Opinion September 20, 2017

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EDITOR’S NOTE

I occasionally get some teasing from friends when I tell them we have a Fashion Issue. “A Santa Cruz fashion issue? So it’s about worst fashion?” “Does it hurt your eyes?” “Can’t you just make it about tie-dye every year?” Oh yeah, I’ve heard it all. But look at the local fashion stories we’ve covered this week. First, FashionART continues to blur the line between clothing design and high art. Take a look at the pieces featured in these pages—some of them are simply meant to push the boundaries of what is considered possible in fashion (which is interesting enough in itself), but some are much more practical, genuinely wearable great looks. And there’s also Georgia Johnson’s profile of Santa Cruz’s Vicki Noble, who I love for being unapologetically old-school Santa Cruz while at the same time making a huge impact in the world of high fashion with the tarot designs that have been picked up by Dior for their 2018 line. So take that, people who say Santa Cruz has no fashion sense. Now, let’s see, do these Ugg boots go with my bike shorts? Oh, hell yes!

STEVE PALOPOLI | EDITOR-IN-CHIEF


LETTERS TO THE EDITOR

Read the latest letters to the editor here.

Statuesque

In your Aug. 30 issue, by asking “What should we do with historical statues that some people find offensive?” Matthew Cole Scott implicitly endorsed the Trump administration’s framing of the issue as overly sensitive people trying to erase history. In fact, the statues in question across the U.S. were not erected to commemorate history, but rather as symbols of white supremacy, intended to intimidate non-white community members. This is demonstrated by examining when the statues were built, which was not after the Civil War, but rather in the 1910s and 1920s when states were erecting Jim Crow laws, and in the 1950s and 1960s to oppose the Civil Rights movement. They aren’t much more historical than a swastika spray-painted on an overpass, and they mean about the same thing. A more accurate wording of the question would have been, “Should we remove statues built by segregationists to commemorate the Confederacy?”

Alex Kane

Santa Cruz

Fake News!

I’d like to provide some balance regarding Gary Griggs’ fear-mongering interview in “Crisis Points” (GT, 8.23) by Maria Grusauskas. Her loaded questions were more like pro-climate change/global warming statements as she threw softball after slow-pitch softballs at him. (I’m sure he got the questions in advance.)

I know of no credible scientific evidence proving climate change is man-made, but is influenced mostly by changes in sunspot activity and volcanic activity, way beyond all of our control. The British “scientists” were busted red-handed in an email investigation fudging data to create the infamous hockey stick graph, disproving future temperature rises. Apparently, we are actually in a 17-year-cooling trend at this time according to a very comprehensive article recently published by a rival local publication.

Greg begins at least two responses with “our best projections.” All computer models are designed by flawed humans with an agenda in mind and are therefore, only biased guesses, and are usually proven wrong. He clearly has his agenda working for him.  He should be honest and place a margin of error on any crystal ball prediction as any serious scientist would do. I recall a Time magazine or similar publication not too long ago with the front cover falsely claiming “The upcoming Ice Age!” Why does he think they’re right now? A political poll right before the last presidential election stated that Hillary had a 97 percent chance of winning. How did that work out for y’all?

There were some interesting facts in there, but everything falls apart when the future predictions are tossed up into the ether.

Legan

Corralitos

Though we received some interesting and nuanced critiques of our cover story on climate change … this was not one of them. In running this letter, it only seems responsible to point out that the worldwide scientific consensus on man-made climate change is running at about 97 percent. — Editor

Rising Seas

Unfortunately, Richard Nolthenius (Letters, 9/13) is quite correct about Gary Griggs’ understatement of the pace and extent of sea level rise. Though Griggs is rightly concerned about the problem, he is not using the very latest estimates. But there’s a further disconnect that Nolthenius doesn’t mention. Climate scientists’ projections are created using computer models, which are highly sensitive to the input data. This is why the predictions have such a wide range of variation and high level of uncertainty. However, many paleontologists and paleoclimatologists have been warning us of the severity of the problem. Why? Because their evidence shows that the last time Earth’s atmosphere had the same concentrations of CO2 that we see today, sea level was 100 feet higher! Well over a billion people live within a hundred feet of sea level. The devastation will be global and catastrophic. And unless we implement an effective carbon tax ASAP, things will get even worse. I certainly wish this was the hyperbolic hysteria that climate change deniers think it is, but sadly there’s far too much science to back it up.

Mordecai Shapiro | Santa Cruz


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GOOD IDEA

BIN THERE
As the market for recycled materials declines globally, the Santa Cruz County government is asking people to cut back on their use of plastics. The county, which manages the Buena Vista Landfill and the Ben Lomond Transfer Station, asks residents to shop at farmers markets, skip the plastic bag when buying produce, bring containers from home, buy in bulk, avoid products with excess packaging and stop buying bottled water. For more information, go to santacruzcountyrecycles.org.


GOOD WORK

HEALTHY CHANGE
Guevara, Santa Cruz’s economic development manager, will be leaving local government for the healthcare world. Guevara has been chosen to be the development director for Santa Cruz Community Health Centers (SCCHC). Through its East Cliff Family Health Center and downtown Women’s Health Center, SCCHC has nearly 12,000 local patients. Guevara aims to increase SCCHC’s capacity to increase funding, develop new partnerships, attract supporters and raise awareness about critical health care issues.


QUOTE OF THE WEEK

“I get it, them finales / They got you focused / But just record the show / And show up at the protest.”

-Chance the Rapper, at the Emmys

5 Things to Do in Santa Cruz County Sept 20-26

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Event highlights for September 20-26, 2017.

Art Seen

Rust by the Sea

Rust by the Sea art exhibitRust gets a bad rap. When it’s not in your plumbing or car, it can really be quite pretty. The Rust by the Sea exhibit showcases the natural beauty of rust through industrial metal sculpture. From saws to spaceships, Flair Goldman and Keith Millar turn the scrap yard into a futuristic exhibit full of personality.

INFO: Show runs until Oct. 28, with a First Friday party and artists reception at 6 p.m. on Oct. 6. Felix Kulpa Gallery, 107 Elm St., Santa Cruz. Free.

 

Green Fix

Monterey Bay Birding Festival

The Monterey Bay is a buzzing hub of bird-watching right now—we hear the auklets and bushtits are especially lovely. Don’t know what those are? Well, many people don’t, but they will surely find out if they go to the Monterey Bay Birding Festival—one of the most spectacular birding and wildlife venues in North America. You don’t have to be a bird geek, but you might just become one, after spending the day with knowledgeable field trip leaders, attending workshops, and perhaps even experiencing the thrill of sighting a rarity against the backdrop of the Monterey Bay’s breathtaking bird habitat.   

INFO: Saturday Sept. 23. Watsonville Civic Plaza, 275 Main St., Watsonville. montereybaybirding.org. $30 all-day ticket.

 

Saturday 9/23

Resist Fest

popouts1738-Resist-FestIf there is one thing most of Santa Cruz can get behind, it’s an anti-Donald Trump event—the city has already passed a resolution supporting his impeachment, after all. Resist Fest is centered around resistance to the Trump administration, and will actively showcase ways to get involved in peaceful activism. There will also be food, art and music.

INFO: 2-6 p.m. The Museum of Art and History and Abbott Square, 118 Cooper St., Santa Cruz. santacruzindivisible.org. Free.

 

Sunday 9/24

Oktoberfest Santa Cruz

popouts1738-Oktoberfest_212535166It’s not October yet, but it’s never really too early for Oktoberfest. Enjoy some brews and brats at Santa Cruz’s longest-running independent Oktoberfest celebration. Admission is free, if you just want to see what all the hubbub is about, and meal tickets are $15.

INFO: 11:30 a.m.-3 p.m. Messiah Lutheran Church, 801 High St., Santa Cruz. 423-8330.

Free admission.

 

Friday 9/22

‘9 to 5’

popouts1738-9-to-5Based on the 1980 Dolly Parton film, this musical (with songs by Parton) tells the story of three women working with a sexist, rude and lecherous boss. They decide to take matters into their own hands, kidnapping him and imprisoning him in his own home. They aim to make the workplace more accommodating for women, but of course there are some bumps along the way.

INFO: Through Oct. 21. Park Hall Community Center, 9400 Mill St., Ben Lomond. mctshows.org. $25.

 

Are you prepared for an earthquake?

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“I got my canned goods and bottled water in the garage, I’ve got stuff in the freezer. I’ve got Jameson.”

Babs Mahoney

Aptos
Horticulturist

“Yes, I’m prepared. We have kitty crates for my three cats. It’s a little scary, but I’ve been living in California all my life, and earthquakes don’t bother me.”

Mysti Adams

Santa Cruz
Office Manager

“I’m going down with the ship at this point.  ”

J. Hamm

Santa Cruz
Solar Tech

“Yes. I’m prepared to die.”

Mike Brady

Santa Cruz
Retired

“I’m moving to Minnesota Nov. 1, so if we don’t have an earthquake before then, I’m covered.”

Dr J

Santa Cruz
Bug Torturer

Music Picks September 20-26

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Our picks for the best live music in Santa Cruz County this week.

THURSDAY 9/21

NEW WAVE

STAN RIDGWAY TRIO

Wall of Voodoo may be a one-hit wonder, but that hit was one of the weirdest songs to chart in the ’80s, 1982’s “Mexican Radio.” Stan Ridgway was the brains behind Wall of Voodoo, and he’s been playing solo since 1983. His voice is right up there with David Byrne’s in terms of New Wave strangeness, and there’s always an unrelenting tension in his music. AC

INFO: 7:30 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $20. 335-2800.

THURSDAY 9/21

JAZZ

PHAROAH SANDERS DUO

A pioneer of the ecstatic free jazz movement of the mid-1960s, tenor saxophonist Pharoah Sanders pointed a generation of musical seekers into the outer reaches—sonically, emotionally and spiritually. But he’s never been more influential than he is right now, judging by the crossover success of Kamasi Washington, who borrows liberally from the cosmic jazz recordings that Sanders and Alice Coltrane made in the wake of John Coltrane’s death in 1967. For this duo performance, he’s joined by pianist William Henderson, an underappreciated master whose credits include stints with Freddie Hubbard, Bobby Hutcherson, and Elvin Jones. He’s been the anchor of Sanders’ band for more than three decades. ANDREW GILBERT

INFO: 7 and 9 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $35/adv, $45/door. 427-2227.

THURSDAY 9/21

INDIE

VANDELLA

People throw around the phrase “’70s rock ’n’ roll,” but there were so many vibrant subsets of rock in that decade, it’s hard to pin down one definitive sound. In the case of San Francisco’s Vandella, imagine a mixture of the cool soft-rock sounds of Fleetwood Mac, Donna Summers at her disco-est, and a bit of Exile on Main Street-era Rolling Stones as they dig into some grimy blues rock. AC

INFO: 9 p.m. Crepe Place, 134 Soquel Ave., Santa Cruz. $10. 429-6994.

FRIDAY 9/22

ROOTS

WILLIE WATSON

Simply mentioning that Willie Watson was a founding member of Old Crow Medicine Show is probably enough to pack his upcoming gig at Don Quixote’s. But OCMS was just the launch pad for Watson, who is currently one of the darlings of the American roots music scene. A folk singer-songwriter who is firmly planted in traditional music, Watson does what the best folk singers have always done: make those traditional songs his own and pass them along to new audiences. With a style set that includes bluegrass, Southern gospel, Irish music and more, Watson keeps the troubadour tradition alive and well. CJ

INFO: 8:30 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $20. 335-2800.

FRIDAY 9/22

INDIE

KEVIN MORBY

Musicians are used to spending time alone inside lonely buildings in strange urban landscapes, and they love to write songs about it. But rather than make another typical “road” album, Former Woods bassist and Babies frontman Kevin Morby decided to explore the same emotions in a different way. His new City Music is a concept album about a reclusive old woman named Mabel who spends her days in her Upper Manhattan house. It’s a captivating record that catches some of Morby’s Babies-style beach-pop, jangle-rock style, but with a bit more depth. AC

INFO: 8:30 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $15. 429-4135.

FRIDAY 9/22

LATIN

BROKEN ENGLISH & FLOR DE CAÑA

On Friday, Sept. 22, two of the area’s hottest Latin bands join forces for a party that promises to be a cross-cultural celebration of all things rhythm and dance. Broken English is a high-energy outfit whose repertoire includes dance music from around the Caribbean and beyond. Flor de Caña is a Santa Cruz-based septet that blends Cuban son, Colombian cumbia and an otherworldly rhythm section, complete with bass, guitar, Cuban tres, button accordion, congas, bongo, timbales, maracas, guiro and bell to create a unique, lively, contemporary sound of its own. CJ

INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $9/adv, $12/door. 479-1854.

SATURDAY 9/23

ROCK

MICHAEL CRENSHAW & LOS STRAITJACKETS

It’s easy to see why Michael Crenshaw was once described as a “latter-day Buddy Holly.” For nearly four decades, his 1950s-style guitar and smooth crooning have been just as iconic as his signature glasses. So who better to team up with on tour than Los Straitjackets—the mighty, lucha-libre-masked quartet of 1960s instrumental surf music? Both acts are masters of their trade, delivering new and covered tunes with a unique dash of their own flavor that often has a lingering aftertaste of sweet nostalgia. MAT WEIR

INFO: 8:30 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $20/adv, $25/door. 479-1854.

SUNDAY 9/24

ROOTS

JIM LAUDERDALE

Jim Lauderdale is a quiet legend of American roots music. The North Carolina-born singer-songwriter launched his career in the late ’70s, and his work spans just about every genre in the roots lexicon: bluegrass, country, honky tonk, gospel, folk, soul. He came of age during the era where rock acts leaned heavily on folk traditions, so Lauderdale’s resume also includes collaborations with rock acts, including Elvis Costello, the Grateful Dead, John Oates and more. His songs have been recorded by a bunch of chart-topping stars—George Strait has recorded more than a dozen of them—but Lauderdale has managed to maintain a relatively low profile, and a creative integrity that has stretched over decades. CJ

INFO: 7 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $20/adv, $25/door. 427-2227.

TUESDAY 9/26

ROCK

L7

All hail L7! This legendary Los Angeles band was a fixture of the grunge era, and influenced the riot grrrl scene. L7 also co-founded Rock for Choice, a pro-choice benefit festival that ran from 1991-2001. While their third album, Bricks Are Heavy, which spawned the alt hit “Pretend We’re Dead,” was voted by Rolling Stone as one of the essential ’90s albums, fans know any of their first four records should be recommended by any record store clerk worth his or her salt. L7 split in 2000, but in 2014 announced a reunion with all of the original members. MW

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

Giveaway: Santa Cruz Surf Film Festival

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Now in its fourth year, the Santa Cruz Surf Film Festival is a showcase for the best new surf films from around the world. This year, the two-day fest features films about surfers from age 5 to 75 riding longboards, shortboards, finless boards, big waves and more. Festival highlights include One Shot, a documentary about surf photography, The Endless Winter II: Surfing Europe, Positive Vibration, about a surfboard drive to get boards to Jamaica, and The Church of the Open Sky, a feature-length release from award-winning Australian filmmaker Nathan Oldfield. 

INFO: 6 p.m. Friday and Saturday, Sept. 29 and 30. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $16-$50. 423-8209. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Monday, Sept. 25 to find out how you could win a pair of tickets to the festival.

Love Your Local Band: Frootie Flavors

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Frootie Flavors formed back in 1995, just as queercore bands were becoming more visible in the Bay Area, and the Santa Cruz queer-pop duo felt an obvious kinship to the scene. However, when they’d go up to play in San Francisco, they felt a little out of place bringing their upbeat, dancey pop music to the stage.

“I always felt like we were the country bumpkins when we went up to San Francisco to play,” says drummer Vnes Dowling. “We’d go up there and a lot of bands were edgy punk or just experimental with lots of style. We’d be like, ‘we sing cuntry songs—songs from the cunt.’”

The band would always kill, though. They brought a party: saucy sing-alongs, and lyrics that might seem offensive on the surface, but were silly and empowering to the LGBTQ community. The only time they ever bombed was when they got booked to play a queer youth prom in front of kids who wanted to hear hip-hop and R&B.

“We were just a little bit too fuddy duddy for them,” says Dowling.

She describes Frootie Flavors as an “activist dyke band” in the early years. They played queer marches and nearly every year of Santa Cruz Pride. In 1999, singer Stu Doogan transitioned to male, and later Dowling to non-binary. The bass player that joined the band in 2001 was also trans.

“We became a transtastic power trio,” she says.

Over the past nine years, however, they’ve had a new bass player, Valerie Atha, who identifies as a lesbian—“we’ve become a dyke-trans band again,” says Dowling.

In 22 years, the band has maintained the same fun spirit. It’s what keeps the members playing, and the fans still coming out.

“Our main thing is always having a good time. Our main theme as a band has always been partying. All of our songs are very catchy; it’s a sing-along every time. We get a lot of audience participation going,” Dowling says. “We’re so Santa Cruz.”


INFO: 9 p.m. Sunday, Sept. 24. Crepe Place, 1134 Soquel Ave., Santa Cruz. $8. 429-6994.

Dior Goes Santa Cruz with 2018 Resort Collection

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May 11, 2017: Few things will coax celebrities into the Santa Monica Mountains on the eve of summer, but Dior is one of them. For some, Dior’s 2018 Resort show locale is an excuse to dust off their furs and Stetsons in lieu of silk jacquards and twill trousers—think Charlize Theron meets McCabe & Mrs. Miller. Among the hundreds of fashion denizens in attendance is Santa Cruz resident Vicki Noble, tottering around the Bedouin celebrity tent. She sits right by Rihanna, though neither of them know it.

 

“Whoever that is,” Noble tells me later, with a shrug. “I wouldn’t know her if I saw her.”

Similarly, Noble, with her cropped white hair and square-rimmed glasses, is pretty much indistinguishable from many people you’d pass on Pacific Avenue. At 70, she’s a professor, a psychic reader, a gardener, and most importantly to her, a feminist. She had been invited to Dior’s 2018 Resort show because the artwork on the clothes parading down the runway was from the Motherpeace Tarot deck, which she co-created with Karen Vogel nearly 40 years ago.

Dior’s southwestern-inspired collection highlighted strong female figures, drawing inspiration from Georgia O’Keeffe and images from the Motherpeace Tarot. Christian Dior was a tarot aficionado rumored to have had his cards read before his shows. Dior’s new artistic director, Maria Grazia Chiuri, is also a lover of the tarot.

Vicki Noble Dior 2018 Resort Collection Motherpeace tarot cards
Dior’s Maria Gazia Chiui gifted Noble this leather jacket showcasing the Motherpeace tarot deck’s death card image. PHOTO: KEANA PARKER

Chiuri is the first woman to run the Dior line in its 70-year history. An outspoken feminist herself, she is seeking to reinvent what the Dior name stands for, restoring Christian Dior’s original vision, according to Noble. Chiuri came across Noble’s work when she read her book, Shakti Woman, and stumbled on the Motherpeace Tarot deck.

The Motherpeace Tarot deck was published in the early ’80s, co-authored by Noble and Vogel. The two women created the deck to celebrate femininity and strong women of color, a break from the typical masculine focus of much of tarot arcana. With help from friends, they self-published the 78-card deck in Berkeley after mortgaging their home.

“We were revising world history to include women,” Noble says. “Maria Grazia saw that, and she wants to revise world history to include women, too.”

 

April 12, 2017: It’s the eve of Noble’s birthday, she has a plethora of activities planned—including getting tattoos—but when she checks her inbox she has an email from Paris, asking if the Motherpeace designs can be used in the Resort collection just three weeks later.

 

“I was there when she opened the email,” former student and longtime friend Teresa Diaz recalls. “She said, ‘oh, I am just going to delete this’ and I said, ‘oh, no you’re not. You open it right now.’”

“I thought it might be a joke,” Noble says now. Though she almost deleted the email, she says she had been feeling like something was a bit off in the universe around that time, and that something was coming her way—but she wasn’t sure what. So she opened it.

Noble lives in a little house off East Cliff Drive, within minutes of her three children. She prides herself on her two beehives and countless cherry tomatoes. She is a proud grandmother, and, like grandmothers do, dotes on her three grandchildren while spending countless hours in her garden. But there is nothing stereotypical about her.

She is a healer and professor of feminist studies and women’s spiritualism. She travels around the world leading women’s retreats and workshops.

“She always has been very much who she is as a healer, energetic being and oracle,” says Diaz. “She is pretty consistent with who and how she is, even as she moves through different contexts and cultures. She’s really a ‘bridge person,’ and streaming radical feminist qualities into mainstream fashion is just a perfect role for her.”

But Noble hasn’t always been a healer, or a feminist for that matter. Originally from Iowa, Noble was married with two children at 22 because she says that’s what you did at the time if you didn’t know what else to do. But she loved reading and writing, and came across Kate Millet’s Sexual Politics, where she found feminism while living in Colorado Springs.

“It hit me like a lightning bolt,” Noble says. “It was a heresy for me to even have that book on my coffee table, being an Air Force wife.”

She divorced and eventually moved to Berkeley, where the Motherpeace magic happened. Noble recalls buying her children a tarot card deck at the flea market, and drawing on the two blank cards—which got her thinking about starting her own deck, though she had little to no experience with tarot.

“We tried to get the deck published with U.S. Games, but they wanted artistic control,” she says. “Of course we said no to that.”

Though she has published eight books, Noble has always been on the wrong end of the publishing industry. She says many publishers want to change her, change what she stands for, and often don’t understand her methods and easygoing way of life.

“The last publisher told me she wanted me but she was concerned about my platform,” she says. “I had to Google, ‘what’s a platform?’’’

She feels that this latest development with Dior is a way around the publishing industry, and that in a way, she has circumvented the establishment altogether. Even though her work isn’t very commercially successful, she says everything has always worked out, one way or another. “The universe has always taken care of me,” she says.

And so it has. Motherpeace has since sold more than 300,000 copies, and sales have doubled since Dior licenced the deck and debuted the line. Come August, Paris Jackson would wear Dior’s Wheel of Fortune sheer dress to the MTV Video Music Awards. Beyond that, Noble won’t see what the entire collection will look like until it’s released in November.

“My work is terrifically interesting, it just wasn’t making its way into the mainstream,” she says. “Until now.”

 

July 3, 2017: It is a hideously hot day in Paris, but Dior can’t afford to wait for weather. It is Paris Fashion Week, but perhaps more importantly, it is the label’s 70th anniversary. Everyone celebrates with lavish amounts of champagne and oversized brimmed hats, while frantically fanning themselves with Dior fans. Noble opts for a leather jacket given to her by Chiuri and long sleeves—a decision she comes to somewhat regret upon her arrival. Everyone is wearing Dior, and some are wearing Motherpeace designs on T-shirts or dresses. She rushes up to each of them to say hello and get a photograph. Just a week before, she had gotten her check from Dior and decided to take the month off, which she doesn’t often do. An invitation to Dior’s Haute Couture fashion followed, and the company flew her to France.

 

“Normally it wouldn’t have been possible, it was too spontaneous, I don’t live my life that way,” she says, noting that at her age traveling is more difficult. “But I said yes, and off we went.”

She still fully intends on keeping to her eccentric feminist roots, but she admits it’s nice to visit the “God realm” that is Dior’s world every now and then.

“It’s such a fantastic story of creativity,” says Noble’s neighbor, Tracy Shaw. “That’s why everyone should be creating things—just keep creating, and you never know. Forty years later you might get picked up by Christian Dior.”

Noble’s collaboration with Dior is far from over, she’s expecting to return to Paris in the fall to do some kind of event, as requested by Chiuri. Though the details aren’t clear and dates aren’t set, she thinks it’ll be in November. Until then, she is back to reality, having rewarded herself with a new laptop—which she is still getting used to—and car, which she fittingly named Dior.


For more information about Motherpeace and Noble’s work, visit vickinoble.com.

Film Review: ‘Beach Rats’

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There’s truth in advertising in the indie movie Beach Rats. Writer-director Eliza Hittman’s drama follows the dubious exploits of a Brooklyn youth who hangs out with his lowlife buddies all day at the beach at Coney Island, while secretly exploring his attraction to men online at night.

A darling of the festival circuit, the movie has won kudos for Hittman at places like Sundance and L.A.’s Outfest for her sensitivity to the issue of sexual identity. But as the movie itself unspools (at a very long-seeming 95 minutes), the delicate subject of sexuality becomes increasingly hijacked by the portrait of young men as pack animals—much as the protagonist’s individuality gets hijacked into the herd mentality.

This is largely Hittman’s point, of course, the anguish of establishing a selfhood that goes against the grain of the accepted “norm.” The problem is that Hittman never manages to convey her character’s anguish as he drifts through his dead-end life. In the central role of Frankie, Harris Dickinson has a certain visual presence, but the part of Frankie as written is the definition of “aimless”—reactive, static, and ultimately uninteresting.

Frankie and his three pals spend their days riding the subway and wandering around Coney Island. It’s summer, so there’s no school, and none of them are employed (they look about 18); on the boardwalk, they tentatively ogle girls and (much more skillfully) pick pockets so they can buy weed. Closer to home, Frankie has a more viable source of drugs, the painkillers prescribed for his father, who’s dying of cancer.

At the boardwalk, Frankie is vamped by Simone (saucy Madeline Weinstein), whom he takes home to his den in his parents’ basement, determined to establish a relationship with her. It’s a dodge to conceal his secret life of posting selfies and talking to older men on a live chat website as he gradually works up the nerve to schedule real-life meet-ups with them. Searching for some kind of road map beyond the attempted guidance of his caring, but harried mom (Kate Hodge), Frankie asks if Simone has ever made out with another girl. Sure, she says, then tells him that girls making out is “hot,” but guys making out is “just gay.”

Random moments like this seem to be leading somewhere. But Hittman squanders viewer interest in Frankie’s conflicted sexuality as we keep following him and his delinquent buds on their repetitive and boring rounds, tanking up at the smoke lounge, or stealing his mom’s jewelry to pawn for cash to buy more drugs. Meanwhile, he drifts through various sexual encounters largely unaffected by any discernible emotion. What ought to be a defining moment when he unexpectedly feels something for one of his dates is lost by Frankie’s inability to make a moral choice or stand up for himself.

But by this time, it’s occurred to the viewer that confusion over his sexual identity is the least of Frankie’s problems. He ought to be more worried about wandering off into the woods at night with strangers. It never occurs to him to aim any higher than the black hole of drugs and apathy he and his deadbeat buddies have mired themselves in. He ought to be concerned that he has no job, no visible skills, no prospects, and no ambition to ever change anything.

A character study is one thing, but the protagonist ought to have a character worth studying. “Coming of age” suggests a transition from one stage to another, some evidence of growth or transformation. But as Frankie doggedly fails to take away anything of value from his experiences, we start to wonder why we should invest so much time and sympathy in him. And once we stop caring about him, the whole movie devolves into ennui.


BEACH RATS

** (out of four)

With Harris Dickinson, Madeline Weinstein, and Kate Hodge. Written and directed by Eliza Hittman. A Neon release. Rated R. 95 minutes.

KSCO Owner Calls BS on Talk Show Co-Host

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Radio host Georgia “Peach” Beardslee—a self-proclaimed “racist”—went on a rant via the KSCO (1080 AM) airwaves last week, complaining about the ‘liberal globalist techies’ trying to control everyone’s lives. It was a spiel that began sounding rather routine—for her, anyway.

It was part of a diatribe against GT for what she called a “hit piece” about her twice-weekly show (“Shock Waves,” 9/13). Beardslee also complained on her Sept. 13 broadcast that good news stories have a footnote citing every fact. Soon after that, co-host Sam Quinten chimed in, looking to add something to her point about techie liberals.

“Bill Gates owns all the local newspapers,” Quinten remarked, ironically—although not unsurprisingly—without citing anything whatsoever, “the [Santa Cruz] Sentinel, the [Monterey] Herald, the San Jose Mercury News. And guess what else he owns: Good Times.”

Well, allegations that the Microsoft cofounder suddenly owns GT were honestly news to us. In fact, as anyone who did even the most basic bit of research would learn, GT is locally owned by Nuz, Inc.

We tried checking with Quinten, curious to hear where he got his information. Quinten didn’t get back to us, but we also called KSCO owner Michael Zwerling, who didn’t take kindly to the misinformation that his employee was spreading around.

“That’s real horse shit. That kind of stuff is just not acceptable,” Zwerling said. “Maybe he was confused, but it doesn’t matter. Don’t shoot your mouth off about stuff you don’t know.”

Zwerling, who was listening to the show at the time, says that even he believed the tidbit when he heard it—illustrating, he admits, how easily misinformation can spread. As Zwerling and I talked, he suddenly remembered chatting with GT co-owner Dan Pulcrano nine years ago. As for the Sentinel, Herald and Mercury, they are all owned by Alden Global Capital, a hedge fund that’s squeezing every last penny it can out of media conglomerate Digital First Media. Not local, but still not Bill Gates.

“When other people take it at face value, that’s not good,” he says. “It makes us look not credible.”

Of course, this was not the first controversial on-air moment for Quinten and Beardslee, who frequently whines about “white genocide” and that “white people are being replaced.”

Michael Barkun, a political science professor emeritus for Syracuse University, says openly racist broadcasting is pretty rare for radio—though it’s more common on YouTube channels or other fringe outlets.

“What’s unusual is not the content, but the medium,” says Barkun, who’s authored books on racism and also read GT’s previous story about Beardslee. “The ideas are pretty basic right-wing extremist material.”

Last week, Beardslee, who could not be reached for comment, also invoked conspiracy theories about the Rothschilds, a German family that anti-Semites believe controls the world’s political and banking frameworks, and she openly criticized Zwerling’s Zionist views.

Zwerling, who himself is Jewish, admits that such comments often hurt his feelings. But he adds that he still wants his embattled, cash-strapped radio station to be a place where people can speak freely.

“You’d better believe it hurts me to hear these things on the radio station that I own,” he says. “I don’t have kids or grandkids, so I pour my money into KSCO.”

He admits that maybe in 1991 or 1992—shortly after he bought the station—he probably would have yanked a host off the air for good if they said things like the ones he hears now from Beardslee—who owns a construction business based in a Capitola home, according to online listings.

He adds that if Beardslee were to “cross the line, in my mind,” which, he adds “is really a much harder line to cross for me, than for most people,” he would still fire her. For instance, if she were inciting violence, that would get his attention. But anything beyond that, he fears, could spell trouble.

“I think it’s very dangerous to step on the Constitution,” he says.

But this begs the question: What does the Constitution have to do with what people say on the airwaves, really? Or with inflammatory hate speech, or whether or not someone’s bosses discipline them for things they say?

Nothing at all, Zwerling admits. “I can’t hide behind the First Amendment. As some email said, ‘Don’t hide behind the Constitution or freedom of speech,’” he says. “I just wish to God that we had more of a variety of opinions. It hasn’t been the forum I wanted it to be.”

Often on KSCO, Zwerling adds, the call-in portion of any given show turns into “mostly a slobberfest.”

But does Zwerling at least worry that maybe Beardslee could be inciting racism locally?

Listeners, he has decided, are above that.

“Give people some credit for having some intelligence,” Zwerling says. “But God, I think it’s really dangerous when people are protected. Let people be open to everything and let them make up their minds. I wish more non-conservatives would call the station and take advantage of the station. It’s mostly wingnuts—I hate to say it—who take advantage of the radio show.”

Thomas Pettigrew, a psychology emeritus professor at UCSC, has studied racism for decades. He says via email that overwhelming research shows “that such far-right episodes do tend to galvanize bigots,” and can even manifest themselves in incidents of violence in extreme instances—although he doesn’t “fear that a bombastic radio show will have a major overall opinion effect” here in Santa Cruz.

Zwerling, who sometimes goes by his initials, “MZ,” has openly talked about bankrolling his station—something he does with money from a health supplement company he created 21 years ago. Part of him now wishes he hadn’t been so open about his personal support for KSCO because he fears, as a result, few people support it by purchasing ads—and his staff, he thinks, doesn’t feel a sense of fiscal urgency.

“People know,” Zwerling says, “that Daddy Warbucks—MZ—will make up the difference.”

Dan Haifley Looks Back on Fight to Protect Monterey Bay

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Look out across Monterey Bay, and you may notice a dense fog, or, on a more clear day, the far reaches of a mountainous peninsula. You’ll likely spot a few waves crashing, or maybe even some hungry predators on the hunt for a fishy meal.

What you definitely won’t see, though, are oil rigs. That total lack of heavy machinery dotting the horizon makes for an awfully calming design feature—one for which we owe thanks to environmentalists like Dan Haifley, who founded Save Our Shores in 1978 and advocated for the establishment of a marine sanctuary in a fight that began more than three decades ago.

When dedicated in 1992, the Monterey Bay National Marine Sanctuary (MBNMS) was the largest marine sanctuary in the continental United States, at nearly 4,600 square nautical miles, stretching from Cambria to Marin County. As the sanctuary celebrates 25 years, Haifley has been looking back on his battle to protect the space, which he’ll discuss in a lecture through the Democratic Women’s Club on Saturday, Sept. 23.

“We were burning the midnight oil a lot, but it was gratifying and quite a bit of fun,” says Haifley, now the executive director for the O’Neill Sea Odyssey. “There were moments that were difficult, like when an ad opposing the sanctuary was posted in the New York Times, but overall it was a great way to spend seven years,”

A 1969 Santa Barbara oil spill—to date, the third-largest spill ever in U.S. waters—was a call to action, as was a growing opposition to oil and gas exploration off the California coast. It helped too that then-Congressmember Leon Panetta, like Haifley, wanted to protect the Monterey Bay’s rich biodiversity.

Haifley recalls promoting the largest possible boundary for the sanctuary, thinking that it would never be approved, in its entirety, due to pushback from then-President George H. W. Bush’s administration. But Bush approved the boundaries for the sanctuary, despite his background in offshore oil development. Haifley credits scientific research around the bay, along with a large pool of grassroots organizers, for creating a swell of support.

Haifley says that likely wouldn’t happen the same way today, especially now that President Donald Trump has ordered a review of any new sanctuaries or the expansion of existing sanctuaries established in the last 10 years. (The administration has set its sights on national monuments, too, mostly to accommodate mining and similar business interests.) In a different political climate, natural crude reserves between San Francisco and Davenport might have proved too tempting for the industry not to tap into, Haifley says. Protecting it all, he explains, “would have been very difficult, if not impossible, to do today.”

“1992 was the year to do it—we got lucky in terms of timing,” he says.

Haifley says that the new review process for marine sanctuaries could potentially lead to the loss of the Davidson Seamount—a 2009 addition to the MBNMS—although he believes that both research and the immense public support should prevent the federal government from making any changes locally.

Future proposals to create national marine sanctuaries will now likely have to wait a bit longer. Under the Obama administration, Surfrider Foundation and Sierra Club tried to lay groundwork to protect the San Luis Obispo County coast with a proposed Chumash Heritage National Marine Sanctuary. But after Trump’s inauguration, work has slowed. But Haifley believes a tide of support will carry projects like this sooner or later.

“People are just being patient, they are waiting, and we had to wait for a couple of years, too,” Haifley says. “Just organize, gather your facts, check them twice, get people onto your side and present a solid case. If it doesn’t happen today, it may happen tomorrow, but persistence is very important.”


The Democratic Women’s Club will host a 25th anniversary celebration of the MBNMS at 10 a.m. on Sept. 23 in the Santa Cruz Police Department Community Room, where Haifley will speak. For more information about the sanctuary, visit montereybay.noaa.gov

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