Native Perspectives from the Front Lines of Standing Rock

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“Tomorrow, only fasting and praying to stop the pipeline!” declares Dorothy Sun Bear, the night before a national holiday that’s been celebrated with feasting since the Civil War. As she rises to leave the warmth of the Oglala Wounded Knee Dining Hall, half a mile north of the Standing Rock Reservation, 50 eyes turn to her and the bustling army tent falls silent.

“We don’t have nothing to be thankful for! They’re still stealing our land, they’re still digging up our ancestors!” Sun Bear spits the words in disgust. “And we’re still fighting like we have been for 500 years.”

Sun Bear, a Lakota woman from Wounded Knee on the Pine Ridge Reservation, saw a video of a grandma getting tackled by Morton County sheriff’s deputies four months ago. The woman was resisting construction of the Dakota Access Pipeline (DAPL), where it was slated to cross the Missouri River. A spill, rupture or leak—there have been 3,300 such incidents nationwide in the past six years—would pollute the drinking water for her relatives on the Standing Rock reservation in North Dakota and for 18 million people living downstream.

“I had to come here to defend her,” explains Sun Bear on Wednesday, Nov. 23. She brought six of her children and grandchildren. “We’re staying until the end, until we win. Then we’ll celebrate Thanksgiving.”

On Nov. 24, Oceti Sakowin, the main camp, swells to an estimated 10,000 people. “I think that one of the reasons people are coming here is because Donald Trump got elected,” says Madonna Thunderhawk, a Cheyenne-River Sioux who has been living at camp with her daughter and son-in-law since August. “I mean, where else can you go in this country right now to experience any kind of hope for positive change?”

They aren’t taking just action to protect Native American interests, Thunderhawk adds, but also the millions of other Americans who live downstream on the Missouri and would be affected by an accident along the oil line.

Camp security guard Hunter Short Bear, a Lakota from the Spirit Lake Nation, spent Thanksgiving Day responding to rumors of a camp raid and dealing with the constant stream of cars clogging the entrance station. “Today is supposed to be about giving thanks and coming together with family,” he says, gesturing at the dusty prairie bustling with activity. Supporters from around the world are bundled against the bitter wind, carrying lumber, pounding nails, hauling water and splitting wood. “Well, here we are. We’re all family now.”

Many people at the camp ignored the official government holiday completely. “There’s no vacations in camp,” says Everett Bowman, who is part Diné and part Paiute and calls the Owens Valley home. “We’re always working.”

The work may be far from over.

Over the weekend, the Army Corps of Engineers declared it would arrest all remaining protesters on Monday, Dec. 5 for “trespassing”—an announcement that only strengthened the resolve of those fighting the DAPL.

The corps has backed off those words, but the North Dakota Gov. Jack Dalrymple has since demanded the “mandatory evacuation” of the land, citing safety concerns as winter storms roll in, even though 13 construction crews are working six days a week to winterize their shelters and kitchens.

BeaVi McCovey has been fasting on this day for more than 50 years. She travelled here from the Yurok Reservation in Northern California and plans to stay through the winter. “My great-grandmother told me that the first mistake our people made in contact with white people was to feed them. She said if we’d just let them starve, we could have come back a year later and they all would have been dead,” she says. “We would still have our land and our way of life.”

When she was growing up, McCovey says her mother thought Thanksgiving was a day to feed folks who didn’t have money or a place to go, and a big crowd every year gathered at her house. But McCovey, inspired by her great-grandmother, fasted each Thanksgiving since she was 9 years old. “In my tradition, we fast as a way of getting closer to spirit and honoring our ancestors,” she explains. “I thought they would look down on what I was doing and regard my efforts and sacrifice in a good light.”

This year, though, she broke her fast. “I worked so hard with everyone, preparing the meal, I called it the harvest feast,” McCovey says. “It was such a communal effort. And then all these different natives sat down together and we shared what we had. It felt so great to be in a community of people that are gathered in prayer and ceremony.”

McCovey, who participated with the American Indian Movement and occupations decades ago, pauses to reflect on the changes that have happened since.

“We were more militant then, it seemed like a fight to the death. It feels so much more peaceful here. Maybe it’s because there’s no drugs or alcohol here, maybe I’m just older now.” She stops and squints into the smoky campfire. “The resistance here is so powerful because it’s a spiritual resistance,” she says finally. “We all have different beliefs, but we’re all here in prayer.”

Those joined in prayer represent the largest and most diverse gathering of indigenous people on the continent, maybe on the planet. “A month ago, three quarters of the registered tribes were present here, and today there’s even more,” says Farron King, a 28-year-old Cheyenne-River Blackfoot. “I was just kickin’ it with some Pawnee and some Crow; traditionally our people were enemies. So thank you oil companies for bringing all these indigenous people together!” He beams as he looks around at the young people with whom he shares the International Indigenous Youth Council Camp on the south shore of the Cannonball River.

One of those people is Mia Stevens, a 22-year-old woman from the Paiute Reservation in Nevada, who is of Mexica, Ute, Diné, Paiute and Puerto Rican descent.

On the holiday, she and almost 1,000 others marched to an ancient burial ground known as Turtle Island on a hilltop overlooking the Missouri River. Construction crews dug through it a few weeks ago to lay a section of pipeline. Riot cops currently guard the site.

“We really wanted to make an honorable prayer for the trauma and genocide our people have been through,” Stevens says. They sang and prayed, she says, for the next seven generations, that their descendents wouldn’t feel the same pain and shame that they have.

“We only sang our ceremonial songs. We approached the guards, in peace, and asked them to stand down,” she says, her eyes glowing with the memory. “They didn’t, but some of them lowered their face shields to respect our prayers. That was really big. Because we pray for them, too. We know they’re just doing their jobs. We’re doing this for their children, too.”

Stevens, shaking her head, mentions that some celebrities offered a big dinner feast, but that the natives declined. “We don’t want their pity food,” she says. “We want them to stand with us. We want them to pray with us.”

Prayer is at the heart of the approach indigenous people and their non-indigenous supporters have taken at Standing Rock.

“We don’t call what we’re doing actions or protests. We call them prayers,” explains King. “Everything we do out here is with peace and with prayer. When I came out here, I started learning my language and our songs. When we all sing together, I can feel myself growing like a tree. Now that we’ve found our way, we’ll never stop fighting. This is just the beginning.”

Election Worries Immigrants and People of Color

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At Cabrillo College, anxiety in the November election’s aftermath feels subtle but palpable.

A sandwich board in front of the Extended Opportunity Programs and Services (EOPS) office features a flyer calling out to students that are immigrants, LGBTQ, Muslim, women and others feeling unsafe in the weeks after the election of Donald Trump. “Please know that EOPS will continue to offer each and every one of you a SAFE space to express your fears and anxiety in these times of uncertainty,” it reads.

Students walking into the office are met with two stacks of flyers: one advertising counseling programs and healing circles, the other listing the phone numbers of immigration lawyers.

Brando Marin, a 24-year-old Cabrillo College student and Watsonville resident, remembers peers expressing their fears in class. One friend talked about her son—who is half black, half white—and how he might be affected by stories of aggression against people of color following the election. Others talked about the uncertainty of what Trump, a candidate who boasted about his draconian immigration plans, will and won’t follow through with.

“Right now, it’s a time where people are getting informed. They’re acknowledging what’s happened,” says Marin, whose uncle, a fieldworker, has been joking with his co-workers that their deportation is imminent.

The election results brought a wave of anti-immigrant sentiment, prompted protests against president-elect Trump and created anxiety across the nation. But they’ve also brought out a network of support.

Wall Fears

Trump’s pledge to build a wall along the Mexican border and deport millions of undocumented immigrants has definitely hit home in Santa Cruz County. Though the county is still predominantly white, Latinos are the second-largest group, making up a third of the county’s population. The Migration Policy Institute estimates that there are 20,000 undocumented immigrants in Santa Cruz County and more than 3 million statewide.

Immigration experts say it’s too early to know what Trump would do in office, but his recent nomination of Sen. Jeff Sessions—a stalwart supporter of anti-immigration policy—for attorney general doesn’t bode well for progressive immigration policy. Nor does the addition of Kansas Secretary of State Kris Kobach—a figure behind some high-profile immigration laws—to Trump’s transition team. Kobach helped draft the controversial 2008 “show me your papers” Arizona bill, most of which got thrown out by the U.S. Supreme Court, and a photojournalist got a picture of him last week holding a memo titled “Kobach Strategic Plan for First 365 Days.” The document, among other things, called for re-introducing the “National Security Entry-Exit Registration System,” which was implemented shortly after the Sept. 11 attacks.

Anxiety levels have spiked in recent weeks among students in South County schools, says Erica Padilla, CEO of Pajaro Valley Prevention and Student Assistance. Schools and parents have quickly but cautiously reached out to the nonprofit, which provides academic, social and emotional counseling to students.

“A lot of fear around their parents being deported. A lot of anxiety of potential separation of children from parents,” Padilla says. “Those are the types of issues that my staff was reporting children were expressing.”

A lack of information has driven fears about what can and can’t happen to them come 2017. Wanting to dispel notions of what could and might happen, community leaders organized a forum at Watsonville High School on Nov. 20.

The forum drew more than 450 attendees—a mixture of legal immigrants, citizens and undocumented residents. Hundreds of parents, aunts, uncles and caregivers filed into the high school cafeteria with questions for the two-hour session: Will there be mass deportations? When will they happen? How do I talk to my children about this? Organizers tapped legal experts, law enforcement officials and other community organizations to calm fears and share information.

Speaking in Spanish, presenters walked the crowd through an array of topics, from their right to an attorney to current laws to how to plan for the worst. One handout’s instructions detailed how to create an emergency plan during a workplace raid, precautions like carrying a card for an immigration attorney and planning ahead of time how to care for children.

“They were very serious. Very attentive,” says Doug Keegan, an immigration attorney and director of the Santa Cruz County Immigration project. “You could tell that this was something very important to them.”

Among some of the assurances made by the school district and the Watsonville Police Department were that they were not working to enforce immigration law and take parents away from children.

“The message was made clear by many of these groups and it spoke positively about the Watsonville community,” Keegan says.

At the end, the crowd’s mood was a mixture of relief and gratefulness at the realization that their community was there for them. Pajaro Valley Unified School District (PVUSD) Superintendent Michelle Rodriguez says some parents were already aware of the community resources available to them, but the forum cemented the support.

“People are happy to explicitly hear that and know that they have a community that surrounds them and supports them,” she says.

Community support was made clear but what was unclear is what the exact policy change will be under the Trump administration. President Barack Obama deported more than 2.4 million people since taking office, but he also implemented immigration change. The Deferred Action for Childhood Arrivals (DACA) passed while he was in office, creating a program designed to protect undocumented immigrant children from deportation. Trump will likely dismantle the DACA program, Keegan sees. He also predicts the ramped-up deportation of incarcerated undocumented immigrants.

But beyond that, there is only uncertainty about the future of immigration. While Trump promised to target immigrants with a criminal history, it’s unclear whether there would be distinction between major and minor offenders. He also promised to quickly deport millions while in office, a promise that Keegan says is within Trump’s power but is certainly cost-prohibitive.

Keegan doesn’t want to be hopelessly optimistic in his expectations of the Trump administration, but he does hope people can find a solution.

“The solution isn’t the deportation of millions of people. It’s finding a pathway,” he says. “A middle ground for people who are here without documentation to become legal residents or have some pathway to legal citizenship.”

In the Sewing Studio with Gayle Ortiz

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For as long as I’ve known her, Gayle Ortiz has had the gleam of mischief in her dark eyes. Practically levitating with creative energy, she nonetheless exudes an aura of calm and control—spend two minutes with her and you know she’s got her act together. The thing is, after knowing her all through the bakery days, the rosticceria debut, the cookbooks, the expansions, I didn’t realize that Ortiz has only just gotten started.

Who knew that about a decade ago, the woman whose name is emblazoned on regional culinary legend began crafting around with one-of-a-kind sweaters, and after a successful entrepreneurial run selling her designer creations to boutiques the world over, she’s now vigorously immersed in designing, sewing, and workshopping custom clothing? And that’s in between weekly rounds of professional-grade mah jong and Pilates.

Fresh from a sewing retreat in Ashland with her clothing design mentor Diane Ericson, Ortiz is happy to show me around her sewing studios. “It started when I began going to workshops and meeting other sewers. We have our own group now,” she says happily. “We share our projects and problems. And of course we just sew together, too.”

Ortiz was at a point a few years back, she claims, where she found it hard to “get a pattern to fit.” So she sought inspiration for the graceful, easy-to-wear clothes she now favors.  

“I made my own clothes when I was young,” she says, and her eyes now glow like neon obsidian. “I remember making all my prom dresses. I stopped it to do the bakery. I started again when I knew what didn’t look good on me, but couldn’t find clothes I liked. I was in my mid-50s. I didn’t need fancy dress-up clothes. I wanted everyday items. I found out about Marcy Tilton and her Vogue pattern designs, and I began to follow her. Then I met Diane, and her Design Outside the Lines workshops and retreats.”

Ortiz’s interest has, characteristically, expanded into her own sewing and making blog, in which she proves to be a clear and encouraging teacher.

“A good reason to have community around you is that they bring in other hands,” she says with a chuckle. “They can help fit the piece on you. Once you’ve got something that fits well, you make a tester. Then I tweak it.”

She doesn’t even have to point out that she is wearing her own designs, a striking combination of flared skirt and draped vest top that flairs out flatteringly around a long-sleeved knit top. “The recycled sweaters—I made hundreds of them. Now I’m into eco-printing and eco-dying,” she says.

We step into her freestanding studio for a look. She shows me examples of scarves with delicate leaf and flower patterns imprinted on them by indigo dyes and steam. “I’ve been playing around with those,” she says. “I’m into the creative stuff now, and I think Jody Alexander’s classes on boro are great.” She holds up a few vests and samples that show the influence of boro piecing and stitching. “The classes I take eventually absorb into my work. I’m very changeable,” she confesses. “In everything. The two constants in my life are the bakery and Joe.”

Ortiz calls herself a “maker,” insisting that she’s not an artist. “Everything I make has to be practical—I’m a utilitarian.”

In her colorful but well-organized studio, Ortiz has a sunny front room for sewing. A new Bernina and a Serger are the workhorse machines. Under a cabinet she keeps “an old, old Bernina,” a portable Brother for travel and a new tiny Singer she refurbished. The sunny cutting room is lined floor-to-ceiling with fabric. A chic black trapeze jacket with hand-inset buttonholes sits on a form, waiting to have its sleeves lengthened. “I don’t like unfinished projects,” she says. Ortiz’s taste embraces asymmetrical, casually structured lines, with distinctive details such as triangular bound buttonholes and pieced yokes. A lifelong sewer myself, it’s all music to my eyes.

A side room contains a cabinet with file folders of patterns, all clearly marked. Showing me a half-dozen soft cashmere sweaters used for eco-dye experiments, she explains, “I used nectarine leaves on this one,” and I spot eucalyptus leaves, even a recognizable redwood branch adding soft patinas of design. “I trade them, or give them as gifts.”

More surprises! Ortiz brings out three necklaces she’s designing out of found elements. “Rubber jewelry,” she says with a grin, pointing to dramatic cut-outs of re-purposed bicycle tires. “Everything I do gives me pleasure, but I admit I need the new!”


See Gayle Ortiz’s designs at http://gayleygirl.blogspot.com.

Now Boarding in Santa Cruz

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It’s a good time to have a motorized skateboard company in Santa Cruz—the hard work of two innovative startups is paying off as they start getting a little love nationwide. Inboard, the only skate company of its kind with motors built into the wheels, will be appearing on ABC’s “Shark Tank” at 7 p.m. on Friday, Dec. 2.

The platform provides an opportunity for CEO Ryan Evans and his team to show off their M1, which has speeds of up to 20 mph and a range of 10 miles between charges. That is, unless Mark Cuban or one of the show’s other panelists goes into asshole mode, ripping the team a new one for absolutely no reason.

But it’s hard to imagine anyone doing that over a sleekly designed longboard that has a remote control, the capability to maneuver the ride from a phone application and the ability to coast when the skater runs low on battery power or simply feels like getting a workout.

Also, Inboard posted an image on its website of venture capitalist and “Shark Tank” regular Kevin O’Leary testing out the board, and he looks to be handling it OK. The basic gist of the show is to convince a filthy-rich entrepreneur to fork over a sliver of his or her fortune without giving up too large of a stake in your brilliant idea.

The market for such rides among extreme-sports enthusiasts could soon snowball, as shoppers look for an alternative to those trendy hoverboards that have been recalled for being more dangerously flammable than a Samsung Galaxy Note 7 doused in gasoline.

Not to be outdone, the more rugged Onewheel, which was inspired by the feeling of snowboarding on powder, got called the “the futuristic toy we hoped for” by the Wall Street Journal. “What is this unicycle-skateboard hybrid that appears to have been engineered by hackers on mushrooms at Burning Man?” the paper asks.

It’s called Onewheel, guys. And it’s from Santa Cruz. 

Andrea Wachter Takes on Eating Disorders in Teens

A few years ago, licensed marriage and family therapist Andrea Wachter encountered a patient who, even after 25 years in her field, she never expected to treat: a weight-obsessed 6 year old.

In fact, Wachter started getting calls from several doctors in Santa Cruz County asking for help with their 6 and 7-year-olds obsessed with toning their abs, or telling their parents they felt fat. She published Mirror, Mirror on the Wall: Breaking the ‘I Feel Fat’ Spell and The Don’t Diet, Live-It Workbook with Marsea Marcus in June 2016 so that there’d be something for kids that age to relate to. Her latest book, Getting Over Overeating for Teens, comes out Dec. 1 and is geared for the next stage of development—adolescents the same age Wachter was when she first developed an eating disorder.

Wachter says she began dabbling in diets at age 12, and by 17 had a full-blown eating disorder.

“I kept trying different diets: protein shakes, cutting out fats, lowering carbs, counting calories, fasting—every fad known to man and woman. Eventually I discovered bulimia and I thought that was brilliant … but it turned out to be the road to hell,” says Wachter. “That’s what I did for years. Throw in drugs, alcohol, cigarettes and lunacy. That was my life.”

Wachter wants to reach young people as early as possible, especially in adolescence, when life’s problems can feel titanic and eating disorders can seem like a tempting Band-Aid.

For Wachter, she says, three main things led to her eating disorder: cultural messages of diet and perfection, her family, and her “breed.”

“I was a sensitive breed, as many of my clients are,” says Wachter. “Someone might get teased about their body and say ‘Oh screw them, they’re just mean.’ I got teased about the size of my body and wanted to die.”

It took getting new ideas from a variety of sources, like therapists and friends who wouldn’t “fat chat,” as she calls it—talk about weight, losing it, gaining it, calories, etc. The people she surrounded herself with talked about recovery, healing, their emotions, and how to confront them.

“It’s an ongoing practice to every day work on loving myself and loving my imperfections,” says Wachter. “Now it’s the aging process. In one of my blogs [on her website and Huffington Post] I wrote ‘I spent the first half of my life trying to lose weight and I refuse to spend the second half trying to lose wrinkles.’”

After Wachter got the help she needed, she wanted to share the tools she learned with those struggling with eating disorders—30 million of all genders and ages in the U.S., according to most recent numbers—that she could reach.

“The work that I do is all about loving yourself and feeling your deeper needs so you don’t have to turn to counterfeit, insufficient means of getting those needs met,” says Wachter, animated and unreserved over the phone—she likes catchphrases: “I call it ‘heal and deal with what you feel.’”

For her, that meant coming to terms with the fact that she wasn’t a weak person without willpower, but that society’s standards of perfection had been so ingrained in her and her family that they dictated her inner monologue.

“A lot of us are taught that we’re supposed to be happy instead of being taught that we’re supposed to be everything,” she says. “We’re supposed to be mad sometimes, sad sometimes, scared sometimes, sobbing sometimes, just like different weather patterns.”

Many people who struggle with eating disorders have an “unkind mind,” says Wachter, and go through the day “shoulding” themselves—shouldn’t eat that, shouldn’t say that, should’ve done this, etc.

Fighting that unkind mind takes finding things that are “life-affirming,” which, for someone in their 40s, is going to look different than for someone who’s 12 or 13, says Wachter. But since that early age is filled with even more terrifyingly pervasive pressures, young people need to have something outside of just Facebook, Snapchat and the like.

“Unfortunately these screens are sucking the life out of everybody, but especially adolescents because it’s fun, it’s great to surf the web,” she says. “But if that’s where they’re spending a majority of their time. That’s not life-giving.”

Most Americans fall somewhere on the spectrum of disordered eating with different levels of severity—maybe it isn’t life-threatening, but they’re constantly monitoring how much they eat—maybe binging in private, or struggling to some extent, says Wachter. On one hand “healthy-eating,” portion control and fitness are glorified in the U.S., while on the other, colossal portions are everywhere and the idea of savoring your food isn’t as mainstream as in other countries.

“Our culture has an eating disorder,” says Wachter.

There is hope, however; nowadays, Wachter isn’t tempted to binge or restrict and she enjoys the food she eats.

“It’s in part having a strong sense of self, having your GPS system in yourself be strong and clear: This is exactly what I want to eat, this is when I want to go to bed, this is how I want to be touched,” she says. “Sometimes we have to quiet our minds to even hear it and convince ourselves that we’re worthy, but everyone has that intuition.”


Info: ‘Getting Over Overeating for Teens’ comes out Dec. 1. andreawachter.com.

Preview: The Steel Wheels to Play Don Quixote

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Generally, bluegrass is thought to encompass everything from Bill Monroe and Alison Krauss to David Grisman, Old Time Medicine Show and the Punch Brothers. For bluegrass purists, however, bluegrass is a very distinct thing, with strict rules, roles and instrumentation.

Here in California, where progressive bluegrass has been a fixture for many decades, we may be a bit looser about putting the bluegrass label on bands. But in Virginia—which is in the heart of bluegrass country and home to fast-rising roots outfit the Steel Wheels—if you call yourself a bluegrass band, you damn well better be playing bluegrass.

“We spent the first five or six years of our band really resisting the word bluegrass,” says Steel Wheels frontman and songwriter Trent Wagler. “We knew that in Virginia, we couldn’t bill ourselves as bluegrass because you’ve got some serious traditionalists that are saying, ‘Wait a minute, these guys aren’t playing anything that Bill Monroe played, or Earl Scruggs played, and that’s bluegrass.’”

Wagler explains that melding different roots styles “doesn’t speak to certain traditional ways of thinking” and that this tension between the “hippies and some of the old-school, straight-up bluegrass people” is nothing new. Sam Bush and the early newgrass artists faced it, as do young acts coming up now.

For the Steel Wheels, this intersection of old and new is where the band is right at home. The members of the four-piece draw heavily from bluegrass and old-time styles, while staying rooted in who they are as artists influenced by a number of sounds and styles, including rock ’n’ roll, blues, soul, and old gospel music.

“When we’re making our music, we’re not trying to stay in a box,” says Wagler, “and we’re not trying to limit ourselves. That’s what I love about music—it’s such a strange bag of influence.” He adds that for the Steel Wheels, that bag of influence goes into traditional old time and bluegrass music, but it “certainly doesn’t stay there.”

The music of the Steel Wheels is tight and driving, with lovely, layered harmonies and catchy hooks. It’s also gritty and soulful, which gives the band a depth and texture that is sometimes lost when things are too polished. That’s not to say these guys slack—in fact, anything but. They’re top-notch players, they just lean toward the real rather than the perfect, and over the years that approach has served them well as the band has gone from casual shows to touring almost full-time since 2010.

“Playing live and recording with the same guys for five or six years, you can’t help but get really tight,” says Wagler, explaining that a few years ago they had a fill-in fiddle player and, despite the fact that he was an excellent musician, it just wasn’t the same. “The four of us have put an imprint on each other when it comes to these songs. When any of us are pulled out of that imprint, it really feels strange and different.”

The band members’ familiarity with each other goes beyond just music. They all grew up in Mennonite communities and Wagler says that their shared background comes through in the band’s approach to making music.

“The big things that Mennonites hold dear … is an ethic of some aspect of simple living and community,” says Wagler. “Another piece is a certain amount of nonviolence and non-participation in war. These have informed a number of things in me. Therefore, it’s going to come out in lyrical content and how I see the world.”

Wagler points to the competitive nature of bluegrass, with its flashy licks and songs being more about a great picker than the feel of the tune. For the members of the Steel Wheels, this is the opposite of what they do. For them, says Wagler, a song is “not a vehicle for a bunch of licks,” but about collectively creating something. He wonders if that ethos and the no-drama sensibility of the members isn’t at the heart of the band’s successes, both on-stage and off.

“The on-stage stuff is not even half the battle,” he says. “There’s much more to keeping a band together than that. We are really good friends offstage and that really helps us create a strong harmony in all senses of the word.”


The Steel Wheels will perform at 7:30 p.m. on Tuesday, Dec. 6 at Don Quixote’s, 6275 Hwy. 9, Felton. $15. 335-2800.

Music Picks Nov 30—Dec 6

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WEDNESDAY 11/30

JAZZ

ECHO FABRIC

Echo Fabric is a new Santa Cruz outfit blending traditional jazz with electronic sounds, including arpeggiated synthesizers, sequenced basslines and synth piano. Founded by multi-instrumentalist Jon Lukas, whose resume includes creating music for website intros of Silicon Valley tech companies in the ’90s, Echo Fabric is designed to “bring the audience in with familiar jazz elements, then introduce exciting, original, contemporary territory.” On Wednesday, Lukas is joined by jazz vocalist Magdalena, Olaf Schiappacasse on drums and Brad Hecht on saxophone. CAT JOHNSON

INFO: 7:30 p.m. The Crow’s Nest, 2218 E Cliff Drive, Santa Cruz. $3. 476-4560.

 

THURSDAY 12/1

JAZZ

CAMILA MEZA QUARTET

It seems entirely fitting that Chilean-born guitarist/vocalist Camila Meza concludes 2016 by making her California debut with her own band. On her earlier visits this year, the New York-based musician contributed vocals to trombonist Ryan Keberle’s South American-inflected band Catharsis, and joined Cuban pianist/composer Fabian Almazan at SFJAZZ on vocals and guitar. She co-headlined an all-star concert at the Stanford Jazz Festival with Israeli guitar star Gilad Hekselman, but she caps a banner Bay Area year with her blazing young quartet featuring pianist James Francies and drummer Jeremy Dutton, rising players from Houston, and Israeli bassist Or Bareket. She’ll be focusing on music from her gorgeous, sumptuously melodic 2016 album Traces (Sunnyside). ANDREW GILBERT

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

 

Friday 12/2

ALTERNATIVE

PETER MURPHY

“Bela Lugosi’s Dead” is arguably the eeriest song to come out of the early-’80s British postpunk revolution. When Bauhaus broke up in 1983, singer Peter Murphy carried on as a solo artist. His 1989 record Deep was a turning point that merged goth with college pop. Much of his later work explores Middle Eastern music, but the unifying factor is a haunting, and heart-wrenching baritone that carries emotion like no other. He’s doing his “stripped” tour, bringing stripped-down versions of his music from across his discography. AARON CARNES

INFO: 7:30 p.m. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $33. 423-8209.

 

SATURDAY 12/3

BLUEGRASS

FLYPAPER BLUES

Newly established local band Flypaper Blues is made up of Trevor Bridge, Lauren Wahl, Devon Pearse and Darlene Norman, featuring two-part female harmonies, driving upright bass rhythms, fiddle, mandolin and acoustic guitars. Adding to Santa Cruz’s growing roster of bluegrass bands, the Flypaper Blues draw inspiration from traditional bluegrass, folk, and alt-country genres. Pigmanlion opens the set. KATIE SMALL

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

HIP-HOP

FLOBOTS

The Flobots’ unique mix of hip-hop, rap and alternative rock results in an unparalleled sound landing somewhere between Eminem and Green Day. The Denver natives stand out for their passionate activism and socially charged lyrics that focus on racial justice, immigration reform and the fight for a living minimum wage. Their newest album, NOENEMIES, is a crowdfunded collection of protest music. For over a year, the group has been hosting monthly workshops that blend community organizing with choir practice in a celebratory atmosphere; intended to “equip movement participants to create and lead songs designed to embody the change we want to see in the world.” KS

INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $12/adv, $15/door. 479-1854.

 

SUNDAY 12/4

EXPERIMENTAL

HENRY KAISER & EVIL GENIUS

A prolific composer and guitarist whose stylistic comfort zone is seemingly boundless, Henry Kaiser is a longtime fixture of the Bay Area music scene. An accomplished sideman, as well, he has appeared on more than 250 albums and scored dozens of TV shows and films. On Sunday, Kaiser is joined by Santa Cruz experimental standout act the Walkers, comprising brothers Bill and Rick Walker, whose genre-defying musical adventures have made them long-running local favorites. Also on the bill is the Portland/Los Angeles band Evil Genius, an experimental jazz trio that draws from punk, rock, jazz and more. The evening promises to be an exciting night of musical barrier-pushing, looping and experimental adventuring. CJ

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

HIP-HOP

HOW THE GROUCH STOLE CHRISTMAS

Two of the biggest names to come out of the Living Legend collective, Murs and the Grouch left the group back in 2012. But the Grouch, who puts on the annual “How the Grouch Stole Christmas” tour, has something special planned for this, its 10th year: he’s gotten the entire original lineup of the Living Legends together to rock venues all over the country. AC

INFO: 8 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $30/adv, $35/door. 429-4135.

 

TUESDAY 12/6

POP-FOLK

BENJAMIN FRANCIS LEFTWICH

Singer-songwriter Benjamin Francis Leftwich cites the late, great Nick Drake as a key influence, and the influence is clear. Leftwich, who hails from York, England, draws from indie-pop and folk, but his breathy vocals, heart-on-sleeve songwriting and lush, lovely instrumentation reveal his Drake discipleship. Where Leftwich veers off, however, is with his skillful use of electronics to add texture and weight to his sound. Where Drake stuck to acoustic sounds, Leftwich takes a more experimental, rock approach to his instrumentation—which is fine, because you’d be a fool to try to simply recreate the inimitable, lasting beauty of Drake’s compositions. CJ

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

BLUES-ROCK

DOYLE BRAMHALL II

Doyle Bramhall II is one of those guys that you’ve definitely heard before (he’s recorded with Eric Clapton, Erykah Badu, Sheryl Crow, Willie Nelson and more), but may not recognize. He’s worth getting to know, though, and not just because he can play guitar even when it’s strung upside-down. He just released a solo record, Rich Man, his fourth album and first in 15 years. It’s a rocker of a blues album that is sure to please anyone with a pulse. Much of the material is a tribute to his late father, an incredible musician in his own right. AC

INFO: 8:30 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $15/adv, $20/door, 479-1854.


IN THE QUEUE

TOMMY CASTRO

Rocking blues from a contemporary favorite. Friday at Moe’s Alley

BEATS ANTIQUE

Electro-meets-world fusion standout group. Friday at Catalyst

IRISH CHRISTMAS IN AMERICA

Celtic sounds and stylings for Christmas. Friday at Kuumbwa

PEDRITO MARTINEZ GROUP

New York-based Afro-Cuban outfit. Monday at Kuumbwa

TONY FURTADO

Renowned bluegrass multi-instrumentalist. Monday at Don Quixote’s

Be Our Guest: Adam Shulman Trio

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What would the holidays be without a few spins of Vince Guaraldi’s soundtrack to Charles Schulz’s 1965 holiday classic, A Charlie Brown Christmas? Full of sweet, catchy tunes steeped in nostalgia and a simpler time, the album is a seasonal classic. On Dec. 15, jazz pianist and one-time Santa Cruzan Adam Shulman, who is best known as part of Marcus Shelby’s Jazz Orchestra and has been described as a “creative force on the San Francisco jazz scene for the past decade,” brings Guaraldi’s wonderful album to the stage. Joining Shulman are bassist John Wiitala and drummer James Gallagher.


INFO: 7 p.m. Thursday, Dec. 15, Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $20/adv, $25/door. 427-2227. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Thursday, Dec. 8 to find out how you could win a pair of tickets to the show.

Love Your Local Band: Molly’s Revenge

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For the past 16 years, local ensemble Molly’s Revenge has brought upbeat traditional Irish music to local and national audiences. David Brewer, the only original member of the lineup, says of the group that it “blasts high-energy Celtic dance music in a really lively and entertaining way. It’s a very action-packed show.” Can’t argue with that.

On Dec. 1, however, Molly’s Revenge will show a different side of their music with their holiday Winterdance show. It will feature traditional Irish dancers, and L.A. vocalist Christa Burch will be providing guest vocals.

“The Winterdance show is much more sculpted with highs and lows—everything from really delicate stuff to fast and lively, like people are used to seeing,” Brewer says.

The idea is to bring to Santa Cruz a little slice of how folks celebrate Christmas in Ireland, where a winderdance like this is an informal gathering. A lot of the songs that Molly’s Revenge will be playing will be familiar to Irish audiences, but less so to American ones.

“It’s all very different from what we usually do as Molly’s Revenge. It’s much more of a show than a concert, I guess you could say,” Brewer says. “The biggest thing that people respond to is they see how much fun we’re having. People get absorbed into that joyous effect that it brings. And that’s really our goal. So the traditional stuff is our vessel to do that.”


INFO: 7:30 p.m. Thursday, Dec. 1. Don Quixote’s, 6275 Hwy. 9, Felton. $17/adv, $20/door. 335-2800.

Film Review: ‘Moana’

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Disney’s Frozen, with its snowy Nordic landscape, was a perfect animated feature for the holiday season back in 2013. The studio’s new holiday release, Moana, is just as perfect, but for the opposite reason: enveloped in the landscape and folklore of Polynesia, it is a sunny, beachy, gorgeously animated antidote to winter.

Moana is directed by Disney veterans Ron Clements and John Musker, the brain trust behind The Little Mermaid and Aladdin, among others. The movie’s story and look are steeped in Polynesian mythology, and it features a voice cast of mostly Pacific Islander descent, along with a songwriting team that includes Broadway wunderkind Lin-Manuel Miranda, of Hamilton fame. The result is a wonderful tale of a young woman on a quest to find herself and fulfill her destiny.

Scripted by Jared Bush, from a story concocted by the directors and their minions, Moana begins with a creation myth about a slumbering earth goddess in the shape of an island. Because a trickster demigod called Maui stole the sparkling green heart of the goddess, the seas are restless, and life in the islands is imperiled.

This tale is told by Gramma Tala (Rachel House) to an audience of rapt island children, including her own granddaughter, Moana. All her life, Moana has been drawn to the sea. Her father, the village chieftain (Maori actor Temuera Morrison), tells her the sea is dangerous, but life is beautiful in the village, where she is destined to lead the people one day.

But the sea disagrees. One day when little Moana protects a sea turtle hatchling from predator birds as it crawls into the sea, a beautiful green wave rises up and deposits a trail of conch shells at her feet. Her grandmother tells her the sea has chosen Moana to find Maui and return the heart to the sleeping island, far away across the ocean—even though villagers are forbidden from sailing their outriggers past the reef that surrounds their island.

But when Moana is a young woman (now voiced by Auli’i Cravalho), a coconut blight and a dwindling fish supply put island life in jeopardy. Navigating by a constellation shaped like the Maui’s fabled fish-hook, Moana finds the desolate salt island where the demigod has been stranded for his crime. With a body full of tattoos, and plenty of attitude, Maui (Dwayne Johnson, who’s part Samoan), isn’t interested in Moana’s quest; he covets her boat. But when the sea prevents him from throwing Moana overboard, Maui reluctantly adopts a big brother attitude, and they set out to fix the mess he’s made.

After a bizarrely funny encounter with a few boatloads of ferocious pirates made out of coconuts, they visit a scavenger crab (Jemaine Clement provides its sleepy hipster voice) to retrieve the magic fish-hook that allows Maui to shape-shift. Moana’s determination to become a Wayfinder echoes another great girl-power movie, Whale Rider. And Maui’s cool tattoos not only move around and tell their own animated stories, but act as Maui’s conscience.

Like Brave before it, Moana is an original adventure not based on a classic fairy tale, and a Disney princess movie that doesn’t need a prince. And it’s always great to see the folks at Disney continuing their pursuit of diversity. (Remember when it was a big deal that Belle in Beauty and the Beast had brown eyes, not blue?)

Bursting with color, music, beautiful seagoing vistas, and the mythology and folkways of the Pacific Islands, Moana is guaranteed to cure your winter blahs.


MOANA

(***1/2)

With the voices of Auli’i Cravalho, Dwayne Johnson, Rachel House, and Jemaine Clement. Written by Jared Bush. Directed by Ron Clements and John Musker; co-directed by Don Hall and Chris Williams. A Walt Disney release. Rated PG. 113 minutes.

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