Music Picks Jan 25—31

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WEDNESDAY 1/25

CELTIC

JIM MALCOLM

Described as the “ultimate Scots troubadour,” singer-songwriter Jim Malcolm is regarded as one of the finest singers in Scotland, in any style. Possessing a sharp wit, the masterful song interpreter and one-time member of Old Blind Dogs presents his interpretations of the poetry and songs of Scottish poet and lyricist Robert Burns for this house concert. Hosted by the Celtic Society of the Monterey Bay, the evening promises to be an intimate and memorable affair. CAT JOHNSON

INFO: 7:30 p.m. House concert, Soquel. $20. Reservations and more information at celticsociety.org.

 

THURSDAY 1/26

PSYCH-METAL

MOUNTAIN TAMER

Mountain Tamer (known alternatively as Mntn Tmr) is a heavy psych rock trio, formerly local to Santa Cruz but now based in Los Angeles. The group consists of Andru Hall on guitar and lead vocals, Casey Garcia on drums and vocals, and Dave Teget on bass and vocals. Since forming in 2010, Mountain Tamer has blended a unique intersection of classic 1960s psychedelia with heavy Sabbath-esque vocals and syncopated riffs with a poppy twist. Any Mountain Tamer show is likely to be dark, sweaty, and filled with headbanging and more than one mosh pit. Joining them onstage is Santa Cruz-based Supernaut, another heavy psych-rock trio featuring Will Lermini on bass, Oliver Niemann on guitar, and Sean Niemann on vocals and drums. KATIE SMALL

INFO: 8:30 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $7/adv, $10/door. 479-1854.

 

FRIDAY 1/27

AMERICANA

GREG LOIACONO BAND

The Mother Hips was a band that never quite got its due in its original run in the ’90s. But interest has been strong after reforming in 2004, not to mention the continued success of guitarist/vocalist Tim Bluhm during the hiatus. It all screams: This band is timeless. The other guitarist/singer of the group, Greg Loiacono, just released his debut solo album last year. The album highlights Loiacono’s many creative sides: tender acoustic ballads, power-pop Americana, left-of-center rockers. It’s basically the best of the Hips—at least Loiacono’s thoughtful, emotive contributions. AARON CARNES

INFO: 9 p.m. Crepe Place, 1134 Soquel Ave., Santa Cruz. $15. 429-6994.

REGGAE

GIANT PANDA GUERILLA DUB SQUAD

Hailing from Rochester, New York, Giant Panda Guerrilla Dub Squad is a five-piece reggae jam band. The group has been blending elements of roots reggae with funk and world beats since 2001. Giant Panda Guerrilla Dub Squad, GPGDS for short, based their name off of a fictional band “Giant Panda Gypsy Blues Band” in the novel Another Roadside Attraction by Tom Robbins. The group just released its sixth studio album, Make It Better, in September; it debuted at No. 1 on the Billboard Reggae Chart. Special guest Drunken Kung Fu will share the stage in the Catalyst Atrium. KS

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $12/adv, $15/door. 423-1338.

 

SATURDAY 1/28

AMERICANA

JIM MESSINA BAND

The backdrop for Jim Messina’s website contains serene photos of expansive Southwest mesas, kind of what I imagine New Age mecca Sedona, Arizona, to look like. It’s a fitting image as Messina’s music bridged the traditional roots sounds with a modern spirituality, and some good old-fashioned rock ’n’ roll. He’s an artist with an impressive resume. He’s been part of folk/rock band Buffalo Springfield, country-rock pioneers Poco, and an integral part of Kenny Loggins career (both as producer and as collaborator). He’s recorded and toured as a solo artist off and on since the late ’70s, a true West Coast gem, both in his adherence to musical traditions and his cutting-edge foresight on creative genre fusions. AC

INFO: 8 p.m. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $28/gen, $45/gold. 423-8209.

JAZZ

LARRY CARLTON

A ubiquitous presence on the AM and FM dials since the late 1960s, Larry Carlton is a masterly guitarist who delivers beautifully sculpted, blues-inflected lines with an unmistakable seared crisp sound. During the glory years of the L.A. session scene in the 1970s he contributed to some 3,000 recordings, including hits by Michael Jackson, Billy Joel, Joni Mitchell, and Steely Dan (“Kid Charlemagne”!), but he’s recorded an impressive body of instrumental R&B/funk/jazz under his own name. His band features his son Travis Carlton on bass, veteran drummer Gary Novak (Chick Corea, Allan Holdsworth, Robben Ford), and keyboardist Mark Stephens, who grew up on the Monterey Peninsula. ANDREW GILBERT

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

MARIACHI

METALACHI

Probably the only mariachi band in the world that attracts more metalheads than actual mariachi fans is Metalachi. It makes sense, as the band sprung from the (probably stoned) idea of imagining what would happen if you started a mariachi Metallica tribute band. The band’s repertoire also includes an array of classic metal songs (their rendition of “Crazy Train” is an instant classic). Their version of mariachi sounds more like what you’d hear in old Westerns or Chevys—in other words, there’s no blaring tuba. Their shows are fun dissections of all your favorite metal songs. You might be surprised at how good the tunes are without all the distortion. AC

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $10/adv, $13/door. 429-4135.

 

SUNDAY 1/29

BLUES

CATFISH KEITH

In the early 1980s, acoustic blues pioneer Catfish Keith briefly lived in Aptos and was a regular feature on the Santa Cruz music scene. The singer-songwriter opened for Robert Cray, Queen Ida and Dave Van Ronk, and could regularly be found performing on the Pacific Garden Mall, in bookshops and in cafes. Since then, Keith has launched a prolific career that includes 16 albums, thousands of concert appearances, and endorsement from National Reso-Phonic, and Santa Cruz Guitars, whose master luthiers built him a custom-made guitar, the “Catfish Special.” Fresh off his 44th tour of the U.K., Keith brings his guitar mastery and immense catalog of acoustic blues tunes to Felton for a solo afternoon set. CJ

INFO: 2 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $15. 335-2800.

 

TUESDAY 1/31

ACOUSTIC

CHRISTIE LENÉE

Christie Lenée is one of those masterful guitarists who uses her instrument for rhythm, melody, lead and ambience—all at the same time. A typical Lenée song might include fretboard hammering, hypnotic open string tones, percussive taps and beats created by drumming on the body of her guitar … and that’s just in the intro, before she starts singing. When she does, her fantastic music is elevated with conscious lyrics about self-acceptance, keeping a positive outlook, and looking out for each other. While Lenée garners comparisons to guitarist Michael Hedges, her songwriting style and lyrics put her in a class of her own. If you haven’t yet seen Lenée perform, prepare to be wowed. CJ

INFO: 7:30 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $10. 335-2800.


IN THE QUEUE

LED KAAPANA

Beloved Hawaiian slack-key master. Wednesday at Kuumbwa

CHRIS JONES & THE NIGHT DRIVERS

Nashville-based bluegrass outfit. Thursday at Don Quixote’s

PANCHO SANCHEZ

Grammy-winning Latin jazz legend. Thursday at Kuumbwa

MERMEN

Psychedelic surf rock. Saturday at Moe’s Alley

DONKEYS

Indie-rock out of San Diego. Sunday at Crepe Place

Giveaway: Tickets to Paul Barrére & Fred Tackett

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In 1973, American rock band Little Feat released Dixie Chicken, an album that would come to define the band’s sound and serve as its high water mark recording. The album was the first time that guitarist-vocalists Paul Paul Barrére and Fred Tackett played together. Little Feat disbanded in 1979, shortly before the death of frontman Lowell George, but Barrére and Tackett stayed connected, and have now formed an acoustic duet that will, as one review wrote, “quite frankly, blow you away.” Performing songs from the Little Feat catalog, as well as originals, the two—whose resumes include work with Bob Dylan, Bonnie Raitt, and Tom Waits—breathe fresh life into classic tunes while honoring the legacy of the band’s original sound.


INFO: 8 p.m. Friday, Feb. 10. Don Quixote’s, 6275 Hwy. 9, Felton. $25/adv, $30/door. 335-2800. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Monday, Feb. 6 to find out how you could win a pair of tickets to the show.

Love Your Local Band: Scary Little Friends

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On Saturday, Scary Little Friends plays a tribute set to the late, great David Bowie. It’s a fitting show for the trio, which has members that hail locally and from San Francisco. Early ’70s rock ’n’ roll is the group’s bread and butter.

“That’s the deepest influence we have,” says guitarist/vocalist Chris Jones. “My friendship with [bassist] John [Payne] goes back to 13 years old. I came from Georgia and was into all this early ’70s rock ’n’ roll. We discovered that music together, and always really loved it.”

Of course, this is a special set. Anyone familiar with the group knows their original music is a bit harder to classify. The chord structures and energy of ’70s rock is there, but rather than going over the top with studio production and stage flamboyance, Scary Little Friends keeps it simple and honest.

“I love the fact that I don’t have to pretend to be somebody, or wear an outfit that’s not me, put on a costume or act like somebody that I’m not. I never could do that,” Jones says. “I always was just me, no matter what. I never really felt like a rock star.”

In the early days, they drew criticism for not being marketable enough. Some audiences and venue owners reacted unenthusiastically to the band, saying they didn’t understand it. Eventually, as more folks gave them a shot, they got a lot of press and became a popular draw in the bay area.

“The music that I make isn’t necessarily the music that I would listen to. It’s more just what comes out of me. The truer I am to that, the more I feel that something good comes from it,” says Jones. “So many people offer marketability with no substance. We’re all substance and no marketability. We just are.”


INFO: 9 p.m. Saturday, Jan. 28. Crepe Place, 1134 Soquel Ave., Santa Cruz. $10. 429-6994.

Scientists Study Winter Storm Impact on Coastline

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The series of storms that ripped through Santa Cruz County since December created landslides, triggered flooding, downed trees and engorged rivers. While city, county and state agencies sweep up the damage, a team of United States Geological Survey (USGS) scientists are measuring its changes—with sonar, stream gauges, GPS, lasers and water sampling—to predict how future storms will shape our coast.

Longtime locals remember the landmark storms of 2006, 1998, 1997, 1995, 1982 and perhaps even 1955, when the county was declared a disaster area. So far, this winter’s storms have not approached that level of emergency.

What’s remarkable about this season isn’t the intensity of its rains, but rather their frequency. Since Dec. 15, the San Lorenzo River has reached the two-year flood mark (a level you’d expect once every two years) an astonishing six times, says Amy East, a USGS geologist.

In 2014 and 2015, the river didn’t even come close to that mark once, she says.

“It’s a lot more exciting than it has been in the past two years,” she says.

In each of the recent storms, her team sampled the river around the clock to see what it’s sending from the mountains into the ocean—how much sand, sediment and pollutants. The results have not yet been tallied.

What’s clear though, is that the San Lorenzo River has been dumping tons of sand into the ocean, much more than in recent years. Preliminary estimates show the river has emptied the equivalent of 10,000 dumptrucks full of sand from its mouth, spreading it onto Main Beach and Seabright Beach, says Patrick Barnard, a USGS coastal geologist.

That’s a good thing, he says, since the sand replenishes the beaches and guards against coastal erosion. Last winter was an El Niño year, with the largest waves ever recorded locally and below-average rainfall—a recipe for sand-starved beaches, he says. Large swells rip sand from beaches onto offshore sandbars, and storms replenish the beaches, pushing sand downriver, onto the beaches.

 

Building Beaches

Soquel Creek has also spewed roughly 10,000 dump trucks’ worth of sand this winter, except it’s created a more dramatic effect there, since the mid-county watershed is smaller and steeper, and shaped like a chute.

On Jan. 10, 11 and 12, when the tides reached their lowest levels of the year, Capitola Beach at Soquel Creek’s mouth was as wide and dry as anyone has ever seen, says Barnard.

“It extended 100 meters past the jetty,” he says. “The beach has been flattened though, and at high tide, there’s almost no beach. It’s a big, wide, flat terrace with lots of sediment that’s built out in this delta.”

The concern is when high tides coincide with peak swells and storm surges, the village depends on its seawall to keep the ocean out, he says.

High tides coupled with storms and big waves did just that over the weekend, Barnard says, and brought flooding to parts of mid-county, including the Capitola Esplanade. He called the storm a “severe erosion event for many beaches.”

 

Effects on Residents

The list of damages from this winter’s storm is getting longer. Landslides have intermittently closed some of the county’s main roads—Highways 17, 9, 152 and 35. The Jan. 9 storm washed away chunks of Bear Creek Road—a crucial artery for Silicon Valley commuters who live in the Santa Cruz Mountains—and it has been closed outside of Boulder Creek since. Downed trees also felled power lines in South County.

In Santa Cruz Harbor, six boats have been moved because of sediment buildup at the north end of the harbor, where Arana Gulch is spitting out sand and debris, grounding boats.

The city of Santa Cruz declared a local emergency Jan. 11 after a major water pipeline burst, likely due to the ground shifting from the storm’s saturation. Residents were asked to cut their water use by 30 percent, since the leak gushed around 1,500 gallons per minute for several hours before it was closed. The fix has cost $100,000 so far, said Eileen Cross, community relations specialist for the Santa Cruz Water Department.

 

A Sign of What’s to Come

On Jan. 12 and 13, Barnard and his team surveyed the beaches and beds of Soquel Creek and the San Lorenzo River with laser scanners, GPS and sonar, to map the changes from the storms.

The better we can understand how storms change the coast, the better we can predict how the coast will evolve in the coming decades, Barnard says.

“Sea level rise is happening. It is accelerating and it’s going to continue,” says Barnard. “It’s not a belief. It’s a scientific observation based on work from all over the world and thousands of scientists—literally trillions of observations from the land, the atmosphere and the ocean.”

Scientists predict that winters will get stormier, with larger waves, more floods and extreme erosion. With sea level rise, more sand needs to flow from the rivers to replenish the beaches. But that’s the opposite of the trend, with more rivers being dammed and beaches starved of sand. Our coastlines are vulnerable to damage, says Barnard.

At noon on Friday, Jan. 20, the instant President Donald Trump took office, any mention of climate change was erased from the White House website except under Trump’s “America First Energy Plan,” which starts by undoing Barack Obama’s “unnecessary” Climate Action Plan.

That kind of partisan censorship, Barnard says, has no place in scientific discussions, and he believes incidents like this should force experts to be more vocal and clear about the evidence at hand.

“[Climate change] is not a debate,” he says, “and it’s definitely time that scientists become much more outspoken and less passive about what we know.”

After the Women’s Marches: What’s Next?

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MariaElena De La Garza, executive director of the Community Action Board of Santa Cruz County, says she was feeling discouraged and hopeless the day before the Women’s March in downtown Santa Cruz on Saturday, Jan. 21.

“I know the organizers talked about 1,200 people,” says De La Garza. “In my head, I thought I was going to give a speech to a group inside of the Louden Center. And when I realized the magnitude of the movement, it took my breath away. I had a physical reaction to the magnitude of the moment. And I’m emotional about it still.”

According to SCPC, an estimated 10,000 came out to march. The crowd, which included not just women in a sea of knitted hats, but also boyfriends, husbands, men and children, with signs bearing a multitude of unique messages, was “overwhelmingly supportive [of police presence],” says Joyce Blaschke, SCPD spokesperson. “The crowd was energized, but there were no incidents of violence or vandalism.”

For De La Garza, who was among several community members to speak from the stage outside of the Louden Nelson Community Center following the march, the event reinstated hope.

“It reignited for me the power of what people coming together can do,” says De La Garza, who introduced herself as a 51-year-old Latina-Chicana-Mexican woman, born and raised in Watsonville to parents who came here for a better life.

De La Garza spoke in specific terms about what community action looks like here in this county: “Do you know that in Davenport there are 11 ranchos with over 250 farmworker families who are impacted by poverty every day—and they pick your Brussels sprouts? … Knowing it is one step. Agradeciendo, being grateful is a second step. And the third step is to be in action and solidarity and support who they are in your community.”

Just a few days after receiving a phone call from Dr. Ann López of the Center for Farmworker Families, De La Garza says 30 pallets of food were sent by the Food Bank to an undisclosed location in Watsonville for the indigenous Oaxacan community, who had been without food due to rain cancelling work and an avoidance of food distribution centers due to fear. “That is what community action looks like!” De La Garza said in her speech.

Small personal acts are just as important, says De La Garza, like finding a cause you’re passionate about and volunteering, or making a donation.

“I’ve been in nonprofits for 26 years, and one dollar makes a difference,” says De La Garza.
She also challenges community members to not only sit on boards and decision-making groups but to also have the courage to stand up for a leadership that includes people of color and fairly represents the community it’s responsible for representing.

De La Garza’s last point invited North County residents to take part in perhaps the easiest form of activism there is: “Do you know that in Watsonville, you can find the most amazing, loving, welcoming community that some people are afraid to go to? I ask you to shop in Watsonville, to eat in Watsonville, to visit the Farmers Market in Watsonville, to get involved in Watsonville. We need you.” 

Preview: Extreme Athlete Steph Jagger Comes to Bookshop Santa Cruz

No disaster or crisis led Canadian skier Steph Jagger to chase winter around the world. Her quest to ski 4 million vertical feet in one year arose from a more general feeling that most of us experience, but don’t heed as the messenger it is: discontent.

“I could see down the road 30 or 40 years, and it didn’t excite me,” she tells me. “I’ve come to believe that discontent is the basement, the foundation, in the house of change—and I had some changing to do.”

Jagger’s new memoir, Unbound: A Story of Snow and Self-Discovery, lays out how a weekend warrior took “weekend” out of the equation.

“I’ve always been athletic,” she says, “and this was a physical feat, but the real challenge was more mental and emotional.” As Jagger grew muscles, lost toenails, managed stress and dealt with uncertainty, she took on that challenge, starting a conversation with her body that continues to this day.

“We should allow ourselves the satisfaction, awe and wonder of what our bodies are capable of,” she says, “and know that our different callings will change them in different ways. Writing the book was just as much a feat of endurance mentally as the ski trip, but it required different things—to sit in stillness, for instance. I gave myself permission to do that.”

As Jagger developed her physical strength, she came to better understand her feminine strength. “When I was younger, I took my cues about power from the men in my life, but now I recognize the source of power that comes from the feminine. It’s an ongoing question of what’s going to be created through me and what I’m going to manhandle. They’re inseparable.”

Her quest took her from New Zealand to Patagonia to Japan to Wyoming, and as one mountain gave way to another, skiing—which had always been a source of freedom for her—became something more personal.

“It felt like a moving meditation,” she says, “and when you spend 10 months in a moving meditation, you end up pulling apart some issues.”

The travel itself provided a different kind of freedom, allowing Jagger to shed the expectations that came with life at home. “When you travel, you’re seeing the world, but it’s also a mirror that can show you a very true and authentic version of yourself, especially when you travel on your own. You get to drop the baggage of who you’re supposed to be. I’m not suggesting we become inauthentic, but that we can try on different facets of ourselves, ones that sometimes get lost in our ordinary lives.”

Jagger accomplished her goal and then some, skiing 4,161,823 vertical feet and breaking the world record, but she believes more in beginnings than endings.

“I’ve crossed finish lines, and that has opened doors for me,” she says, “but starting is more potent in many ways. People are challenged to begin because when they think about their goal, they focus on how to make it all happen. You don’t know how all of it will happen. The power is in the ability to say, ‘I’ve heard some call, and I’m not sure how I’m going to do it, but I can see the next step in front of me, so I’m going to take that.’ What you need shows up along the way.”

There is no Guinness Book of World Records citation to note Steph Jagger’s accomplishment, no ceremonial fanfare, and that’s fine with her. She lays out the problem as placing too much value on things. “The world is built on the following belief system: If I do something, I’ll have something, and when I have that thing, I can finally be something. What we should be looking at from the start is who to be. Set out from that place, even a grain of it, because if you start from there, you’re going to do dramatically different things than if you start from somewhere else, and when you do those things you’ll end up with the impossible dream, the one so different that you couldn’t have dreamt it up.”    


Steph Jagger will speak about her book at 7 p.m. on Thursday, Jan. 26 at Bookshop Santa Cruz, 1520 Pacific Ave., Santa Cruz. Free.

FoodWhat?! Celebrates 10 Years

Doron Comerchero is one of the most impressive people I’ve ever interviewed. He’s the founder and director of the audaciously named FoodWhat?!—simplified for practical everyday use to FoodWhat—a program that empowers at-risk teenagers through the hands-on process of growing food. Thanks to a vision that can only be called transformative, Comerchero and his team have energized alliances between youth and righteous food production, from growing and harvesting to cooking and marketing. With an impressive 10-year track record under its belt, FoodWhat’s horizons keep growing.

In his late 30s, the charismatic Comerchero could easily pass for one of the teenagers in his program. Working in community gardens in the South Bronx, his future quickly took shape.

“I saw what youth could get out of growing food, learning experientially,” he says. “I saw and felt that my passion was there. I love teens—the rawness, the drama, the humor. And I knew I was good with youth.” He enrolled in UCSC’s renowned Agroecology program (CASFS) in 2004, and after his intensive apprenticeship, and some more time in the East, Comerchero returned to Santa Cruz in 2006 with a brilliant idea.

 

Great Notion

Soquel native and lifelong proponent of experiential education Gail Harlamoff recalls being approached by former CASFS apprentice Comerchero. “He talked to me about this great program he had—a youth program based up at the UCSC Farm—and said it should be a part of Life Lab,” the nonprofit garden classroom that has been headquartered on the UCSC Farm since 1988.

FoodWhat Esemeralda Pozos
GROUND BREAKING Program participants like Esmeralda Pozos (pictured) work on the farm four full days for eight weeks during the summer months.

“It was a perfect fit for us,” Harlamoff recalls. “My goal was to stretch the impact of Life Lab, his concept was to include older youth. So we rolled what became FoodWhat into what we did.”

Comerchero enlisted a community garden colleague from the New York days, Abby Bell, to join his staff.  Bell volunteered the first year, and then played “an integral role in the growth and success of our operation since then. Her title was Farm and Culinary Manager, throughout the past 10 years she was way more than that,” Comerchero acknowledges gratefully. He had formed links with the Homeless Garden Project, which was willing to have his teens come work in their garden. He needed an umbrella organization and credits Harlamoff as key to making the FoodWhat program a reality. In turn, FoodWhat extended Life Lab’s hands-on learning beyond the grade-school level.

Harlamoff—who spent almost 20 years with Life Lab, 11 of them as executive director—devoted herself to developing the pathbreaking program for hands-on field learning until a few years ago when she started up Westside Farm & Feed. She recalls Comerchero as “always being persuasive, and because of that, we were able to approach funders and expand the program. At first, Life Lab was the fiscal sponsor, then we did joint fundraising for FoodWhat.”

Comerchero strategized, networked, and listened. “I was so networked after two years of the program that I had learned who to call to expand the program,” he says. His brilliance and his incandescent smile probably didn’t hurt. In addition to Harlamoff, he initially called on Robert Acosta of the Teen Center, Christof Bernau of the UCSC Farm, and the Webster Foundation, which gave FoodWhat its first grant.

 

Field of Dreams

Taking in the sparkling Monterey Bay backdrop and strolling the gardens and prep areas used by the FoodWhat interns at the UCSC Farm, it’s impossible not to be convinced by Comerchero’s vision.

“We bring in low-income kids in need from all over Santa Cruz County. We have two farm sites, the Santa Cruz site on the UCSC Farm and Live Earth Farm in Watsonville,” he says. “Our internships alternate between the two sites in spring, and we work on both sites in the fall.”

The template is simple and effective. “Food and agriculture are our tools, and our approach uses an empowerment lens. We look at every aspect of food,” he says. “The system involves growing, harvesting, processing, cooking, and selling. And the secret sauce of this is the holistic approach. Our youth experience all the different opportunities to connect with food, then they start to make the diet shift away from junk food. Slowly”—he flashes a playful grin—“we introduce them to vegetables.”

 

From the Ground Up

“The diet change by the end of a year is astronomical,” Comerchero tells me, his voice filled with the sort of energy that inspires positive change. For the 50-60 core participants it works like this: “Spring internship runs once a week for three hours, March, April, and May. That’s one hour of farming, one hour of youth empowerment, and one hour cooking and eating. We all eat together. They get two credits in school, plus a $175 stipend upon completion,” says Comerchero. “They love it!”

Comerchero and his program manager Abby Bell went out to the schools to select participants based on application and interview. “We’re serving the most ever this year,” he says. “The demand for this kind of programming is huge.”

Twenty from the spring core group are hired on for the summer, plus four from the past program hired to serve as junior staff—FoodWhat is built upon peer-to-peer training. The program is full-time in the summer, eight weeks, from 8 a.m. to 3 p.m. Tuesday through Friday. “And the youth are paid minimum-wage salaries,” Comerchero says. “Summer is really job training.”

Comerchero believes another component of the program’s success is personal growth. “These teens are at a competitive disadvantage in the larger world. Here they grow the food and bring food home through a family CSA. We do a lot of listening. We ask the youth what they want, and have them critique the program. We stay within youth culture and that’s why we’re relevant.”

In the fall, FoodWhat teens apply what they’ve learned out in the real world—catering, flower stands, harvest festival events, food management. “A small crew continues through the winter, teaching to their peers in the high schools,” Comerchero says. “Workshops like ‘Trace Your Taco’ and ‘What You Drink, What You Think’ reach hundreds of high school students in South County. The workshops bring nutrition and food justice awareness to youth peer-to-peer. It’s a big hit for students to see their peers presenting. It helps to pay it all forward.”

Two big annual events, the Harvest Festival and the Strawberry Blast, serve to show off the participants’ progress to the larger community while demonstrating the network between food and the Earth.

“What does healthy food taste like? Many of these kids never knew where their food came from, and now they know about food systems,” the founder says with pride. The enviable track record of the program stands upon a broad foundation—the funders, the organizers, and especially upon the courageous and hard-working teenage interns, most of whom begin the program with no idea of just how much their lives will be changed by the challenges involved.

 

Sonic Youth

Adrian Francisco Nuñez Roman admits that his young life had its share of sketchy conflicts before a health teacher told him about FoodWhat.

“Doron came to my school, and at first I thought he was pretty weird,” says the 18-year-old Watsonville resident with a laugh. “But once I got into the program, I realized that having a family here was the best thing in my life. I did a 180 in my life. Doron is a fantastic leader. He is really what makes this organization succeed.”

FoodWhat participants around the table with vegetables
KALE BONDS From left to right, FoodWhat participants Tristan Cruz, Olvaerr Apodaca, Tyrek Boone and Michael Morrison.

Roman’s lifestyle changes have been huge. “I used to have alcohol and drug use problems. There’s lots of diabetes in my family, and FoodWhat helped me understand my eating habits. Now I eat more consciously. I love vegetables now. I even quit smoking because they said it hurt the tomatoes!”

Roman just completed the entire year program, got a job and is looking forward to starting college in mechanical engineering next year. “I was inspired to learn how the oil industry has influenced food production—we need to create sustainable food networks right here,” he says.

Roman, like most of the FoodWhat alumni, stays connected to the program by joining in the annual events. “Once you’ve built relationships here, you keep in touch,” he says.

Another alumna of the program is 17-year-old Aaliyah Wilson, who is just about to graduate from Costanoa High School and looks forward to starting up a specialty landscaping business. By any measure an impressively self-assured and articulate young woman, Wilson completed the FoodWhat cycle and has now returned as one of four junior staff who facilitate the peer-to-peer teaching strand of this innovative program.

“A lot of people come back and hang out with us,” she says. “We’re all a group of friends, we help each other out.”

Training youth leaders is built into the very DNA of the program. “I had just turned 16 when Doron and Abby came to my class at Costanoa,” Wilson says. “I felt it was a new opportunity, a great opportunity—after all, it was a once-a-week internship at the farm. They taught us to grow and cook the food we’ve grown, how to better ourselves, plus there was a $175 stipend if we completed the program.” Her eyes roll.

Wilson told me she had to interview to enter each next stage of the program. “It’s important to have that confidence to speak to people. We learned how to prepare a job application. So important,” she says.

The program is rigorous, but without judgmental pressure. “You can decide to stop wherever you feel you need to. Each step offers its own fulfillment,” she says. “You apply each time for the next stage. In the summer, you get up early and work a full day, Tuesday through Friday. The junior staff, we act as the bridge between the experienced staff managers and the newcomers. I worked the farm stand at Gault Elementary School. We offered low-cost food, it was a once-a-week winter job.”

The response from grade-schoolers and their families was enthusiastic. “We were community educators—this was my favorite part—going into schools and teaching about ingredients, getting people to make conscious choices.”

Wilson credits FoodWhat with the confidence that helped her get her message across.

“By interviewing and applying for each stage of the FoodWhat program, you get confidence with expressing yourself,” she says. “And junior staff are close to the teenagers’ own age—it helps facilitate conversation. It’s not like you’re working at Target with a huge age range. Here there’s a group of same-age friends. It’s a safe place to discuss issues.”

Wilson believes that FoodWhat is a very personal experience and that in order to expand the program, more staff and more land sites would be needed. “[It] has made me a powerful person. I understand better why the world is how it is and what I can do to impact it, even if it just begins with a conversation about food or what I eat.”

Wilson admits that she had school problems and tribulations—“I’ve already had my dark time and I got that over with.” Now she wants to take business classes in order to develop her own landscaping company involving useful and edible crops. “I want to be able to do things in the simplest way,” she explains. “For an organic garden, all I need is some lumber, seeds, and dirt and I’m good to go! We all need to eat, and growing your own food is growing your own power.”

 

Now What

How does Doron Comerchero see the future of the transformative program at the end of its first 10 years? “We’re exploring many options and engaging in numerous conversations around potential new partnerships and programming. Our number one goal is to grow and deepen our Watsonville program. We particularly want to work with youth connected to farm worker families,” he says. “Over the next 10 years, FoodWhat will make moves to both expand the number of youth we serve and continue to further deepen programming.” Comerchero is keenly aware that the heart of the program is its hands-on intimacy, the personal bonds created among all of the participants—young people who work, cook, and eat meals together. That tight sense of camaraderie and trust will be a challenge to maintain in a larger program, but the FoodWhat founder remains optimistic: “We will scale the program to serve with the same depth.”

Much will depend upon funding. And cloning Doron Comerchero.

Oh, and about that crazy, memorable name: “I asked one of my roommates at the time and he very sarcastically said ‘you should just call it Food, Whaaaat?’” says Comerchero. “Perfect.” He tried it out on the first teen in the program. “He didn’t even need a second to choose our current name. It has attitude, it has pride, it’s super fun to say. It asks a question that needs to be asked.”


Find FoodWhat?! on Facebook and FoodWhat.org to donate. A donation can sponsor a local Santa Cruz County youth in FoodWhat’s 2017 program.

Film Review: ‘20th Century Women’

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It takes a village to raise a teenage boy. Or so believes the independent, middle-aged single mom protagonist of 20th Century Women, a low-key, multi-generational character study about parenting, gender, feminism, pop culture, and community set in suburban Santa Barbara in the summer of 1979. Fueled by another gutsy performance by the mighty Annette Bening, it’s the story of a woman who sets out to raise her son to be a “good man,” with a little help from her friends, and makes some discoveries about herself along the way.

The movie is written and directed by Mike Mills, whose surrogate in the story, one assumes, is the 15-year-old boy at its center, Jamie (newcomer Lucas Jade Zumann). He’s coming of age in a time of cultural upheaval, on the cusp (as one character points out) between the end of punk rock and the incoming Reagan era, while still grappling with the usual teenage preoccupations, like sex and independence.

Mills’ last film was the wonderful Beginners, in which a man in his 70s comes out to his astonished grown son. With its more ambitious, multi-layered storyline, Women doesn’t quite have the same resonance. But while it sometimes meanders without focus, the movie also achieves small moments of insight and intimacy, thanks to its excellent cast.

Jamie’s mom, Dorothea (Bening), was one of the first women to get a postwar job drafting for a design firm. She had Jamie when she was 40, and divorced his father soon after. They live in a rambling old Victorian house in a state of constant restoration overseen by Dorothea and handyman-mechanic William (Billy Crudup), who lives downstairs.

Dorothea takes in a boarder, Abbie (Greta Gerwig, in magenta-dyed hair), a local girl who went to New York City for a while to live la vie bohème, and now takes Polaroid photos of the ordinary objects in her life as an ongoing art project. She’s dealing with health issues (her doctor says she has an “incompetent cervix”) due to the fertility drugs her mother took a generation earlier.

Completing this ad hoc household is Julie (Elle Fanning), the 17-year-old neighbor Jamie has known since they were little kids. Julie secretly climbs the scaffolding eternally attached to the house to visit Jamie’s bedroom at night—but only for talk and sleep. She considers Jamie her best friend, and refuses to “ruin” their friendship with sex, although she doesn’t mind telling him about her sexual experiments with other boys. (Confessing, for instance, that she and “most of my friends” don’t have orgasms.)

Unsure how to navigate the culture of Jamie’s youth, Dorothea recruits Abbie and Julie to help steer her son toward responsible maturity. (She tries to get William to bond with him, but Jamie is profoundly uninterested in woodwork.) This plot point doesn’t lead to much, story-wise, but it provides a framework for vignettes, like Abbie (having gifted Jamie with copies of Our Bodies, Ourselves, and Sisterhood is Powerful), insisting that everyone around the dinner table say “menstruation” out loud. Or Dorothea and William test-driving albums by Talking Heads (whose songs permeate the soundtrack) and Black Flag to sample the spectrum of current music.

Bening is willing to play a somewhat haggard, yet spirited, chain-smoking woman with both wistfulness and gusto. (When she admonishes Julie that cigarettes are bad for her, and Julie points out the obvious, Dorothea says “It wasn’t bad for you then. It was stylish.”)

Mills’ most interesting storytelling device is a series of images from each character’s generation, including newsreel footage of what was going on in the world in the era they grew up in. A child of the Depression, coming of age in the ’40s, Dorothea’s signature song is  “As Time Goes By,” as she copes with aging and relevance in an era “where nothing means anything.” Another strangely poignant device is having each character occasionally narrate what becomes of them in the future, after the movie’s time frame ends.

This movie, too, is like a collection of snapshots, frozen in time, as each generation struggles to understand eternal human mysteries that may only make sense as time goes by.

 

20th CENTURY WOMEN

*** (out of four)

Annette Bening, Greta Gerwig, Elle Fanning, Billy Crudup, and Lucas Jade Zumann. Written and directed by Mike Mills. An A24 release. Rated R. 118 minutes.

What’s Next for Cotoni-Coast Dairies?

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Earlier this month, Steve Reed could feel nerves start to set in among his staff and volunteer team for the Cotoni-Coast Dairies National Monument campaign, while they wondered whether two years of work had gone to waste.

Time, after all, was beginning to expire on the presidency of Barack Obama, the man with the power to single-handedly recognize the site as a national monument.

Reed, the campaign manager, led the local effort to secure Obama’s dedication of the 5,800-acre parcel perched among the rolling hills above Davenport—an announcement that finally came from Obama on Thursday, Jan. 12.

“We got it with a whole week to spare,” Reed says, insisting he had remained confident of the outcome.

The White House’s announcement of the California Coastal National Monument expansion includes six different sites; in addition to Coast Dairies, there are three in Humboldt County, a small parcel outside San Luis Obispo and a stretch of small rocky islands just off the Orange County coastline.

Sara Barth, executive director of the Sempervirens Fund, says she’s “ecstatic” about the local national monument. The fund, which was involved in the campaign, is dedicated to preserving as much of the coastal redwood forest between Silicon Valley and the coast as possible.

But many North County residents neighboring the property worry that the national monument will draw traffic jams’ worth of tourists, without allocating enough Bureau of Land Management (BLM) resources to cope with the influx.  

“It’s a beautiful piece of property, and it should be accessed,” says Noel Bock of the Davenport North Coast Association. “But there are no parking lots, no trails, no restrooms, no parking. So it’s not quite ready for primetime.”

With some of those concerns in mind, County Supervisor Ryan Coonerty, who represents Davenport and Bonny Doon, successfully advocated for the feds to stipulate that the Bureau of Land Management won’t fully open the property to the public until a management system is in place.

However, Coonerty suggests the designation could be a boon for local residents because they can use federal, state and local money to address not only future issues, but also problems that already persist in Davenport and Bonny Doon—improving trash collection and emergency responses, for instance. “You have a better chance of getting federal resources with a high-profile property,” he says.

Ted Benhari of the Rural Bonny Doon Association appreciates that sentiment, although he still worries that the national monument’s profile will create parking problems and vehicles whizzing by pedestrians on formerly quiet and somewhat rural streets.

“I have heard the assurances of more local resources, but we are the ones who are going to bear the expenses of increased visitation,” said Benhari. “We are strongly behind a management plan—an environmental impact study.”

Now that the national monument is official, North County residents have turned their attention to the public processes that will shape its future.

Reed and Barth also support the drafting of a comprehensive management plan, which they hope will balance needs for ecological preservation of the extremely biodiverse property with the recreational opportunities, like hiking, biking and horseback riding.

Reed additionally wants to make sure the site honors the significant Native American history, as California’s coastal tribes once used the scenic coastal beaches in ceremonial practices.

David Ledig, BLM’s manager of the California Coastal National Monument, says he understands the competing interests at the heart of property, as the agency prepares an environmental review.

It’s a process that will be slowed a bit by the departure earlier this month of Rick Cooper, the BLM regional manager charged with overseeing the Cotoni-Coast Dairies property, who just retired. But Ledig says that a new field manager, who arrives in March, should help get things moving.

The planning will nail down details, like where to put access points to the monument.

Bock and Benhari, for their part, worry that established access points off of San Vicente Street or Warnell Trail or Laguna Road would either provide insufficient parking or create other impacts on locals.

All sides hope that the nearby Cemex plant, which has been permanently shuttered, could present a solution. The county’s economic development department is studying the reuse of the plant, still owned by Cemex, a cement company headquartered in Mexico. “There are a lot of steps in between changing a cement plant to a nature center, but there is reason to be optimistic,” Barth says.

Although the national monument has an allure of federal resources, the years ahead may not actually be paved with big bucks, especially since the Department of Interior (DOI), which oversees the Bureau of Land Management, has been operating in the red.

According to the Congressional Research Service, the U.S. Forest Service and BLM have approximately $6.8 billion in deferred maintenance on their various properties as of 2015. Also, the National Park Service, which is housed under the United States Department of Agriculture, has about $11.8 billion in deferred maintenance.

While the two agencies are in different departments, they still compete for a slice of the federal budget.

The specter of a cash-strapped BLM taking over management of a local park has Benhari and others fretting that maybe the national monument will not provide the solutions its proponents extol.

Congressmember Anna Eshoo, one of the foremost political supporters of the national monument designation, sent a statement to GT reiterating her support of the project and acknowledging the concerns of local residents, which she says can be addressed in the planning process.

She also forwarded a 2015 letter she wrote to Ken Calvert, chair of the Subcommittee on the Interior, Environment and Related Agencies, requesting an $11 million increase to the BLM’s National Landscape Conservation System.

This, however, was before Donald Trump ascended to the White House; Trump, along with a legislature fully controlled by Republicans, can instill an agenda that reverses course on federal lands.

Republicans—pushing back against Obama’s use of the Antiquities Act and national monument sprees—have included a massive transfer of public lands back to states in their party platform.

Although Reed says it would be “really hard” and “dumb” for Republicans to undo the popular Coast Dairies designation, he does worry that the Trump administration will cut the funding for the BLM and the DOI.

That’s why Bock says a wait-and-see approach might have been smarter.

“I think we should have waited until the next Democratic president,” she says, “when we would have had a management plan in place.”


Edit 01/30/17 12:10 p.m.: The name of the Rural Bonny Doon Association was corrected. 

Camille Utterback’s Visual Homage to the San Lorenzo River

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The eye-catching digital installation currently undulating across the front windows of the Museum of Art & History (MAH) is the work of internationally-acclaimed MacArthur Fellow Camille Utterback. The flowing projection screen is a showcase for Utterback’s uncanny software design, Vital Current—Seeking the San Lorenzo, is a site-specific piece that will reward many views and many visits over the next 10 months.

“We are part of so many systems—the environment, our families, our communities—and everything that we do is embedded in all these other processes,” Utterback says. Tracking systems—of behavior, of natural processes, of human interaction—in visually compelling digitally-interactive artwork has won Utterback awards for the past 15 years.

“The original project began two years ago,” she explains, “when I was approached by MAH curator Justin Hoover. He had seen my San Jose airport project [Shifting Time, 2010], and so it began.”

A Creative Capital Fund grant Utterback received for the project required that she explore ways to use existing resources of the venue. “So I started looking around,” she says. “Historical archives were available at the Museum of Art & History, as well as at UCSC’s McHenry Library, so the idea was to use archival images and an interactive component that would activate the museum’s lobby.” Utterback’s past projects have used cameras to capture movement of people. “But in this case,” she laughs, “the MAH lobby is used in so many ways and is always changing, there was no way to make a camera piece. So the idea for a more intimate touch screen interface came up.”

A kiosk with a table-sized touch screen embedded with hidden software invites visitors to “touch” the river’s surface. And there were a few technical issues with the window and film at first, she admits. Three projectors suspended from the ceiling of the MAH lobby provide the succession of images—old, new, archival, historic—that appear on the special window screen as visitors move their hands over the kiosk touch screen. The full visual impact of Vital Currents is best seen at night. “We made a decision to make the window screen opaque so it would be visible through the windows from Abbott Square,” she says. “The overall concept was to create a visual, interactive metaphor for the ways in which our memories and the history of the river morph into each other in response to our present movements and touch.”

Rather than doing all of the programming herself, Utterback says, “for this piece I built the initial prototype using TouchDesigner and then hired an artist and designer to make it quickly. I wanted to show time fading in and out. The colors rippling into the water. I love that part. This is what you can do in programming, the surprise of it. I write the rules but can’t tell how it will specifically look.” Utterback was thrilled to see “even the smallest gesture magnified up on the wall.”

Raised in New England and trained as a painter, Utterback began programming in order to find “more relevant connections” with contemporary culture. “I went back to grad school at NYU in the interactive telecommunications program,” she says. “I didn’t intend to let go of art, but then it sort of evolved. I was in New York, I did an installation at a gallery—the right place at the right time. I moved out to San Francisco 10 years ago, and I’m now in my fourth year teaching at Stanford. I really love it here.”

“With Vital Current I hope something comes through about our engagement with that body of water. Hopefully it will start some conversation, about the river, its riches, its history, the trauma of flooding,” she says. “It’s so complex, the river is at once the site of a water carnival and also of a terrifying flood. The past is present in the present.”

Her point is “to make people think—to create an ongoing discussion.”

Utterback’s solo show at the Stanford Art Museum opens this week through March 26. In it, her digitally-generated installations continue to explore nuanced links between human and computer-generated systems. “How much can we control systems? How much does our interaction shape our experience of the past and the present?” she wonders. “What I really hope is that the MAH show will help people think about how all of our actions impact the world around us.”

Music Picks Jan 25—31

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Film Review: ‘20th Century Women’

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Growing up ’70s-style with ‘20th Century Women’

What’s Next for Cotoni-Coast Dairies?

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As supporters rejoice at Coast Dairies’ presidential designation, neighbors turn toward next steps.

Camille Utterback’s Visual Homage to the San Lorenzo River

Artist Camille Utterback's homage to the San Lorenzo
Camille Utterback on her digital projection of the San Lorenzo River at the MAH
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