney says. “I’d love to have a dialogue about it—there is so much about Tomomi that they didn’t know, about her life in the United States.”

McGivney has created the nonprofit the Healing Lands Project to help youth who have experienced domestic abuse or violence. In partnership with Grand Canyon Youth and Northern Arizona University’s Arizona Child and Adolescent Survivor Initiative, she most recently took a group of eight on a transformative river trip in San Juan.

“It’s boots on the ground that restores this connection that’s at the center of who we are as a species,” McGivney says. “It’s only within the last couple hundred years that we have become so disconnected from nature, and that might be the root of so many problems, this disconnect from the natural world.”

McGivney will be talking about Pure Land on at the Santa Cruz Downtown Public Library. 1:30- 3 p.m. Sunday, July 22. 224 Church Street Santa Cruz. Free.

Matt Twisselman Loves the Food Vendor Life

Matt Twisselman has a few favorite times of day at the Santa Cruz Beach Boardwalk.

One is the morning, when, save for the waves crashing on Cowell Beach, everything is calm and quiet. There are also Friday nights, while there’s a band rocking onstage, and September, when the crowds start dying down. And then, of course, there are busy summer afternoons, when the whole scene is bustling with people. “You see people speaking all different languages, and everyone is having a good time. That really feeds me,” says Twisselman, who co-owns four Boardwalk concession stands with his wife, Paula.

At their four food stands—Board Wok, California Wraps, Hot Dog on a Stick, and World Grill—the Twisselmans have prioritized real food and fresh ingredients. Twisselman says that on the day that California Wraps first opened in 1997, a customer walked up to the stand, glanced at the menu, threw her hands up and screamed, “Finally, something I can eat at the Boardwalk!”

Twisselman, who eats at his stands every day, first worked at the Boardwalk at age 15. His family has been in business there for 84 years.

What’s your favorite thing to eat here?

MATT TWISSELMAN: Usually I get some chow mein with some fresh chargrilled chicken, put some vegetables on it. We make our own sauces as well. My absolute favorite is the spicy peanut sauce.

Favorite ride?

I love the Giant Dipper. I honestly don’t ride the rides much anymore. I avoid the spinny rides, but when they bring a new ride in, I always go on it, and then I think I shouldn’t have done that three times in a row. You get to a certain age, and you lose your equilibrium.

What’s the best band coming this summer?

I love the Fixx. That’s my genre. Blue Oyster Cult is fun. It’s a big draw. I like the big draws. We’re looking forward to Los Lonely Boys. They’ve never been here before, and they’re good.

I just ate three Hot Dogs on a Stick. How long should I wait before I go on the Fireball?

At least an hour.

beachboardwalk.com.

 

Opinion July 11, 2018

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EDITOR’S NOTE

I’m old enough to have gone to some of Danny Scheie’s productions for Shakespeare Santa Cruz (for newbies, that’s what Santa Cruz Shakespeare was called back when it was affiliated with UCSC). There was some pretty radical stuff being put on stage at the Festival Glen back then. But each SSC play seemed self-contained—some were traditional, some were totally out-there—and it never seemed like a movement toward a different vision for Shakespeare as much as it did a series of experiments.

But I remember reading Christina Waters’ glowing review of SCS’ Hamlet a couple of years ago, in which the title character was played by Kate Eastwood Norris. It made me rush out to see it the first chance I got, and I too was impressed at how the gender flip had been given deeper resonance in the production—it wasn’t just a gimmick. Last year, I marveled at the gender switching in SCS’ fantastic Measure for Measure. But I never put together exactly what SCS was building here.

Wallace Baine’s cover story this week on the group’s new season makes it clear: this is a different vision for Shakespeare, and it’s being handled in such a brilliant, thoughtful way that it makes what is actually pretty radical seem obvious—even necessary. It’s great to see that that the long local tradition of exploring Shakespeare has been turned into something truly progressive that will continue to develop with each new season. Santa Cruz Shakespeare is truly more Santa Cruz than ever.

STEVE PALOPOLI | EDITOR-IN-CHIEF


LETTERS TO THE EDITOR

Read the latest letters to the editor here.

Next to Nothing

I found Virgina Blake’s letter (GT, 6/27) asserting that Greenway’s trail proposal doesn’t add up curious. Why would so many private individuals put their money, time, and energy into promoting a wide, multi-use trail in the rail corridor? Is it because after talking about a train and a narrow, segmented trail adjacent to the railroad tracks since the ’80s, next to nothing’s been done? (Oh right, they’re getting ready to start construction on 1.2 miles of trailway at double the originally projected cost.)

Contrary to Virginia’s assertion regarding studies, oversight, etc., yes, there’s a county study  (the Uniform Corridor Investment Study–UCIS) as well as other professional feasibility studies, the construction funding is already voter-approved by Measure D (and estimated to be a fraction of the cost proposed for the narrow trackside trail with the on-street detours), and the oversight? Our own Regional Transportation Commission, who are responsible for where we are today–hundreds of thousands of dollars in studies and conversation over 30 years, and I see neither a train, nor any trail (although I hear one tree was cut down by mistake).

The “pitch,” as Virginia calls it? Maybe county citizens decided it was time to make something happen. As for “elite cyclists,” seems like a lot of those riding as well as complaining about the new fluorescent e-bikes around town would be grateful for a wide, safe, multi-lane, off-street corridor in which to ride. In short, I’m not sure what Virginia saw as the “bait,” but switching to the Greenway proposal only seems like good sense to me.

Ira Davis
Capitola

Re: E-bikes

Great article which perfectly summarizes all the advantages and issues. I personally think that electric bikes and electric skateboards are part of the future and the cities need to adapt to this fact. Thanks for sharing!

— Tim

Re: Libraries

According to the consulting architect’s own cost estimates, the only option studied by the Downtown Library Advisory Committee that came in under the $23 million budget for the Downtown Branch Library building was the Partial Renovation (Option A in the DLAC Report to the City Council). (See Noll & Tam Project Cost Model, 10/25/17.) The other three options studied by the DLAC were estimated to cost 3.7 to 26.3 million dollars over budget.

— Michael Lewis

Re: Progressive Rail

The RTC has not given up any rights to run commuter service, and freight service does not preclude commuter service. If and when the RTC decides to implement commuter service, freight will be run when commuter service is not running. That is how SMART in Sonoma County combines commuter service and freight service on the same single track. I rode SMART in Sonoma County recently with the Mayor of Watsonville, a Capitola Councilman and the Executive Director of the RTC, and saw first hand how freight and commuter service can coexist on a single track and maintain a 100-percent on-time record.

I spoke with many passengers on the train, and what I found the most striking was how much SMART passengers loved riding the train and the positive impact it has had on their lives.

What the RTC gains from the agreement with Progressive Rail is the ability to maintain the freight easement, service the freight customers and comply with Prop 116 funding for passenger rail.

— Howard Cohen


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

Calm Point

An event on Thursday, July 12, will attempt to provide some answers to big questions that many locals ask themselves on the streets each day. The Santa Cruz Police Department’s event “De-Escalation Preparedness Training For Civilians
in Crisis Intervention: What Would You Do?” is a free seminar from 1-5 p.m. on Thursday, July 12. The event will educate and empower attendees with information to help them recognize, prepare for, and respond to a person in crisis. Pre-registration is required. To register, email cj****@*************uz.com.


GOOD WORK

Paws Button

The local pet rescue group Four Paws to Love has launched its first GoFundMe campaign to help with its mission of saving homeless cats from otherwise overcrowded shelters. As of July 9, the group has raised $1,500 toward its goal of $10,000, that would be used to purchase two Intensive Care Units. Those machines would be able to give the most vulnerable and tiniest kittens a fighting chance. The fundraiser ends Sunday, July 15. For more information, visit fourpawstolove.org.


QUOTE OF THE WEEK

“The remarkable thing about Shakespeare is that he is really very good—in spite of all the people who say he is very good.”

-Robert Graves

Review: ‘Three Identical Strangers’

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Truth is definitely stranger than fiction—and a lot more sinister—in Three Identical Strangers. Filmmaker Tim Wardle’s engrossing documentary follows the true story of three young men who met by chance and discovered they were triplets, separated from each other and their birth mother as infants. None of them had any idea that the other two existed. How this happened—and the darker question of why—makes Wardle’s movie as gripping as any thriller.

As in fiction, we begin with a single protagonist whose adventures draw us into a larger story. In 1980, on his very first day of community college in the Catskills, 19-year-old Bobby Shafran couldn’t figure out why people he’d never seen before kept greeting him so warmly. Looking back, the adult Bobby recalls, he just thought it must be a friendly place. The weird thing was, everyone kept calling him “Eddy.”

On a hunch, one of his astonished fellow students asked Bobby if he was adopted, which he was. This student also knew the mysterious Eddy Galland, who was also adopted, and the two men took a two-hour drive to Long Island to meet him. “The door opened,” Bobby recalls, “and there was me, standing there.” The two strangers had the same curly hair, the same wide, toothy grin, the same build—and the same birthdate, at the same hospital. They were identical twins.

The human-interest story about the twins who found each other by sheer chance got some press in the local tabloids, and that’s when things got even more bizarre. David Kellman, a student at Queens College, saw a newspaper story about the twins, and recognized his own face—and his birthdate. Also raised by adoptive parents, David called the Gallands and reached Eddy’s mom. “Oh my god,” she remembers thinking, “They’re coming out of the woodwork!”

Using archival footage and some reenactment, this first section of the movie is played for larky good cheer, as the ingratiating triplets, now inseparable, make the rounds of talk shows and nightclubs, coasting along on the fumes of their amazing story and sudden celebrity. In time, they even open a NYC restaurant together, called—what else—Triplets.

But things begin to take a darker turn when all three sets of adoptive parents—none of whom was ever told about the other two boys—-go en masse to visit the adoption agency, Louise Wise Services, to get some answers as to why the babies were split up. Besides appearance and mannerisms, what the triplets have in common is that each was raised in a household with one other adopted sibling. Each one also vaguely remembers regular visits from strangers when he was a small child who gave him tests and filmed his play. And was it sheer coincidence that the boys were placed in such a cross-section of economic households—one working-class, one middle-class, and one well-to-do?

But nothing in this story is coincidental. While the agency’s so-called answers to the parents are “elusive,” we learn that major players included an Austrian geneticist, two of his research assistants  (one slightly less ethically challenged than the other, in retrospect), and a journalist writing a story for The New Yorker whose research confirms that all three boys and their adoptive families—without their knowledge or consent—were part of a scientific study that went on for decades. But the study was never published, and David goes online to discover the documents have been sealed in a vault at Yale until 2066.

As each new revelation is unearthed, Wardle keeps his focus on the long-term effects on the triplets themselves. (As babies, their adoptive mothers report, each boy went through a head-banging phase from being separated from each other at such an early age.) Even their reunion is ultimately haunted by tragedy.

None of these participants knew they were in an experiment; they thought they were having lives. The callous indifference of the researchers and their enablers is chilling.

THREE IDENTICAL STRANGERS

*** (out of four)

With Eddy Galland, David Kellman, and Robert Shafran. Directed by Tim Wardle. A Neon release. Rated PG-13. 96 minutes.

Love Your Local Band: Joe Kaplow

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Joe Kaplow grew up on a farm in rural New Jersey, playing music, but not really knowing what to do with it. Eventually he went on a nine-month U.S. tour. Santa Cruz was one of the spots on that venture. He liked it so much that he now calls it home.

In describing this long tour, he jokingly refers to it as his “farm-to-table” tour.

“I left the farm, and now I’m playing at your table,” he tells me.

Not only did he immediately like Santa Cruz, but living here had a major impact on his creativity. For starters, it motivated him to get into a studio and record an EP, which happened months after he relocated here. This first self-titled EP, which he recorded in a single day, was released on Sept. 9, 2015.

“I grew up in the middle of nowhere, so there wasn’t an active scene in music. I was essentially a bedroom musician up until then,” Kaplow says. “Things like making records and having websites were foreign to me. When I moved here, I saw this is what people are doing.”

The record showcases his stripped-down singer-songwriter approach to music. After being actively involved in this scene, and continuing to tour, he decided that he really wanted to take his time and make a record he felt really proud of, so he took most of 2017 off from touring and focused on creating this record, Ain’t That Much of a Smoker, which he did in his home, with as much time as he possibly needed.

“It was unbridled creativity,” Kaplow says. “I had all the time to explore any idea or any arrangements, so that lends itself to having a lot more instruments on the record.”

For the most part, Kaplow no longer plays as a solo artist because he used a band to create the music on this record. His current live lineup includes Elliott Kay on guitar, Kai Kopecky on bass, Mikey Whalen on drums, and Rob Armenti on keyboards. The album will get released in November. This coming show at the Crepe Place he will release its first single, “I Said I Was Going and I Went.”  

INFO: 9 p.m. Friday, July 13. Crepe Place, 1134 Soquel Ave., Santa Cruz. $10. 429-6994.

Skov Winery a Sure Hit at Taste of Scotts Valley

Skov Winery was closed for a period while owners Annette and David Hunt attended to various business interests and family matters, but now they are back in action–and their tasting room is open every Saturday. Skov is situated in a picturesque setting among the redwoods a couple of miles down bucolic Bean Creek Road in Scotts Valley, and it’s well worth a visit.

I attended an event recently in the winery’s spacious party room, a perfect spot to hold family gatherings, birthdays, weddings, anniversaries, and more. It was also an opportunity to try some of their wines—and I loved the Skov Winery 2014 Pinot Noir ($28) Russian River Valley, a voluptuous mouthful of inky purple nectar filled with red fruits and earthy flavors that would delight any picky Pinot-phile. Skov also makes Chardonnay, Merlot and Sauvignon Blanc.

Skov is participating in Taste of Scotts Valley on July 12 at Kiss Café in Scotts Valley, the kickoff party to the main Scotts Valley Art, Wine & Beer Festival in August. Visit svartfestival.com for more info.

Skov Winery, 2364 Bean Creek Road, Scotts Valley, 854-7384. skovwinery.com.

Farm-to-Table Dinner at Chaminade

The featured winery for the next farm-to-table dinner at 6 p.m. on July 13 is Martin Ranch. The annual series of summer dinners are gastronomic delights—abundant with food, wine, stunning views and fun. Visit chaminade.com for more info.

Burrell School Vineyards Introduces Happy Hour, Thursdays and Fridays

Burrell School is now open from 4:30-6:30 p.m. Thursdays and Fridays for Happy Hour—so you can start the weekend early! Five wines will be featured by the glass for $8, and bottles to-go for only $25. Choose from Chardonnay, Pinot Noir, Merlot, Cabernet Franc, and Old School Cabernet Sauvignon. Come get your happy on. Burrell School Vineyards & Winery, 24060 Summit Road, Los Gatos, 408-353-6290. burrellschool.com.

Route 1 Farms Dinner Update

For those lucky people with tickets to the next Route 1 Farms dinner on Aug. 12, there has been a change of chef from Tabitha Stroup of Friend in Cheeses to Gema Cruz of Gabriella Café. The winemaker remains the same, Nicole Walsh of Ser Wines. Contact ro*********@***il.com for more info.

Venus Spirits Has a Great Summer Gin

Now that summer is here, it’s time to take a little break and maybe trade in a few vacation days, even if the plan is to stay in town. My staycation starter kit involves grilling everything in sight, keeping a beach bag in my car and always having something cold, boozy and refreshing on hand.

This summer, I’m taking inspiration from Westside craft distiller Venus Spirits, where Sean Venus has created a seasonal spirit that will help get you into the spirit of the season—a gin with tiki-inspired botanicals. Gin X Summer follows the inaugural release of Gin X Spring, and is the second in an ongoing experiment (that’s what the ‘X’ stands for) by Venus to play with new recipes. Distinctly different from his award-winning Gin 01 and Gin 02, the summer release boasts serious island vibes with aromas of pineapple, lime, passionfruit, and almond that hums with warm spices like cinnamon, allspice, and ginger. Exceptionally light and clean, it’s lovely poured on its own over a single huge ice cube, perhaps with a splash of good tonic, but also really shines in a cocktail.

In his tasting room off of Swift Street, Venus shook up 1.5 ounces of Gin X Summer with .75 ounces of pineapple juice and .5 ounces of lime juice, poured it over ice and topped with ginger beer to create a tropical libation that almost begged for an umbrella, or at least to be sipped under one.

Gin X Summer was released to Venus Spirits’ Spirit Club at the end of June and will be available only at their tasting room until the 40-ish cases are gone. Gin X Spring sold out a few weeks ago, so there’s a good chance the Summer release will be gone before autumn, at which time we will have another seasonal shift to look forward to.

427 Swift St., Ste. A, Santa Cruz. 427.9673.

What’s In Your Wine?

For many in California, wine is a cultural mainstay. But in the age where our culture is finally acknowledging that ingredients matter to our health and to the planet, the wine label falls short in its transparency.

Barring a small handful of exceptions, wine producers are not required to list ingredients or additives on their labels. If they were, some labels could be as long and difficult to pronounce as those slapped on processed foods; there are roughly 76 wine additives and treatment materials approved for use by the FDA.

Also known as “zero-zero” wine, the strictest definition of natural wine is one that is made from organic grapes and has had nothing added to it and nothing taken away. “This means native fermented [as opposed to fermented with the genetically modified yeast of commercial wines], not filtered, not fined, and with no additives of any kind, including sulfites,” says Margins Wine’s Megan Bell of the practice that is already well-established in Europe. But even while 50 or so California winemakers have begun to explore low-intervention and “natural” winemaking, the term is not recognized as a legal one by the Alcohol and Tobacco Tax and Trade Bureau (TTB), so it does not appear on any labels. At the same time, many producers making organic wine aren’t specifying it as such on the label, because of its reputation for not being the best tasting, says Bell.

At Margins, Bell—who focuses on low-intervention and 100-percent naturally fermented wines from organic vineyards, varietals and regions that are lesser known—adds a small amount of sulfites to most of her wines. Now in her third harvest season, she makes at least one natural wine each year (try her Chenin Blanc). Interestingly enough, she’s found that across the board, people often prefer her wine with sulfites added.

That sulfites are the worst or most dangerous additive in wine is perhaps the biggest myth to proliferate over the decades since its governmental warning, passed by teetotaller and then-Sen. Strom Thurmond in 1986, was affixed to labels not so much to inform but to frighten. Sulfites, which have been used to sterilize wine barrels since the ancient Romans, act as a preservative and are often added to wine, though they also occur naturally. They can cause asthmatic symptoms—not headaches—in those who are allergic to them. “There is a small amount of the population, about 1 percent, that is allergic to sulfites,” says Bell. “Every time someone tells me they get sulfite headaches, which is much higher than 1 percent of the people I pour wine for, I ask them if they eat dried fruit, which usually has at least four times the amount of sulfites as wine. They do eat dried fruit, and are fine.”

Indeed, many foods, including most canned foods, contain higher amounts of sulfites than wine—and are not required to include a warning label. The so-called “sulfite headache,” then, appears to be a misdiagnosis that is more probably linked to tannins—which occur naturally and can also be added in powder form—high amounts of sugar, high levels of alcohol, and any number of wine additives that do not require a label listing, much less a governmental warning.

“The wine industry wants you to believe that this is a natural healthy product, when in fact it’s filled with additives and poisons, and this is what’s making people feel bad,” says Todd White of the lab-tested, all-natural and health-quantified wine marketplace Dry Farmed Wines, in an informative recent interview on the podcast Healthy Moms.  

Of the long list of additives approved by the FDA for use in winemaking, more than half are classified as GRAS (Generally Regarded As Safe), which means there is no governmental oversight for their use. The additives range from sugar and sulfites to a more questionable territory that includes defoaming agents, ammonia phosphates, heavy metals like copper, the coloring agent MegaPurple (for which commercial wine’s purple-teeth side effect are a dead giveaway), and the powerful toxin dimethyl dicarbonate, marketed as Velcorin, a microbial control agent that is widely used as a food additive. Rats who consumed wine treated with dimethyl dicarbonate for 30 days showed no obvious signs of toxicity, and “slight but randomly distributed” differences in organ weights, according to the National Institute of Health. But the science behind wine additives and human health is scarce. For this reason, Bell doesn’t take a stance on additives and health, though she steers away from them all the same.

“I don’t know if it’s bad memories of inhaling Tang as a kid, but I have a resistance to adding powder to liquids I’m going to consume. None of these are necessarily bad, but they exist, and consumers should know they exist if they are in the products they’re buying,” says Bell of the industry’s number of approved powdered additives, like tartaric acid and genetically modified commercial yeast.

Animal products, including dairy products, are also approved for use—effective in removing undesirable flavors—and along with fish bladders, are often used in “fining,” a clarification process that binds and removes particles. Along with a long list of major food allergens, like shellfish and tree nuts, these animal products fall under the TTB’s “voluntary” wine labeling standards.

My main reason for not fining or filtering my wine is that I do not care if the wine is clear. Is this wine blasphemy? Maybe. But I have never sipped a wine and thought, ‘Mmm, it’s so clear,’” says Bell, whose labels specify that “sediment is expected from wines made with minimal intervention.” She, of course, does not add any of the approved color agents, either. “Are they bad? I don’t know. Is it weird? I think yeah,” says Bell. “If we’re drinking beer and people had dyed it to be more yellow, it would just be worth knowing. But I feel like people aren’t obsessed with color in beer the way they are in wine.”

It’s a matter of education and reframing the consumer perception and demand, she says, recommending that people simply read some Wikipedia before wine tasting. “You really just need to learn what tannin is and what acidity is; then you’ll have a lot to talk about besides color and clarity. I think we’re heading toward a time when less wine consumers will be concerned with clarity. I hope I’m part of that push.”

While mass-produced commercial wine commonly found on the bottom shelf of grocery stores is much more likely to contain questionable additives, high sugar, and high alcohol—the perfect recipe for headaches, poor sleep and a wicked hangover, not to mention other unknown health consequences—as long as labels lack transparency, consumers lack certainty. Wine shops (ask the owners), the online natural wine marketplace Dry Farm Wines, and of course, marginswine.com, are all good sources for low-intervention and natural wines.

“The thing about natural winemaking is that we aren’t necessarily trying to make what winemakers would traditionally call ‘the best wine possible.’ It’s a different frame of mind,” says Bell. “We’re trying to make a statement, and we’re trying to start this new tradition and not follow all of the established rules. We want to make wine out of just grapes and nothing else. For us, that is the best wine possible.”

For more information and to get first access to Margins Wine’s upcoming releases, sign up for the mailing list at marginswine.com.

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