Saving the Coast —Again

“New oil rigs loom just over our horizons, and we can stop it. The companies would have us believe that the technology is safer now. The fact is that no oil rig in the world is impervious to a bad storm.” —Chuck Lehneis, surfer (Surfer.com). 


Our coastline is renowned for its stunning beaches. Each of our crown jewels is unique, from rugged cliffs to the north to endless golden sand in the south, from surf lanes with big waves to secluded coves. Tourists from around the globe come to our coast. It’s where our families gather, where we get married, where we dream.

California has 27 operating offshore oil platforms, but they’re way out there, mostly out of sight, safe and sound. Except when they aren’t. What could possibly go wrong?

With Oil Rigs Come Oil Spills

The largest oil spill to occur off the California coast was the Santa Barbara spill of 1969, which spilled 3 million gallons of oil. Over a 10-day period, beginning Jan. 28, 1969, a blowout of Union Oil’s Platform A washed crude oil onto beaches from Pismo to Oxnard.

The resulting tar killed an estimated 10,000 birds, suffocated marine plant and animal life over 35 miles of Santa Barbara coastline, left it covered with tar, smelling like an oil refinery.

It keeps happening.

In California alone: Amplify Energy Corporation spilled 144,000 gallons of oil into the Pacific Ocean at Huntington Beach (2021), the Refugio Oil Spill (2015) dumped 100,000 gallons of oil off Santa Barbara, the Cosco Busan Oil Spill (2007) dumped 53,000 gallons of oil into San Francisco Bay, the American Trader Oil Spill (1990) unloaded 416,598 gallons on Huntington Beach, the Standard Oil Company Oil Spill (1971) dumped 800,000 gallons of oil in San Francisco Bay.

To be clear about how oil companies view making the victims of spills whole, after the Gulf of Mexico Deepwater Horizon blowout (2010) killed 11 men and injured scores, British Petroleum paid 79% of the victims a mere $1,300 each.

Comedian Stephen Colbert said, “If I learned anything from playing whack-a-mole, the oil spills will stop once we run out of quarters and our mom picks us up.”

After taking a look at the failed methods used to contain the oil spill in the Gulf Coast, Colbert realized, “So, no one knows what the fuck they’re doing.” He offered authorities alternative ways to clean up the spill: “Breaded Juggalos delivered by trained dolphins,” or “ultra concentrated packing peanuts delivered by monkey submarines.”

Big Oil has perpetuated the myth that offshore drilling is safe, but 509 oil rig fires have broken out in the Gulf of Mexico since 2006. The National Oceanic and Atmospheric Administration (NOAA) reports that with deeper drilling depths comes increased danger including higher risks of accidents, spills and fires.

Former Shell Oil civil engineer and UC Berkeley professor emeritus Robert Bea says, “You’ve got equipment and steel strung out over a long piece of geography starting at surface and terminating at 18,000 feet below the sea floor. It has many potential weak points.”

PRICE OF OIL With deeper drilling depths comes increased danger, including higher risk of spills. Photo: Thomas Leikam Shutterstock

If Project 2025 Should Come Knocking

The Heritage Foundation–driven Project 2025 has a 922-page handbook that is a crafted manual of actions the next president’s appointees could take and details the steps to take them. Former President Donald Trump has tried to disavow the politically toxic project, but the work has been done to set policy and to prepare him to replace thousands of members of the “deep state” with MAGA loyalists.

Two years into Trump’s presidency, the Heritage Foundation touted that he had instituted 64% of its policy recommendations—like leaving the Paris Climate Accords and increasing offshore drilling. They opened more than 90% of the country’s coasts to oil and gas leasing, including the Pacific Coast.

If that administration should return to power, Project 2025 proposes that California open to the offshore oil industry. California Rep. Jimmy Panetta says, “New offshore drilling threatens millions of jobs and the safety of our families … we simply cannot afford the environmental and human impacts of new leasing off our coasts.”

Winning the First Round

In 1985, back when current state Senator John Laird was up for re-election to the Santa Cruz City Council, he went all in on protecting California shores by blocking the oil companies from offshore drilling with zoning laws. Laird was running in an off-year election, and he wanted to get people to the polls with an exciting ballot measure.

He went to an environmental activist and said that he would like to have a ballot measure on offshore oil drilling. The activist pushed back, suggesting the measure would have no teeth. Laird was flummoxed. He thought, “Jeez, we’re a city … it’s federal leasing. The state has a role, but cities and counties are not really there.”

Then in a flash, Laird was granted the wisdom of Shazam: it occurred to him that the one constitutional power granted to cities and counties is zoning, and if you pass a measure that says there can’t be a zoning change in support of offshore drilling without a vote of the people, that would allow the cities and counties along the California coast to shut down the oil companies’ ability to build on-land infrastructure.

Laird says because the measure changed the way zoning was approved and was not an outright ban, that made it defensible in court. When Western Gas and Oil Association sued 13 local jurisdictions, they lost. The locals won them all.

Laird says, “By making it need to have a vote of the people, that meant that some city council or some board of supervisors could not be purchased. The right is vested in the people. You have to go to the voters to be able to change zoning laws.”

That 1985 measure passed in Santa Cruz with over 80% of the vote, and it authorized money in the city budget to educate other cities and counties on how they might do the same. Save Our Shores was contracted to spread the word.

A Coastal Wall of Resistance

Former Save Our Shores Executive Director Dan Haifley says that for coastal jurisdictions to fight offshore drilling, they need to prohibit onshore drilling support facilities such as a pipeline or helicopter platform or dewatering facilities—things oil companies need on land to be able to drill offshore.

Laird agrees: “That is exactly it, and why we tried to keep infrastructure in local control. All those ordinances are still on the books. They are in place in case this 2025 change of administration happens.”

Many dedicated people were involved back in ’85—Gary Patton, Mardi Wormhoudt, Mike Rotkin, Kim Shunts, Leon Panetta (Jimmy Panetta’s father), and others—but most of the legwork came from Laird and Haifley. Save Our Shores hired Haifley to drive up and down the state in his Ford Pinto to convince other communities to pass this ordinance.

Haifley remembers, “My total budget was $30,000 a year; I slept on a lot of couches. I had a slideshow with the old-fashioned slide carousel, with a little lamp and the slides. We had sent out a letter to every coastal community, I called people, called elected officials, then I would go make presentations and drive up and down the coast.”

By the time Laird termed out in 1990, 26 cities and counties on the coast of California had adopted the ordinance.

What Can California Do Now?

Let’s fast forward to a possible Jan. 20, 2025, that moves Project 2025 closer to realization.

Laird says, “The ordinances are still in place, and it is such a long and complicated process. We were able to fight it back then, and they [the oil companies] were not able to accomplish it in four years. We’re ready to do it again. If offshore drilling comes now in a second round of a conservative administration, then it’s up to us to throw everything in the way of it … and fight to block it for four years.”

While Monterey Bay is a National Marine Sanctuary and will remain untouchable for oil companies, there may be no clearer nightmare of losing our precious coastline, leaving our beaches and coastal animals covered with tar, than the Project 2025 proposal to open offshore drilling in the coastal waters south of Monterey Bay.

To stop the dangerous expansion of oil drilling platforms off our coast, Dan Haifley says we start with areas that already have marine sanctuary protection, places where you cannot drill.

In California, that includes the national marine sanctuaries of the Greater Farallones, Cordell Bank and Monterey Bay, as well as those south to the Channel Islands around Santa Barbara off southern California. Everything outside of these sanctuaries—a lot of Southern California and everything north of Mendocino County—would be fair game for offshore oil development.

Haifley says the idea is to infill between these sanctuaries by going to local jurisdictions and showing them how they can pass local zoning laws to keep the oil companies from setting up supply bases on land.

The oil companies’ technology has improved; now they can use floating oil rigs, known as FPSOs (floating production storage and offloading) without having to build a pipeline to shore. A giant ship can fill up with oil and then go to a port or refinery.

Laird says, “The technology does exist for offshore oil transfer, but it’s more expensive and much more dangerous, the worst for an oil company.”

Laird adds that there are other tools to fight offshore drilling: Oil companies need to go through environmental review and different public hearing processes. “We really weigh in, we require them to state what the impact will be,” he says. “Those impacts will not be mitigated in environmental review, and that will give us an opening to sue.”

Monterey Bay is now a National Marine Sanctuary, known as the “Serengeti of the Sea”—a diverse ecosystem that plays host to 34 species of marine mammals, more than 180 species of seabirds and shorebirds, over 525 species of fishes, and countless invertebrates.

While Monterey Bay is off limits to oil leasing, south of Monterey is currently fair game. But there is a proposed national marine sanctuary designation immediately south of Monterey called the Chumash Heritage Sanctuary, a grassroots effort led by the Northern Chumash Tribal Council.

NOAA/Marine Sanctuaries says, “The proposed sanctuary stretches along 134 miles of coastline and would encompass more than 5,600 square miles of water. Examples of prohibited activities include causing seabed disturbance such as seafloor cables … or the removal of structures on the seabed such as oil and gas platforms.”

If the Chumash sanctuary designation goes through, then the Central Coast from Mendocino to Santa Barabara would be protected from offshore drilling. U.S. Senator Alex Padilla and San Luis Obispo’s member of congress, Salud Carbajal, are pushing hard to get NOAA’s designation. Laird says that Carbajal believes they can get the designation before January 20, 2025.

The Northern Chumash Tribal Council has led this campaign since 2015. Laird says, “They are way into it, they’ve taken all the public comments (over 27,000), done the environmental work, I think it’s on track to be done by Jan. 20.”

What Do We Do Now?

Dan Haifley and John Laird have been there before. Haifley says that the 26 communities that took action in the ’80s, each organized in their own way—“either persuading their local government to act or organizing to get a ballot measure passed, it broadened and deepened a citizen ocean protection movement then, and if necessary, it will do it again.”

As to what Californians can do now, Senator Laird says we have a chance to do the real prevention with the November election. If we must defend the shoreline ourselves, “We should be vigilant, we should always stand ready to organize.”

He quotes fabled former Coastal Commission Director Peter Douglas: “The coast is never saved.”


Love of Music

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Last month, a screening of Stop Making Sense—Jonathan Demme’s 1984 Talking Heads concert film—lit up the UCSC Quarry. This weekend, Talking Heads keyboardist/guitarist Jerry Harrison joins up with guitarist Adrian Belew for the Remain in Light Summer Tour, hitting the Quarry stage with an 11-member band to play iconic selections from the 1980 Talking Heads album Remain in Light, plus songs from their respective discographies.

Talking Heads were part of the punk explosion at CBGB in New York City during the mid ’70s. David Byrne (guitar and vocals), Chris Frantz (drums), Tina Weymouth (bass) and Harrison combined African rhythms, electronics and social criticism in a revolutionary way. Remain in Light was the fourth album from Talking Heads. In 2018, singer Angélique Kidjo released her own version of the album.

Belew has recorded with David Bowie, King Crimson and Frank Zappa. Jerry Harrison has produced numerous bands, including No Doubt, and will be performing “Rev it Up” from his 1988 solo album Casual Gods. Guest musicians include members of Turkuaz, bassist Julie Slick, percussionist Yahuba Garcia-Torres and special guests Cool Cool Cool.

Harrison, who lives in Marin, talked about the tour, including which songs will be performed. “We’re playing songs from the 1980 Remain in Light tour, when Adrian played with Talking Heads,” he said, as well as material from Fear of Music (1979), More Songs About Buildings and Food (1978) and 77 (1977), and “Thela Hun Ginjeet” (from King Crimson’s 1981 Discipline).

“We’re doing a version of ‘Slippery People’ from the Speaking in Tongues album [1983]. Mavis Staples covered that song. The two women singing with us [Shira Elias and Sammi Garett of Turkuaz] take lead on that and do a very nice job. There’s a million possibilities because we’ve all done so many different projects.”

Good Times: 1980 was an exciting time for new music. Even before you went to New York to join the Talking Heads you played with proto-punk Jonathan Richman and the Modern Lovers.

Jerry Harrison: When we were in the Modern Lovers, we felt we were all alone out there in Boston! Obviously, we were very influenced by the Velvet Underground and the Stooges, who stood apart from the music that was happening at that time.

By the time I joined Talking Heads (1977), they were part of the seed that CBGB had begun to form. Four bands—Blondie, the Ramones, Television and Talking Heads—were the initial vanguard at CBGB.

What was interesting at the time was that, though stylistically these bands are not particularly similar, there was an ethos that stood apart from what had become popular in music, which I might describe as an over-professionalization.

Bands like Yes or Emerson, Lake and Palmer came from the music academy and their shows would have very grandiose lights and costumes. Everybody in the band would do a 15-minute solo. Two solos on one of those records and the Ramones could play 15 songs!

Punk was about being short and sweet and to the point. Punk was a move back to the roots of rock and roll—that excitement, raw energy and getting a point of view or a story across very quickly.

The music at that time gave many of us the sense that the revolution might actually happen. Bands were critical of militarism and other issues. I recall the piece you did with Bootsy Collins using the recording of Ronald Reagan, saying he was bombing Russia (“Bonzo Goes to Washington”). Back in the ’80s, what were you thinking music can do in the world?

I actually thought that coming out of the ’60s, somehow new music had become the heartbeat of the society. Musicians very often would write songs that were commentary on life and politics. This is after the Vietnam War period and the civil rights movement.

Musicians were connected to the demonstrations and to what was going on. I thought that musicians like Bob Dylan or the Beatles were more important than John Kennedy in determining what people were thinking. So, I was excited to make music.

I didn’t actually think I’d be a professional musician. It wasn’t until I met Jonathan Richman, I went, “Wow! I can do this.”

When I met Jonathan, I understood he was doing something that nobody else in the world was doing and I knew how I was going to create parts that would go with what he was doing. The same thing was true when I joined Talking Heads. I understood that my sensibilities about music fit with theirs. I didn’t try to change the band; I tried to enhance the band.

The rhythms on Remain in Light are wonderful. It reminds me of My Life in the Bush of Ghosts (1981). I read that Brian Eno played Fela Kuti’s album Afrodisiac for David Byrne and suggested that it be the template for Remain in Light. Is that accurate?

We were all in love with Fela Kuti. But I don’t know if Brian is the one who introduced us to it. Everyone in the band loved African music, like Manu Dibango and King Sunny Adé. I’d say if there was one single African artist I fell in love with it would be Fela.

When Talking Heads recorded “I Zimbra” on the album Fear of Music, that was African-influenced. We all realized we were really excited about that track and that we wanted to do more of that.

So, when we got to doing Remain in Light, that was part of how we set it up. There was also this idea that we were not going to compose everything ahead of time. We wanted to capture things as they were created in the studio.

We had noticed on demo tapes that when we created new music, there was something innocent or special about it, but that when you played it over and over again, you lost something. You gained confidence and clarity but maybe lost innocence and tenderness. My Life in the Bush of Ghosts is post Talking Heads doing “I Zimbra.” So, we were already into African music before that.

Remain in Light has the song “Listening Wind,” which always sends chills up my spine. The words bring to mind American colonialism and imperialism in a vivid way. Will you be playing that?

We will not be playing “Listening Wind.” The second half of Remain in Light is a bit more somber and if we’d been doing just theater shows in 1980, maybe we would have done the entire record, but we wanted to keep people dancing. With that said, I agree with you.

It’s an amazing song. Peter Gabriel does a great version of it as well. The song is about the development of thinking of someone perhaps becoming a terrorist. I think maybe we’d be investigated by some part of the government if we wrote that song today!

I don’t think it’s particular to American colonialism or imperialism. It’s the idea of someone being disenfranchised. The Chinese, the Arab nations and lots of countries have this ability and are doing this all over the world right now. The US held that particular position in the ’50s when so much of the rest of the industrialized world was damaged by World War II. Of course, they made massive mistakes, in my mind.

Many governments have displaced people and now millions around the world are saying, “We want our land back.”

Yes, that’s true. The difficult thing is how many generations of land stealing are we going back to? Sometimes there’s multiple land seizures. Many places have had a clash between Indigenous, nomadic people and others who arrive and establish property rights and laws. And very often it’s Indigenous people that lived off the land, usually with less density, that lose out. This obviously happened here in the United States. It’s no fun being on the receiving side of that.

Remain in Light: Concert at UCSC Quarry Amphitheater

Aug. 16 at 7pm. $60.97-$117.62. quarryamphitheater.com.

Listen to this interview with Jerry Harrison on Thursday at noon on “Transformation Highway” with John Malkin on KZSC 88.1 FM/kzsc.org.

Poetic Justice

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In the literary world, contests, anthologies and competition for prizes make up a big part of how artists get recognized. But the members of Círculo de Poetas & Writers are focused on something else: amplifying multilingual, multicultural voices.

According to Dr. Adela Najarro, Círculo’s executive director and board president, many national events succumb to false hierarchies by implying that art can be ranked universally. And when the competition is dominated by white artists, this implies that the “best” writers must be white.

“Our answer has always been that these hierarchies are artificial. If you start questioning this idea of who is the ‘best’ … you realize it’s based on personal taste—art is relative,” Najarro explains.

Since 2015, Círculo’s main mission as an organization has been to create a supportive community of writers without hierarchies or judgment. “What we can do differently is acknowledge that we’re all in this together,” Najarro says. “We want to talk to each other and support each other and build with each other to help us find joy in the written word and to share that and build. That seems real.”

This year, Círculo was selected by the Library of America as a program partner in the publication of the anthology Latino Poetry: Places We Call Home.

Najarro explains the significance of the new anthology, which comes out Sept. 3. “A national publication like the Library of America making an anthology called Latino Poetry,” Najarro points out, is “saying that Latino poetry is part of the U.S. American landscape.”

Círculo will host two different events—partially funded by a grant from the Library of America—to celebrate the release of the anthology. The events are a collaboration with Cabrillo College, the Watsonville Public Library and Letras Latinas, the literary initiative at the University of Notre Dame’s Institute for Latino Studies.

The first event will be Círculo’s Summer Conference, held on two dates: one in-person and one online. The in-person conference will take place Aug. 17 at the Santa Cruz Museum of Art and History. The Zoom conference is scheduled for Aug. 24.

The following month, a panel discussion at Cabrillo College’s Samper Recital Hall will explore the theme “Bringing the National and Local Together.” “What the Library of America is doing with this national volume, our event is trying to bring in the local perspective,” Najarro says.

Representation of all people within the art community is key to understanding the entire history of a place, she explains. “It’s through art that we say ‘this is our community, this is our culture, this is who we are as Santa Cruz County.’”

Taking place Sept. 12 from 6 to 9pm the panel consists of two authors featured in the Library of America anthology—Lorna Dee Cervantes and Blas Falconer—as well as Dr. Vicky Bañales, a member of Cabrillo’s English faculty, and Christopher Rendon, a former poetry workshop attendee at Cabrillo.

Although 90% of Circulo’s members and participants are Latino, Najarro emphasizes that the events are open to everyone.

“We want to hear the Black voice, the White voice, Asian voice, Native American voice, everybody. That’s how you break these hierarchies; Instead of putting everybody in their own camp, you can relish in the differences that make everybody unique,” she says.

To learn more about Círculo de Poetas & Writers or sign up for an event, visit circulowriters.com.

Things to do in Santa Cruz

THURSDAY

AMERICANA

ROB ICKES AND TREY HENSLEY

On their own, both Rob Ickes and Trey Hensley have gained substantial fame for their work in music. Ickes, an award-winning dobro player, cofounded contemporary bluegrass outfit Blue Highway in ’94, remaining with the group for over two decades. Along the way, he earned a reputation as a first-call Nashville session player, working with some of the biggest names in music. Guitarist Trey Hensley has a similar reputation, which began when he performed at the Grand Ole Opry at the tender age of 11. As a duo, Ickes and Hensley create some of the most heartfelt and authentic original Americana around. BILL KOPP

INFO: 7:30pm, Cultural & Performing Arts Center, 251-B Kings Village Rd., Scotts Valley. $35. 252-3501.

FRIDAY

JAZZ

DAVID HOLODILOFF TRIO

Named the “Hardest Working Musician” in Monterey by the Monterey County Weekly, Dave Holodiloff is a force to be reckoned with. Especially on his weapon of choice, the mandolin. With Elijah McCullar on violin and banjo and Michael Martinez on piano, the David Holodiloff Trio puts the hot in “hot damn!” Their high-energy Roma jazz brand (originally popularized by the great Django Reinhardt) playfully infuses the genre with a modern interpretation while still paying respect to its roots. Just make sure not to pigeonhole Holodiloff because his repertoire extends far into blues, folk, bluegrass, Balkan and Latin rhythms, pop and more. It’s guaranteed attendees will see three amazing musicians doing what they do best. MAT WEIR

INFO: 7pm, Ugly Mug, 4640 Soquel Dr., Soquel. $25/adv, $28/door. 477-1341.

THEATER

NEW WORKS WEEKEND

For thespians and those who love them, not much is better than an evening at the theater. The Mountain Community Theater is ready to provide just such an evening with New Works Weekend, an event that’s pretty much exactly what it sounds like: three one-act plays, three evenings and two tickets for ten bucks. The plays will each be read on all three nights, with a rotating talkback scheduled each night following the readings. The playwrights span the gamut from founding legends to up-and-comers, and all are local (well . . . one is from San Jose, but close enough). Tickets for Sat and Sun are also available. JESSICA IRISH

INFO: 8pm, Park Hall, 9400 Mill St., Ben Lomond. $10. 336-4777.

HEATHERS: THE MUSICAL

Heathers: The Musical is filled with laughter, love, teen angst, manipulation and murder. The Renegade Theater Co. is giving their version of this classic, dark teen murder musical, and audiences will be on the edge of their seats as they eagerly watch to see each character’s next move. The high school hierarchy is thrown into chaos after the head Heather is suddenly murdered, and the drama, twists, and surprises are never-ending. The 15-minute intermission will be the only break in the roller coaster of emotions. ISABELLA MARIE SANGALINE

INFO: 7pm, London Nelson Community Center, 301 Center St., Santa Cruz. $25. 420-6177.

SATURDAY

PUNK

S.A.M.

Frequenters of the scene already know S.A.M., as the punk trio’s first show was only a year ago. The once fledgling group just cut their debut EP, Decent Exposure, and will release it to the wild at the Blue Lagoon. Joining them are midwest emo friends Perch (who invited them to play that debut show last year) along with Bay Area emos If You Say So and Sacramento’s Pull Through. S.A.M. will have a limited number of cardstock posters at the show to become cherished mementos on community walls of a night that Santa Cruz showed up for the lokes. Just don’t be a kook. MW

INFO: 8:30pm, Blue Lagoon, 923 Pacific Ave., Santa Cruz. $10. 423-7117.

R&B

Son Little PHOTO: Cynthia Perez

SON LITTLE

Son Little is nominally a soul/R&B artist, but his range of inspirations displays a musical worldview encompassing music from many genres. A rundown of his collaborations and/or musical guest spots (think: the Roots, RJD2, Portugal. The Man) makes his status as a musical omnivore plain. On his own, Little has released five albums and an EP, with 2022’s Like Neptune as his latest. On that record, lyrics drawing upon childhood trauma are wrapped in music played almost wholly by Little himself; his sense of melody holds the entire project together. BK

INFO: 7:30pm, Kuumbwa Jazz Center, 320 Cedar St., Santa Cruz. $42. 427-2227.

ELECTRONIC

CANDY WHIPS

If Devo were punk adjacent at their inception and carried the minimalist, DIY sensibility to its most illogical conclusion on their early recordings, it could be argued that low-fi bedroom electronica is more their legacy than the New Wave, techno and hip hop artists claiming Ohio’s flowerpot-wearing oddballs as their musical parentage. Candy Whips, featuring Glitter Wizard’s singer Wendy Stonehenge, epitomizes this Devo-esque genre. The pieces are all here: danceable, minimalist beats, dominating, simplistic keyboard melodies and nihilistic sarcasm addressing sincere concerns and passions. My research suggests that live musicians are recruited to supply what very much sounds Casio-born on their wonderful recordings. KEITH LOWELL JENSEN

INFO: 8pm, Crepe Place, 1134 Soquel Ave., Santa Cruz. $10. 429-6994.

MONDAY

JAZZ

PRESERVATION HALL JAZZ BAND

New Orleans, the American city most living up to the melting pot promise, has given music lovers everything from bounce and swamp pop to zydeco and Cajun, but to understand the sounds of The Big Easy, start with jazz. The home of Louis Armstrong looms big in the history of America’s preeminent musical form. National Medal of Arts winners the Preservation Hall Jazz Band is here to tell that story, preserving and celebrating the cross-cultural gumbo that is New Orleans jazz. Their lineup has changed over the years, but rest assured only the best of the best are allowed on this stage, and the current band is fire. KLJ

INFO: 7:30pm, Rio Theatre, 1205 Soquel Ave., Santa Cruz, $57.75. 423-8209.

WEDNESDAY

ROCK

GUIDA

An Italian rock ’n’ roll band with hearts of gold and riffs that would make a grown man cry? Mick Jagger, get on the phone with these guys; they’re stealing your moves! Guida is a five-piece band straight outta Roma, and they’re bringing the bass, the beat and the ballare (read: “to dance” in Italian). Rolling Stone loves them, and Vice wants to be them (or at least Vice named their debut Album of the Year). Openers Jonny Manak and the Depressives set the tone for the night with their punk ’n’ roll, surf-rock adjacent bangers. The music will be loud, propulsive and un-forgettaboutit-able. JI

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

Flipped Script

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In a word: riveting. The Santa Cruz Shakespeare production of Hamlet is everything one could hope it would be. Director Susan Dalian has updated the setting of this 425-year-old masterwork to the late 1960s, piping in vintage rock ’n’ roll plus radio broadcasts about the Vietnam War and various presidential assassinations during scene changes.

Dalian has also done something smart and rare. In switching up a few key roles—Horatio (Charlotte Munson) becomes a female comrade of Hamlet, and Polonius (Paige Lindsey White) is now a meddling matriarch and court counselor—she’s put fresh spin on the text. And in the process refreshed the balance of politics and poetry. Not too much, but oh so deliciously.

There’s a reason we keep coming back to Shakespeare’s Hamlet, again and again. With each telling this masterpiece bears new gifts. If we’re lucky, a player fits himself within a role so seamlessly that all we can do is surrender. And feast. In the title role, SCS Artistic Director Charles Pasternak wears his Hamlet as easily as a pair of silk pajamas.

Finessing some of the best-known lines in the English language, Pasternak is passionate and nimble. He convinces us immediately that he knows what he’s saying, because as the drama of political struggle, existential doubt and bitter revenge unfolds, we plunge deeper.

We understand exactly what Shakespeare was exploring, all the while seducing us with puzzles, puns and parodies that still play as well as they must have over four centuries ago.

Still mourning his late father, Hamlet hears the Ghost’s command to avenge his most foul and unnatural death, and relishes the challenge. Confiding to his visiting schoolmates Rosencrantz and Guildenstern that he will “put on an antic disposition”—i.e., feign madness—he begins his quest to ensnare the villain who has killed his father and married his mother.

Pasternak’s nuanced vocal work is irresistible, full of resounding oratory to introspective musing. And his astonishing physical grace and energy never let up, as he invited the audience’s attention to the dilemmas of reason over madness, as he considers death, the unknown country.

Kudos to Pasternak, whose “to be or not to be” soliloquy was vividly felt and elegantly delivered. Even though we know it’s coming, this actor’s delivery rekindles the thrill of these words.

There’s much to enjoy in this swift telling of Shakespeare’s best-known work. Grayson DeJesus plays Laertes with intelligence and ease. Marion Adler, stunningly clothed, placed Gertrude exactly where she needed to be emotionally and physically in her key scenes as the ultimately shamed queen.

As the murderous king, Mike Ryan told his side of the story crisply, while giving Pasternak all the room he needed to essentially own the stage.

Munson’s Horatio made a valiant confidant for the troubled prince. Led by Patty Gallagher, the ensemble re-creating of the murder of Hamlet’s father are costumed as a traveling band of hippie actors.

Thanks to the shamanic imagination of costume designer Austin Blake Conlee, the stage was punctuated with high-key colors, from the jewel-toned suits and gowns of the court’s royal women to the inspired collection of platform boots, Jim Morrison scarves and neon-hued “rags and patches” on the players.

A shout-out to the red hot Brianna Miller as the player Queen (currently also playing Gwendolen in Earnest). May she be a permanent star in SCS repertory firmament. Among the vivacious costumings only Allie Pratt’s Ophelia lost out, forced to go mad in unflattering negligée and boots.

In his dual role as the ghost of Hamlet’s father and the Gravedigger, Raphael Nash Thompson gave potent inflection to everything he did, most unexpectedly in his priceless call-and-response graveyard banter with a homespun companion played by the endlessly resourceful Saundra McClain, who it turns out can do just about anything (see her Lady Bracknell in Earnest).

And it was another genius turn from Paige Lindsey White, as gossipy court counselor. Her Polonius is the prattling social climber, paralleling Claudius as the murdering usurper of the royal household.

The director’s provocative re-gendering lets White loose to strut and blather, savor her own silliness and basically devour the scenery with her lightning-quick misappraisals of court intrigue. A retro vision in bouffant hair and Lady Bird Johnson couture, White’s Polonius is a mesmerizing fool right up to an abrupt end.

This Hamlet is gorgeous to the eyes and ears, and brisk entertainment from its ingenious opening to its bloody end. Congratulations to the company, smartly led by Pasternak’s knockout performance.

Santa Cruz Shakespeare’s production of Hamlet, directed by Susan Dalian, runs through Aug. 31 at the Audrey Stanley Grove, 501 Upper Park Road, Santa Cruz. santacruzshakespeare.org.

Ice Breaker

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The writer Franz Kafka famously said, “A book must be the axe for the frozen sea within us.” William Ward Butler and Jackson D. Moorman remember those words as they read hundreds of submissions for their poetry journal. They are searching for the axes.

The journal, aptly named Frozen Sea, is published online quarterly, with occasional special issues. Launched in October 2023, the publication prepares to release Issue Five on Aug. 15. Like the four issues that precede it, the latest offering features the work of a diverse group of early-career poets and visual artists.

Butler, who is serving his first year of a three-year term as the Poet Laureate of Los Gatos, has kept an eye on the landscape of poetry journals since his time as a creative writing major at UCSC.

“The process of submitting to literary journals is kind of uniquely awful,” he says, noting the months of waiting for a response and the fees writers typically contend with. Frozen Sea bucks that trend by responding to submitters within a month. The journal does not charge a reading fee, and there are no paywalls involved. They also circumvent Submittable—a software many journals require—in favor of more direct email correspondence.

“Sometimes when I submit to journals, it feels like the answer is no and it’s no forever,” Butler says. At this phase, Butler and Moorman are enjoying bringing more humanity to the process, especially when it comes to the sensitive task of declining work. “We try to be friendly and approachable and communicative. We also try to be authentic about what we’re communicating,” Butler says.

Frozen Sea takes this value of accessibility even further with its emphasis on mobile-friendly design, which is Moorman’s specialty. “I was talking with Jackson,” Butler says, “and we just acknowledged that when we’re reading a journal or a poem that’s being shared, we are on our phone, we’re often on Instagram or other social media.” Where many journals still seem to resist the reality of our digital existence, Frozen Sea embraces it, formatting work to the margins of a phone. Poems from each issue appear on the journal’s Instagram page in addition to its website, along with audio of the writer reading the piece.

A glance at any Frozen Sea webpage makes clear that the journal is not just easy to share but also a pleasure to share. Muted colors, oceanic details and minimalist graphics strike a balance between professionalism and personality. “I’m really drawn to journals that have some fun experimentation in terms of what they’re doing with the site,” Butler says.

When it comes to the content Frozen Sea seeks, Butler and Moorman foreground their preference for queer writers as well as their desire to resist all forms of oppression in their lives and publishing. The journal also aims to promote writers who have not yet published full-length books.

BEHIND THE WORDS This issue’s contributors: Row 1, Zain Baweja, Brandon Blue, Matthew Buxton, Gion Davis; Row 2: Sara Hovda, Stefanie Leigh, Reuben Gelley Newman, Stuart Rawlinson; Row 3: Lemmy Ya’akova, Morissa Young, Marc-Anthony Valle, Ava Nathaniel Winter. PHOTO: Frozen Sea

They are also fond of concision. Butler points to poet/dancer Stefanie Leigh’s Issue Five poem, “Theme and Variations” (reprinted below), as exemplary.

“I think increasingly it feels like Frozen Sea is a little corner of the Internet where we can celebrate and champion the work of contributors who are doing really cool stuff,” he says, “and we can display it in a way that gets people excited about it.” In this spirit, the creators are currently seeking poems and art inspired by work in previous issues of Frozen Sea for a special ekphrastic issue.

The growing group of contributors and readers—what Butler calls the Frozen Sea family—sings the journal’s praises. Kristin Lueke, a poet featured in Issue Three, says, “That this magazine exists, just like this, at this moment in time—it moves me […] Jackson and William have built something beautiful in a wounded world and I am grateful to be a small part of it.”

One final way the creators are buoying their community is by promising to maintain the site in perpetuity. Though that might seem like a given, in the often-frantic world of online journals, it is not rare for one’s poem to disappear, links to become inactive, etc. The experience is disheartening for writers and artists who have entrusted their work to the faltering publication.

“The literary world is quite small,” Butler says. “I think it behooves all of us to be kind and to be thinking about what our place is within that ecosystem.”

Find out more at Frozensea.org.

Theme and Variations

by Stefanie Leigh

Costume fittings every spring in the opera house
basement. Our naked torsos,
our confidence and breaths held—

hoping the hooks and eyes in the backs
of our tutus will meet
the demands to make our protruding bones
look elegant

Stefanie Leigh is a poet and ballet dancer based in Toronto. She was a dancer with American Ballet Theatre and is currently working on her first poetry collection, Swan Arms. Her work has been published or is forthcoming in Rust & Moth, SWWIM and elsewhere.

Fresh Forward

It can be easy to take for granted how much has to happen for the Santa Cruz region to enjoy the glorious local produce it does.

One took place last weekend, on the north side of the Westside Farmers Market (9am-1pm Saturdays), with the latest of the Santa Cruz Farmers Markets pop-up breakfast series to benefit SCFM’s many outreach efforts, including Market Match food access and the Foodshed Project.

While chef Diego Felix and his Colectivo Felix team distributed delicious empanadas, gazpacho, summer salads and aji de gallina, guests toasted Equinox sparkling and tuned into commentary from area growers and market staffers alike.

The more you learn about FoodWhat?!—which trains youngsters on growing, cooking and distributing fresh, healthy food—the more there is to like. Next month, it celebrates 18 years with a chef-driven benefit celebration dinner at Cowell Ranch Hay Barn.

More on the Sept. 29 event and the organization can be found at foodwhat.org.

An additional dose of helpful context arrives with the Center for Farmworker Families’ Farmworker Reality Tours, taking place 3-7pm Aug. 18, Sept. 8 and Sept. 22, which helps unseen, crucial workers.

 “On this immersive tour, you’ll have the chance to meet and engage in meaningful conversations with farmworkers, listen to their powerful testimonials, and experience their daily lives firsthand,” the event’s release says. “You’ll share their food, visit their living quarters, and gain a deeper understanding of the challenges they face.”

More at farmworkerfamily.org/events.

WELL PLAYED

Bargetto Winery (3535 N. Main St., Soquel) has a nice little blend going: Admirable longevity (it’s the oldest winery in the area); a fun setting (the big windows and patio over the Soquel Creek river bed make for great summer sipping); and superb wines (the reserve Pinot Noir ranks right up among my Santa Cruz Mountains favorites).

It also has an ongoing Thursday Night Music with Taquizas Gabriel parking and slanging authentic Baja fish tacos, quesabirria and more from its taco truck. The music plays weekly through Oct. 3. The next four acts are the Do’h Bros (Aug. 15), Bootleg (Aug. 22), Joint Chiefs (Aug. 29) and Alex Lucero (Sept. 5). bargetto.com

KEEP CRUZIN

It was weird not having David Kinch and Manresa repping at the Michelin California award announcements last week, but at least Exec Chef Justin Cogley and Aubergine (7th and Monte Verde, Carmel) earned a Monterey Bay Area restaurant two stars for the first time ever…

Santa Cruz Permacuture’s course on “Food Forests: Planning, Growing and Enjoying Year Round Abundance,” starting Aug. 24, is open for sign up, santacruzpermaculture.com…Friends of the UCSC Farm & Garden’s Aug. 16 Superfoods and Spice Blends Workshop sold out fast—stay on top of cool classes via agroecology.ucsc.edu…

Back Nine Bar & Grill (555 Highway 17 at Santa Cruz) offers free corkage on Sundays and Mondays…An assist from late great coach John Wooden at the buzzer: “Things turn out best for the people who make the best of the way things turn out.”

Safe Harbor

A Santa Cruz area resident for more than 30 years, Jennifer Lawrence owned a coffee shop in Moss Landing for over a decade until it became one of the many pandemic casualties. But when that door shut, another one opened: the owners of a boatyard in the Moss Landing harbor asked Lawrence to do some accounting work. Then, when they decided they wanted to revamp their space next door and open a restaurant, Lawrence offered her industry expertise and she became the general manager.

Lawrence and the owners did a complete renovation and opened Woodward Marine Market in October 2022, Lawrence describing the waterfront ambiance as a combo of modern and speakeasy vibes with an “upside down boat feel.” The scratch-made menu is a blend of classic and traditional seafood with an Asian flair. Appetizer favorites include Monterey Bay calamari and tater tots with jalapeño buttermilk aioli. Entrée bests start with a classically French bouillabaisse burgeoning with mussels, clams, local rockfish, diver scallops and squid in a saffron, tomato, fennel and wine sauce.

Other mains to munch on are the crispy artichoke and prosciutto sandwich with gouda cheese and Meyer lemon marmalade, and fish and chips with tempura-battered Alaskan cod. For dessert, one rotating chef’s selection is offered, such as myriad bread puddings.

Describe the chef’s daily special.

JENNIFER LAWRENCE: They can range from seared ahi paired with miso-infused polenta to diver scallops with plantain purée. It gives executive chef Nichole Robbins an opportunity to showcase local seafood and how well she pairs flavor profiles. My all-time favorite, and a dish that we are soon putting on our permanent menu, is a prawn meatball that’s deep-fried and stand-alone delicious.

What inspires you about the Moss Landing community?

What we’re trying to bring is more awareness to what the area holds with its sea life and ecology, as well as its potential for a research footprint that’s becoming larger. A major marine biology facility is being built nearby, which dovetails with our chef’s philosophy of sustainability, being aware of where our food comes from and how hard people work to provide it. There’s really a respect there.

Dark on Mondays, hours are 11:30am–6pm (4pm Sunday). 10932 Clam Way, Moss Landing Harbor, 831-632-0857; woodwardmarinemarket.com.

The Blush Life

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When you see the word “pinot noir,” you immediately think of a red wine. But blanc de pinot noir has a soft blush color.

At a spring tasting, Pelican Ranch Winery unveiled an impressive 2023 Blanc De Pinot Noir ($30)—with grapes from Highlands Vineyard in Carmel Valley.

“We rarely make a Blanc De Pinot,” says Phil Crews, owner/winemaker at Pelican Ranch. “But all was lined up for this opportunity.”

And Crews is not one to miss the chance of creating something special. With its definitive white pinot style, it has “a tasty mix of muted cherry, baked apple and fresh strawberry.”

Another wine released on the same day in spring is a 2023 Rosé of Pinot Noir ($40)—made with grapes from Green Valley Road Vineyard in the Santa Cruz Mountains. This is another delicate blush wine, and it comes with “luscious fruit of berry and rose petals resulting in complex flavors.”

Both these wines (which come with screw caps) are worth a trip to Pelican’s tasting room—a bucolic setting surrounded by redwoods. And pizza is usually available, often made by Phil’s wife, Peggy Crews. They make a fine team! Or take your own picnic. Pelican Ranch is a welcoming place.

Pelican Ranch Winery, 2364 Bean Creek Road, Scotts Valley, 831-332-5359, pelicanranch.com.

Olympian Menu

The Jack O’Neill Restaurant & Lounge in the Dream Inn is doing a special four-course tasting menu as a tribute to the 2024 Olympic Games. Chef Gus Trejo is utilizing French cooking techniques to prepare the most sustainable local resources. The mainly plant-based Olympian Menu is available nightly until the end of August. Cost is $75. 175 West Cliff Drive, Santa Cruz. Visit jackoneillrestaurant.com for info.

The Editor’s Desk

Santa Cruz California editor of good times news media print and web
Brad Kava | Good Times Editor

California is an outlier. It’s always been.

Our state has led the nation in protecting the environment—with higher standards for clean air, clean water and environmental protection than in much of the rest of the nation. We know what we have here is sacred and we aren’t willing to sacrifice our pristine coastline for the almighty dollar.

It’s not always a popular position in the rest of the nation—especially for those in industries that profit from extracting the earth’s non-renewable resources.

Let’s not forget that one of the first things the Republican administration did in 2020—on behalf of deep-pocketed donors—was to roll back 2015 regulations aimed at protecting rivers, lakes and streams from waste from coal-burning power plants. They brag about cutting regulations to help the economy, but they forget the ultimate price of forever losing safe, clean water and air.

It’s a never-ending battle, and luckily there are some local people who are prepared to fight for the environment, which is why you aren’t looking out at oil rigs along our coast.

Our cover story salutes some of those locals, including Dan Haifley and John Laird, who found ways to turn the tide away from corporate greed and save our tides.

The article looks at the impending threat from others who chant “Drill, Baby, Drill” like it’s a football game, not a code for “Pollute, Baby, Pollute” and “Profit, Baby, Profit.”

Luckily, these folks tipped their hand with Project 2025, which pushes a “drill, baby” mentality that is now out there for all to see. If you want crude oil on your beaches, you can vote that way. If you don’t, this article shows a path to fight for the environment.

On other positive fronts, Mark C. Anderson’s Dining column leads the way to healthy foods for all. Taking that to the people who matter most, Elizabeth Borelli covers a project to make lunch ladies cool again by teaching them to cook locally sourced, healthy foods in schools. Little is more important than that, right? No more hot dogs and potato chips?

Our arts stories run the gamut from Hamlet to Talking Heads and include an inclusive poetry circle that lets other voices be heard.

We also cover a literary journal that takes an axe to the frozen sea of other hard-to-access journals and creates a place for oppressed writers to speak out, or write out.

We’ve got high brow, we’ve got low brow, we’ve got it all this week. I hope you love it as much as I do.

Thanks for reading.

Brad Kava


PHOTO CONTEST

COTTON CANDY CLOUDS A puffy sunset sky shot downtown. Photograph by Jennifer Kelly.

GOOD IDEA

Silicon Valley Community Foundation has hired Marie D’Costa as its new executive vice president of philanthropic partnerships and Moses Zapien as its new executive vice president of community action, initiatives and policy.

Most recently serving as the vice president and chief development officer at the New York Community Trust, D’Costa brings expertise in philanthropy and fundraising. She will oversee development, donor engagement and corporate responsibility.

Zapien comes from the San Joaquin Community Foundation, where he served as CEO. He will be responsible for honing and developing strategies for SVCF’s discretionary grantmaking programs and creating a public policy program to advance equity for residents of San Mateo and Santa Clara counties.

GOOD WORK

The County of Santa Cruz and its Pitch In Initiative was recently recognized by Caltrans, Clean California and Keep America Beautiful as one of 22 California communities that are the first to pledge to be a part of the Clean California Community Designation Program.

The statewide program encourages local engagement in a statewide effort to make communities cleaner, more sustainable and to foster community pride, and is part of Governor Newsom’s Clean California initiative, a $1.2 billion, multiyear project led by Caltrans to clean up, reclaim, transform, and beautify public spaces. Since the program’s inception three years ago, 50,000 tires, 12,000 mattresses and mountains of trash have been hauled away. 

QUOTE OF THE WEEK

“When I looked into space, there was no majestic awe to behold. All I saw was death.”

William Shatner


CORRECTION

An article in the Home and Garden section misreported that Professor Emeritus Rich Merrill of Cabrillo College had passed away. He hasn’t! The beloved founder of the Horticulture Department at Cabrillo College is alive and well and living in Santa Barbara.

Saving the Coast —Again

There may be no clearer nightmare of losing our precious coastline, leaving our beaches and coastal animals covered with tar, than the Project 2025 proposal to open offshore drilling in the coastal waters south of Monterey Bay.

Love of Music

Talking Heads' Jerry Harrison joins guitarist Adrian Belew for the Remain in Light Tour, hitting the Quarry stage with an 11-member band

Poetic Justice

The members of Círculo de poetas & Writers are focused on amplifying multilingual, multicultural voices.

Things to do in Santa Cruz

The David Holodiloff Trio puts the hot in “hot damn!” Their high-energy Roma jazz brand playfully infuses the genre with a modern interpretation

Flipped Script

The Santa Cruz Shakespeare production of Hamlet is everything one could hope it would be.

Ice Breaker

Head shots of two people
Frozen Sea is published online quarterly, and features the work of a diverse group of early-career poets and visual artists

Fresh Forward

It can be easy to take for granted how much has to happen for the Santa Cruz region to enjoy the glorious local produce it does.

Safe Harbor

The scratch-made menu at Woodward Marine Market is a blend of classic and traditional seafood with an Asian flair.

The Blush Life

When you see the word “pinot noir,” you immediately think of a red wine. But blanc de pinot noir has a soft blush color. At a spring tasting, Pelican Ranch Winery unveiled an impressive 2023 Blanc De Pinot Noir ($30)—with grapes from Highlands Vineyard in Carmel Valley. “We rarely make a Blanc De Pinot,” says Phil Crews, owner/winemaker at Pelican Ranch....

The Editor’s Desk

We know what we have here is sacred and we aren’t willing to sacrifice our pristine coastline for the almighty dollar.
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