Music Picks Apr. 4-11

 

Live music highlights for the week of April 4, 2018.

 

WEDNESDAY 4/4

FUSION

CARLOS NAKAI

Have you ever seen Native American flute master R. Carlos Nakai in a Hawaiian shirt? I hadn’t either—until this week. But Nakai’s current quartet project is showcasing a different side of the renowned artist. The R. Carlos Nakai Quartet (RCNQ) is a fusion outfit that blends international styles and has a sonic range spanning from quiet and meditative to irresistibly groovy. Comprising Nakai on flutes, trumpet and voice; Will Clipman on drums, percussion and voice; AmoChip Dabney on saxophones, keyboards and voice; and Johnny Walker on bass and voice, the quartet brings new life and a collaborative spirit to traditional sounds. CAT JOHNSON

INFO: 7:30 p.m. Flynn’s Cabaret, 6275 Hwy. 9, Felton. $25. 335-2800.

WEDNESDAY 4/4

ROCK

GETAWAY DOGS

For the last five years, the “cushy bedroom psychedelic bossanova” of the Getaway Dogs has provided dreamy tunes for Santa Cruzans to sit back and relax to. Fresh off their performance at the Santa Cruz Music Festival, this Wednesday the Dogs return to the Crepe Place with friends Spooky Mansion for a night of mystic melodies and floating fantasies. MAT WEIR

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

WEDNESDAY 4/4

POP/ROOTS

MARIA MULDAUR

An acclaimed artist who topped the charts with her 1974 hit song “Midnight at the Oasis,” Maria Muldaur expanded her musical footprint to include roots, folk, blues, bluegrass and more. With a whopping 40 albums to her name, Muldaur has been a familiar presence on the pop music scene for the last four decades. Her latest project, dubbed “Jazzabelle,” is described as an “intimate evening of naughty

bawdy blues and vintage classic jazz.” CJ

INFO: 7:30 p.m. Michael’s on Main, 2591 Main St., Soquel. $20. 479-9777.

THURSDAY 4/5

FUNK

MAIN SQUEEZE

In its early days, funk band the Main Squeeze fancied itself a party band over at Indiana University, where, we can assume, they provided the soundtrack to many a debaucherous late night. Times have changed, and the funketeers have matured, but they’re no less dancey. They hit the road with Santa Cruz as one of their stops, and an incredible new album waiting in the wings. Produced by Randy Jackson (The guy who used to say “Dawg” on American Idol), Without A Sound is a personal, emotive grooving record with a heavy dose of funk and a splash of rock and soul. AARON CARNES

INFO: 8:30 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $10/adv, $15/door. 479-1854.

THURSDAY 4/5

FADO

ANTÓNIO ZAMBUJO

Acclaimed Portuguese guitarist and fado singer António Zambujo is part of a long line of many outstanding fado singers that includes the legendary Mariza and Dulce Pontes. A star whose 2002 debut album, O Mesmo Fado, garnered him critical acclaim and “Best New Fado Voice” honors from Radio Nova FM, Zambujo went on to become an internationally known sensation and recipient of even more awards, including the prestigious Amália Rodrigues Prize by the Amália Rodrigues Foundation in the category of “Best Male Fado Singer.” CJ

INFO: 7 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $25/adv, $30/door. 427-2227.

FRIDAY 4/6

COUNTRY

DEVIL MAKES THREE

Your eyes do not deceive you! Santa Cruz’s prodigal sons (and daughter) are coming home to spread their roots and rock the Catalyst again. This is one band that needs no introduction as they have been a hometown favorite for nearly two decades, blending the folky sounds of the Santa Cruz Mountains with blues, jazz, honky tonk and a little bit of country swagger. MW

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $35. 429-4135.

SATURDAY 4/7

ROCK

AL JARDINE

When you think of the Beach Boys, who comes to mind? Brian Wilson, of course, and his various brothers (and asshole cousin Mike Love). But hey, don’t forget Al Jardine! He’s an original member, and every bit the fantastic, dreamy singer that the Wilsons were. In 2010, he released his official debut studio album, A Postcard From California. It was recorded in Big Sur with some local musicians and some amazing guests (Neil Young, Brian Wilson, Steve Miller). It’s sunny, poppy, and everything else you’d want from an original Beach Boys member. AC

INFO: 7 p.m. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $33.50/adv, $49.25/door. 423-8209.

SATURDAY 4/7

ROCK

STONEFIELD

Raised in Australia on their parents’ vast record collection, which includes everything from Deep Purple to Zappa, the four hard-rocking sisters of Stonefield not only absorbed the wide scope of classic rock’s heyday, but also developed an instinctual chemistry that sounds as natural as breathing. AC

INFO: 8:30 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $8/adv, $10/door. 429-4135.

SUNDAY 4/8

JAZZ

LEE RITENOUR WITH DAVE GRUSIN

When it comes to paying the rent, it’s safe to assume that Dave Grusin doesn’t need this gig. The pianist spent four decades as an A-list Hollywood film composer, with a gaudy list of credits from 1967’s Divorce American Style and 1973’s Robert Mitchum classic The Friends of Eddie Coyle to his Oscar-winning score for 1988’s The Milagro Beanfield War and my personal favorite, the rollicking piano-driven soundtrack for 1993’s The Firm. He co-founded the extremely successful label GRP, which released around a dozen albums by Lee Ritenour, an accomplished guitarist with a passion for Brazilian music. The longtime friends have been touring together in recent years, a partnership that brings out the burnished lyricism of both players. ANDREW GILBERT

INFO: 7 and 9 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $35-$47. 427-2227.


IN THE QUEUE

SIX STRING PHARMACY

“Acoustic power duo” out of Monterey County. Thursday at Henflings

JACK TEMPCHIN

Legendary songwriter behind numerous Eagles hits. Thursday at Flynn’s Cabaret

GRATEFUL BLUEGRASS BOYS

String band tribute to Bob Dylan, Van Morrison, the Rolling Stones and the Dead. Friday at Michael’s on Main

DON CARLOS

Reggae legend. Friday and Saturday at Moe’s Alley

GODDAMN GALLOWS

Rockabilly, psychobilly, punk and bluegrass. Sunday at Catalyst

Giveaway: Ray Charles Project

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A rock ’n’ roll hall-of-famer who transformed popular music, Ray Charles left a legacy that can’t be duplicated—but that doesn’t mean we don’t love when people try. Charles gave us so many hit songs, including “Hit the Road Jack,” “I Wonder,” and “Georgia On My Mind,” to name just a few, that will be kept alive for generations to come. On April 4, a star-studded cast of Bay Area musicians, including Santana vocalist Tony Lindsay and blues guitar shredder Chris Cain, pay tribute with the Ray Charles Project. Put on your dancing shoes and celebrate the life of a legend. 

INFO: 4 p.m. Sunday, April 22. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $20/adv, $25/door. 479-1854. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Friday, April 13 to find out how you could win a pair of tickets to the show.

Love Your Local Band: Carolyn Sills Combo

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Americana legend Dale Watson founded the Ameripolitan Awards to honor new musicians playing the classic roots style of country music. It was his way to push back against the blandness of modern mainstream country.

Local musician Carolyn Sills’ Western-swing blend the Carolyn Sills Combo had been nominated for an Ameripolitan before, but at the awards ceremony in Austin last month Sills heard their name called for the first time as winner of the Western Swing Group category. It was a surreal moment, she says—she gave a speech and got a big round of applause, then went backstage where she was showered with congratulations.

“A bunch of our idols were back there: Rosie Flores, Reverend Horton Heat,” says Sills. All those other people congratulating us, and telling us they voted for us, which was really exciting.”

Their earlier nominations saw some doors open for her group, which includes guitarist/vocalist Gerald Egan, percussionist/singer Sunshine Jackson, drummer Jim Norris, and steel guitar player Charlie Joe Wallace. And with this year’s win, she’s seeing even more interest—which comes at a great time as they are hoping to tour more, and release a new record this year.

“We’re still a small band, so to be able to get this recognition, and everyone to be so excited about the award was very nice. Definitely it’s a feather in our cap,” Sills says. “We have great friends and fans in town and people that are just so excited that we brought the trophy home. It’s definitely a win for the Santa Cruz contingent.”

Sills’ next local show will be at Flynn’s on April 7, which will be a fundraiser for local resident Fleet Montgomery, who’s currently dealing with hefty medical expenses.

INFO: 8 p.m. Saturday, April 7. Flynn’s Cabaret, 6275 Hwy. 9, Felton. $15/adv, $20/door. 335-2800.

Wayfinding Finds Its Path Forward

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Santa Cruz signage is getting a long-awaited update—seven years in the making, to be precise—and designers are making the most of every sign’s real estate.

In the city’s Wayfinding project, each sign’s front side will direct drivers, pedestrians, and cyclists toward parking and tourist attractions, while the back of each sign will guide them in a more visual way, with selected images of local public art indicating a specific part of town. Spanning from the Westside to the harbor, the signage is designed to provide a unique canvas for attentive viewers to get an experience of the neighborhood they’re approaching.

“We’ve taken pieces of artwork from the Beach Flats, so you see glimpses of it as you’re heading that direction,” says artist Jon Rawls, the local artist tasked with curating the art selection. The same goes for the Westside and downtown.

Wayfinding should help orient drivers toward parking so they can get out and enjoy the walkability of Santa Cruz, says Bonnie Lipscomb, the city’s of economic development director. Once out of their cars, visitors will be able to get information from more detailed kiosk maps to help them navigate between areas like the San Lorenzo Riverwalk, downtown and the wharf.

The $1.4 million effort first began in 2011, but got put on hold by the dissolution of California’s redevelopment agencies at the end of that year. That money thawed four years later in 2015, according to the economic development department’s website.

The new signs, scheduled to be installed this fall in 175 locations around the city, are supposed to create a cohesive look that’s uniquely Santa Cruz, and Lipscomb says her staff has struck a deal with the public works department to take down more signs than they put up in an effort to reduce visual clutter. It’s been nearly 20 years since city workers installed the old purple-and-teal directional signs.

Lipscomb updated the City Council about Wayfinding at a March 27 meeting alongside consultants from the Pasadena-based Hunt Design group, which is taking the lead on the project.

The consultants, Jen Bressler and Emily Morishita, held two community listening sessions, gathering input on the signs from more than 80 people. And the designers apparently realized that even their own enthusiasm for signs was no match for the passion of the Santa Cruz community. The designers’ original idea was to incorporate the redwoods and waterfront into the design, before they heard the community preferred a more modern, simple look.

On the front of each sign, the designers have settled on the unofficial city colors, blue and yellow, which appear at both UCSC and on the Santa Cruz Warriors’ uniforms. A simple yellow-and-blue “P” sign will direct vehicles toward parking.

Three gateway signs will be placed at the main entrance corridors including the Westside, the wharf, and the intersection of Highway 17 and 1, near Ocean Street. The design proposal to the City Council shows a tall post with the words “Santa Cruz” illuminated in a soft LED lighting at night. Some smaller gateway signs will go on the city’s eastern borders.

Economic Development Coordinator Amanda Rotello says the city may also change the River Street sign away from the unhelpful—perhaps even slightly misleading—“Welcome to River Street: Downtown Santa Cruz.” The new sign may read simply “Welcome to Santa Cruz.”

 

4 Things to Do in Santa Cruz Apr. 4-10

Event highlights for the week of April 4, 2018.

 

Green Fix

Annual Dahlia Tuber Sale

popouts1814-green-fixThere are few low-maintenance flowers that yield as stunning results as the dahlia, but you have to do the work to get there. Dahlia plants bloom from tubers, which look like little magical sprouting potatoes you put in the ground. After planting the tuber, you can expect dahlias to bloom around eight weeks later, but try to refrain from watering immediately after planting, since tubers can be prone to rot. These perfectly symmetrical little poms come in beautiful fiery hues perfect for a mid-summer bloom. Show up early for the best selection.

INFO: 9-11 a.m. Saturday, April 7. Red Apple Cafe. 783 Rio Del Mar Blvd # 15, Aptos. mbdahlias.org. Free.

 

Art Seen

Contra Dance

popouts1814-art-seenContra dancing is as much about socializing as it is about dancing. Of course there is dancing involved—a lot of it—but it’s also kind of like high-speed dance dating without time for the ensuing awkwardness. Contra dancing takes place in sets and consists of two lines, where your partner (if you have one) is usually across from you in the other line. Dancing experience isn’t necessary, but there is a beginner’s workshop 20 minutes before the dance that is recommended. Bring comfortable, non-marking shoes to protect your feet and the floors and refrain from wearing cologne or perfumes.

INFO: 6 p.m. Sunday, April 8. Veterans Memorial Building, 846 Front St., Santa Cruz. santacruzdance.org. $12 general admission, $8 students.

 

Saturday 4/7 and Sunday 4/8

‘Primordial Winds’ Watsonville Taiko’s 27th Anniversary

popouts1814-taikoThe term “taiko” refers to a spectrum of japanese drums and percussion instruments and the ancient musical performance. Throughout history, taiko has been used in marches, celebrations, theater and even war. In celebration of their 27th year in Santa Cruz County, Watsonville Taiko is showcasing the wind element to portray the movement of energy and time across history. According to the group, taiko drumming awakens the winds of distance times, and is a fitting celebration of energy and power.

INFO: 7 p.m. Saturday and 2 p.m. Sunday. Cabrillo Crocker Theater. Lower Perimeter Road, Aptos. 479-6152. cabrillovapa.com. $21 general admission, $16 student/senior, $12 children 15 and under. Photo by Philip Shima.

 

Friday 4/6-Sunday 4/22

‘Our Town’

Thornton Wilder’s Pulitzer-Prize-winning play will make a dramatic scene in Santa Cruz. Our Town is perhaps Wilder’s best known work, though it is also one of his most modest in its minimalist theatrical style. Directed by local producer Suzanne Sturn, the play gives new meaning to the idea of a theater experience. The stage manager, a character in the play, breaks the fourth wall not only by directly addressing the audience, but also by prompting actors and cueing scene changes, as if the rehearsals are the final product. The play is outside of the norm, and will introduce new perspective and context to everyday life in a bold and ambitious way.

INFO: 8 p.m. Fridays and Saturdays, 2 p.m. Sundays. Center Stage, 1001 Center St., Santa Cruz. brownpapertickets.com $25 general admission, $10 students and teachers.

 

Limits of City’s Quarter Cent Sales Tax Measure

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Make no mistake about it: the city’s new quarter-cent sales tax measure won’t help fund a new Santa Cruz Warriors arena, or even a revamped Santa Cruz Civic Auditorium. Nor does it cover improvements to the Santa Cruz Municipal Wharf or Santa Cruz Fire Department’s engine fleet—each of which has been vaguely discussed and eyed for possible future measures.

Instead, the June 5 ballot measure is all about “preserving existing programs and services,” City Manager Martín Bernal says—“essentially public safety, parks and recreation.”

The city may still look for revenue in future years for bigger-ticket projects, but those would be a few years out. “There’s an interest in doing that too,” Bernal adds, noting that investment in local infrastructure fell during the recession.

Bernal and Santa Cruz’s city councilmembers have been upfront about their reasons behind the measure, which the City Council placed on the ballot when it declared a fiscal emergency in February. Part of their explanation is that the state places a cap of 9.25 percent on sales tax. Santa Cruz’s sales tax is already getting close, at 9 percent. City leaders are, in part, looking to snag that last quarter cent before some other group does with a regional measure.

The $3-million-per-year tax should allow Santa Cruz to avoid budget cuts in the upcoming fiscal year, but Finance Director Marcus Pimentel projects that the deficits will reappear in three or four years.

The City Council unanimously voted to put the measure on the June ballot, although Councilmember Sandy Brown expressed deep concerns, calling the tax “regressive” and worrying it would most severely impact Santa Cruz’s poorest residents, who spend a greater portion of their income.

“I’m not opposed to sales tax, per se. It’s more that we weren’t pursuing other taxation measures,” Brown tells GT.  Although Brown ultimately voted to place the measure on the ballot, she hasn’t decided how she’ll vote in June.

While the city’s budget has $100 million worth of details, recent news coverage has zeroed in on one cost—government pensions. CalMatters ran a March 18 column about Santa Cruz titled “How Pension Costs Clobbered One Small City.

Santa Cruz bargained with unions to negotiate new pension contributions and retirement ages in 2011. City leaders also implemented the state’s reforms more recently, but the city only sees savings from those reforms when employees leave. The city’s contributions to California’s Public Employees Retirement System (CalPERS) will exceed employee contributions for the first time ever in the upcoming fiscal year. Essentially, Santa Cruz is paying for the money that didn’t materialize in the state’s investment portfolio, given the California board’s stubbornly optimistic projections.

Pimentel, the finance director, projects that healthcare and pension costs will go up for the next four years, with more of the weight falling in the pension area. In four years, projected pension and healthcare costs will combine for nearly a quarter of the general fund budget. Pensions alone will come out to a projected 16 percent.

Many union workers are supporting the tax measure—which needs 50 percent voter approval to pass—sensing that its failure would mean layoffs to employees. And the SEIU has endorsed it.

Matt Nathanson, a public health nurse who serves on the SEIU’s local political action committee, says he and his fellow committee members heard overwhelming support for the measure in union meetings.

Bernal thinks the city would need to pass a ballot measure regardless of pension issues. He compares it to any business raising its prices.

The League of California Cities made six fiscal recommendations to local governments in January to help them balance budgets. Bernal says Santa Cruz has implemented four of those and is in the process of doing the final two, which includes the local ballot measure.

He also notes that the city was required to declare an emergency not because of any dire financial straits, but because of a technicality. He says that when Proposition 218 passed in 1996, it required local governments to declare a fiscal emergency whenever they ask for additional revenue at any point besides a general election. In this case, that would have been this November. Bernal says he didn’t recommend putting a tax on the November ballot for fear of impacting an affordable housing bond measure that former Mayor Don Lane is working on with former County Treasurer Fred Keeley. (Crowding too many taxes onto one ballot is seen as a political faux pas, one that can doom otherwise politically popular ideas.)

Elsewhere in California, other cities are asking for sales tax increases as well. Pasadena already has a 9.5 percent sales tax—some cities have secured exemptions to go above the sales tax cap—and the Los Angeles suburb is seeking a three-quarter cent increase to bring the sales tax up to 10.25 percent.

In local polling, the idea of Santa Cruz’s sales tax measure has looked popular, with 59 percent of respondents supporting it.

One measure that polled even better than a sales tax was a sugary beverage tax. Bernal hasn’t recommend pursuing that route for the June election because supporters often need to mount an aggressive campaign to pass such a measure—even in communities where the idea is popular—in order to overcome big spending from the big soda lobby.

Some councilmembers say the soda tax is still on the table for future elections. But Councilmember Brown—who remains ambivalent about the sales tax—says a sugary beverage tax isn’t easy for her to swallow either, and for similar reasons. Brown says soda taxes are similarly regressive, as lower-income families consume more of the drinks than other groups do.

Brown says she would have rather explored taxes on second homes or vacant properties.

The sales tax effectively adds a single quarter to the bill of someone who’s spent $100 at the cash register.

But Brown is still weighing the impact that a new sales tax may have on low-income families. The alternative is the impact of cutting services, which could have a big impact on low-income groups too.

“This is something that I’ve definitely been struggling with,” she says. “I do not intend to be an active member of the campaign, but I have a hard time deciding how I will be voting personally.”

 

There Will Be No 2018 Santa Cruz American Music Festival

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[dropcap]P[/dropcap]hil Lewis, a consultant for the Santa Cruz American Music Festival, remembers last year’s Sunday show on May 27 as “probably the best-run show” he and his team ever did.

That’s going back 25 years, to when Lewis helped create the original Santa Cruz Blues Festival, an annual Memorial Day event at Aptos Village Park that preceded its American Music Festival cousin.

That day’s lineup last year included the Brothers Comatose, Wood Brothers and Mavis Staples—each act bringing more energy to the stage than the last, before the day culminated with Santa Cruz favorites Devil Makes Three, who finished the afternoon with a bang. Looking back, it was a fitting finale to a two-day festival that Lewis says may never happen again.

“Not at that park. If I could find a better venue, then yeah, sure,” he says, looking out the window of his Capitola mortgage lending office.

The event is on indefinite hiatus, and there will certainly be no Santa Cruz American Music Festival in 2018, now that the Aptos Village project—currently under construction—has taken away the plot of land on Aptos Creek Road where the festival organizers used to park tour buses and semi-trucks hauling heavy equipment.

Lewis says running a small festival is more difficult than ever. Artists are asking for more money these days—as are staging companies, unions, county regulators, garbage collectors, security teams, chair rental companies, fencing businesses, bus companies, and even Cabrillo College, where the festival would host most of its parking for concert goers. “Everything,” he says.

“Everybody wants more money. At some point, you’re like, where does it stop?” Lewis says, leaning back in his chair, shaking his head as he crosses his arms. “It doesn’t.”

Lewis remembers one of his favorite acts over the years as B.B. King, back in the Santa Cruz Blues Festival days. “You could feel his energy all the way back to where the food was. From him to that last person. He had that charisma, more than any person I’ve ever met. He would melt people with his eyes. Amazing,” Lewis says.

But Lewis’ favorite memories of the two-day festival are of the fans.

He says he’s had a half-dozen people over the years tell him they met their spouse at the event. And another couple, he recalls, came to a Saturday show about 10 years into their annual Blues Festival tradition, and then had their baby delivered the next day, on Sunday. Lewis got the full story at the following festival, one year later—the baby’s first birthday.

When the festival started, Lewis remembers only two other major Memorial Day weekend events. One was an air show in Watsonville; the other was the Strawberry Music Festival four hours away in Yosemite. In recent years, however, event organizers found themselves competing with an increasingly long list of other festivals, stretching from May through September, including BottleRock in Napa and Monterey’s California Roots Music and Art Festival, both happening that same weekend.

Bill Welch, who owns Moe’s Alley, helped create and run the Blues Festival for 22 years before bowing out in 2015, the year the event became the Santa Cruz American Music Festival. Welch says that as music festivals grew more popular, artists started demanding steeper rates. Headliners would charge the local blues festival—known for its small crowds and laid-back vibes—the same price that artists demand for the bigger-ticket events.

Lewis says festival organizers paid last year’s Saturday headliner, Melissa Etheridge, more than what it cost to put on the original blues festival in 1993. He says that while the event never lost money, “people didn’t get paid for their time, that’s for sure.”

Welch says he and Lewis loved crafting lineups so that the acts would build one on top of the other. The big music festivals of 2018, however, offer a smattering of options with several stages. They’re often also destinations for food, beer, wine, and art. Welch says the shift is indicative of the way music listening has changed, now that phone apps like Spotify let fans hear whatever they want, whenever they want.

“When we were starting 25 years ago, barely anyone had a cell phone,” says Welch, who remembers Ray Charles’ 2003 performance with a 22-piece band as an incredible “coup” for the blues event.

Three years ago, Lewis says he and some of his partners noticed that both blues fans and blues performers were getting older. “There were no B.B. Kings coming up,” he says. And Welch says that 30 to 40 performers who played the Blues Festival have died over the years.

That’s when Lewis switched formats to the American Music Festival, experimenting with a day of straight country music for the Sunday shows, and bringing in artists like American Idol’s Kellie Pickler. Lewis loved those shows and their vibes, but attendance was poor. In 2017, he swung the Sunday format a little bit back toward the center, with more of a rocking country-blues feel, for the set that included Mavis Staples and Devil Makes Three.

Going forward in Aptos, the loss of parking may dissuade other events from setting up at the park. If it does, Santa Cruz County could lose a small chunk of change in the short term. The Parks and Recreation department collected $85,000 in fees at the park in 2016. But parks workers also had to do $53,000 in maintenance, amounting to $32,000 in gross revenue—a number that will likely be dwarfed by sales and property taxes after construction crews finish the Aptos Village project.

Lewis says he’s looked at other venues, including the football field at Cabrillo College, but says they wouldn’t let him serve alcohol, which is a deal breaker for the festival financially.

Normally, Lewis would have spent the fall and winter months booking music acts. Now he’s putting more time into his passion for racing outrigger canoes. He’s training for the first race of the season on April 21.

As Lewis talks, his computer plays the Pandora station for Michael Kiwanuka, an artist who Lewis would have loved to bring to Santa Cruz County. Kiwanuka’s station cues up a wide-ranging list of musical acts—from Marvin Gaye to the Lumineers.

Eager to share new music, Lewis does a Google search to show me Kiwanuka’s most popular song, “Cold Little Heart.”

The tune opens with electric guitar and female voices. Then comes the thick base, heavy drumbeat, clapping hands, and vocals. “Did you ever want it?” Kiwanuka sings. “Did you want it bad?”

“This guy has a lot of different influences in his music,” Lewis says. “And I would book him. Nobody knows about him, but he would put on a great show. There’s a lot of performers out there that would be really good together. It’s still fun to play with lineups.”

The Impact of Santa Cruz County Agriculture’s Labor Shortage

[dropcap]D[/dropcap]ick Peixoto, CEO of the 2,000-acre Lakeside Organic Gardens in Watsonville, checks calls that come in on his smart watch as we chat in a conference room in a rural part of Watsonville. The soil-stained carpet is evidence of meetings he’s already had that day with his farmers and managers.

Patient and friendly, with a neat grey mustache, Peixoto (pronounced pay-sho-toh) rambles a bit as he discusses the current state of the ag industry in Santa Cruz County. But when asked if he’s been affected by the labor shortage that many farmers are facing throughout California, he gets right to the point: at the height of summer, he says, he loses 5 to 10 percent of his crop yield every day because he doesn’t have enough workers in the field. Deciding what not to pick has become part of his daily routine.

“Every day I sit down with my guys, and we draw up a plan of what we’re going to do in the field at 6 o’clock every morning. We decide what we’re going to irrigate, cultivate, fertilize and everything down the line. When that meeting is done, the harvest crew comes in. The salespeople send over a sheet that says, ‘This is what we want to harvest today,’ and that’s based on what we tell them we have to harvest. We’ll look at that and say, ‘We don’t have enough labor to do this, this and this, but the market is cheap on carrots today, so we’re going to leave carrots in the field,” he explains. “Every day in the summertime we have to leave some crops behind because there’s not enough labor to harvest it all.”

Santa Cruz County farmers, like those in every growing region throughout the state, are enduring an escalating labor shortage that’s forcing them to abandon ripe crops—especially at the height of summer, when competition for labor is the most fierce. A study from the California Farm Bureau conducted in the summer of 2017 showed that 55 percent of farmers surveyed had experienced employee shortages across all areas of production—planting, cultivating and harvesting—and were unable to secure up to 50 percent of their seasonal workforce, despite heavy recruiting, and offering higher wages and other incentives.

This is a drastic change from the abundant labor force the California agriculture industry has enjoyed since World War II, when the Bracero Program was initiated to attract workers from Mexico to work in the fields and on the railroads. Though the program officially ended in 1964, immigrants have dominated the labor force for large and small farms ever since. Today, the U.S. Department of Labor estimates that 75 percent of agricultural workers are born in Mexico, and more than half of them are not authorized to work in the U.S.

The 61-year-old Peixoto, who has farmed in the Pajaro Valley since he was 17, says that for the first 35 years of his career, the labor force was so abundant that workers would stand at the edge of the field hoping to be hired.

“We could hold up our hand and 10 guys would come,” he says. “I’ve never seen anything like this. We’ve tried to eliminate [the size of the workforce] in the past just for cost savings, but we’re in a whole different world now, where we need to do it just to survive.”

 

BORDER OF BUSINESS

Peixoto owns another 1,000 acres in Imperial Valley in Southern California, and says that while the issue is pervasive across the state, certain conditions like housing availability are making the labor shortage more acute in Santa Cruz County. While most of the workers in the lower part of the state live in Mexicali and go back and forth across the U.S. border every day, that commute becomes impossible the farther north you go. “Up here it’s a whole different story, because all of our labor has to live here close to the farms,” says Peixoto.

Dick Peixoto, Lakeside Organic Gardens, santa cruz county agriculture labor shortage
Dick Peixoto of Lakeside Organic Gardens is considering investing in expensive cutting-edge harvesting and planting technology to offset a labor shortage that he believes won’t fix itself. PHOTO: KEANA PARKER

Mexico’s economy has also improved in recent years, dissuading many would-be migrant workers from crossing the border, especially since it was tightened under the Obama Administration. Since Trump took office, policymakers in Washington have increased a sense of fear and anxiety about deportations among undocumented farmworkers. According to the U.S. Immigration and Customs Enforcement, the agency conducted 143,470 arrests of aliens in 2017, the most in the last three years. Deportations resulting from ICE arrests increased 27 percent from 2016.

Lauro Barajas, national vice president of the United Farm Workers, and regional director of the UFW for Santa Cruz, Monterey and San Benito counties, says that the increased fear of deportations has had a chilling effect on the normal seasonal movement by workers to different farms at different harvest times.

“Workers try to stay in one place, and aren’t moving around as much as before,” says Barajas. “Before, workers used to finish one crop and move to the other, but now they aren’t as much.” Farmers surveyed by the California Farm Bureau also reported that in addition to difficulty recruiting and retaining a workforce, agricultural employers now have to contend with an atmosphere where employees worry about being stopped, detained and threatened with deportation as they travel to their jobs.

Meanwhile, the ag workforce is also aging, without a new generation taking its place. Many younger workers from Mexico who come to the U.S. are choosing less physically demanding jobs in the construction and hospitality industries—both of which are also experiencing a high demand for labor, and pay comparable wages.

Even offering higher wages, farmers have not been able to attract non-Latino employees. “It’s hard work, let’s be honest,” says berry farmer Peter Navarro. “In the years that I’ve been in farming I’ve only had two or three non-Hispanic workers. They go a couple hours and can’t take it. I had one that went four days. It’s a hard job. We try and make it as safe as it can be, but it’s fieldwork at the end of the day. You even have second-generation Hispanics, kids whose parents did this work, that are looking elsewhere.”

 

WEEDED OUT

Competition with cannabis farms has caused further stress on the industry. Local vegetable and berry farmers are raising concerns that while cannabis growers are drawing from the same labor pool, they’re not on a level playing field with other agricultural crops and legalization will only compound this issue.

Navarro, who farms 93 acres of strawberries and 90 acres of blackberries and raspberries in the Pajaro Valley, states that in addition to being physically easier to grow and harvest than other crops, cannabis growers can pay considerably more. “They pay cash—we don’t. Our payroll is all by check. With all the deductions we have to make, they’re able to pay a higher hourly wage. We’re very concerned,” says Navarro. While paying in cash has traditionally been prevalent because of the secrecy of cannabis grows, as of Jan. 1, 2018 cannabis farmers are subject to the same payroll stipulations as other employers.

In Santa Cruz County, berries are one of the most labor intensive crops, and also one of the most lucrative for both workers and farmers. Berry farmers, like many other growers in the state, pay a “piece rate” on top of an hourly wage that pays relative to the volume of produce picked in order to incentivize productivity. According to the Bureau of Labor Statistics, most farmworkers were paid an hourly wage of at least $10-$10.50 per hour in 2017. Workers who are paid piece rate earn around $14 an hour on average, but for labor intensive crops like berries a skilled worker can earn as much as $25 to $30 per hour in a well-tended field at peak harvest.

As a result, one way farmers are competing for workers during peak harvest has been to attend to their fields so that workers are able to achieve these higher piece rates by breeding large, easily visible berries in consistent numbers.

“You try to keep your field as attractive as possible by having a good clean crop with a healthy plant that will have an abundant crop to attract workers. They go around and look at fields, and if they look good, they may ask if you have a job available. If you don’t have a good looking field with a lot of healthy plants, people will look for a job somewhere else,” says Navarro.

Live Earth Farm, Tom Broz, Santa Cruz County agriculture labor shortage
At Live Earth Farm, Tom Broz is able to employ a year-round workforce with support from their CSA Program. PHOTO: KEANA PARKER

Aesthetic issues aside, fellow Watsonville berry farmer JJ Scurich has already seen valued employees lured away by cannabis. “We’ve lost some of our best, quickest piece rate employees that were making in the $25 to $30 per hour range in the summer. They were able to get more attractive cash-paying jobs in the [cannabis] greenhouses. Everyone’s been having some kind of experience like that. We have cannabis operations closer to our fields. It’s definitely attracted some of our labor force away from us.”

Gelacio, a 27-year-old farm worker, has worked at the same Santa Cruz County strawberry company for the last five years. He told GT in Spanish that he has not considered working for a cannabis farm and believes that if he or other workers at his company did, his employer would likely increase their wages to entice them to stay. Gelacio already receives a medical plan, paid holidays and a pension plan, and believes that his employer will need to continue to pay at least a dollar over the increasing minimum wage in order to compete with cannabis farms.

The company that Gelacio works for has not been significantly affected by the labor shortage and so far has been able to complete the work with the staff on hand, although he admits that they occasionally work on Sundays in order to finish picking berries. He says that he has not felt threatened by ICE officers because he lives close to work and doesn’t need to drive very much.

In response to the shortage, Navarro, like other farmers in the area, has reduced his acreage from 130 acres of strawberries to 93. “What’s the point of growing that amount if you can’t get to it?” he says. As a result of the labor shortage, he predicts that more production is likely to move out of state to meet market demands. Because California has the strictest food safety regulations in the country, Navarro worries that importing agricultural products from other countries may pose a safety issue, in addition to being more expensive. “It’s a shame because this entire coast of California is the best growing area for strawberries and a lot of fruits and vegetables. We’re very lucky to have an area that can produce such high-quality fruits and vegetables, but there’s areas of the market that are driving things out.”

 

TECH FUTURES

Farmers are looking toward new technologies for help, and machines to aid all areas of production are creeping their way onto the market. Some local lettuce farmers are already using a water knife to cut romaine hearts, tripling production over hand labor. Martinelli’s, the largest apple grower in the Pajaro Valley, is experimenting with machines that shake ripe fruit to the ground.

Perhaps the most valuable technology is in development in the strawberry industry. The most lucrative edible crop in Santa Cruz County, strawberries brought in more than $229 million in 2016, according to the most recent Crop Report. Raspberries ($158 million) and blackberries ($51 million) were the second and third most valuable crops. Many of the farmers interviewed for this story said that Driscoll’s is leading the charge with berry tech, and understandably so—the fourth-generation Watsonville-based company controls about a third of the six-billion-dollar U.S. berry market, including 60 percent of organic strawberries. Driscoll’s is said to be developing a system for growing berries on table tops that works like a house gutter, with berries grown at waist height that fall to the side, making them easy for a human hand or machine to pick. The L.A. Times reported in July 2017 that Driscoll’s is also investing in a robotic strawberry picker, the AgroBot, that is currently being developed by Spanish inventor Juan Bravo. Bravo’s website boasts that the cutting-edge technology will feature real-time artificial intelligence to determine fruit ripeness and 3D sensing and customizable adaptations, but a market-ready prototype, by all accounts, is still a long way off. Driscoll’s did not respond to numerous inquiries about their tech projects.

“Our berries are so delicate that there’s really no avoidance of the human touch to place them in their packaging with minimal damage.” — JJ Scurich

Peixoto has also been looking into harvesting machines that have the potential to reduce his need for labor by 30-40 percent. But he isn’t taking the $65,000 to $250,000—or more—costs lightly, and admits that such investments are out of the question for most local farmers. He believes that Driscoll’s and other large growers that can afford to purchase these machines will end up renting or leasing them and their growing technologies out to other farms.  

Peixoto emphasizes that they are not replacing people with these machines—they’re replacing labor that they don’t have. “They won’t eliminate the labor, but they’ll reduce the labor. We take for granted that we have a labor force that will do this harvesting, and they always have. But that labor force is dwindling, and you have to look down the road and realize it’s not going to cure itself. It’s not like we’re going to wake up two years from now with all the labor we need.”

Even so, a more immediate and sustainable solution is needed now. Says Navarro, “Simple economics tells you that we need to try to find an alternative. As the minimum wage keeps going up, it’s going to become very, very difficult to grow agriculture. You have to try alternatives. Robotics is being worked on, but it’s down the line. It’s not something you’ll see next year or even two years from now. It’s a process and it will be very expensive. How many smaller growers will be able to invest in something like that?”

 

A HUMAN TOUCH

Scurich remains skeptical that a strawberry harvesting robot will ever match the dexterity of the human hand. “Our berries are so delicate that there’s really no avoidance of the human touch to place them in their packaging with minimal damage,” he says. He would rather see something on the market that would help the harvester, not replace them.

Mechanization is not a viable option for many small farms, says Tom Broz of Live Earth Farm, not only because of the financial burden but because of their size. He grows about 50 different crops throughout the year on a 45-acre organic farm in Green Valley, nestled against the Santa Cruz Mountains, and mechanization for him would be very difficult. “We’re organic, we’re vegetables and it’s small scale. We can’t invest in a very expensive harvest machine if we’re only growing two to three acres of that crop,” he says.

However, Live Earth’s small size does allow him to more easily adapt to market changes, and during the height of the season he plans to change his growing schedule to plant fewer labor-intensive crops. During that time, Live Earth will grow fewer vegetables that require bunching, or need to be dug up and washed, like cilantro, radishes, carrots, beets and chard, and more crops that are easier to pick at a higher volume, like tomatoes, peppers and eggplants.

Broz makes an effort to employ a permanent workforce as much as possible, which is sustained in part by their CSA program and farmers markets. Because he has steady employment to draw from, he says he hasn’t experienced the same kind of fluctuations as other farms have.

“A lot of our workers are husband and wife teams, so we try to commit ourselves to employ at least one member of the family throughout the year,” he says. “We’re a smaller operation, with less workers but more specialized and diversified. The workers we need need to be more specific in what their responsibilities and skills are.”

But he has struggled to bring in seasonal labor during the time-sensitive harvest season, especially if there’s pressure from the weather. During a heat wave last summer, he was unable to bring on enough extra labor to harvest crops before they became damaged.

While every farmer has to make different decisions based on their land, market, production and labor situations particular to their operation, he believes that in order to ensure the future of Santa Cruz’s farming industry, farms will need to provide benefits to their workers, including housing. Broz already provides 70 percent of Live Earth workers with permanent housing, and says other larger growers in Monterey have built their own farm worker housing and have been able to retain a more stable workforce. According to the California Farm Bureau, farmers throughout the state are increasingly seeking to retain more of their workforce year-round as a way to ensure that there are employees on staff for peak times.

Additionally, he believes that a viable guest worker program is absolutely necessary. “It would benefit us tremendously to be able to bring workers in from other parts of the world. We need to streamline and have a program that works for agriculture and for the workers coming over that we can track and have some kind of accountability. That’s not existent right now because in our history of how we have employed ag workers, there has never been the political will to invent something that’s more streamlined.”

 

GETTING ORGANIZED

A guest worker program currently exists, but is not popular among California farmers. The H-2A program allows U.S. employers to bring foreign workers to the United States to fill temporary agriculture jobs if the employer can ensure that there are not enough U.S. workers who are able to do the temporary work, and that bringing in such workers will not adversely affect the wages or working conditions of similarly employed U.S. workers. However, according to a CFBF survey, fewer than 3 percent of responding farmers use H-2A workers. The local farms featured in this story fall into the 97 percent that don’t. Farmers complain that the program doesn’t meet their employment needs because it’s difficult to ensure that they will receive a worker with the appropriate skill set to harvest their particular commodity.

The process is also bureaucratically difficult and expensive. Farmers are required to house their H-2A workers, and in Santa Cruz County that can be especially difficult and costly. They can also create tension with domestic crews, who may become disgruntled when they realize that H-2A workers receive benefits that aren’t offered to them, like housing and a ride to work.

Because of their shorter growing season, berry farmers are unable to hire workers year-round. For farmers like Scurich, a comprehensive guest worker program is essential. “It’s no secret that our immigration system is really broken. The H-2A program is not a well-oiled machine and it’s difficult to get people that you request when you need them. I think the only thing that’s going to help is improvements to the immigration system or a guest worker system that’s more effective than the H-2A program currently is.”

Barajas says he hopes that farmers will consider investing in workers that are already here before possibly displacing them through guest worker programs. Now that there’s real competition for workers, the companies that employ them need to improve wages and benefits to maintain them.

“I live in Salinas. The cost of housing is really expensive in this area, and companies aren’t willing to pay enough for the cost of living,” says Barajas. Workers now have the advantage to demand better wages and benefits, or they’ll go to another company. However, even with this pressure, some farmers have been slow to react.

“I don’t see that at this point that workers are willing to work for the minimum wage. Workers understand that this is their opportunity and they have an opportunity to leave to a different company,” says Barajas.

Barajas cites Swanton Berry Farm as an example that other farms could emulate. The 80-acre organic farm is famous as the first certified organic farm in the U.S. to sign a labor contract with the UFW and offer its workers an employee stock ownership program, in addition to health insurance, vacation and holiday pay, low income housing on site, pensions and other benefits. While some farmers have already integrated some of these benefits, for others it would require a significant change to operations.

Looking toward the future, Peixoto believes that more needs to be done to encourage younger generations to pursue careers in agriculture, an industry that he feels has not earned its bad reputation.

“I really feel like agriculture gets a black eye. But there’s a lot of opportunities in agriculture. Agriculture is changing. We have GPS-guiding tractors and GPS mapping fields and [we’re] flying over them with drones and using automatic irrigation pumps—a lot of technology,” says Peixoto. “We’re going to need more people on a higher level to keep us on course.”

Inspired by this vision, Lakeside Organic Gardens has put aside $2 million into a fund to start a sustainable and organic farming education center. While it’s still in the planning stages, Peixoto hopes the center will educate school age children about opportunities in sustainable agriculture, be a “clearinghouse of information” to teach the next generation how they can own and manage farms, and educate the community about the value of agriculture and the accomplishments of the local industry.

“There are many farmers in this valley that are really committed to their labor force,” he says. “They don’t look at the labor force as a tool; they look at it as their partner in business.”

In his Watsonville restaurant, California Grille, the first thing customers see when they walk in is a huge glass etching of farm life in the valley. “It’s a way to honor the unspoken heroes of the valley, and that’s the farmworkers,” says Peixoto. “They don’t get enough praise. People talk about ‘bad immigrants’ and ‘illegal aliens,’ but they don’t realize that they’re what makes this whole valley go. They’re the locomotive that pulls the train all the way down. You can talk about the mayor or the senator, but they’re the guys that make it happen. If you talk to farmers in this valley, you’ll find that a lot of us are committed to our labor force and we want them to grow as we grow.”

 

Manuel Pastor Explores What Other States Can Learn From California

[dropcap]T[/dropcap]he citizens of California seem to have a talent for pioneering one regrettable socio-political phenomenon after another, years before the country as a whole heedlessly tries the same thing. There are too many examples to catalogue: the embrace of Ronald Reagan, tax cut fever, alarmist immigration phobia, and—most salient to today’s headlines—the election of a cartoonish Republican celebrity with zero government experience.

We Californians often react to the ensuing sense of déjà vu—let’s call it the California Time Warp—much like a teenager whose dad has just discovered Vampire Weekend. But writer and sociologist Manuel Pastor thinks we’d be better off cooling it with the rolling eyes and air of miffed superiority.

“The reluctance to learn from California has been there for a while,” he says. “The country always looks to its founding [East] Coast, and not to its left coast. So, we in California can either talk about this in an arrogant fashion, or we can talk about this with the humility of someone who is in recovery. Because we are. This state is in recovery from its own addiction to allowing race to divide the polity, its own addiction to quick-fix schemes, its addiction to ‘Only I can fix this problem’—which was Arnold’s pitch as well as Trump’s. We can puff out our chest and brag about some wisdom we have, or we can share the lessons from some of the mistakes we’ve made with some humility.”

Pastor is the author of a new book titled State of Resistance: What California’s Dizzying Descent and Remarkable Resurgence Mean for America’s Future. It’s a deep dive into the political, social and cultural upheavals that have characterized California’s history since the middle of the last century, and how those upheavals have predicted what the U.S. at large was to experience later.

Pastor, who comes to Bookshop Santa Cruz on Sunday, April 8, likes to call California “America fast-forward,” and asserts that the demographic anxiety, the economic uncertainty and the profiteering from political polarization that has characterized the Trump Era is essentially the story of California in the 1990s. “The United States right now is going through its own Prop. 187 moment,” he says, in reference to the infamous 1994 “Save Our State” ballot initiative that sought to crack down on illegal immigration. Though approved by voters, the law was later ruled unconstitutional.

“Think about all that happened [in California in the ’90s]—Prop. 187, the elimination of bilingual education, the elimination of affirmative action,” says Pastor, a former UC Santa Cruz student who also taught at UCSC for a decade. “We thought that scapegoating immigrants would somehow recover the economy. It didn’t work. And it sounds a lot like what the nation is doing right now.”

State of Resistance was not conceived as a reaction to the election of Donald Trump, says Pastor. In fact, he had begun work on the book long before the 2016 presidential election, and was anticipating a Hillary Clinton presidency. “I started writing this book mostly because I was afraid that what happened when Obama won would continue to happen when Hillary won.” He’s referring to heavy Democratic Party electoral losses in state houses during the Obama years.

After the 2016 election, Pastor’s calculus changed. Led by majority Democrats and Gov. Jerry Brown, California began to position itself in opposition to the Trump administration on a number of issues, and Pastor began to trace California’s recent transformation to a citadel of blue-state values. But he’s careful not to go overboard on the California Dream narrative, pointing to huge challenges the state faces in such areas as income inequality and the ongoing housing crisis, “which is indeed pushing people away from the coast and even out of the state.”

Pastor stresses that State of Resistance is not only for Californians. It’s an American story, and as such, his book has been getting attention in states beyond California.

“It’s on people’s radar for a number of reasons,” he said, citing upcoming dates in Chicago, New York and Washington, D.C. “When you look at the parallels between the U.S. today and California in the ’90s, it’s so obvious that people are really intrigued. And within the state, we’ve lived through this dramatic 25-year transformation. And people are excited to see the story being told in a way in which they can see themselves in it.”

INFO: 7 p.m., Sunday, April 8. Bookshop Santa Cruz. Free.

Roselit Bone Looks for Love in the End Times

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How would you write a love song if you were living in apocalyptic times? That’s the idea behind the song “Roselit Bone” on the debut album by the band of the same name, 2014’s Blacken & Curl.

“Love me like you love the ocean/love me like you love the open sea/There are horses on the road and my legs are weak,” sings Joshua McCaslin. Not every song on the record is so obviously about love in the apocalypse, but this backdrop is where McCaslin finds himself when he’s writing music.

“There was a time where I was pretty emotionally affected by global warming and how I saw the future of the planet,” McCaslin says. “When you’re writing a love song or something, the backdrop to that—if you’re looking into the future—is that things are going to be pretty bad outside of that relationship [even] if the relationship is good.”

Musically, it’s a tight fit. The songs are dark, folk-rooted songs, with an ensemble of seemingly random instruments producing what sounds like the soundtrack to a depressing end-of-the-world film where all the characters can do is wait for their imminent deaths.

Clearly, Roselit Bone’s Western-dive-bar-meets-dystopian-future isn’t a gimmick; it’s exactly what McCaslin feels.

“For a while, the way I saw things going was there was going to be some sort of global catastrophe. It’s still happening. Florida is probably going to be half underwater. New Orleans isn’t going to be there anymore in 50 years. That is always in the back of my mind when I’m writing songs,” McCaslin says.

Originally from Orange County, McCaslin moved to Oregon with his then-girlfriend (now wife), living in the unfinished basement of her parents’ cabin in rural coastal Oregon, which was miles away from any city. Unable to find work and barely scraping by, this is where McCaslin started writing the music that would land on Roselit Bone’s debut.

“All there was to do was go to the local library and grab music theory books and jazz albums and sit down and study them. I would spend 10 hours a day studying music theory on my own,” McCaslin says. “That sound came together once we left that place. I feel like you can’t appreciate a place until you move away from it. I was scrambling for money in the middle of the woods, just try to stay alive.”

The band started as a duo with McCaslin on guitar and vocals and Ben Dahme on drums. The songs were dark, but much more folk-oriented in those days.

As they played more, McCaslin thought it would be a good idea to expand into an unexpected instrument: the trumpet.

“The trumpet seemed like a good addition for what we were doing. Eventually I decided that the two-trumpet sound was what I needed, so we added a second,” McCaslin says.

Today they are a nine-piece, including a flute, pedal steel and accordion. The lineup seems like it was assembled by the spin of a roulette wheel—which is sort of true, but it also helped to create a uniquely dark and musically ambiguous sound.

“As I added instruments, I got better at arranging things and would hear space for something else. I wasn’t necessarily looking for these different instruments, but when I saw these members playing I sort of made a place for them in the songwriting,” McCaslin says.

By the time McCaslin wrote their second album, Blister Steel, he found himself interested in how people are affected by mental illness. The world in Blister Steel isn’t exactly a friendly place, but let’s just say that it’s not so completely bleak.

McCaslin feels the improvement in his own living situation has tempered his outlook at bit. He still believes everything is heading toward destruction, but now he sees more people pushing back against the void.  

“Everyone I see is losing their minds about what’s going on in politics. Now I feel like the person that’s like, ‘It’s going to be alright. We’ve been living with these things for a while now,’” McCaslin says. “But I still think it’s going to be bad.”

Roselit Bone plays at 9 p.m. on Wednesday, April 11, at the Crepe Place, 1134 Soquel Ave., Santa Cruz. $10. 429-6994.

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JJ Scurich, berry farmer, santa cruz county agriculture labor shortage
Farmers are losing crops as they struggle to keep workers in the field

Manuel Pastor Explores What Other States Can Learn From California

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Roselit Bone Looks for Love in the End Times

Roselit Bone
Joshua McCaslin brings apocalyptic musical vision to the Catalyst
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