Music Picks June 13-19

Live music highlights for the week of June 13, 2018.

 

WEDNESDAY 6/13

ALT-COUNTRY

MARGO CILKER

Margo Cilker makes “cowgirl music from San Francisco.” What’s the distinction here? Maybe it’s the fact that she opens her newest EP, California Dogwood, with a line about a “lonely painter” renting a “cold room” on the coast. Otherwise, this is stark southern acoustic-style music that you’d expect attached to the word country (or at least “real” country as some roots enthusiasts have come to refer to it as). Cilker brings an intense, deeply sad emotionality to her music that brings to mind some of the darker Lucinda Williams material. AC

INFO: 8 p.m. Crepe Place, 1134 Soquel Ave., Santa Cruz. $10 ($7 with cowboy boots). 429-6994.

 

THURSDAY 6/14

FOLK

PAT HULL

Melodic, light and dreamy, Pat Hull’s music has everything in it to put a smile on your face. Based out of Chico, Hull writes songs that are reminiscent of Neil Young, Bonnie Prince Billy and M. Ward. He is currently touring on his upcoming album, Denmark Sessions, named after the studio in Portland where it was recorded, which drops on June 28. Hull will be joined on stage with the alt-country sounds of Dan Too and the return of Santa Cruz string band, MAJK. MAT WEIR

INFO: 7:30 p.m. Flynn’s Cabaret, 6275 Hwy. 9, Felton. $15. 335-2800.

 

FRIDAY 6/15

SOUL

ROYAL JELLY JIVE

On a mission to “spread the jelly,” San Francisco soul outfit Royal Jelly Jive calls to mind the jazz clubs of old, with dimmed lights, smoke-filled air, and swinging music deep into the early hours. Blending funk, soul, horns and infectious grooves, the band, led by frontwoman Lauren Bjelde, throws it back to the old school in all the right ways. Over four years, two albums, and countless live shows, Royal Jelly Jive has established itself as a Bay Area favorite. CJ

INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $10/adv, $15/door. 479-1854.

 

FRIDAY 6/15

FOLK

KINGSTON TRIO

In the late ’50s and early ’60s, folk revival group the Kingston Trio was a huge pop hitmaker. The group played two acoustic guitars, a banjo, insanely catchy hooks and a near-constant wall of vocal harmonies to not only climb the charts, but to help kick off the folk revival that came to epitomize the ’60s counter-culture. The trio themselves, with their matching striped shirts and harmless storytelling lyrics weren’t exactly counter-culture icons, though without blazing a trail to the charts, groups like Peter Paul and Mary and Dylan may not have reached the number of ears that they did. AC

INFO: 9 p.m. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $30. 423-8209.

 

FRIDAY 6/15

AMERICANA

ERIC MORRISON

Hailing from Santa Cruz, Eric Morrison & the Mysteries play a hybrid of West Coast soul, rock, Americana and jam. The band’s debut album, No Wolves, is described as a “10-track gem” led by the hit singles “Bad Girl” and “Big Stacks of Money.” This Friday, Morrison and company are joined by rock/fusion outfit Magic In The Other, comprising Ezra Lipp (Phil Lesh & Friends, Sean Hayes) Steve Adams (ALO, Nicki Bluhm & The Gramblers) and Roger Riedlbauer (Jolie Holland, Mercury Falls). CJ

INFO: 8 p.m. Michael’s on Main, 2591 Main St., Soquel. $10. 479-9777.

 

SATURDAY 6/16

ROCK

BUCKETHEAD

Bust out the fried chicken and get ready for a mind melting experience of the musical kind, because Buckethead returns to the Catalyst. The anonymous guitar noodler has more than 291 albums and has worked with a plethora of musicians from Les Claypool to Axl Rose. Whether with a band or just backed by a track, the virtuoso shreds through a wide range of musical tastes influenced by funk blues, electronic and even Michael Jackson. MW

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $25/adv, $30/door. 429-4135.

 

SATURDAY 6/16

REGGAE

MIGHTY DIAMONDS

Jamaica is kind of amazing in how many talented singers the country has produced. This is especially true of the late ’60s and ’70s as reggae took hold of the tiny island. We’ve lost a lot of legends over the years, so we are quite fortunate when some old school powerhouse vocalists roll through town. On Saturday, that group is the Mighty Diamonds, a vocal trio that formed in 1969. Not only that, but the group is still touring with all of its original members. They were known for several hits, including “Pass The Kouchie” which was covered (and sanitized) by Musical Youth in the ’80s as “Pass the Dutchie.” AC

INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $25/adv, $30/door. 479-1854.

 

MONDAY 6/18

JAZZ

THUMBSCREW

The band’s name might conjure a fearsome image, but Thumbscrew makes inviting music full of wonder and discovery. A super-trio of improvisational masters, the collective ensemble features award-winning guitarist Mary Halvorson and drummer Tomas Fujiwara, who can often be found working together in an array of arresting settings, and Pacifica-raised bassist Michael Formanek, a creative catalyst on jazz’s adventurous frontiers for more than three decades. With two new CDs on Cuneiform focusing on originals, Ours, and music from outside the trio, Theirs, Thumbscrew can turn just about any piece into a revelatory excursion. ANDREW GILBERT

INFO: 7 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $26.25 adv/ $31.50 door. 427-2227.

 

TUESDAY 6/19

PSYCH-ROCK

STEVE KIMOCK

Guitarist and songwriter Steve Kimock is a legend of the Bay Area psych-rock scene. Hailing from Pennsylvania, Kimock headed west in the mid-1970s to join the Goodman Brothers, a folk-rock group in San Francisco. From there, he was woven into the area’s inimitable music history, collaborating with members of Quicksilver Messenger Service, the Grateful Dead and more. Kimock remains a boundary-pushing musician fusing Eastern sounds with American roots music and psychedelia. As Frets magazine writes, “Kimock’s acoustic aesthetic comes entirely from another place.” CJ
INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $25/adv, $30/door. 423-1338.


IN THE QUEUE

T.V. MIKE & THE SCARECROWS

Cosmic twang stomp. Wednesday at Flynn’s Cabaret

BLUE WATER HIGHWAY

Roots band from the Texas Gulf Coast. Thursday at Crepe Place

LOW SPARK OF HIGH HEELED BOYS

Tribute to Traffic and Steve Winwood. Thursday at Michael’s on Main

STARS BAND

Canadian indie pop/rock outfit. Sunday at Catalyst

BOOSTIVE

Santa Cruz-based hip-hop/electronica. Tuesday at Moe’s Alley

Giveaway: Eric Revis Quartet

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Jazz bassist and composer Eric Revis is widely regarded as one of the most accomplished musicians of his generation and an important voice in the genre. Possessing a sound that legendary saxophonist, composer and bandleader Branford Marsalis described as “the sound of doom; big, thick, percussive,” Revis has captured the attention of the jazz world. On June 25, Revis and his quartet, comprising saxophonist Ken Vandermark, pianist Kris Davis and drummer Chad Taylor, hit the Kuumbwa. 


INFO: 7 p.m. Monday, June 25. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $26.25/adv, $31.50/door. 427-2227. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Monday, June 18 to find out how you could win a pair of tickets to the show.

Love Your Local Band: Bobcat Rob and The Nightly Owl

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Back in 2013, while living in Lee Vining, musician Bobcat Rob fulfilled a lifelong dream: Recording a solo album. He’d been a musician for years. Originally from New Jersey, he moved out to California and moved around from place to place. He’d had bands, and even released some records, but this one was different.

“It’s something I wanted to do, I had full control over it and I could do whatever I wanted. I took my time with it,” Rob says. “I love writing with a band and I love playing with a band. But that’s just something I wanted to do before I moved back to the full band aspect.”

That solo record, which is a mostly acoustic, gritty Americana-inspired record, led to plenty of solo gigs, and eventually a love for the city of Santa Cruz, where he relocated to roughly four years ago.

In Santa Cruz, he had a band for a while called Abalone Grey, which, as of last summer, is on an indefinite hiatus. With no band again, Rob has had the time and focus to work on his follow-up record, A Different Horse, which will be released this summer.

“I was accumulating a lot of the songs that are on this new album. They were written while I was in or right after I was in that band,” Rob says.

This new record is a different horse. It’s got a full band sound, a lot of energy, and unlike the first record, all the instruments are not played exclusively by him. The country and Americana roots influences are still intact, but now the music is much more urgent and busting at the seams with immediacy and emotion. As of late he’s been consistently playing with a backing band, The Nightly Howl.

“The material has grown from where I was at five years ago,” Rob says. “It’s a big jump from what I’ve done before.”


INFO: 9 p.m. Saturday, June 16. Crepe Place, 1134 Soquel Ave., Santa Cruz. $10. 429-6994.

Bottle Jack Cellars’ Fiercest Bottles

It’s not every day that a wine scores top-of-the-line awards—100 points at the California State Fair and a double gold medal. This is Bottle Jack Cellars’ fabulous Syrah-Grenache 2014, a luscious blend of 89.4 percent Syrah and 10.6 percent Grenache. Kudos go to owner and winemaker John Ritchey for this outstanding elixir awash with blackberry, red cherry, white pepper, cedar, and dark chocolate.

We headed to Bottle Jack’s tasting room on the edge of Santa Cruz—up a bucolic winding road surrounded by redwoods. Word has spread about Ritchey’s wonderful wines, and the tasting room was busy on a Sunday afternoon. I was impressed with every wine Ritchey poured for us, but I fell madly in love with the Syrah-Grenache ($35). Grapes for this wine were harvested in the Santa Cruz Mountains and aged in oak barrels for 30 months, resulting in what Ritchey calls “a fierce and unique wine from this region.” Ritchey and his wife Katharine are a team in the business and are truly dedicated to making superb wines.

The good news is that Ritchey is now sharing space in Silver Mountain Vineyards’ tasting room in the Swift Street Courtyard complex in Santa Cruz—open every weekend. Check the website for opening times of both locations.

Some Bottle Jack wines are available at Cantine Winepub in Aptos Village. Try Bottle Jack’s beautiful Viognier paired with Arugula Salad ($9) and Cantine’s fingerling potatoes with chimichurri ($8)—a tasty trio of food and wine.  

Bottle Jack Cellars, 1088 La Madrona Drive, Santa Cruz, 227-2288. bottlejackwines.com.

Wrights Station Celebrates Father’s Day

Celebrate Father’s Day on Sunday, June 17 at Wrights Station Vineyards with live music by local musician Asher and tasty bivalves by Bill the Oysterman. Open 11 a.m. to 5 p.m.

Wrights Station Vineyard & Winery, 24250 Loma Prieta Ave., Los Gatos, 408-560-9343. wrightsstation.com.

 

Forks. Corks. Action!

 

The Hyatt Carmel Highlands is celebrating its 101st anniversary with a series of “Forks. Corks. Action!” winemaker dinners. The next one is Thursday, June 21. It’s a four-course dinner paired with ZD Wines. Cost is $130 per person inclusive, and reservations are required. For more information visit highlandsinn.hyatt.com.

What Anthony Bourdain Taught Us About Ourselves

On my darker days, I feel I live in an America bleached by corporate ambition and greed. The state of the rivers, oceans and forests is a barometer of our political times, our lifestyle. But when we blow the dust off that ’60s rally cry, “the personal is political,” we see what they meant: humans, too, are barometers.

The deterioration of culture and real connection—of taste, ambiance, sharing meals and honoring the food at the center of it all, resourcefulness, good music at the right volume, lemon zest, good sex—has been gnawing at me for months, and more subtly casting shadows for years.

Two weeks ago, amid a perfect storm of fraught sleep, hormones and the aforementioned social byproducts of a consumption-driven society—the corporate model of which thrives best on the exploitation of workers here and abroad—I self-medicated with the Tangiers and Congo episodes of early Parts Unknown, CNN’s travelogue show hosted by Anthony Bourdain. On that particular night, it worked. I felt reassured, inspired. Because Moroccan tajine! Because cafe culture still exists, though one may have to cross borders and entire oceans to slip into its chairs.

And so it goes. I cannot recall a celebrity death, nor its incomputable circumstances, that has shaken me harder than the loss of Anthony Bourdain last week. Bourdain’s work followed those remaining threads of real connection and culture and held them up for the world to see and taste. In so doing, he was a protector.

Rising from the underbelly of New York City kitchen culture, Bourdain’s No Reservations and Parts Unknown narrated a quest for the cultural glue at the center of it all: food. Not the protein bars and yogurt thrown into a work bag, the Trader Joe’s salad eaten at a desk. Cue his unmistakable voice: the “local stew, the humble taqueria’s mystery meat and the sincerely offered gift of a lightly grilled fish head.” It was a quest for that which does not merely sustain us physically, but pulls humans into a shared experience of tradition and love—eyeballs and all.

But Bourdain also broadcast to the mainstream in full color the world’s harsher realities, like low fish counts in rivers and ingeniously sourced meals cobbled together in areas of extreme poverty. One of the most well-traveled and well-fed humans to ever live, Bourdain was a self-made anomaly who shook his head in disbelief at his own luck. He seemed to have everything a man could want beyond his wildest dreams. The devastation of suicide’s premature credit roll comes with a thousand unanswered questions. Speculation is tortuous, its solace flimsy.

The media’s mishandling of Kate Spade’s suicide just days before Bourdain’s prompted outreach by the American Association of Suicidology and the American Foundation for Suicide Prevention to larger media houses, and a notable shift in how it addresses a growing elephant in America’s living room: Over the past two decades, tinged by an epidemic of prescription opioid addiction, mental illness has become the second most common cause of disability in the U.S., but its relationship to the economy is the inverse of its funding. Across age and ethnicity, suicide has risen by 30 percent since 1999 in half of the nation’s states, according to the Centers for Disease Control and Prevention. The number of Americans taking antidepressants for five years—15.5 million—has tripled since 2000. Many of these pharmaceuticals list suicide as their side effect, a fact Bourdain mentions in a 2011 interview with Marc Maron, in reference to his then-use of the drug Chantix to quit smoking. 

Following Bourdain and Spade’s deaths, social media channels brimmed with heartbreak. But a new trend also emerged, as many admitted their own struggles with depression and suicidal ideation. As with those courageous figures of the #MeToo movement, says Alejandra Vargas, program coordinator at our local Suicide Prevention Services, those who brave potential ridicule to come forward are also “showing [those struggling] that ‘your loved ones, or people maybe you look up to, have also gone through this and survived and thrived.’ It normalizes. It helps us recognize that we’re not completely alone.”

We can’t bring back the beloved renegade chef or the loved ones we’ve lost to suicide, but the humanity we’ve seen thus far appears to be melting a long held stigma. And it’s inviting individual mental health and society’s overall health to finally sit down next to each other around the same table, because the stew is almost ready.


Local 24-hour crisis line: 1-877-ONE-LIFE. Staffed by a team of professionally trained volunteers, many of whom have life experience with suicidal ideation, on-hand to take calls 24/7. If you’re struggling with suicidal thoughts, or on the waitlist to see a therapist, or cannot afford to see a therapist and need someone to talk to, they await your call with compassion and equanimity. Servicing Santa Cruz, San Benito and Monterey counties. For more information visit suicidepreventionservice.org.  

 

Film Review: On Chesil Beach

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Back in 1966, there was a low-key British movie called The Family Way, about young newlyweds too wracked with nerves, their families’ expectations, and their own inexperience to properly consummate their marriage. The situation was played for gentle, poignant humor, as the days wore on, and the already embarrassed young couple had to cope with well-meaning interference from both families attempting to cheerlead them on and offer advice. The film gained attention at the time for launching star Hayley Mills out of her Disney/Pollyanna box and into her first grown-up role.

It seems like there are going to be faint echoes of The Family Way—without the humor—in the domestic drama, On Chesil Beach. Scripted by Ian McEwan, from his own novel, and directed by Dominic Cooke, it’s the story of a young couple navigating the first few hours of married life at a seaside hotel on the evening of their wedding day. But in this case, the fateful wedding night doesn’t just launch the story; it is the story.

Yes, its aftermath plays out into the future in a couple of brief, clumsy time-shifts at the very end of the movie. And their early relationship as the couple falls in love is told in flashbacks throughout the day in that hotel room. But sloppy, inconsistent storytelling keeps us from getting caught up in the tale’s emotional core, and the audience, too, leaves unsatisfied.

The story is set in 1962, just before the ’60s began to swing. Florence (Saoirse Ronan) and Edward (Billy Howle) arrive at a nice hotel on the Dorset coast to begin their honeymoon. It’s late afternoon, and after a walk on the beach, their nervous attempts to become more intimate are interrupted, first by a pair of buffoony comic waiters, but mostly by a series of flashbacks to their courtship.

She’s the daughter of wealthy, snobby society parents, who plays violin with a string quartet she founded at Oxford. He’s a working-class scholar who earned a First in History, also at Oxford, and maintains his good cheer, despite his addled Mum (Anne-Marie Duff). But his mum and family adore Florence (her winning them over provides some of the movie’s best scenes), and the couple have come to the altar with their future together looking bright.

But it turns out there’s a skeleton in the closet of Florence’s past, making their wedding night extra fraught. Matters aren’t made any easier by the fact that they are both virgins. McEwan’s point seems to be that, in a repressed era when sex is simply not discussed, demons remain unexorcised, and consequences can be severe, reaching out their menacing tentacles to affect lives far into the future.

But McEwan and Cooke can’t get a grip on their narrative. Most of the story proceeds from Edward’s viewpoint, so it often seems like he’s being victimized by Florence’s mystifying behavior. Then, a pivotal decision he makes half an hour before the movie’s end alters that scenario—but it’s withheld from the audience until literally the last few frames of the film.

Maybe the story played better on the page, where the author had the luxury of time and space to grow his character motivations. On the other hand, I loved the movie Atonement, also based on a McEwan novel, and also depicting the ways that sexual fear and loathing might poison present and future lives. But that movie deployed a trenchant coda that crystallized the story’s themes with a wallop.

No such coherent wrap-up occurs here. The story elements all seem to be in place, but the filmmakers never manage to turn the dross of pervasive melancholy into the gold of transcendent meaning.

 

ON CHESIL BEACH

** (out of four)

With Saoirse Ronan, Billy Howle, and Anne-Marie Duff. Written by Ian McEwan. Directed by Dominic Cooke. A Bleecker Street release. Rated R. 110 minutes.

 

The Vision for for a Revamped Civic Auditorium

To Ellen Primack, executive director of the Cabrillo Festival of Contemporary Music, Santa Cruz Civic Auditorium renovations represent a long overdue dream. A crowd of around 20 gathered at the auditorium steps on June 7 to express support for the renovations, pointing to its lack of handicap accommodations and air conditioning, and its generally outdated and under-utilized state. It was, after all, built in 1939.

“From a Cabrillo Festival standpoint, the facility is not serving our elders,” Primack says. “The seating is becoming a deterrent to cultural participation, and we are not the only ones. People will make choices; they choose between beautiful facilities over the hill and coming here, so we want to make sure that we have that point to bring them here.”

In the last nearly 80 years, the Civic Auditorium has hosted the Miss California Pageant and countless Santa Cruz Follies shows and high school graduations. It’s also home to the annual Martin Luther King Convocation, and, over the years, it’s brought in Bob Dylan, the Dalai Lama, Elie Wiesel, and the Pixies, among many others. The hall was primarily built for sports, as evidenced by the court-facing seating and gymnasium flooring.

But with the construction of the temporary Kaiser Permanente Arena, those sports events have, for the most part, found a newer home. Though the auditorium draws more than 85,000 people annually, it lacks the allure and functionality to compete with other venues, and it can be a difficult selling point for Santa Cruz, particularly when trying to attract bigger-name speakers and performers.

“This building is intended to present the best of Santa Cruz’s past, present and future. Today we are lucky to have the highest quality performances right here, but the facility is letting down the performers and guests,” says Santa Cruz Mayor David Terrazas. “The Civic is not living up to its potential currently, we need to do more to ensure the safety of visitors and performers and we have a ways to go to catch up to today’s standards for comfort and amenities.”

A new group, Friends of the Civic Auditorium, has formed to support the renovations. Their goal is to raise awareness and funding.

Since the foundation of the auditorium is structurally sound, Primack says the renovations will focus primarily on modernization. The Civic Leadership Team first formed in 2012, and eventually partnered with ELS Architecture and Urban Design. Together they came up with a plan that includes retractable seating for around 1,700 audience members (which is actually a downsize from the current 2,000-seat capacity), an open rooftop balcony, elevators and second-floor entrances. They’re also looking to update the lighting and technical equipment, while expanding the lobby and concessions bar. The David and Lucile Packard Foundation sponsored the surveys and business planning studies, as well as the current outreach efforts. Although Arts Council Santa Cruz County is the group’s current fiscal sponsor, no one has yet to contribute any funding to the renovations. The group is looking to raise an additional $20 million to implement the proposed renovations.

“The biggest obstacles are resources, because this is becoming a much more immediate and urgent need,” Primack says. “We need to educate the public about the immediacy of it in the context of all of the other major needs of our community.”

Looking ahead, the group imagines paying the bill will require both private investment and public funding, including grant applications. They are hoping to start a movement, and potentially have a ballot measure put forth by the city of Santa Cruz, though Primack says they aren’t sure about the specifics. Santa Cruz’s quarter-cent sales tax just passed earlier this month to preserve existing programs, but in recent years, city leaders have floated the idea of a future ballot measure to fund the Civic and other projects, including the Santa Cruz Municipal Wharf and a possible new basketball arena for the Santa Cruz Warriors.

Right now, though, it’s the auditorium that’s in the spotlight.

“It really starts with public education, outreach and advocacy,” Primack says. “Ideally this vision is broadcast to anyone who steps in the building.”

For more information, visit friendsofthecivic.org.

County’s Health Services Agency Under Fire

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Michael Fitzgerald was homeless for four years in the late 1970s and into the early ’80s in Santa Cruz, while struggling with mental health challenges.

 

After recovering, he entered the mental health care industry, and he now serves as technical advisor for the National Alliance on Mental Illness of Santa Cruz County (NAMI). He says county government leaders need to do a better job of handling mental health crises.

 

“Looking at other counties, we could learn from some of their approaches. Santa Cruz is, unfortunately, an outlier,” Fitzgerald says.

 

He isn’t the only one with concerns.

 

Santa Cruz Mayor David Terrazas says that mental health struggles of people on the streets have created “the number one issue” facing downtown. Folks in need of psychological support, he says, can create a visible—and often noisy—impact. Since Terrazas’ term began late last year, he has repeatedly pushed for more collaboration on mental health issues, starting with his Dec. 20 column in the Santa Cruz Sentinel titled “We Can’t Do It Alone.”

 

“A well-run and effective mental health services response in our region is something in all of our interests,” Terrazas tells GT, “and especially for the city of Santa Cruz.”

 

The county’s Health Services Agency—particularly the portions dealing with mental health—have been taking heat from multiple sides lately.

 

Homeless advocates Sibley Simon and John Deitz say the agency can be an inadequate partner, one that does a poor job managing the intersection of homelessness and various kinds of illness. A Santa Cruz County Grand Jury report, released in May, called for county behavioral health professionals to accompany law enforcement on more calls. A few weeks prior to that, Santa Cruz’s Greg Larson, former town manager for Los Gatos, filed an online petition that gained 2,668 signatures calling for increased transparency with mental health funding, after local woman Sarah Shinsky was attacked near the clock tower by a mentally ill man. The petition accused the county of sitting on $15 million in tax revenues. Essentially, he says he wanted to call for more accountability on how the HSA, the county’s largest department, spends its mental health money.

 

County officials pushed back on the details, and Larson quickly modified the petition’s wording.

 

“Our unspent funds are less than $3 million,” says Pam Rogers-Wyman, the HSA’s adult services director. “That’s been really a misnomer that we’re sitting on millions of dollars. I think we’ve tried to correct it several times.”

 

State law, she adds, requires the agency to keep a certain amount of funding in its reserves.

 

Other local activists, from both the left and the right—including the public safety group Take Back Santa Cruz—have lined up with criticisms of their own. And a NAMI report  from this past fall identified key areas where the HSA needs to improve, calling for better oversight of the contracted mental health care provider Telecare. The report noted that the number of beds available for people experiencing a mental health crisis is critically low in Santa Cruz County. It showed that the discrepancy impacts everything from emergency room treatment times to an increased presence of people on the street who would normally be hospitalized.

 

In a California State Auditor’s report, Santa Cruz County was one of 12 mental health agencies statewide that did not submit their fiscal year report by the December 2017 deadline. The agency was one of six that didn’t submit reports for either of the past two years.

 

“We’re behind, and we do expect to file those reports quickly,” says county spokesperson Jason Hoppin, who says the problem stemmed from a software switchover. “It was internal. It doesn’t excuse us.”

 

At the end of May, Health Services Agency Director Giang Nguyen left her post at the county, but officials said they couldn’t discuss the reasons for her departure.

 

Rogers-Wyman says the biggest problems Santa Cruz County faces are not unique to this area.

 

“I think it feels for every community from San Diego to Crescent City, anyone along the coast, that we’re dealing with an issue around lack of low-income housing, poverty, and behavioral health system that is not adequately funded for the need. We spend every penny we get, and we leverage it as far as we can, but it’s not that much money,” she says.

 

NO SURE BED

Santa Cruz County has less than a fourth of the number of inpatient offerings recommended by Treatment Advocacy Center, which advocates for 50 beds per 100,000 residents. With a total of 16 beds, Santa Cruz County has only six beds per 100,000 residents. That is half of California’s average, as noted in the NAMI report. That report was dedicated in part to the memory of Sean Arlt, who was shot and killed by Santa Cruz Police officers shortly after he was released from a brief stay at the Behavioral Health Center without stabilizing from a psychotic episode.

 

Progressive activist Denise Elerick feels that local hospitals aren’t doing their share when it comes to mental health, either, further compounding problems at the HSA. She’s also frustrated with a local perception that mental health issues pose a serious safety hazard to the entire community.

 

Rogers-Wyman says she and her colleagues are aware of the inpatient issue and are working toward a solution.

 

“We are not necessarily looking at additional inpatient beds within the county. We are working on a contract with an inpatient unit over the hill as an overflow, but we are working with Telecare on developing more of a continuum where we can best utilize our inpatient beds,” she says, noting that Encompass is also a crisis residential facility geared toward patients who no longer need a locked-down setting. “That is a continuous discussion.”

 

SEEKING COVERAGE

Affordable housing entrepreneur Sibley Simon says that when someone’s homeless, it’s impossible to solve their mental health difficulties without also addressing their need for housing.

 

“You can spend all these resources in the hospital, on medication, and it does not help at all for many different major medical issues,” Simon says. “People die when they’re homeless of things that wouldn’t kill anyone else.”

 

Around the county, nonprofits on the front lines of this issue are increasingly using the Homeless Management Information System (HMIS) to make sure everyone is on the same page when it comes to tracking the county’s neediest people. Simon lauds the Homeless Persons Health Project, a county HSA program, for using HMIS and for its work with people living on the streets, more generally. But he notes that the rest of the Health Services Agency doesn’t use the system.

 

He compares the situation to a doctor who isn’t interested in looking at a patient’s medical records or sharing information with other doctors.

“It’s the equivalent, in case management, of medical records,” he says. “It’s information about what programs they’ve been a part of, what challenges they’ve had, how long have they been homeless here, what ailments and characteristics have been diagnosed, what services they’re getting from other partners, comments on what’s been effective, what hasn’t, their history.”

 

John Dietz, one of the founders of the 180/2020 program to end chronic homelessness, says he’s seen a high percentage of people return to homelessness, often after receiving one year of services through the county. And the county, he feels, does a poor job of following up with people. The needs of a recently housed person often develop into a mental health crisis that spirals until they get evicted.

 

“The problem they’re having is loneliness,” he says. “The client doesn’t have anyone to talk to. No one is checking in on them. They’re falling back on bad habits.”

 

Hoppin says the county officials know there are some holes in the safety net, and they’re working to patch them with new solutions like Whole Person Care, the new tech-driven program aimed at aiding the neediest county residents.

 

“While we have services available for people in crisis and those who suffer from severe mental illness, it’s true that more can be done for mild and moderate cases,” he says. “We expect to develop these services once Whole Person Care is fully operational, and we also now have follow-up care available for those being treated for substance-use disorder through the recent expansion of those services under Medi-Cal, which the county is helping to fund.”

 

City Councilmember Cynthia Chase says that while she understands many of the critiques lobbed at county health, she has seen that frustration can go too far at times.

 

Chase, who also works as the inmate program manager at the Santa Cruz County Sheriff’s Office, says the community needs to remember that the county is a partner and not an enemy—especially if it wants to get positive results. “You can go down a rabbit hole of misinformation, and end up creating adversaries where we should be creating partnerships,” she says.

 

REASON FOR HOPE

While it is uncommon to see one county agency garner so much criticism from so many different camps, that doesn’t mean there’s consensus on everything that should be done better.

 

For their part, public safety activists from Take Back Santa Cruz (TBSC) feel that the HSA could be more proactive about referring addicts to treatment options and improving the Santa Cruz County Syringe Services Program, commonly known as the needle exchange.

 

The program is designed to stop the spread of disease among intravenous drug users. David Giannini, a member of TBSC’s executive committee, suggests the program try doing a one-for-one exchange—so that a user may only receive one syringe for every dirty one they bring in—or some other mechanism to incentivize users to bring back each syringe, instead of littering them about.

 

“If you could find some way to make used syringes valuable,” says Giannini, whose 18 years sober from addictions of his own, “then my brothers and sisters who are still out there using, would gather them up and find them a way to give them back.”

 

Other activists, including Elerick, have long held that stricter exchanges will do a poorer job of reducing the spread of disease and may do nothing to curb littering. She notes that many homeless people often have their belongings—including clean syringes—stolen or sometimes swept up in camp clean-ups. She says more syringe disposal sites would be a more rational solution.

 

In general, Fitzgerald says the most important step for the HSA to take is to start a dialogue and better involve the community.

 

He compares the Santa Cruz region to San Luis Obispo County, a similarly sized coastal community that also grapples with homelessness. “According to their MHSA plan, they have a very robust engagement with their community compared with Santa Cruz, where there was virtually none. It’s an opportunity for us to improve,” says, Fitzgerald, who’s also executive director of behavioral health services at El Camino Hospital in Mountain View. “The mental health director needs to lead this, but the community must accept the challenge and become engaged.”

 

Faith leaders and business owners are beginning to step up.

 

Father Milutin Janjic, of the Prophet Elias Church, says his congregants asked him to call a meeting with Mayor Terrazas, Police Chief Andy Mills, and county health leaders for members of the church to learn about services available for mental health.

 

At the meeting, Rogers-Wyman shared information about the new program HOPES, which allows community members to make referrals for mental health through the website santacruzhealth.org/hopesteam. She made a similar presentation at the Downtown Association meeting a few days later.

 

Since its unpublicized launch in mid-March, the county has received 90 referrals, and Rogers-Wyman says the county is actively managing about 30 of those individuals, 10 of which they’ve gotten off the street and into residential treatment for either substance disorder or mental health.

 

Janjic says his church, which is located across the street from the library and Santa Cruz City Hall, has outreach programs to help people in need, including the homeless.

 

“We’ve developed some kind of relationship with them, and then we see how desperate they are for help, especially those with mental health issues,” he says. “We would like to see how we, as a part of the Santa Cruz community, could help, but we would also like to see what the city, county and state, are doing to help those people.”

Preview: Joel Selvin to Appear at Bookshop Santa Cruz with New Book about the Grateful Dead

Let’s be clear—Joel Selvin’s new book is not about the Grateful Dead.

Technically, it’s about the ruins of the Grateful Dead. It’s about what happened when Jerry Garcia, the band’s lodestar and spiritual leader, died. It’s about the vacuum that Garcia’s death left behind, and the collateral damage that followed.

Rock bands dealing with (or not dealing with) the death of their members is an old and tired story. But the Grateful Dead wasn’t just a rock band. It was an industry, a mission, a society, a stand-alone entertainment empire. And Garcia was no ordinary rock guitarist. He was the embodiment of the hippie principle that gave the band its mystique.

Selvin, the veteran music journalist for the San Francisco Chronicle, will come to Bookshop Santa Cruz on June 21 to talk about Fare Thee Well: The Final Chapter of the Grateful Dead’s Long Strange Trip (Da capo). From his perch at the Chronicle, Selvin has been covering the Dead for decades and he was perfectly positioned to watch how the band dealt with the death of its icon.

Garcia died in his sleep in August 1995 at the age of 53. Despite a series of well-publicized health issues due partly to addiction and bad habits, nobody was anticipating Garcia’s demise, says Selvin.

“They had no contingencies in place whatsoever,” he says. “They had never contemplated life without Jerry. He had almost died, had been in a coma, had been in a long, slow recovery and never returned to healthy living, but continued on in these bad habits. But those guys were stunned. They just couldn’t believe it.”

Today, three of the four surviving members of the Dead—guitarist Bob Weir, drummer Bill Kreutzmann and percussionist Mickey Hart—are in the midst of a big summer tour as Dead & Company, which also includes guitarist John Mayer. (Dead & Company comes to Shoreline Amphitheatre July 2 and 3). Also, bassist Phil Lesh has performed in a duo with Weir as recently as last March.

Since Garcia’s death, there have been a number of spin-off bands featuring one or more of the surviving members that sought to fill the Jerry-sized void: RatDog, The Other Ones, Phil Lesh & Friends, Further, The Dead. All four members came together for a hugely lucrative 50th anniversary tour in 2015. But these reunions and collaborations paper over a fraught history, says Selvin. It has taken more than 20 years for the living Dead to find its equilibrium again.

“The first thing they could manage to do—and it took four months to get around to doing that—was to put out a press release saying that they’ll never perform as the Grateful Dead again,” says Selvin of those first weeks post-Jerry. “It just didn’t make any sense. It destroyed a perfectly good asset for these guys. Frankly, it was the same kind of instinctual foot-shooting that the band has specialized in since the very beginning. But it was a product of this immense grief, and that’s what this book to me is about: These guys fell into this incredible pit of grief and their world was so turned over by it that they each had to find out who they were and what the Grateful Dead was to them, and who they were to each other.”

Of the four remaining members of the band, Hart and Weir participated in a series of interviews. Kreutzmann contemplated sitting for an interview, but ultimately decided against it, deciding to “take the high road.” Only Lesh did not respond to Selvin’s requests.

The book also chronicles the Dead’s uniquely communal and democratic way of doing business and managing a multi-million-dollar empire, and how that method crumbled after Garcia’s death. “For the longest time, throughout the entire history of the Grateful Dead, all votes were unanimous,” says Selvin. “One no vote could stop something from going through.” What’s more, the Dead practiced an effective code of silence to outsiders when it came to their relations with each other. That façade cracked after Garcia’s death. Surviving members began writing letters to each other for public consumption. A prominent lawsuit involving Garcia’s estate aired even more dirty laundry. Something—some ineffable Grateful Dead magic—had broken.

Selvin’s story eventually reflects back on Garcia and the way he held the band together by the sheer power of his personality. “Jerry was remarkable, in so many ways. His leadership style in that band was entirely passive,” says Selvin. “And he arranged the situation so that everyone else looked to him for his approval. Each one of those four guys thought Jerry Garcia was their best friend. They had no sense of each other, anything like that. What was it like? Think of spokes and a hub. That’s what it was like.”


Joel Selvin, author of ‘Fare Thee Well: The Final Chapter of the Grateful Dead’s Long Strange Trip’ will be at Bookshop Santa Cruz at 7 p.m. on Thursday, June 21. 1520 Pacific Ave., Santa Cruz. Free. bookshopsantacruz.com.

Preview: Barna Howard to Play at Flynn’s Cabaret

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There’s a dive bar across the street from where singer-songwriter Barna Howard lives in Portland, Oregon. He was sitting there one day when he saw a man who he was acquainted with looking distraught, so much that he seemed like he needed to cry, but wouldn’t let himself do it.

“I looked at him and then I thought, ‘Man just let it go.’ He was holding it in,” Howard says. “I wrote a song called ‘Corner of Your Eye’ about that guy. It’s a song about men not wanting to cry in public.”

This is one tune of many that people will hear on Howard’s as-of-yet-unreleased third album, which he hopes to record this fall. It’s a pretty big shift for the singer-songwriter, whose first two records were very much focused intimately on himself: Barna Howard (2012) and Quite a Feelin’ (2015).

Both of those records evoke the sound, aesthetic and even the texture of ’70s soft rock singer-songwriters à la James Taylor and Gordon Lightfoot. In fact, both of the album covers look weathered and stylized to the point that you can imagine finding them in vintage record stores. The recording and the quality of the music gives the same feeling. These are lost ’70s acoustic gems, yet they were created this decade.

“People have said that, ‘Oh you’re an old soul, Barna.’ I take it as a compliment,” Howard says. “I just love that era, that sound, especially the old son writers. I don’t know why it’s always just clicked with me as far as a canvas to work with. It’s comfortable to be there, but I do try to push myself.”  

The third record will very likely sound similar to his first album in terms of style, but with better production, and, he says, some new tricks up his sleeve.

Those first two records were not only incredibly personal, they were also tied very much to location. Howard grew up in Eureka, Missouri, a very rural, small town. The first record is about leaving that town, which he did roughly 15 years ago in his early 20s. The second one is reflective, looking back at his small-time life, contrasting it with his life in the big city, and looking for meaning within that juxtaposition.

From his album Quite a Feelin’, the lyrics from his song “Indiana Rose” exemplify this perfectly. (“Because that old song was all we left behind/Those regrets, I feel ’em all the time/The love we once had, it’s hard to find/Now it’s hard to know.”)

Needless to say, his small-town upbringing factored in to his music in a significant way.

“I never lived the city life. I was about 21 when I moved to Chicago, that was the first time. I was blown away,” he says. “I didn’t belong there, but I also did. I think once I got to the city, or once I got out of Missouri, I just all of a sudden was wanting to write songs. I was like ‘Oh shit, I’ll write about that now.’”

Oddly, it was once he was in Chicago that he really honed his “rustic” sound, which came by way of record hunting in the city’s numerous record stores. He discovered all of these brilliant songwriters from the ’70s that clicked with his sensibilities.

“I just started listening to a lot of country and folk singer-songwriters. I got inspired. It was like ‘I think I can do this,’” Howard says.

Now on this third record, he’s not really looking back at his small-town roots anymore. In fact, he’s not really looking much at himself.

“Each song will be about a person that I know. They’ll unknowingly have a song written about them,” he says. “It could be sad, it could be upbeat. I’m writing about, in a sense, what I know.”

Howard says he had major writer’s block last year, as well some tough times personally. But things have changed this year as he’s reshaped what he wants to write about and has gotten things on track again.

“I think I was denying some material that was always in front of me. I kind of reminded myself what it meant to write a song, what the process is, and kind of stripped back. It started out easy and it filled it back up again,” Howard says.


INFO: Barna Howard plays at 7 p.m. on June 17 at Flynn’s Cabaret & Steakhouse, 6275 Hwy. 9, Felton. $15. 335-2800.

Music Picks June 13-19

Live music highlights for the week of June 13, 2018.

Giveaway: Eric Revis Quartet

Win tickets to Eric Revis Quartet at the Kuumbwa Jazz on Monday, June 25.

Love Your Local Band: Bobcat Rob and The Nightly Owl

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Bobcat Rob and The Nightly Owl play Saturday, June 16 at the Crepe Place.

Bottle Jack Cellars’ Fiercest Bottles

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Syrah-Grenache 2014 is a fierce, unique wine of the Santa Cruz Mountains appellation.

What Anthony Bourdain Taught Us About Ourselves

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Why mental health issues are inseparable from society’s overall well-being.

Film Review: On Chesil Beach

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Honeymoon jitters leave viewers stranded ‘On Chesil Beach’

The Vision for for a Revamped Civic Auditorium

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A new group unveiled a $20 million plan to make the Civic more accessible and better for performances

County’s Health Services Agency Under Fire

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Critics claim inadequate mental health services and lack of transparency

Preview: Joel Selvin to Appear at Bookshop Santa Cruz with New Book about the Grateful Dead

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Rock journalist Joel Selvin explores the chaos that followed the death of Jerry Garcia in ‘Fare Thee Well’

Preview: Barna Howard to Play at Flynn’s Cabaret

Barna Howard
Barna Howard’s eerie knack for capturing ’70s singer-songwriter aesthetic.
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