When comedian and Good Times contributor DNA left Santa Cruz for his second hometown of Chico after nearly 20 years locally, many hailed it as the death of his long-running Santa Cruz Comedy Festival.
Which it was, and that’s the end of that.
OK, just kidding. Kind of. While the Santa Cruz Comedy Festival as we once knew it might not be returning for its 12th year, this weekend DNA and fellow local comedian Michael Booth will host the inaugural Laughtopus at Woodhouse Brewery.
“It’s fun to be able to create a community,” Booth explains. “I’m lucky to be connected and have access to a network of comedians.”
A rebranding of sorts, the Laughtopus is presented by the Santa Cruz Comedy Festival as a smaller, more condensed way for Santa Cruzans to get their yearly festy laughs.
Along with the hosts, each night will feature a different group of local and Bay Area comedians: Megan Kellie, Ryan Holloway, Colin Cosados and Rea Kapur are on the bill Oct. 4; BJ Rankin, Avery Harmon, Emily Rudolph and Ashley Monique perform Oct. 4. Headlining the nights are two returning favorites from previous DNA shows, Valerie Tosi and Myq Kaplan.
VALERIE TOSI MYQ KAPLAN photo: Mindy Tucker
Kaplan has played Santa Cruz on several occasions, including DNA’s Vegan Comedy show.
Prior to the 2020 lockdowns, Tosi headlined DNA’s ill-fated Comedy Lab. A veteran to the comedy scene, Tosi is a graduate from the Los Angeles chapter of the Second City improv comedy troupe. Her 2022 debut special, Beach Trash, reached number one on the iTunes charts, and she’s made appearances on other shows, including Peacock’s Based on a True Story and IFC’s Stan Against Evil. Tosi has been featured on a number of podcasts and her voice can be heard narrating online shows like Weird Food History on YouTube.
She is also the host of the Mermaid Comedy Hour, the longest-running, all-female comedy show at the Hollywood Improv.
“For the last couple of years people have asked if there’s a need for an all-female show anymore,” she says. “But looking around at the current political climate I think it’s needed now more than ever.”
More than just empty platitudes, Tosi stands up for the causes she believes in. Scanning her social media, there’s plenty of photos of her protesting at various causes, from standing up against ICE to recently marching outside Walt Disney Studios to reinstate Jimmy Kimmel. In her own words it’s something she “can’t not do.”
“We use humor as a tool to move through different emotions,” she says. “Not just anger and fear, but grief. I think we’re all grieving a country that we didn’t know was capable of getting to the point where it is and we’re not even at rock bottom yet.”
Which is one of the reasons why DNA says Santa Cruz needed to have a new comedy fest.
“Besides the name, I wanted Laughtopus to be different,” he explains. “I wanted to go small this year. One thing I tell all new producers in the region is that putting on shows is gambling. You’re putting money up and you might not get that money back.”
So instead of curating Laughtopus himself, DNA instead chose the headliners and gave the task of filling the other slots to his co-host, who also runs regular shows throughout the area.
“Michael is still in that world of new comedians and he puts them on regularly,” DNA says. “He knows how to build a good show. You can’t be a better comic unless you’re on stage, and he’s on stage as much as he can be.”
It’s a role Booth took on voluntarily.
“With DNA moving away and things being uncertain, a couple of us have taken on the tradition [of producing local shows] and kept the vibe,” he says, speaking of the Santa Cruz comedy scene.
“That’s how all this exists. We all either started it or took it over,” he continues. “It’s all people getting events started or keeping them going with quality so they can last for years like the Blue Lagoon or Mountain Brewery shows.”
So while this might be the inaugural Laughtopus event, if all goes well it most certainly won’t be the last. But that all depends on whether or not Santa Cruz comes out to support it.
“I have this ember of an idea for the festival,” DNA says. “And last year—for me—that ember really dimmed. Now it’s a quest for fire. I have some brush, I have this ember and I’m blowing on it to start this fire again.”
Laughtopus begins at 7pm on Oct. 3–4 at Woodhouse Blending and Brewing, 119 Madrone St., Santa Cruz. $25 adv/$30 door. 831-313-9461.
Set to open this weekend, Santa Cruz Symphony’s 2025-26 season offers temptation aplenty for music lovers of every stripe. From the smoldering Scheherazade Suite, with its ear-candy tales of One Thousand and One Nights, to the soaring soundtrack classics of modern movie masterworks, the season is programmed for maximum appeal. Exactly as Maestro Daniel Stewart has planned.
Guest artists such as Jonah Kim and Emad Zolfaghari join Santa Cruz Symphony’s tenured performers, such as first violinist Nancy Zhou, in bringing to life work from orchestral giants Pyotr Ilyich Tchaikovsky, Paul Hindemith and Gustav Holst.
The fifth concert of the season shines a spotlight on Amadeus, with a blend of Mozart’s music, the sublime choral sections performed by the Cabrillo Symphonic Chorus, led by new director Carlin Truong, interwoven with live dramatic narration by Santa Cruz Shakespeare actors adapted from Peter Shaffer’s celebrated play.
“I am beyond excited about the collaboration between the Cabrillo College Choirs and the Symphony,” Truong says. “The Symphonic Chorus is slated to perform with the Symphony for Gustav Holst’s The Planets in early November, Amadeus in March, and Beethoven’s Ninth in May. Our Cabrillo Youth Chorus is slated to perform with the Symphony for the Family Concert in March,” the new director revealed.
“I’m a sucker for collaboration,” Truong admits. “I love meeting other people who are as excited about the performing arts as I am, whether it be performers, support staff, or audience members. And I am particularly excited to work with Danny.”
STAGING A SYMPHONY Charles Pasternak takes on Amadeus. PHOTO: Kevin Monahan
Peter Shaffer’s Amadeus imagines a passionate rivalry between two Viennese Baroque-era composers, Wolfgang Amadeus Mozart and Antonio Salieri, each vying for lucrative commissions—and fame—at the court of Emperor Joseph II roughly 1783–1825. Winning a 1981 Tony Award for Best Play, Amadeus was adapted by Shaffer for the Oscar-winning film in 1984. The play is organized into flashbacks, narrated by the now-elderly, forgotten Salieri, who recounts his admiration for Mozart’s genius and disgust for the celebrity’s childish behavior.
The third concert on this season’s program, March 28–29, takes a deep dive into a dramatic presentation of Peter Shaffer’s play, interweaving an adapted script by maestro Daniel Stewart—crafted to bring this smoldering tale of Baroque rivalry to life—in league with actors from Santa Cruz Shakespeare and powerful choral selections performed by the Cabrillo Symphonic Chorus. Musical excerpts include the overtures to Don Giovanni and the Marriage Figaro, as well as the Requiem’s thundering Rex Tremende, Confutatis and the gorgeously tragic Lacrimosa, all featured in the movie Amadeus, so well known to symphony-goers.
SPOTLIGHT ON ‘AMADEUS’
Maestro Daniel Stewart recalls how the exciting concert emerged. “Quite literally, it occurred to me during the drive home following last season’s Symphonic Shakespeare concerts. There was such an electrifying synergy between our orchestra, actors, featuring the brilliance of Charles Pasternak and Allie Pratt, and similarly wild reactions from our audiences that when I found myself making a short list of subjects for another collaboration for our Symphony, I very quickly set my sights on Amadeus. I set to work reviewing every word of the original play and movie, and confirming the availability of Charles, as well as the Cabrillo Symphonic Chorus under their new director Carlin Truong.”
“I loved working with the Symphony last year,” recalls Charles Pasternak, Artistic Director of Santa Cruz Shakespeare. “I think Danny is such a wonderful cultural leader for Santa Cruz. And after our Romeo and Juliet program, I realized that he was also a wonderful collaborator. He empowered me to take ownership as a collaborator, rather than as the hired hand. So that was a real joy. My hat’s off to Danny and how he manages collaboration.”
Stewart maintains that what most excited and motivated him was “the possibility of presenting a uniquely immersive and comprehensive selection of Mozart’s music within the context of this beloved and amazingly entertaining story.”
After Stewart’s passionate ideas poured forth, Pasternak asked, “Well, where do you see me? I’m certainly a little old for Mozart, but I may be a little young for Salieri, but he said, No, no, I see you as Salieri—you’re Salieri.’ But we want to hire some other artists, right?”
And there will be four actors involved in the intriguing musical narrative, but Pasternak didn’t want to provide names yet, “because this could really change, but I’ll just say the plan is to hire a few other artists.”
“My aim was to enhance the total experience by increasing the musical presence and content while distilling the plot down to four actors,” says Stewart, “actors who could bring the most famous scenes to life in a kind of symphonic/theatrical hybrid of the play and movie.”
Pasternak continues, “With Danny’s incredible leadership of the symphony, I’m sure that we will find within Shaffer, an incredible framework to transplant into an orchestral evening so that the audience, while not getting the full Amadeus play, will get snatches of it. Snippets of the play to drive us to fuller performances of Mozart’s work. I think the evening will probably be either more 50/50 or even more symphonic than it is performative.”
The performative aspects will be able to act as a gateway to the audience, to engaging with the work. “And who doesn’t love Mozart? We’re talking about one of the masters, in the way that Shakespeare is,” Pasternak says.
And maestro Stewart agrees. “Ultimately, I would love nothing more than for the audience to vividly experience the profound love, unique genius, and overwhelming humanity that Mozart shared with the world. And discover anew why he, along with Shakespeare, endlessly inspire us as one of those supremely creative forces of nature.”
Pasternak couldn’t help adding. “I think the more that our art, artistic and cultural institutions can collaborate and throw focus to each other through events like this, I think it benefits not only the organizations themselves, but the cultural fabric of Santa Cruz itself. And I’m passionate about that. I’m really excited to do this with Danny, and I think that any and all collaborations that we can find in future between both Santa Cruz, Shakespeare and symphony, but also with other organizations, will be all to the good for everyone. So I feel passionately about that. I just want to add that as a thought.”
NEW MAESTRO IN TOWN Carlin Truong leads choral classics. PHOTO: Kevin Monahan
MORE MUSIC!
More surprises this coming season include Concert 2’s world premiere, Voices by local composing prodigy and violinist Benjamin Goodwin. Making music since the age of four, Goodwin studied chamber music composition with renowned Bay Area composer Chris Pratorius. In his senior year of high school, his The Middle of Nowhere, was premiered by the Santa Cruz Youth Symphony in 2023.
As violinist Goodwin was Santa Cruz County Youth Symphony concertmaster. He enjoys video game music and has also written electronic music. He attends the Oberlin Conservatory as a composition major, studying with Jesse Jones, Michael Frazier, Stephen Hartke, and Soomin Kim.
Another influential figure in local arts and tech culture, Jaron Lanier will premiere a very new Piano Concerto, joined by guest artist Serene to perform the new work. Lanier’s dreadlocks are almost as legendary as his eclectic résumé, which includes computer scientist and philosopher of AI technology.
A pioneer in developing software for virtual reality, Lanier has combined his ethnomusicology interests with his role as a Microsoft researcher. Lanier both collects and plays hundreds of instruments from diverse worldwide cultures. Lanier, whose oeuvre eludes any single category, was the subject of a 2023 New Yorker profile in which he confessed that he’s become a compulsive explorer of new instruments.
His upcoming piano concerto was written for, and will be performed by Serene, with whom Lanier has collaborated in the past. But don’t expect straightforward classical concerto from Lanier. Expect innovations in his score for the Symphony’s 2025-26 season.
And for those passionate about the classics, almost nothing succeeds like Gustav Holst’s boundary-pushing The Planets, created in the early 20th century before the term “science fiction” was popularized. The suite, illustrating in musical terms the astrological personality of each one of our familiar planets, reached ahead into the future literally creating a soundtrack of the solar system.
Each planet is given a unique aural signature, invoking the classical gods for whom they were named. The threatening aspect of Mars, Jupiter’s triumphs, each planet fills the listener’s cinematic consciousness with richly detailed imagery. Holst’s music gives us the feeling of cosmic unity, making us feel at home in the universe.
What to expect from the upcoming Santa Cruz Symphony 2025-26 season:
* Season opener Oct. 4 & 5, the ultra-romantic suite Scheherazade by Rimsky-Korsakov featuring Concertmaster/Artist in Residence Nancy Zhou portraying the storyteller Scheherazade on her violin
* Deep roots in local collaboration: Santa Cruz Shakespeare actors join orchestra for Amadeus; world premiere of Benjamin Goodwin’s Voices; a new piano concerto from Santa-Cruz based tech pioneer Jaron Lanier
* The Symphony debut of Cabrillo Symphonic Chorus director Carlin Truong
* Three programs featuring collaboration with the Cabrillo Symphonic Chorus including image-laden space voyage The Planets by Gustav Holst; an evening of Amadeus showcasing soaring selections from Requiem, The Magic Flute, Don Giovanni, and The Marriage of Figaro, and Beethoven’s unparalleled Symphony No. 9, featuring soloists from the Metropolitan Opera
* Cabrillo Youth Chorus performing for the Family Concert March 1
* Movie Night with Oscar-winning favorites from Titanic, Lord of the Rings, Pirates of the Caribbean and many more
* Finale Street Party – June 13, at 5pm before Movie Night
Think of it as the most ambitious Santa Cruz Symphony season ever!
Published in cooperation between Cardstudios and Good Times Santa Cruz
When the U.S. Department of the Interior signed off on the Tejon Indian Tribe’s long-awaited casino project in July of this year, it marked the beginning of a new chapter for Kern County. Hard Rock Hotel & Casino Tejon was approved, bringing with it the commitment of jobs and income, and a cultural centerpiece that tribal leaders have been trying to secure for over a decade. Now, just months later, the project is rapidly moving forward with slot machines arriving on-site and a projected late-2025 opening for the gaming floor.
The story arrives during a year already rich in gambling news. Alongside approvals for new tribal projects, online gambling continues to flourish. Reviews of safe no KYC casinos at ESI stand out as an example of how digital platforms are reshaping access for players. These sites give people the ability to start playing without long verification waits, offering quicker access to games and fewer hurdles for those who simply want entertainment without delays. Together, developments like these and the Tejon project show how gambling in 2025 is broadening both online and on the ground.
For the Tejon Indian Tribe, the July approval capped off years of work. Federal recognition of the tribe had been restored in 2012 after decades of legal battles, and leaders quickly identified a major economic project as essential for building long-term stability. In 2018, the Bureau of Indian Affairs published a draft statement on environmental impact, which examined traffic patterns, land use and ecological effects for a proposed casino site near Mettler (just south of Bakersfield). Negotiations with the state of California followed, resulting in a gaming compact signed in 2021 and later ratified by the legislature. By the time the Department of the Interior issued its ruling in July, the foundation had been set for construction to move quickly.
And, move quickly, it has. By the end of August, less than two months after the green light, the first delivery of slot machines rolled into the site, which is an unmistakable sign that the gaming floor is taking shape. Just days earlier, Hard Rock had hosted a Dealer School and Job Fair to begin recruiting the workforce needed to operate the casino. Positions in table games, slots, hospitality, food service and management were advertised, with hundreds of jobs expected to be filled in the coming months.
A day after the hiring fair, more equipment shipments were reported, and Hard Rock has continued to push forward with hiring events throughout late summer. Community engagement is a priority, and Hard Rock emphasizes opportunities for local vendors to connect with the project, as well as programs intended to ensure the surrounding region will benefit from the influx of visitors.
The economic ripple effects are expected to be substantial. Kern County, long reliant on agriculture and oil, has seen its traditional industries face increased volatility in recent years. A major casino destination under the internationally recognized Hard Rock brand provides a new revenue stream and a significant way of combating the state’s unemployment problem. By situating the project near both Interstate 5 and Highway 99, it captures traffic moving north-south through California while also drawing from Los Angeles. For travelers accustomed to driving long distances between Southern and Northern California, the Tejon site could soon serve as a natural stopover destination.
The project itself spans 320 acres of tribal land placed in trust by the federal government. Phase One includes the casino floor, restaurants, bars and initial amenities. Phase Two will bring a hotel, spa, convention space and a live entertainment venue, though Hard Rock has kept details about its timeline closely held. For now, representatives continue to state that the casino floor remains on track to open in December of this year, although a precise opening date has not yet been announced.
For the tribe, the project’s benefits extend further beyond economic development. The Hard Rock Tejon will serve as a hub for visitors, but also as a foundation for increased tribal self-sufficiency and stability. Federal recognition in 2012 restored the Tejon Indian Tribe’s sovereignty, and now, this 2025 project is viewed as the next step in exercising that sovereignty and ensuring a secure future for years and generations to come.
The significance of the Hard Rock partnership also can’t be understated. Hard Rock International brings many years of experience in the operation of casinos, hotels and entertainment venues. Its global brand recognition is expected to help the Tejon casino swiftly establish itself as a destination within the highly competitive gaming market in the state.
Community response has been largely optimistic since the casino provides more things to do for locals. Local businesses have already attended Hard Rock’s vendor events to learn how they can partner with the project, and officials have noted the positive long-term prospects for tax revenues and secondary growth. For the Tejon Indian Tribe, the excitement felt by the community is a testament to the decades of effort the Tribe put into taking the vision of the project and making it a reality.As the end of 2025 draws closer, the milestones keep stacking up: federal approval in July, job fairs and slot deliveries in August and ongoing construction visible to anyone passing through Kern County. The Hard Rock Hotel & Casino Tejon is no longer just a plan; it is on its way to becoming a landmark. If all stays on schedule, December will not only mark the grand opening of a new entertainment venue but also a turning point in the story of the Tejon Indian Tribe.
As Autumn arrives, what are you looking forward to?
FEATHER
I love Halloween, dressing up and seeing all the costumes. I love the weather—cold days and cozy drinks, spending time with family and loved ones.
Feather Roberto, 31, @Camouflage, costumes and pleasure accessories, Downtown
JEREMY
What I’m looking forward to the most is some awesome sunsets. We’re finally going to get some clouds. The best view is the lookout at Seymour Center, it’s breathtaking and there’s bunnies!
Jeremy True, 52, @Santa Cruz Coffee Roasting, Downtown
LUCCIONNA
Shopping for fresh autumn fruits and veggies and cooking with them.
The costumes, the time of year, and people decorating their houses. I used to have time to dress up for Halloween, but now you have to work a lot to make rent in this town.
Matt Cavalli , 44, @Moon Kissed, a spiritual and metaphysical shop, Downtown
FERNANDA
The warm sweaters that I get to bring out — and how you can hear the raindrops in Bookshop’s Skylight Room when it rains.
Fernanda Torres, 23, @Bookshop Santa Cruz, Downtown
JOE
I’m excited for holiday time, we get lots of families exploring Downtown and taking their time. Everybody’s super nice to talk to, talking about plants all day,
Joe Covey, 28, @Leaf and Vine, an urban plant shop, Downtown.
Every day, roughly 100,000 vehicles travel along Highway 1 through Santa Cruz County, a staggering number that is evidenced by daily rush-hour backups that can last for hours.
That’s to say nothing of the often packed surface roads.
That contributes to air pollution and global warming, in addition to taking a bite out of commuters’ budgets and increasing their stress levels.
A coalition of county officials and transportation experts are hoping to change that with the first-of-its-kind “Week Without Driving,” a campaign that aims to get people to rethink the way they traverse the county’s roadways.
Organizers hope the event—which runs from Sept. 29 through Oct. 5—will be a chance for residents to walk, take a bike or hop on a bus for their daily commute and gain a new perspective on their transportation options.
In doing so, they’ll be joining 30% of Americans who walk, roll, bike, carpool or rely on public transit.
The event is hosted by the County of Santa Cruz Community Development & Infrastructure Department, the Santa Cruz County Community Traffic Safety Coalition and Santa Cruz METRO.
“We can all join in during this week by walking, riding a bike, sharing a ride, or hopping on a bus,” said METRO Board Chair Rebecca Downing. “Every time we choose to get out of our car, we gain a new perspective that helps us create a community that’s truly accessible to all.”
The campaign will kick off at Capitola Mall on Sept. 30 at 11am and will include informational booths from county agencies, cycling groups, and accessibility advocates, stories from residents who navigate Santa Cruz County without a car and an opportunity to connect with and hear from local officials and transportation planners.
There will also be raffles, games and food trucks.
In support of Week Without Driving—and California Clean Air Day—Santa Cruz METRO will be offering free fares countywide on Oct. 1.
Locally, transportation improvement efforts have included the Soquel Drive Buffered Bike Lane & Congestion Mitigation Project, and the Reimagine METRO initiative, which aims to increase ridership.
The organization currently operates a fleet of 104 buses on 20 routes and 32 paratransit vehicles.
Officials hope to increase transit ridership to 7 million trips annually within the next five years, and to transition to a zero-emissions fleet with a mix of hydrogen and electric vehicles.
To join Week Without Driving, register online to receive a toolkit with tips and resources and log your daily transportation habits using #SCWeekWithoutDriving or visit gosantacruzcounty.org.
A lighted stroll beneath giant old-growth redwoods is now on the list of things to do at Roaring Camp in the Santa Cruz Mountains.
In addition to the lengthy list of events such as their Father’s Day Barbecue, Mother’s Day Brunch, the Moonlight Dinner Train and the Holiday Train Lights, the new Sequoias at Night will offer the seasonal walks to the public beneath the ancient sequoia redwoods lit up with new art and light installations.
“Giant intricate lighted lanterns hang high overhead surrounded by thousand-year-old redwoods that are uplit to create a unique and awe-inspiring retreat back to nature,” organizers said.
A preview was offered to about 200 people, including local media, on Sept. 18 on the nearly mile-long walk alongside the famed Roaring Camp rail line as evening fell and dozens of towering trees were bathed in an array of blue, green and purple splashes of light.
LIGHTED ACCENTS The Sequoias at Night stroll features homemade lighted lanterns. PHOTO: Tarmo Hannula
“I had a great time,” said Shaz Roth, CEO of the Pajaro Valley Chamber of Commerce and Agriculture. “I thought it was a magical way to spend time with your family in the redwoods and Roaring Camp. It was a great way to stroll along the rail line and experience the wonder of the redwoods while supporting the local Roaring Camp.”
Joanne Hirasaki, marketing director, said tickets have been selling swiftly for the next 45-minute walk, set for Sept. 27. Several walks will take place each evening of the event to help stagger the crowds. Walks are slated to run each Friday in October, the first one starting at 7:30pm.
“All 26 of the lanterns with electric lights were handmade by Anna Bobisuthi, our resident blacksmith,” Hirasaki said. “Chris Butler created the lighting design. We’re hoping to run Sequoias at Night spring through fall, weather permitting.”
Tickets: $24.95 ($12.95 for ages 2-12; free for kids under 2). Organizers advise booking in advance; call 831.335.4484. Dogs on a leash are fine for the tree walk. The path is accessible up to about the halfway point before becoming steeper and more difficult for a wheelchair guest without assistance.
One of the most important questions for every incoming UC Santa Cruz student is “What to eat?” Food is one of the biggest aspects of your college experience, acting as both a vessel for social interaction and a key ingredient in preparation for learning. Although tempting, the vast majority of students don’t have the financial means to sustain themselves with DoorDash or Uber Eats, and nobody wants to live off of hot ramen bowls. On-campus food sources then become your best option, and while each comes with its ups and downs, there are clear standouts amongst them. According to this current UC student, here are the top five on-campus grub spots:
(Can we get a small graphic of banana slugs to give them slugs instead of stars??))
Coming in 5th place is the College Nine/John R. Lewis Dining Hall ($14.55-$16.65, price decreased if spending UC currency). Located at the top of campus, the C9/JRL Dining Hall ranks highly in terms of architecture alone. With large glass walls providing views of the beautiful Santa Cruz woods and plenty of overflow seating, C9/JRL can accommodate large numbers of students without feeling cramped. This dining hall normally provides two distinct meal options for each time slot of the day, and is only a short uphill walk from the C9/JRL bus stop.
In 4th place is the Global Village Cafe. McHenry Library is the study spot on campus, and Global Village, located on the second floor, is a wonderful provider of study fuel. Their menu specializes in various artisanal toasts like the Club Avocado Toast ($7), which comes with fresh avocado, fire-braised chicken, bacon, and alfalfa sprouts, but I like to upgrade it into a sandwich and add pesto to the other slice of bread for a small fee. These toasts are a frequent choice of mine because they are filling but lean at the same time, so I don’t feel like I’m eating too many calories. Global Village also offers the standard cafe drink menu.
FINER DINING Considered the nicest spot to eat on campus, The Bistro is located above the College Nine/John R. Lewis Dining Hall. Photo: Ben Ford
The 3rd spot goes to the Oakes Cafe. Located in the middle of the Oakes campus, it can be a little out of the way for some students, but it is definitely worth it for anybody who happens to be nearby. Oakes Cafe has the largest menu of the on-campus cafes, including a separate breakfast menu available till 11am. Highlights include the Manresa Breakfast Scramble (scrambled egg, potato, mushroom, onion, bell pepper, cheese, sour cream and fresh pico, $7.50) from the breakfast menu for those who enjoy fresh grilled vegetables and the Chipotle Chicken Bacon Sandwich (fire-braised chicken, pepper jack cheese, bacon, chipotle mayo, on a toasted telera roll, $8.99) from the standard one, which has a nice spice but I like to add a little more. One thing to stay aware of when visiting the Oakes Cafe is the mid-day lunch rush, as the line can get very backed up, and mistakes can be made when the staff gets overwhelmed.
The Bistro takes second place in the ranking. Located above the College Nine/John R. Lewis Dining Hall, the only thing keeping The Bistro from the top spot is the price. Considered the nicest spot to eat on campus, it makes a perfect special occasion meal or a fun treat for the friends of any student swindled into purchasing the Banana Slug Points Plan. Reservations are technically required, but you can slip in if you show up on a slow day! I recommend that first-timers try the Birria Pizza (beef birria, mozzarella, cilantro, onions, $16) because it combines salty and savory in a way that really complements each other, or the Gourmet Burger (half-pound certified angus beef chuck steak burger, smoked gouda, bacon jam, sriracha aioli, lettuce, tomato, red onion, pickle, with fries, $22) for a heartier meal that tastes fresh and juicy.
Before discussing the top spot, I’d like to include some honorable mentions. The Stevenson Coffee House is my personal favorite to visit. Its Hot Turkey Pesto Sandwich (sliced turkey, tomatoes, nut-free vegan basil pesto, smoked provolone, served on a roll) is my go-to. I am a sucker for its pesto, and it’s one of the only boba spots on campus. Banana Jo’s is the campus favorite for late-night eats, even though some are discouraged by the climb up Cardiac Hill to Crown and Merrill Colleges. The Merrill Market is also the best on campus, offering the widest selection of overpriced but convenient groceries. The Cowell/Stevenson Dining Hall ($14.55-16.65, price decreased if spending UC currency) has the most diverse salad bar, as well as an amazing view of East Field from its outdoor balcony seating, although the yellow jackets often have the same idea.
TOP PICK The Rachel Carson/Oakes Dining Hall is the newest, grandest dining hall on campus. PHOTO: Ben Ford
In first place, to no surprise of the current Santa Cruz students, is the Rachel Carson/Oakes Dining Hall ($14.55-16.65, price decreased if spending UC currency). Located only a short downhill walk from the Rachel Carson bus stop, the Rachel Carson/Oakes Dining Hall is the newest, grandest dining hall on campus. The salads can be a bit underwhelming, but this dining hall often has three distinct meal options for each time slot of the day, as well as the largest dessert bar and the highest quality of food. The hall itself is quite large, offering more than enough seating for students, as well as a choice between indoor and outdoor seating.
While I’d argue there are no incorrect choices regarding where you want to eat on campus, there are certainly better ones, and I hope this article can serve as a helpful resource for at least one lost first-year student.
Ben Ford is a UCSC sophomore in Bio-Chem who attended Aptos High School.
This article was published in the 2025 Student Guide, an insert in the Sept. 24 issue of Good Times. Click here to see the entire guide.
Free talent thrives in Santa Cruz, or at least free entertainment. At open mics throughout the county, Santa Cruzans are out on stage, performing for their friends and neighbors.
Some open mics focus on comedy, such as stand-up comedy night on Sundays at 7pm in the Shanty Shack, located in Santa Cruz’s Harvey West neighborhood. Seating is outside, with a few picnic tables and various stools and chairs. Peach and apple trees grow beside the stage, which is a wooden deck that juts from a white metal structure that resembles a storage container.
Nicole Lopez is hosting the event tonight. She started her comedy career at Shanty Shack a few years ago and now leads it whenever Caroline Hawkins, the founder of the open mic, can’t make it. Lopez explains the importance of Shanty Shack’s open mic: “It’s a place for comics to work on new material,” without pressure and in a community that is welcoming.
YOU’RE ON THE LIST Nicole Lopez keeps track of the participants at Shanty Shack’s stand-up comedy night. Photo: Lucia Thomas
Tonight 14 performers get up to the mic, which is pretty standard, according to Lopez. A majority are middle-aged men who make jokes about sex and politics. Among some of the lines: “Does anyone else have a leaky butthole?” one man asks. Another man speaks about creating a support group for other men with bent penises. A young woman makes her stand-up comedy debut, joking about creepy men on the dating scene while gesturing to men in the crowd.
MeloMelo Kava Bar offers an open mic on Monday nights from 8pm to midnight. The downtown Santa Cruz establishment is dimly lit with pink and purple lights; the stage is surrounded by bar stools, sofas and soft colorful chairs. Acts get about 10 minutes to perform, offering poetry or techno beat sets or live music. A man named Lotti performs here every time he is in Santa Cruz. He is alone on stage with a guitar and he layers melodies with a pedal looper. Jonah, another young man with floppy hair, mixes beats with the intention of inducing “hypnosis and trance.” A young woman with two braids and a keyboard sings originals. The audience is respectful and quiet.
MeloMelo Kava Bar offers an open mic on Monday nights.
Wednesdays at 7pm, 11th Hour Coffee hosts an open mic in the outside seating area of its Westside location. Hardwood booths, tables and heat lamps are strewn about, along with green vines that crawl up the walls that enclose the space. Performers are mostly young and either sing or read poetry. Host Bryan Callahan closes out the night with a reading of his own poem. He explains that Wednesday nights are popular with UCSC students. 11th Hour does not allow stand-up comedy as they have had problems with offensive performances in the past. Callahan explains that they try to “offer a stage to small local acts.”
Accompanied by a backdrop of conversation and buzzers alerting customers that their food is ready, a young woman sings original songs and strums a guitar, a middle-aged man raps, and several men read poetry. A woman who had not planned to sing but was encouraged by her friends performs a Dust Bowl Revival song a cappella.
11th Hour Coffee hosts an open mic in the outside seating area of its Westside location.
The Ugly Mug offers an open mic for all acts on Monday evenings from 5 to 8pm. Staff move tables aside to make room for rows of chairs; A stage with a microphone and speakers faces the crowd at the Soquel coffeehouse. On this night, more than 20 acts perform, many of them older white men who sing while playing a guitar. A young girl sings Noah Kahan; a man with three different bird-themed hats teaches the crowd about bird mating patterns.
Ian Walton, a Scotland native who moved to Santa Cruz for grad school and never left, sings “obscure depressing Celtic ballads.” Walton has been playing at The Ugly Mug nearly every Monday since 2011.
This is not an uncommon phenomenon. According to owner Steve Volk, nearly every act is a returner, with each week producing about three newcomers. It is an equalizing space, Volk says, because every performer feels the same fear and excitement of being on stage. Volk encouraged an employee to start the open mic in 2000, and it has been thriving ever since: “Almost weekly something is so moving and it just blesses everyone.”
A moving moment comes when Manny gets up to the stage late in the show, as performers with guitars draped across them chat and sip last-call tea and hard seltzer. Manny brings out three flutes and begins to play. The coffee shop silences and every head turns to the stage as he played three short songs. Then an eruption of applause filled the room.
Open mics can be found in other parts of the county as well. Down in the Pajaro Valley, there is an open mic at the Corralitos Cultural Center on Friday nights. Up in the Santa Cruz Mountains, at Ben Lomond’s Henflings Tavern, every Monday at 7pm brings a parade of performers offering everything from guitar riffs to comedy to poetry. And in midtown Santa Cruz, the Crepe Place opens up a mic for wannabe rock stars every other Monday.
This article was published in the 2025 Student Guide, an insert in the Sept. 24 issue of Good Times. Click here to see the entire guide.
For years, the winding stretch of Highway 17 has symbolized a creative commute for local filmmakers and producers, a necessary trek “over the hill” to the production facilities of Silicon Valley and San Francisco. But now, the road home is also the road to a world-class studio. On the industrial-chic Westside of Santa Cruz, Hwy 17 Studios has opened its doors at 831 Almar Ave., and its ambition is as big as its largest soundstage. The space, which evokes the professional studios of Burbank, is poised to become the go-to facility for the Micro-Bay’s creative community.
This project is a labor of love, as described by co-founder Ryan Allen, developed in partnership with David Mong. The duo and their team have transformed the space into a state-of-the-art facility featuring a massive main stage with professional lighting grids, a full-service edit bay, and client-friendly lounges with a distinctively Santa Cruz vibe. The founders expressed immense gratitude for their landlord, who believed in their vision and helped make the ambitious project a reality.
“We wanted to build more than a studio rental space. We wanted to build a home base for creativity and community,” Allen explains. “Santa Cruz has this incredible, raw energy and a world-class natural backdrop. For too long creators felt they had to leave the Micro-Bay to find professional gear and facilities. We’re here to change that narrative for good.”
The journey from magic to moviemaking is embodied by Allen himself. Before becoming the CEO of creative marketing firms DuMo, MONG LTD and DU4 Pros, he worked professionally as a magician. As a magician myself, I was glad to hear this part of his story—we even swapped notes on obscure sleight-of-hand moves with small packets of playing cards. It revealed how much he values precision and detail, qualities that now carry into his 15-plus years as a member of IATSE Local 728, the union for lighting professionals in the entertainment industry.
His business partner, David Mong, brings formidable industry credentials as well, having worked alongside Vance Piper, a cinematographer known for his work on the Full House opening credits and films such as Mrs. Doubtfire and Hook. Together they form a complementary duo: one rooted in the Santa Cruz community (Allen’s wife, Erin, was born and raised here), the other with deep ties to Hollywood—an alliance that defines the Hwy 17 Studios brand.
PLAYGROUND Hwy 17 Studios offers plenty of space for Santa Cruz creatives. PHOTO: Joshua Logan
That sentiment is echoed by the studio’s offerings. Recent announcements show that Hwy 17 is actively booking projects and is accessible to creators of all levels. Their “Studio C” is available to rent starting at just $100 per hour, including a basic package with camera, audio, lighting and grip gear, making professional tools available to emerging local talent.
The mission to nurture creators is especially timely. The community is brimming with talent, like a young friend of this writer, born in Santa Cruz, whose high school film was just accepted into the prestigious All American High School Film Festival. She will soon travel to New York City, where her work will be showcased at the AMC theater in Times Square.
“Seeing young filmmakers like this succeed is exactly why we built this,” Allen notes. “Our goal is to provide the infrastructure so that the next generation doesn’t have to look elsewhere to bring their biggest ideas to life.”
With the potential to attract major players like Netflix while simultaneously empowering independent artists, Hwy 17 Studios is set to become a vital creative crossroads. It’s a statement of intent, promising that the road to making movie magic no longer requires leaving town. It starts right here, in Santa Cruz.
Pink Floyd’s 1972 hit “Money” runs through the studio speakers as I take in the first few bars of cash-related sound effects while seated in Cabrillo College’s immersive audio lab. There’s the swishing sound of tearing paper to my middle right, a single guitar riff beams out from the lower left side of the room, coins jingle in the high right corner, as Dave Gilmour’s lead vocals flow out from the center of the room, floating up over my head. It feels like I’m on stage in the middle of Pink Floyd. I’m in the band.
Boasting state-of-the-art technology, featuring a 7.1.4 Dolby Atmos mixing and production space with Genelec SAM monitors, this immersive audio lab came to life in 2023, allowing students to learn cutting-edge skills being used today in music and audio for film, podcasts, video games and other audio careers. These new technologies are revolutionizing sound design by creating a more realistic feeling of the sound source. Cabrillo is one of the only community colleges in the nation to have this equipment.
According to Jean-Marc Jot, an expert in the evolution of audio technology who is on the Industry Advisory Board of Cabrillo College’s Music Technology and Recording Arts (MTRA) program, in the near future “we will expect to be able to move around in a scene, like you would in a video game. If the audio is not immersive, the experience will not be realistic or convincing.”
No longer confined to mixing audio on two speakers, artists can use these new spatial audio technologies to place individual sounds in a three-dimensional space, creating an immersive experience where sound can come from anywhere, as in real life.
Along with the new studio, the college has partnered with Universal Audio to upgrade the equipment—including microphones, audio interfaces and plug-ins. “The system has been integrated into most DAWs [digital audio workstations] like Logic, or Ableton,” says Matt Blostein, co-chair of Cabrillo’s Music Department and director of the MTRA program. Students following courses through the MTRA will be learning audio skills in a professional studio environment. What’s more, these new technologies are adaptable for any playback system, be it headphones or a soundbar.
Who are the music production classes for? Anyone from beginners curious about learning how to create a beat to more evolved students who may already have experience in home studios and working professionally. “I had been doing some stuff in home studios before studying here and I wanted to supplement my knowledge and get a deeper understanding of things. I’ve worked on some other people’s professional albums, assisting as an engineer. I spent four hours doing vocal editing last night,” says Summer Russell. At 42, Russell is working toward the AS degree as a continuing student. “It’s a really broad basis of knowledge.”
The program aims to prepare students for careers in sound design, music composition, audio engineering, live sound engineering, music production or even film scoring. Cabrillo offers three music technology certificates and an associate’s degree, with most courses lasting eight weeks. An internship is required to get the degree. “The way we designed it,” Blostein explains, “is that as students take classes, they can stack their certificates, as they work toward their degree.” And they come out armed with the proper exposure and tools to be a part of creating the sound of the future in audio.
“It opened me up to a whole new world,” says 21-year old music student Preston Skiscim, on experiencing the new immersive lab. “It was my first exposure of being in an acoustic surround sound space outside of the movie theatre. Having this experience is sort of an ace up my sleeve. You get a lot of tools in your tool belt,” he proclaims enthusiastically. Skiscim is aiming to obtain an associate’s degree in Music Technology by the end of the school year. “I feel like this program has so many different fields to explore. It’s quite impressive. To be well versed in all of that is a serious undertaking,” Skiscim says.
The sonic upgrade to Cabrillo College’s Studio B came in 2022 with the aid of a faculty grant to Blostein, who took over the Music Technology & Recording Arts program from his predecessor, James Durland, in 2019. A professional jazz musician as well as a teacher, Blostein continues to keep his head in the game professionally, composing music for the last World Cup, the Super Bowl, reality TV and Nickelodeon, or writing music for the gaming world.
Another way to explore ideas and gain knowledge through collaboration is to join the MTRAK—a music club open to any Cabrillo student. Meeting weekly, the club offers students the opportunity to connect with like-minded music heads. Getting feedback on personal projects, touring studios with the group, or even attending music technology conferences are some of the opportunities.
“Learning about people’s different processes is interesting,” says student Cedar Hopewell, who is in the music club. “Someone may have a unique way of using hardware, like a reel-to-reel, or a 404.” At the ripe age of 18, he is following the AS degree curriculum. “I’m here for the recording arts side, like sound engineering. I want to do it professionally—maybe one day open my own studio.”
This article was published in the 2025 Student Guide, an insert in the Sept. 24 issue of Good Times. Click here to see the entire guide.
Set to open this weekend, Santa Cruz Symphony’s 2025-26 season offers temptation aplenty for music lovers of every stripe. From the smoldering Scheherazade Suite, with its ear-candy tales of One Thousand and One Nights, to the soaring soundtrack classics of modern movie masterworks, the season is programmed for maximum appeal. Exactly as Maestro Daniel Stewart has planned.
Guest artists such...
Published in cooperation between Cardstudios and Good Times Santa Cruz
When the U.S. Department of the Interior signed off on the Tejon Indian Tribe’s long-awaited casino project in July of this year, it marked the beginning of a new chapter for Kern County. Hard Rock Hotel & Casino Tejon was approved, bringing with it the commitment of jobs and income,...
