Cannabis EIR Promises Boon and Offers Light Regulations

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The fall harvest season has arrived, ripe with apples, pears, grapes and persimmons. For some locals, it’s also a time known as “trim season,” when twentysomethings with flexible work schedules find themselves caravaning up to Humboldt County or neighboring areas for seasonal work on cannabis farms—sometimes earning several thousand dollars in just a few short weeks.

Although it may never quite match those weed meccas of Northern California, Santa Cruz County also looks poised to become fertile ground for cannabis, an industry that could easily continue blossoming here after last year’s passage of Proposition 64 legalized the drug for recreational use—that is, according to a new Santa Cruz County environmental impact report (EIR).

The document examines proposed cultivating and manufacturing regulations for cannabis, and it’s now available for public review. One notable finding is the potential financial stimulus from the growing industry.

The 636-page EIR, compiled by Santa Barbara-based Amec Foster Wheeler, examined the local potential of the recreational cannabis industry, which could bring in billions of dollars in annual tax revenue across the state. Between growing, testing, farming and other fields, the EIR estimates the industry will create 7,100 new full-time jobs here in the county.

“This surprised a lot of folks when it came out in the environmental impact report,” says Robin Bolster-Grant, the county’s newly appointed Santa Cruz County cannabis licensing manager. “The economic impact extends beyond tax implications.”

It was no surprise, though, to the industry’s most vocal advocates. Cannabis attorney Ben Rice tells GT, “The EIR said what I and folks in the industry have been saying for several years.”

A 45-day comment window for the EIR closes at 5 p.m. on Monday, Oct. 16, and one unexpected development so far has been a surprising lack of controversy surrounding this sometimes-heated topic. Cannabis regulation, after all, nudges up against touchy subjects like property rights, zoning questions, neighborhood concerns, business interests, access to medicine, and—yes, of course—users’ desire to get high.

“A big part of our job is to help educate folks about the industry and what our process will look like,” Bolster-Grant says. “It is rigorous and people will have to show they are growing responsibly.”

In exploring options for a cannabis licensing program, the draft EIR divides the project into two versions—one similar to what the county originally recommended, allowing for large-scale cultivation to major operators with the right setup, and another option that it deems “more permissive” and which goes further. Not surprisingly, the latter is just the kind of option that Rice and many cultivators are rooting for, in the hopes that it will bring more small-time growers into a legal framework.

“The sensible way to move forward—and consider the environmental impacts, neighborhood impacts and overall value or problems associated with this new industry—is best dealt with by taking a more permissible approach,” Rice says.

Bolster-Grant says the licensing office is also aiming to bring as many businesses as possible into a regulated framework, as a way to avoid harmful environmental problems along the way. The EIR stands by many of the county’s proposed strict regulations, like ones prohibiting grows within 100 feet of perennial streams, and preventing operations that would cause a direct physical change to the environment. The document also suggests maintaining strict regulations that prohibit cannabis cultivation and sale within 600 feet of schools, libraries, parks, and drug and alcohol treatment facilities. Those elements are important to many youth advocates.

“At the core, we’re hoping having some regulations in place will limit youth access,” says Jenna Shankman, a community organizer for the Santa Cruz County Community Prevention Partners.

Since 2010, the partnership has advocated for “a diverse community that promotes health and well-being” through alcohol and drug prevention. Shankman and her colleagues have yet to go through the details of the EIR, but she has high hopes for regulating the emerging legal market, which could be officially online early next year, depending on what happens in Sacramento. According to the California Healthy Kids Survey, she says 77 percent of Santa Cruz County 11th graders say it’s easy for them to obtain marijuana.  

“We know the black market is a big source of that access,” she says.

Rice argues new research has shown that a more regulated environment might indeed cut back on that black market. Earlier this month, the federal government released the National Survey on Drug Use and Health, showing only 6.5 percent of teens ages 12 to 17 use marijuana on a monthly basis. This represents a significant drop from 2014, when several states first opened their recreational marijuana stores, and it’s the lowest use rate among the age group since 1994. People in the industry argue there’s a connection between the drop and the newly regulated markets.

“The study also shows that in places with legal cannabis use less people are drinking,” Rice says. “It’s an argument many in the cannabis community have been claiming for a long time.”

Since the local laws aren’t finished, the cannabis business owners can’t purchase new licenses yet, but the county encourages them to register for pre-licensing inspections through the county website. However, Bolster-Grant says that out of the roughly 760 registered cannabis cultivators, only 25 so far have paid the $2,500 application fee.

“It’s a slow process,” she admits. “These are folks who have not, traditionally, been out and open about what they’re doing. So they’re understandably resistant to say, ‘Here I am.’”


Public comments on the Environmental Impact Report can be submitted to the Santa Cruz County Planning Department until 5 p.m. on Oct. 16. There will also be a public meeting on the draft EIR from 6 to 8 p.m. on Oct. 2 on the fifth floor of the Board of Supervisors chambers at 701 Ocean St., Santa Cruz. For more information, visit sccoplanning.com.

 

The Troubling Thing About the AJ Gonzalez Case

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There’s an uncomfortable reality for supporters of Prop 57, the criminal reform initiative that voters approved last November, with three quarters of county residents supporting it, and locals rocked by the tragic death of Maddy Middleton two years ago. Last year’s criminal reform ballot measure, aimed primarily at rehabilitation, also forbids district attorneys from immediately charging any youths as adults, without a hearing first to weigh the matter—yes, even in the high-profile case of Adrian “A.J.” Gonzalez, the youth who’s been charged with raping and killing 8-year-old Middleton, his former neighbor at the Tannery Arts Center.

The question is: what could possibly drive any 15-year-old to commit such a violent sexual assault and murder? That answer, his defense team would argue, lies partly in a 39-page rundown of suspect Gonzalez’s life history and psychological background, compiled for the public defender.

When Gonzalez was six years old, he and his mother Reggie Factor were staying at the Rebele Family Shelter after moving away from Factor’s third husband, Joel Jimenez, when Jimenez found them both and kidnapped them. He then took them to an abandoned house, put a gun to Factor’s head and threatened to kill her, holding them both captive for days, according to the report, which shows a lesser-known side of Gonzalez. A hearing into whether or not Gonzalez should be tried as an adult has entered its sixth week.

Attorney Frankie Guzman, who co-authored Prop 57 and thinks most child criminals can be rehabilitated, says the news media often focuses on the victim in crafting narratives—spinning public opinion in the process—and ignores that the suspect is usually a victim as well. “Media looks for the big story, the sensationalized story,” says Guzman, director of the California Juvenile Justice Initiative in Oakland, adding that he does not discount the suffering of any victim’s family. “The coverage is designed to evoke an emotional response.”

If convicted as a juvenile, Gonzalez could stay behind bars until age 23, which Guzman says is plenty of time to rehabilitate young people. Needless to say, though, it stands in stark contrast to the much longer sentences he would get as an adult.

Gonzalez’s life up until Middleton’s eventual murder, according to the report, had been filled with constant change, parental neglect, physical abuse and persistent emotional abuse, which studies show is actually much more likely than physical abuse to make victims violent later in life. The report details that Gonzalez’s lifelong challenges were exacerbated by his struggles with Autism Spectrum Disorder, which went undiagnosed until after he was charged, and had made it difficult for him to cope with nonstop change in his early years. It also details repeated failures from school officials and Child Protective Services who did not step up on Gonzalez’s behalf, sometimes ignoring protocols in the process.

Gonzalez faces felony charges of murder, kidnapping, rape of a victim younger than 14, penetration by a foreign object, and two charges of forcible lewd acts upon a child.


TALKS ICK

KSCO owner Michael Zwerling says he’ll no longer allow anyone to spew “toxic subjects” over his airwaves. An editorial that aired Friday, Sept. 23 outlined that race-baiting, white genocide and anti-Jewish conspiracy theories would all be off-limits.

Twice-weekly KSCO host Georgia “Peach” Beardslee had been stirring up controversy, as reported by GT, mostly for racially charged remarks (“Shock Waves,” 9/13). Zwerling tells GT that KSCO doesn’t subscribe to rating services to track listenership, but Jonty McCollyer, the station’s digital media manager, says Beardslee gets 150 to 400 listeners online, live-streaming the host during each show, and that her online archive gets 1,000 visits per month.

Zwerling, in his editorial, hinted that his recent decision was business-related. “A talk radio station which traffics in negative toxic content cannot survive,” he said. “It’s like a diver with too much lead on the weight belt.” 

 

Music Picks Sept 27-Oct 3

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Live music highlights for the week of September 27, 2017.

THURSDAY 9/28

ACOUSTIC

PIERRE BENSUSAN

If you go onto Pierre Bensusan’s website, there’s a photo of the guitarist embracing his acoustic guitar with the intimacy and seriousness one might use to hold their lover the night before they head out to war. What I’m saying is that Bensusan is connected to his instrument, and his gentle New Age-folk-Celtic finger-picking ballads sound like the musical equivalent of a man making sweet love to his wife of 25 years. It’s not really sexual; it’s a level of togetherness so profound, you can’t help but get swept away in it. AARON CARNES

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

FRIDAY 9/29

COUNTRY

ELIZABETH COOK

If “Sometimes it Takes Balls to be a Woman” sounds like a country song you always kind of wished someone would get around to writing, then Elizabeth Cook is the singer-songwriter for you. That single, off her Rodney Crowell-produced 2007 album Balls, earned her the most attention she’d gotten since beginning her career in 2000 on the stage of the Grand Ole Opry. But it wasn’t really until two appearances in 2012 on Late Night with David Letterman—one with Jason Isbell of the Drive-By Truckers, another coutry artist who took way too long to get his due—that Cook got mainstream attention. But being on the outside is still her thing—in 2014, she won an Ameripolitan Music Award in the “Outlaw Female” category, and she now hosts a popular show on Sirius XM Outlaw channel. I guess sometimes it takes … oh right, she already said that. STEVE PALOPOLI

INFO: 7:30 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $22. 479-9421.

FRIDAY 9/29

FOLK

PAT HULL

Pat Hull is exactly what I imagine every health-food-obsessed, L.A.-based ’70s singer-songwriter to sound like. I don’t know if Hull is a health-food nut—and he’s a Chico guy, for the record—but I can imagine him in Birkenstocks singing his gentle, introspective folk tunes to a group of robed vegan cultists in 1971 and making some heads turn. His high falsetto voice is searing and surreal. It creates this almost transcendental quality in his otherwise simple acoustic tunes. He’s one of Chico’s best known songwriters, and does well anywhere that sells tofu and “lifestyle manuals.” Non-spiritual meat eaters love him, too! AC

INFO: 9 p.m. Crepe Place, 1134 Soquel Ave., Santa Cruz. $8. 429-6994.

SATURDAY 9/30

INDIE-FOLK

CROOKED BRANCHES & MOSHE VILOZNY

Moshe Vilozny is the former singer of local world beat ensemble Universal Language. His solo material is a much more mellow acoustic version of his Universal Language songwriting. Crooked Branches is a killer six-piece band that takes the line that separates folk and soul, and obliterates it. It’s down-home storytelling that also has a funky groove to it. You’ll dance, you’ll sing along, you’ll think about the purpose of life. Yay! AC

INFO: 8:30 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $10. 479-1854.

SUNDAY 10/1

HIP-HOP

INSANE CLOWN POSSE

It’s hard to imagine anyone who hasn’t heard of Detroit rap group Insane Clown Posse (aka ICP). For almost 30 years, the face-painted duo has built a family of fans—known as Juggalos—around their blend of horrorcore hip-hop. Their wild live performances are literally drenched in Faygo brand soda, which Juggalos happily bathe in while shouting “Woop Woop” and “Fam-ah-ly.” Yet their self-proclaimed “most hated band in the world” title is no laughing matter, as ICP is constantly attacked in the media. The FBI labeled Juggalos as a gang, which thousands of fans protested in Washington D.C. on the same day as the pro-Trump “Mother of all Rallies.” No, it’s not you—2017 really is that weird. MAT WEIR

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $28.50/adv, $30/door. 429-4135.

MONDAY 10/2

LATIN JAZZ

SPANISH HARLEM ORCHESTRA

What’s in a name? In the case of the Spanish Harlem Orchestra, it’s much more than a mere assertion of regional pride. The moniker evokes the pioneering Latin Dance bands of Machito, Tito Rodriguez, and Tito Puente, who laid the foundation for salsa in the 1940s and ’50s. In the hands of pianist/arranger/producer Oscar Hernandez, the 13-member SHO has earned two Grammy Awards and kept the classic salsa Duraflame burning brightly. Now based in Los Angeles, Hernandez earned respect in salsa circles recording with conga legend Ray Barretto in the early 1980s, but really came into his own during a long stint with Ruben Blades’ popular and innovative band Seis Del Solar. Deep in the tradition, he’s a forceful pianist with a big, ringing sound. ANDREW GILBERT

INFO: 7 and 9 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $35/adv, $40/door. 427-2227.

TUESDAY 10/3

NEW ORLEANS/GOSPEL/SOUL

IRMA THOMAS AND GUESTS

If Irma Thomas or the Blind Boys of Alabama or the Preservation Hall Legacy Quintet were coming to town, it would be a really big deal. The fact that all three are performing together is, for fans of American soul and gospel music, a bit staggering. Thomas is affectionately known as the “Soul Queen” of New Orleans, and for good reason. She’s been holding court in the Crescent City since the 1960s and has been one of the most influential voices in R&B and gospel in the last 50 years. The Blind Boys of Alabama is a long-running, Grammy-winning gospel harmony group with roots that stretch back to the ’30s. The Preservation Hall Legacy Quintet pays tribute to the rich, sustaining legacy of Preservation Hall, the legendary music venue in New Orleans. If you’re interested in gospel, soul, or the impact New Orleans has had on popular music, do not miss this show. CJ

INFO: 7:30 p.m. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $40/gen, $60/gold. 423-8209.

TUESDAY 10/3

ROCK

L.A. WITCH

Haunting, distorted, darkly melodic—these are just some of the ways to describe garage rock trio L.A. Witch. This isn’t their first Catalyst performance, but it looks to be their largest, hot on the heels of their self-titled debut album’s release on Suicide Squeeze Records. The nine-track LP perfectly captures the group’s aesthetic and live sound, delivering sweet pop tunes coated in existential gloom. With all of the press they’ve been receiving, we’re guessing this might be the last time fans will get to see L.A. Witch in a room the size of the Atrium. MW

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $10/adv, $12/door. 429-4135.


IN THE QUEUE

Cello tribute to Metallica. Wednesday at Rio Theatre

INCITERS & PACIFIC ROOTS

Northern Soul double-bill. Thursday at Moe’s Alley

SOFIA TALVIK

Swedish singer-songwriter with a knack for Americana. Friday at Lille Aeske

BEGGAR KINGS

Tribute to the Rolling Stones and Gregg Allman. Saturday at Don Quixote’s

WILLIAM MATHENY

West Virginia-born and raised singer-songwriter. Sunday at Crepe Place

 

Giveaway: Santa Cruz Film Festival

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In 2001, Jane Sullivan and Johnny Davis embarked on an ambitious project to create a local film festival to showcase independent films by national and international filmmakers, as well as filmmakers right here in Santa Cruz and Monterey counties. Since then, the Santa Cruz Film Festival has hosted more than 100,000 film enthusiasts from around the world in venues around Santa Cruz. This year’s festival includes Cannes prize-winning feature The Cinema Travellers; a documentary about world-famous saw player Tom Scribner, whose statue is outside of Bookshop Santa Cruz; Behind the Curtain: Todrick Hall (above), a documentary feature about growing up black and gay in a small town in Texas; and dozens of other outstanding films.


INFO: The Santa Cruz Film Festival runs Wednesday-Sunday, Oct. 11-15 at multiple venues. For a complete listing of films and ticket information, visit santacruzfilmfestival.org. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Wednesday, Oct. 4 to find out how you could win a pair of tickets to the festival.

Love Your Local Band: Poorhouse Millionaires

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Legendary blues artist John Lee Hooker once said, “The blues is a feeling, you can’t get it out of no book.” If that’s true then “Big” Earl Matthews, singer and songwriter for Big Earl and the Cryin’ Shame and the Poorhouse Millionaires, definitely has them.

“The blues is always happening for me, but my taste goes throughout all American music,” he says.

That expansive taste is potent in the Poorhouse Millionaires. Saturated in the blues, the five-piece rock band also blasts through a variety of American flavors like rock, funk, folk and early rockabilly. They draw inspiration from Buck Owens and Tommy Castro, the Woods Brothers and even Frank Zappa, who Matthews played on his pirate radio show while living in Arcata years ago.

“Every artist and musician is just trying to find sincerity, and I find it more in the rootsy Americana,” Matthews says. “I want to make people dance and feel.”

Started in 2011, the Poorhouse Millionaires began as a duo featuring Matthews’ baritone vocals and Ray Vasira on ukulele. They cut their first album, Prevention Intervention, the following year, and continued to play until a hiatus in 2014. However, last year Matthews and Vasira reunited the band, adding Josh Lounsberry on bass, Charles Tyler Rogers on keys, Noah Wilson on guitar and Vasira on drums.

Although they’re technically from Modesto, the Poorhouse Millionaires have been making themselves honorary locals with regular gigs at the upstairs Catalyst bar as part of the club’s weekly Lone Star Lounge, where they will be playing Sept. 30 and Oct. 21. Each Saturday, the Lounge features free shows from different bands playing the blues, country and everything in between.

“Every once in awhile, mainstream bands play traditional music and then people become enamored with this ‘new sound,’” he says. “Once they realize it’s not new, they begin to look into who influenced their favorite artists and find the roots. It’s how art has always worked.”


INFO: 9 p.m. Saturday, Sept. 30. Catalyst, 1011 Pacific Ave., Santa Cruz. Free. 429-4135.

Directors Jonathan Dayton and Valerie Faris on ‘Battle of the Sexes’

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Jonathan Dayton and Valerie Faris have a special bond with Santa Cruz. The husband-and-wife directing team, who got their start in music videos and advertising, had a colossal indie hit with their debut feature film, 2006’s Little Miss Sunshine—and it got a huge boost from Santa Cruz audiences, who turned out in droves and kept it running locally for months. Dayton and Faris did a Q&A for Little Miss Sunshine back then, and they’ll do the same for their newest film, Battle of the Sexes, after the 7 p.m. screening at the Nick on Thursday, Sept. 28.

Some might wonder what turned Little Miss Sunshine into one of the most popular movies of the 21st century in Santa Cruz, but Dayton and Faris have no doubt about their secret weapon: Valerie’s dad, Jim Faris, a longtime Hollywood film editor who retired to Santa Cruz in 1983.

“It’s due to my father,” says Faris. “He wore the [Little Miss Sunshine] T-shirt, the ‘Everybody Pretend to be Normal’ shirt, almost every day for probably three or four years. Every store, particularly grocery stores, he would talk to every clerk: ‘Have you seen Little Miss Sunshine? My daughter made that.’ The epitome of a proud father.”

“It’s the power of a single person and his campaign on behalf of his daughter,” says Dayton.

The elder Faris passed away last year, at the age of 97. Having begun his film career in the 1940s, he was best known locally for co-founding the popular UCSC Lifelong Learning Institute.

“He had the time of his life in Santa Cruz,” says Faris. “It was the happiest 30 years of his life. That community is just so incredible.”

When the directors return to Santa Cruz this week, it will be for a much different project than fans of Little Miss Sunshine or their 2012 film Ruby Sparks might expect—at least on the surface. Their previous projects were small stories about quirky characters; Battle of the Sexes tells the story of arguably the most famous tennis match of all time: Billie Jean King’s 1973 victory over Bobby Riggs, the former champion who claimed women players were inferior and could not beat him even in retirement. Emma Stone stars as King, and Steve Carell plays Riggs.

But Faris says the film is not as different from their past work as it might seem.

“Even though it is a big story, and it is about a very famous event, I think what really interested us was really the personal stories, and getting intimate with these characters,” she says “Which is really what always interests us—the characters and their relationships and their struggles. And this one had a pretty great one; Billy Jean’s struggle at that time was just really fascinating to us, and something we didn’t know previously.”

“It was definitely a matter of sharing something that the public was unaware of at the time,” says Dayton. “So whether you were alive then, or coming on the story now, there’s a lot beneath the headlines.”

But wasn’t it more intimidating to take on a real-life story that so many people are familiar with?

Very intimidating,” says Dayton.

“On so many levels,” says Faris, illustrating the couple’s truly startling knack for finishing each other’s sentences. “Billie Jean was involved early on with the development of the project, and then during prep. So we were very aware of getting her approval, and wanting her to be happy with it, and wanting her to be able to support the movie. And she is fully supporting it now, which is incredible. For two-and-a-half years, we were living in fear of …”

“… Letting her down,” says Dayton. “We’re talking about a story of a woman coming to terms with her sexuality while being married and being in the public spotlight. So these are things that have to be handled delicately. And also, by having Steve and Emma in the film, we knew we had the potential to reach an audience with subject matter that isn’t normally seen in a sports movie or a …”

“ …. Mainstream movie,” says Faris.

With a strong opening last weekend and enthusiastic reviews, Battle of the Sexes could be their biggest movie yet. But they’ll have to do it without their secret weapon.

“We really miss him on this one,” says Faris.

So does Santa Cruz.


Valerie Faris and Jonathan Dayton will discuss ‘Battle of the Sexes’ at a Q&A session after a 7 p.m. screening at the Nick on Thursday, Sept. 28. The film opens Friday at the Nick.

Film Review: ‘Rebel in the Rye’

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Writing is not a spectator sport. To make a writer’s life interesting in a visual medium like the movies, a filmmaker usually has to focus on the eccentricity of the writer’s personality, or the drama of his relationships, or the historical significance of the times the writer lives in.    

In Rebel In the Rye, filmmaker Danny Strong aims for all of the above in dramatizing the life of J. D. Salinger for the screen. He wisely sticks more or less to the time frame before and immediately following the creation of Salinger’s groundbreaking coming-of-age novel, The Catcher In the Rye. But Strong loses focus by stuffing his movie with too many incidental details, like an early draft of a novel with too much material left in that the author can’t bear to cut.

The main question Strong sets out to address is how a privileged college dropout with a smart mouth comes to create so iconoclastic and subversive a character as Holden Caulfield. It’s a good question, and the short answer is: practice, practice, practice. And in the earlier, most effective scenes, we see how this plays out, when footloose Jerry Salinger (Nicholas Hoult), having already washed out of New York University, startles his parents with the decision to enter the creative writing program at Columbia.

Always scribbling in a notepad, Jerry finds fiction “so much more truthful than reality.” At Columbia, he falls in with curmudgeonly prof Whit Burnett (Kevin Spacey), who also edits the literary magazine, Story, on the side. Whit tells Jerry he’s failed “to turn sarcasm into narrative” in his stories, and cautions him that “voice turns into ego if it overwhelms the story.”

These are the movie’s best scenes, as Jerry evolves from a cheeky kid picking up girls at the Stork Club into a person who discovers a passion to actually do something. Whit becomes his mentor, coaches him through the rejection process as he starts sending out his stories, and publishes Jerry’s first Holden Caulfield story in his own magazine.

But World War II interrupts his life and the movie. While he later says writing Holden stories saved his life in the war, images of battle and the liberation of a concentration camp so haunt him that he lands in a military psychiatric ward stateside, unable to write. It’s not until he comes across a meditation circle in the park and meets a guru who teaches him to remove “distractions” from his life to establish a safe place to write that Jerry is able to produce his Holden novel—equipped with a deeper understanding of life’s complexities (thanks to the war, so we’re told), and acquiring the reclusive habits that would make him notorious for the rest of his life.

Women are like brief pit stops in Jerry’s progress around the track, but they’re never around long enough to make much of an impact. Oona O’Neill (Zoey Deutch), daughter of the famous playwright, Eugene, is an underage vamp he meets in a nightclub. Claire (Lucy Boynton) is a sophisticate who intrigues him by not fawning all over his book. But after initial flirting, followed by zero relationship-building, both women fade away, Oona reduced to a painful memory, while Claire’s only purpose, plotwise, is to disrupt his Spartan regimen with a couple of kids. I guess both women qualify as some of those distractions Jerry’s guru warns him about.

The final quarter of the movie starts to unravel, with Strong trying to introduce too many late-inning elements he doesn’t have time to pay off—disturbing fanboys stalking Jerry, the entire Claire subplot, Jerry’s rapprochement with his disapproving dad (Victor Garber), a German wife who disappears after a few frames—when all we really want to see resolved is Jerry’s relationship with Whit. We get there eventually, but not before a lot of the movie’s early energy is frittered away in trying to decide which story it wants to tell.


REBEL IN THE RYE

**1/2 (out of four)

With Nicholas Hoult, Kevin Spacey, and Zoey Deutch. Written and directed by Danny Strong. An IFC release. Rated PG-13. 106 minutes

Kate Gerwin of Front and Cooper Talks About Her Vision

You can walk to your local dive bar and chug down a screwdriver, or you could go over to Front and Cooper in Abbott Square and experience a cocktail. The creative director of Front and Cooper, Kate Gerwin, is 20-year bartending vet and the 2014 Bols Bartending World Champion—the first woman to hold the title. She was also a consultant on Spike TV’s Bar Rescue. We asked Gerwin to pour us a tall glass of understanding this unique addition to Abbott Square.

What kind of cocktails are you focusing on?

KATE GERWIN: I don’t have a style or theme, just fun and accessible. Everything is made fresh daily. What you see now will be completely 100-percent different from what you see in three to four months. Nothing crosses over. Our theme right now is [the film] The Lost Boys. We have a Root Beer Ramos or a Ramos Gin Fizz, a classic cocktail that we twisted up using root beer syrup, and Oreo Fat Washed Negroni. A negroni is a classic cocktail dating back to the early 1900s. In the movie, Grandpa has a shelf in the fridge that is off-limits to the kids, and it holds root beer and Oreos. Santa Cruz [in the film, “Santa Carla”] was referred to as the “murder capital of the world” in the movie, so we created the “Cereal Murder Capital,” a cocktail that is a clarified milk punch with Don Q Anejo Rum infused with Cinnamon Toast Crunch, pineapple, lemon, lemon, coriander, and milk, then clarified clear. Everything ties in to the movie. There’s a cemetery in Santa Cruz—I’m thinking about doing a menu that is somehow based on the cemetery and the lives of people in Santa Cruz. But to be honest, in two weeks, I could come up with something else and change my mind.

What’s the current trend in cocktails?

It goes in cycles. In 2010, people got into fancy cocktails and pre-prohibition cocktails. In 2012, everyone wanted to do molecular, really cool fancy drinks that didn’t taste very good that were a bit pretentious. I think in 2016-2017, now people are re-inventing drinks like the Lemon Drop and the Cosmopolitan and making them actually genuinely good.  Things tend to go full circle. For me, I’m trying to make the best drinks possible and not worrying about being the new thing. Just really give people a good time. As long as it’s fun and exciting and it’s something people are going to have a good time with, they’re going to enjoy their cocktails, that’s all I care about. I don’t need anyone to be blown away. So many people are trying to convince people how to drink. I don’t need to tell you how to drink. If you like Lemon Drops, I don’t care. That’s awesome. I will make you the best damn Lemon Drop you’ve ever had in your life. And I won’t judge you for it either.


725 Front St., frontandcooper.com.

Paraiso Vineyards 2016 Rosé of Pinot Noir from Monterey Grapes

One of the handy things about where we live is the number of healthy to-go food options. When I don’t feel like cooking, I like to try something different—in this case the newly opened Buzen Japanese take-out, which I wrote about recently, located in Seascape Foods Market in Aptos. The food is delicious, nourishing, and not loaded with preservatives or MSG. We opened a chilled bottle of Paraiso Vineyards Rosé of Pinot Noir to pair with our Buzen food, which turned out to be a delicious match.

Paraiso makes high-quality wines—all produced by the Smith Family, and reasonably priced. The newly released 2016 Rosé of Pinot Noir—with grapes harvested from their vineyards in Monterey County—is $20, but sells for only $13.50 if you buy three or more bottles. I bought my bottle in Aptos Natural Foods for about $18. Crafted using modern French methods, this elegant, pale pink wine has delightful aromas and flavors of melon, strawberry and cedar, and a lot of pizzazz.

Paraiso has a tasting room in Soledad where you are welcome to lounge on the back deck with a picnic lunch and enjoy the view of the valley and vineyards. The other tasting room in Carmel-by-the-Sea is at Court of the Golden Bough, Ocean Avenue between Lincoln and Monte Verde, 250-7123. smithfamilywines.com.


Gourmet Grazing on the Green

The number of vendors participating in this year’s Gourmet Grazing on the Green has swelled to more than 70 wineries, breweries, restaurants, jewelers and more, including a Greek ceramicist called Skyros Ceramics. Cinnamon Bay will be there with its eclectic women’s clothing, as well as local SunRidge Farms with a plethora of healthy snacks to sample. This fundraiser is put on by the Santa Cruz Cancer Benefit Group, and it’s always a fabulous event. All proceeds go to local beneficiaries. The event is noon-4 p.m. Saturday, Oct. 7 in Aptos Village Park. Tickets are $65. Visit sccbg.org for more info.


Kiss Café

Scott Dexel of Kiss Catering is now operating a café—appropriately called Kiss Café. It’s at 214 Disc Drive in Scotts Valley. Visit kisscatering.com or call 840-1355 for more info.

 

UCSC Expansion Meets Santa Cruz Housing Crunch

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At a United Nations meeting in the ’60s, Nikita Khrushchev famously banged his shoe on his desk in protest of another delegate’s speech. Santa Cruz City Councilmember Chris Krohn likes to imagine UCSC Chancellor George Blumenthal wielding his footwear in the same manner at a UC Regents meeting.

“I just see him reaching out to these people, grabbing them by the collar, and saying ‘No, we aren’t adding more students!’” Krohn says. “Then they all go out to a $30,000 dinner.”

In 2015 the UC regents mandated a 10,000-student increase over three years across all nine undergraduate colleges, and as enrollment numbers climb, both UCSC and the city have scrambled to accommodate the influx of students. The student housing crisis led to a virtual cold war between UCSC and the city in the mid-2000s; since then, the relationship has thawed, but the mandated growth—which comes as Santa Cruz is already one of the most priced-out rental markets in the country—could make things worse than ever.

“It is not a ‘city on a hill’ as UCSC’s masthead says,” says John Aird, co-founder of the Coalition for Limiting University Expansion (CLUE). “That name suggests that it’s a self-contained, self-supported community and organization. That is really more myth than reality.”

Aird notes that more than 80 percent of the Santa Cruz population growth from 1995 to 2009 was directly attributable to UCSC. Since 2009, he says, the pattern has continued as the university population climbs at more than three times the rate of the rest of the city.

UCSC is a public entity committed to both serving the growing state population and expansion. Anti-expansionists say that based on growing housing, water, and transportation impacts of UCSC, the city cannot accommodate more student expansion.

“At the very least, I think it’s reasonable and necessary for there to be a pause in terms of any further growth here now until this community has had a chance to catch up,” Aird says. “It’s going to take some time to regain some equilibrium here.”

It’s a problem that no amount of shoe-banging is going to solve. Just as the city certainly won’t tell people to stop moving to Santa Cruz, Blumenthal won’t tell students to stop coming to UCSC.

“Things were really difficult between the city and university 15 years ago—and there was enough fault to go around—but things improved a lot a decade ago because we opened up conversations,” Blumenthal says.

 

Thinking Long-Term

As UCSC looks to the future, others remember the past. A decade ago, UCSC and its host city were in a gridlock. UCSC was determined to accommodate an increasing student body, and the city was frustrated by the UC Regents’ failure to acknowledge the student housing crisis.

The city, along with CLUE, sued over the Environmental Impact Report proposed in UCSC’s Long Range Development Plan (LRDP). Mediation led to a settlement four years later, which resulted in quarterly committee meetings to implement the settlement agreement, which seem to have pleased both sides.

“The city and the university relationship is a lot better than it used to be before the settlement agreement,” says city manager Martín Bernal. “Nonetheless, the city’s position continues to be that the impacts should be mitigated, particularly now with respect to housing.”

“At the very least, I think it’s reasonable and necessary for there to be a pause in terms of any further growth here now until this community has had a chance to catch up.” — John Aird

Chancellor Blumenthal says that the priorities of UCSC reflect those of the UC, and he doesn’t always have the final say when it comes to expansion issues. When the UC Regents mandated enrollment growth, he says, the state did not provide the funding to support it, and tuition doesn’t cover all of the associated costs. Likewise, because the state doesn’t provide funding for housing expenses, and UCSC’s debt ceiling limited how much they could increase their housing budget, campus administrators felt they were doing as much as they could to accommodate students.

“There is a desire from the UC to grow, and that’s a legitimate desire, but some campuses wanted to grow and some did not,” Blumenthal says. “The university should grow to meet the state’s need, but there should be money available to do that. If there isn’t money, then we shouldn’t grow.”

Other UCs’ relationships to their respective cities aren’t exactly perfect, either—representatives from UC Davis, UC Santa Barbara and UC Riverside all admit to having some bumps in the road. Yet none have ever been sued by their own city government.

“We really try and roll up our sleeves and work with them before that happens,” says UCR Director of Local Government and Community Relations Jeff Kraus.

In fact, Santa Cruz has sued more than once. The first lawsuit was in the mid ’80s, also in response to university expansion and development of Rachel Carson College. By and large, it seems, Santa Cruz’s problems are unique, and stem from not only the university’s geographic isolation from the rest of town, but also from the differing goals of the UC and the city.

But a new LRDP is due, and the hope is that is can appease both the university and the city. As UCSC looks to map out the next 20 years of development, many remember the political turmoil that the previous plan stirred up.

“LRDPs aren’t an enrollment plan, they are a land use plan,” Blumenthal says. “It is not a plan to build enrollment, it’s a plan to figure out the land if you do.”

The current LRDP outlines a 19,500 student limit by 2020—less than 2,000 more students than the current enrollment. Though the future 2020-2040 LRDP plans are still in the early stages of development, and there is no mandate that UCSC reach 19,500 by 2020, UCSC will likely look to again increase enrollment in line with California’s population for the next 20 years.

“You can’t go over the LRDP, but you can go under,” Chris Krohn says. “But once you put it out there as a benchmark, that becomes the conversation starter.”

 

Trying to Be Accommodating

In the last few years, UCSC has been playing catch-up with student housing, while also adhering to the previous LRDP enrollment outlines. The administration is trying to mitigate the impacts of its own swelling student body, having converted 141 lounges into residences and double rooms into triple rooms while also changing class times to squeeze in more classes.

UCSC currently houses more than 52 percent of students on campus, among the highest of all of the UC campuses. But UCSC’s housing prices are much higher than the average rates in town, at more than $1,500 monthly for one space in a quadruple room, including a seven-day meal plan.

“You can get a nice place in Santa Cruz for $1,500 and maybe even hire a cook,” Chris Krohn says.

In recognition of the housing crisis, and also the comparatively high on-campus housing rates,  UCSC has introduced the Student Housing West Project, scheduled to begin construction in the fall. The project aims to have at least 900 beds online by 2020, with about 3,000 total by completion. Since state funding cannot be used for housing projects, the facility will operate on a public-private partnership (P3) model, meaning that it will be financed through a private third party instead of the university.

“[I have] no doubt that people will have different perspectives and there will be different answers and there will be some individuals that fundamentally do not want the university to grow,” says Vice Chancellor of Business and Administrative Services Sarah Latham. “We have an obligation to reflect the diversity and growth of the state of California, but we must make sure we do that in a way where the impacts are identified and addressed, and solutions are posed.”

The final facilities will not be affiliated to any of UCSC’s colleges, and will house mainly graduate students and upperclass undergraduates. For many community members, student containment on campus is a breath of fresh air, particularly for those who feel that campus expansion is infringing on the city’s housing and traffic control.

 

When Santa Cruz Wanted Students

When UCSC began in the early ’60s, the city council approved campus enrollment upward of 27,500 students—an attractive economic draw for the city when the population of Santa Cruz was just over 25,500.

“The [city] leadership at that time was conservative and business-oriented and came upon the idea of ‘why not have a university here?’” John Aird says. “The grounds upon which this was pursued came before any environmental movement or anything, and Santa Cruz was itself just a small community that pretty much viewed growth as a good thing. But times change, circumstances change.”

Currently, UCSC generates over $1.3 billion in economic activity within the Santa Cruz regional area, while the city provides much-needed utilities and housing for UCSC’s population. Aird also points out that many of the city council members have close ties to UCSC, and suggests that it’s a conflict of interest for those members to vote on issues between the city and university.

“The city on a hill really is the city on a hill, there is such a distance between what happens downtown and what happens up there,” says Krohn, who is the environmental studies internship director at UCSC. “Am I putting myself in jeopardy by being upfront in criticizing the university and being part of the dialogue? Possibly, but I do think there are people who wouldn’t do that because they are worried about their job or politics, but I don’t think the conflict of interest is huge in this case.”

Krohn added that if he and other council members don’t speak out against the university, the quality of education will suffer. He says that the city council has a tremendous amount of power that they don’t use, and if UCSC continues to expand beyond what the council approves of, students will ultimately bear the brunt of increased enrollment.

There are no more lounges that can be converted on campus, and in many spots on campus students are packed into rooms like canned sardines. With options running low and continued enrollment swelling, UCSC administration is now restricting housing guarantees for transfers (one year guarantee instead of two) and those involved in Education Opportunity Programs (three years instead of four). This will result in more students seeking off-campus housing over the next few years as UCSC enrollment numbers climb.

“It’s pretty clear that having the university here is a mixed bag,” CLUE negotiator Reed Searle says. “It certainly has improved the city—we have a lot more stuff here because of the university—but it has also very adversely affected housing. The people that work here cannot afford to live here any more.”

Coupled with more student expansion into town and an increase in vacation rentals, Santa Cruz’s housing crisis doesn’t have any easy solutions. In an effort to mediate past anxieties and better communication between the university and city, UCSC has invited various community groups, including CLUE, to take part in an LRDP community advisory committee. The group will meet regularly to discuss concerns of university impacts and be more inclusive of community voices.

“The university has done everything that it’s required to do. The problem, of course, is if it has been required to do enough,” Searle says.


 

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UCSC Expansion Meets Santa Cruz Housing Crunch

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