Trapped by Landslides, Henry Miller Library Opens New Spot

First came the fire.

The wildfire that ripped through Big Sur for 82 days, from July through October of 2016, not only tore up the Los Padres National Forest—costing the state $236 million—it also quickly prompted Big Sur’s Henry Miller Library to cancel its shows. The library, a favorite hangout spot for many Santa Cruzans, was eventually shut down and evacuated, as were many towns in the area.

The rainy winter hardly provided a reprieve as landslides routinely cut off Highway 1. After the Pfeiffer Canyon Bridge shifted, the library closed its doors. CalTrans has since torn that Highway 1 bridge down, and construction on its replacement has just begun.

“We immediately lost $50,000 the day the bridge fell,” said Magnus Toren, executive director of the Henry Miller Library.

The bulk of the library’s revenue stems from booking private events, says Toren—all of which were immediately cancelled upon the February closure. Today, Toren says losses may have climbed close to $100,000, although a GoFundMe campaign has recouped roughly $42,000.

The Henry Miller Library, known for the quirky slogan “Where Nothing Happens,” is essentially a nonprofit bookstore, with lots of art and an expansive patio and lawn for lounging. The library is a beloved pit stop for many traveling along Highway 1, including visitors from Santa Cruz. Alex Johnston, a UCSC film scholar, routinely visits the library with his wife, Kit Rutter. Whether enjoying a coffee on the lawn or an intimate concert under the stars, Johnston says the library is the perfect spot to unwind.

“It’s a really nice, no-pressure place with a couple fat cats that always hang around,” says Johnston, who was upset when he first read of the library’s temporary closure. “It’s terrible. We have so few of these holdover spaces from a different period in California’s history, from a moment when California wasn’t just Silicon Valley.”

Around this time of year, says Toren, the library would reliably receive “thousands” of visitors. Today, would-be patrons instead show their support through donations, which followed quickly after the closure. Although donating to the library in the midst of natural disaster may not seem like the biggest priority for some philanthropists, Toren says he’s glad so many have found artistic value in his venue.

“It is very gratifying, and I hope people continue to recognize that the art in our community isn’t frivolous, that it is very necessary,” he says.

Library fans like Johnston and Rutter will have to wait months before the Big Sur location reopens, as Pfeiffer Canyon Bridge is scheduled to be finished Sept. 30. Toren was among the last few allowed to cross the bridge before it was demolished.

“By the time we drove across,” says Toren, “you could actually see the guardrail starting to crack.”

There are other slides too, including one south of Big Sur that could keep Highway 1 closed for a year.

By no means is the Henry Miller Library the only group affected by the natural disasters. Though the some Big Sur businesses remain open, many inns and restaurants are shut down, and for stretches of time the only way in or out of the coastal mountain region was via helicopter. The Big Sur Taphouse, Big Sur Deli and Nepenthe remain open, providing some respite for locals stuck there.

Sarah Shashaani, event manager for the Henry Miller Library, has been working from home most days. Shashaani, a UCSC grad, says going into Carmel takes “a minimum two hours if everything goes to plan”—which it never seems to.

“More like three,” she adds.

Toren, still recovering from a recent hip surgery, says that to leave town, he must hike out of his Big Sur home down a footpath and around to the canyon’s opposing side. From there, he and his wife drive to the Library’s new satellite location, known as “the Barnyard,” which just opened May 28.

In Carmel, Miller’s letters and photographs adorn the Barnyard’s walls. Dedicated supporters of the library ensured the unveiling went off with “overwhelming positivity,” says Toren, and high attendance has persisted throughout the week thanks to a movie screening on the reintroduction of California condors to Big Sur. The already-sold-out Big Sur International Short Film Screening Series begins June 8, promising more crowds.

Even in the face of natural disaster, Toren finds solace in the “blessed isolation” bestowed to southern Big Sur. The lack of auto and foot traffic has added to the local wildlife’s courage, he says, and reminds him of why he first moved there.

“You go hiking in the back country and, for once, you’re actually alone,” says Toren. “For once, the shoreline birds are out en masse. For once, you can see a mountain lion walk down the highway. All those things are peculiar to this special isolation.”

Redwood Mountain Faire Is All Grown Up

Back for its eighth year last weekend, the Redwood Mountain Faire at Roaring Camp in Felton broke attendance records both Saturday and Sunday. The traditionally low-key festival, awash in tie-dye, bubbles and a genuine hill-tribe vibe, had some extra drawing power in the form of headlining acts Cracker (on Saturday) and Dave and Phil Alvin (on Sunday).

Cracker, for its part, straddled an interesting line between this new national-touring-act level and the festival’s traditional roots in homegrown local bands. “It’s good to be back in Santa Cruz County,” said lead singer David Lowery, making a point not to lump Felton in with Santa Cruz proper, as most big-name acts would do. He explained to those who weren’t familiar with his earlier Camper Van Beethoven days that he’d lived in the area for a decade way back when. He also scored some honorary-native points by asking the Roaring Camp railroad workers in the audience if they could tell when their riders were high on mushrooms (“oh, so we got away with it, then” he mused, when they replied that they couldn’t) and telling a possibly made-up, but in any case hilarious, story about how he had just discovered that keyboardist Matt “Pistol” Stoessel’s real name is Rainbow and that Stoessel grew up “in a school bus on Ice Cream Grade.” Even GT got a namecheck of sorts, as the band played—along with a string of hits like “Low,” “Eurotrash Girl,” “Get Off This” and “Teen Angst”—“Where Have Those Days Gone,” which features the lines “Thought I saw Thomas Pynchon at the end of the bar/No, that’s just Rob Brezsny writing his Real Astrology column.”

The festival, which is volunteer-run and raises money for the local nonprofits that share the staffing and production duties, had its growing pains this year, too. There were sound problems on both days; I didn’t see the Alvin brothers’ set, but Cracker at least weathered them admirably. One band, Sunday’s La Inedita from Peru, didn’t show up—no one quite seems to know where they disappeared to, but Jesse Daniel and the Slow Learners covered on the main stage, while the Coffis Brothers, who had done their official set on Saturday and just happened to be hanging out at the festival on Sunday as civilians, filled in with Taylor Rae on the Creekside Stage. Rolling with the punches is the nature of the all-volunteer festival that is essentially a massive benefit, says Faire Steering Committee Member Nancy Macy. “Every year there’s somebody learning a new job,” she says of the volunteer staff. “They all go above and beyond.”

While it may look from this year’s lineup like organizers are making a move to grow the Redwood Mountain Faire, Macy says that there’s no such master plan—in her experience, the festival kind of ebbs and flows organically over time. “It morphs and changes and grows,” she says.

Music Picks June 7—13

The best live music for the week of June 7, 2017

WEDNESDAY 6/7

POP-ROCK

JOAN OSBORNE

In 1995, Joan Osborne had a mega-hit with the song, “One of Us,” which asked listeners to imagine how we might act if God was walking among us. Osborne hasn’t had a hit of that magnitude since, but she has established herself as a skillful and insightful singer-songwriter and song interpreter whose range reaches across pop, soul, blues, country and rock. For Osborne’s Rio Theatre performance, she’ll take on the songs of Bob Dylan. CJ

INFO: 8 p.m. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $30/gen, $45/gold. 423-8209.

THURSDAY 6/8

JAZZ

AMINA FIGAROVA SEXTET

Growing up in Baku, the capital of the Soviet state (and now independent nation) of Azerbaijan, pianist/composer Amina Figarova soaked up the sounds of Duke Ellington and Ella Fitzgerald on her jazz-loving parents’ turntable. While she trained as a classical pianist at home, she pursued her love of jazz in Rotterdam and later Boston at Berklee. A skilled accompanist who’s worked with masters like James Moody and Claudio Roditi, Figerova has spent the past two decades touring and recording as a bandleader and composer with a far-ranging musical palette. Now based in New York, she’s touring with her talent-laden sextet featuring her husband, Belgian-born flutist Bart Platteau, Dutch tenor saxophonist Marc Mommaas, trumpeter Alex Pope Norris, bassist Endea Owens, and Oakland-reared drummer Darrell Green. ANDREW GILBERT

INFO: 7 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $22/adv, $27/door. 427-2227.

THURSDAY 6/8

AMERICANA

PATRICK MAGUIRE

In 2012, singer-songwriter Patrick Maguire landed in Santa Cruz, and felt entirely at home. It was no small journey getting here. He traveled from Maine, sleeping in his car, and playing open mics wherever he went, looking for a place to pursue his dream to be a full-time musician. Having grown up in a household of musicians that held frequent jam sessions, playing music was the most natural thing imaginable—making it a career less so. Now a fixture in our scene, he sticks out as an ambitious songwriter who approaches folk like soul music … or does he approach soul like folk? Who can tell? AARON CARNES

INFO: 8:30 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $9/adv, $12/door. 479-1854.

THURSDAY 6/8

INDIE/AMERICANA

THE BUILDERS AND THE BUTCHERS

Hailing from Portland, Oregon, the Builders and the Butchers started out, like many rootsy indie bands do, playing on the sidewalks. They crafted a high-energy, driving sound before playing venues in Portland, around the country and beyond. Taking on topics ranging from addiction and religion to the end times and good and evil, the band blends Americana songwriting with the raw edginess of punk traditions. It has, in recent years, become a road-tested outfit that’s outgrown comparisons to other Northwest acts such as the Decemberists, and developed a style and fanbase of its own. CJ

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

FRIDAY 6/9

FUNK

PIMPS OF JOYTIME

Whether it’s funk, afro-beat, New Orleans jazz or just a good night of dancing, the Pimps of Joytime have been providing audiences all of those things—and more—for over a decade. This week the band makes its triumphant return to Santa Cruz, touring on the heels of their fifth album, Third Wall Chronicles. The Brooklyn quintet’s sound has evolved over time, adding doo-wop and even EDM (electronic dance music) beats to the mix, but one thing remains consistent: the members’ dedicated passion to making sure anyone in earshot has a smile on their face and a jig in their step. MAT WEIR

INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $20/adv, $25/door. 479-1854.

FRIDAY 6/9

SOUL

MORGAN JAMES

With a clear voice and rafter-rattling delivery, Morgan James is a spectacular talent. Hailing from New York, the soul singer, songwriter and Broadway actor is a vocal powerhouse whose creative range seems to have no boundary as she takes on songs by Prince, Bruce Springsteen, Ann Peebles, Joni Mitchell and even Justin Timberlake, whose song “Can’t Stop the Feeling” gets transformed by James into a slow jam of epic proportions. James also paid tribute to legendary songwriter and artist Nina Simone on her album Morgan James Live. Spanning eras and genres, James is a must-see for fans of soul and pop vocals. CJ

INFO: 8 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $25. 423-1338.

SATURDAY 6/10

ROCK

HURRAY FOR THE RIFF RAFF

Alynda Lee Segarra has mashed together elements of folk, blues, and American roots music on her first five albums under the Hurry For the Riff Raff moniker. For The Navigator, she distills these elements into something more theatrical and complex, and yet somehow the closest thing to straight “rock ’n’ roll” she’s ever created. It’s not just intriguing musically—embedded in the lyrics (presented in two separate acts) is a concept album about a Puerto Rican kid named Navita Milagros Negrón. It’s too complicated to explain, but it involves a witch, life in South Bronx, and Bikini Kill. AC

INFO: 8 p.m. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $22.50. 423-8209.

SUNDAY 6/11

FOLK-ROCK

ROBYN HITCHCOCK

Robyn Hitchcock once said he thinks he’ll probably be remembered for songs about seafood—and, yeah, if you write “Where Are the Prawns,” you run that risk. But it would certainly be a shame. Hitchcock’s surreal lyrical style first made its mark on the music world in 1980 on Underwater Moonlight, the classic album by his former band the Soft Boys. He went solo with a slew of incredible records through the ’80s and ’90s, breaking on college radio with singles like “Balloon Man” and “So You Think You’re In Love.” To this day, his staying power has absolutely nothing to do with seafood; rather, it’s the way he blends bizarre imagery with real emotional power, a poetic talent that for me is epitomized by the ending of his great song “Belltown Ramble”: “You can walk a square/You can walk an oblong/Even just walk straight/You’ll be still be standing there/Though you think you did the job wrong/You did it great.” STEVE PALOPOLI

INFO: 8 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $20. 335-2800.

TUESDAY 6/13

PSYCH-ROCK

ALLAH-LAS

The four-piece L.A. garage band Allah-Las doesn’t sound like the Beach Boys. Yet the band has something in common with the iconic ’60s Southern California band. Both groups play careless, breezy California tunes, and also introspective melancholy ones. These were two separate categories of songs for Beach Boys, but Allah-Las somehow jam both of these moods into most of their songs. Despite the rock ’n’ roll groove the band has been able to create, at its heart it’s kind of loner music. That said, you should take a break from your solitary lifestyle and dance around with a roomful of loners for one night. AC

INFO: 9 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $18. 335-2800.


IN THE QUEUE

BASTARD SONS OF JOHNNY CASH

Americana outfit endorsed by Johnny Cash himself. Saturday at Don Quixote’s

ADULT.

Dance punk out of Detroit. Saturday at Catalyst

TOMMY CASTRO

Bay Area-based, international blues-rock shredder. Sunday at Moe’s Alley

WAILING SOULS

Long-running Jamaican reggae vocal group. Sunday at Catalyst

DJANGO FESTIVAL ALL-STARS

Tribute to gypsy jazz legend Django Reinhardt. Monday at Kuumbwa

Giveaway: Acoustic Alchemy

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Is it folk? Is it jazz? Is it new age? Is it fusion? With Acoustic Alchemy, the answer is, “Yes,” followed by, “Does it matter?” A three-time Grammy nominee that’s been around for 35-plus years, the band transcends genre, filtering elements of every style through the masterful playing and artistry of the members, led by Greg Carmichael and Miles Gilderdale. Mixing nylon and steel string guitars with keyboards, bass and drums, Acoustic Alchemy creates something impossible to define and hard to ignore.


INFO: 7 & 9 p.m. Friday, June 23. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $30/adv, $35/door. 427-2227. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Friday, June 16 to find out how you could win a pair of tickets to the show.

Love Your Local Band: Monkeyhands

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You know the saying: The show must go on. For Monkeyhands’ singer Mike Hulter, that means performing some of his most recent shows lying down. His back pain is serious, he says, but he won’t cancel. “I usually wake up and think, ‘I’m going to cancel tonight.’ Then by the afternoon, I work it a little bit so I can at least tolerate the car ride,” he says.

Not only does he put up with it, he even wrote a song about it called “Flat On Your Back.” The whole thing might not have worked for another band, but Monkeyhands mix serious and silly seamlessly. As far as the audience is concerned, it’s all part of the show.

“We can’t go full-on Radiohead, but we also can’t go full-on Weird Al,” he says, describing the band’s parameters.

Hulter finds his current setback an opportunity to show off the band members. (“At first they would hide. Now they can’t, it’s perfect.”) The band formed last October, and mainly play every Tuesday at Bocci’s Cellar as the house band for an amateur comedy night. In 10 years of playing music, Hulter says, this is the first band that’s really clicked with his style of mixing serious and whimsical in whatever genre the band is feeling.

“I’ve always resisted genres. And these guys as well. They’ve each found a genre that they’ve been in. But you can tell there’s so much more going on,” Hulter says.


INFO: 9 p.m. Friday, June 16. Henfling’s Tavern, 9450 Hwy. 9, Ben Lomond. Free. 336-9318.

Film Review: ‘Wonder Woman’

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The new Wonder Woman challenges the notion of what it means to “fight like a girl.” The DC Comics heroine, a transplanted Amazon warrior princess unleashed in the modern world, gets her own butt-kicking movie (after a supporting role in last year’s ill-starred Batman vs. Superman). But this attempted revamp of the boys-club superhero genre dares to suggest that a person of conscience might put her invincible physical prowess to better use by seeking to end the carnage of warfare, not just fight to win.

It’s a radical idea, although trying to inject a pacifist ideal into an action movie doesn’t get too far. But director Patty Jenkins (Monster), and scriptwriter Allan Heinberg work hard to establish the sensibilities of their protagonist, Diana, daughter of the Queen Hippolyta, the only child raised on an idyllic island of Amazon warrior women dedicated to keeping peace in the world, and seeing justice done.

To everyone’s credit—particularly the impressive Gal Gadot, who plays the adult Diana—the character never loses faith in the ideal of peace, even after she’s transported to the trenches during World War I to experience the horrors of modern warfare. Of course, soon as we see the fierce Amazons at their training games, we know butts will be kicked, but it’s still a mostly entertaining ride.

Little Diana (Lilly Aspell) longs to be a warrior, like every other woman on her sheltered island of Amazons, a race right out of Greek mythology. Her mother, Hippolyta (Connie Nielsen) believes her daughter is destined for something more. (“She must never know the truth about what she is,” says Mom, cryptically.) But her sister, Antiope (Robin Wright), who trains the warriors, convinces her to let Diana join in.

When a plane crash-lands out of the sky into their sea, adult Diana (Gadot) rescues pilot Steve Trevor (Chris Pine), an American spy fleeing a German patrol. But a rift is created in the time-space anomaly that protects the island, the Germans break through, and the Amazons get their first taste of real fighting—with real bullets. The Amazons win this round, but when Steve tells Diana he has to go back to prevent thousands more people getting killed, she insists on going along.

In Amazon lore, war is created by the god, Ares, so Diana is sure that if she goes where war is (in this case the European front), and kills Ares, warfare will immediately stop. She’s well-equipped to do so, with her armor-plated bustier, wrist bracelets that repel bullets, and an ancient sword called “God-Killer.” She dazzles on the battlefield, leading a charge across “no man’s land” so the Allies can overrun a German position. (Although you have to wonder about a peacekeeping mission that starts with wiping out a trench full of German soldiers—since war itself is supposed to be the enemy, not the men fighting it.) But it’s interesting how her innocence is betrayed in this matter, yet she decides to become a champion of messy humankind anyway.

Meanwhile, wry comedy is made of Diana’s discovery of romance, along with her attempts to behave, and dress, like a “normal” woman in WWI-era London. Diversity is served by the offbeat crew that assists the mission (a Scot, a Muslim, and a Native American). Danny Huston is on hand as a bug-eyed German commandant, with Elena Anaya (The Skin I Live In) as his cohort, Dr. Poison.

In the Greek Pantheon, Ares, God of War was not the source of all evil; he had his part to play in human affairs, just like any other deity. But here, Ares is more like Lucifer, a disgruntled malcontent kicked out of Paradise who takes out his rage on puny humans in order to destroy them—and irk their creator, Zeus. Sadly, Diana’s final battle against the personification of Ares is the usual dreary CGI extravaganza that goes on forever. A disappointing finale for a movie that otherwise injects a new perspective into this familiar old genre.


WONDER WOMAN

*** (out of four)

With Gal Gadot, Chris Pine, Connie Nielsen, and Danny Huston. Written by Allan Heinberg. Directed by Patty Jenkins. A Warner Bros. release. Rated PG-13. 141 minutes.

New Owners Revive Malone’s Grille

Anyone who’s lived in Scotts Valley for any period of time knows Malone’s Grille. Brothers Ryan and Taylor Fontana bought the restaurant last year, and have made it their own, while still keeping the name and finding other ways to honor its past. They’ve even revived the patio, turning it into a gorgeous outdoor hangout spot. Ryan took the time to tell us all about the new Malone’s.

How do you honor the restaurant’s legacy while also building your own?

RYAN FONTANA: We’re just reviving what’s already there. In terms of recognizing the history, we gathered a bunch of old photos that Patti [Malone] used to have when the place used to be called the Rusty Lantern. People used to tie their horse up to the front porch. So we put a bunch of old nostalgic photos up. We named a lot of menu items after Scotts Valley history, like the Hiram Scott burger. A lot of our cocktails are named for it, like the Whispering Pines Cocktail. We wanted to find a good spot where we could attract more young couples, because there are a ton in Scotts Valley. Trying to give them a reason to get a babysitter and go out on the town. We’ve known Patti for a long time. She used to buy all her food from Ledyard Company, which is our dad’s company. It’s been around more than 80 years. It was the most unique opportunity we could find in our hometown.

What’s the menu like now?

The only things we really kept were the steak salad, Cobb salad, the French Dip—she used to offer it “Fred style” which had grilled onions and cheese on it. This person Fred she named it after is my godfather. We changed that to “the Fred.” It comes that way in honor of him because he passed away a few years ago. The biggest thing at Malone’s is the hamburgers. We kept the same beef blend. It’s ground chuck, short rib and brisket. We have the absolute most tender, delicious fatty burger that you’ll ever have. Every burger she sold was on a big old ciabatta roll. She used to call it “almost a pound burger.” Nobody could finish the burger. We took that beef blend and put it on an artisan brioche bun for our own signature burgers. It allows you to taste that beef blend even more. We really want to take the menu and make it more exciting and have healthier options. So we have strawberry kale salad, smoked salmon salad. We’re smoking our own brisket for 12 hours for the brisket sandwich. There’s a flexibility. We can throw fresh fish on the menu. And we constantly have specials. There are always three food specials and a few specials from the bar every time you come in.  


4402 Scotts Valley Drive, Scotts Valley, 438-2244.

Picnic Essential: Windy Oaks’ Bastide La Combe Rosé

Windy Oaks’ recently released Rosé comes with a delightful title—Bastide La Combe—named after a lovely guesthouse where the winery’s proprietors Judy and Jim Schultze stay in Provence. Dedicated to producing fine wines, the Schultzes usually take an annual trip to France to visit the cooperage where they purchase barrels. Only the best will do.

It says on the Rosé’s label that “Bastide” means farmhouse in French, and “La Combe” owes its name to the incline of vineyards and forests akin to the Windy Oaks estate vineyard in Corralitos. And while we’re talking about the label, it’s such an eye-catching drawing of the guesthouse that you will immediately want to pack your bags and head to Provence.

And as for the contents of the bottle, this Rosé is light and crisp—using locally grown Grenache grapes from Monterey. A beautiful blush pink and full of flavor, it’s just perfect for upcoming summer picnics. The Schultzes say the wine is to be enjoyed year-round, chilled, and paired with almost all casual foods.

Windy Oaks tasting room in Corralitos is on a bucolic estate with gorgeous views of the Monterey Bay. Visit their tasting room in Carmel, also. At the Carmel location on Friday nights from 4-7 p.m., you can enjoy a wine and cheese party with a charcuterie plate and specially paired cheeses from The Cheese Shop for $15 a person, which includes a tasting of four wines. Check their website for open hours and upcoming events.

Windy Oaks Estate Vineyard & Winery, 550 Hazel Dell Road, Corralitos, 786-9463, and Su Vecino Court on Lincoln Street, between 5th and 6th streets in Carmel, 574-3135. windyoaksestate.com.


Bargetto Winery’s Customized Labels

With all of the weddings and celebrations coming up this summer, it’s fun and impressive to have your very own customized wine label. You can design your own label and select from Sparkling Brut ($35 a bottle) or Merlot, Pinot Grigio, and Chaucer’s Mead ($22 a bottle). Visit cu*************@******to.com. Bargetto Winery is at 3535 North Main St., Soquel, 475-2258.

 

Santa Cruz Remembers Jack O’Neill

On foot, via bicycle and in cars, a trail of Jack O’Neill’s friends and fans snakes past his home at 23610 East Cliff Drive on Saturday, June 3. Flowers, O’Neill hats and hand-drawn pictures decorate the sidewalk in front.

Below the cliff, surfers carve up beautifully breaking waves. But no one will bark surfing advice at them from an oceanfront patio above—something O’Neill, who died of natural causes at the age of 94 on Friday—was known for doing.

Dripping-wet shortboarders climb the steps from the beach, pausing silently to admire the homage as they stroll back to their cars. The whole residential block feels eerily quiet, not just because of the somber mood, but also because of the obvious fact that Santa Cruz’s eye-patch-wearing legend, who lived for the ocean, is no longer standing watch over it.

Ask most any local about O’Neill and you’ll hear words like “visionary” or “revolutionized”—plus the observations that “He really put Santa Cruz on the map” and “We wouldn’t be warm in the water without him.”

Randy Hall, who’s lived in Santa Cruz since moving here with his family at age two, 65 years ago, went by O’Neill’s house last Saturday to drop off a glass vase of flowers that he left in the pebble-filled front yard, behind a faded wooden fence.

“It was an exciting time in Santa Cruz, back in the ’50s, ’60s, ’70s, ’80s, and Jack was such an innovator with the wetsuit and surfing, and there was always something interesting happening with his hot air balloon that he would fly all over [Steamer] Lane,” Hall says. “It was a sleepy old retirement town before that. With his innovations in surfing, it brought in a lot of energy. He was cool, and he would drive around in his old Jaguar. You just had a feeling that Santa Cruz was a center for a lot of lifestyles that were fun and healthy. He personified the surfing attitude. It allowed for the feeling of that experience to rub off on future generations.”

O’Neill was not the only one to experiment with neoprene water suits in the 1950s. But at his surf shop—first in San Francisco and then in Santa Cruz—he mastered the craft, making it his gift to the surf community.

“The wetsuit changed the nature of the sport exponentially,” says local historian Geoffrey Dunn. “Whether he developed the suit or not, he popularized it and commercialized it, and it changed the sport forever. When we were young here, buying a used O’Neill wetsuit was a score. They were like drugs. I remember when I got one. It was a short john. It was a great summertime suit. Instead of staying out for an hour, you could stay out for a few.”

Back in the ’50s, UC Berkeley physicist Hugh Bradner was also tinkering with neoprene and developed a similar suit, as did Bob and Bill Meistrell, two brothers in Southern California, but their designs were tailored more toward diving and not as durable. Drew Kampion, O’Neill’s biographer, says it was O’Neill who developed thicker layers of padding on various parts of the suit to make paddling easier without sacrificing warmth.

In the 1960s, the Santa Cruz Sentinel marveled at how warm those early suits were. Columnist Wally Trabing described the tight-fitting outfit as a “head-to-toe girdle that improves your figure by 20 pounds,” adding that “Once incarcerated, you feel vaguely like a can of beer that’s been all shook up.”

A decade later, O’Neill was testing out an early version of the surf leash and damaged his left eye, prompting him to start wearing the eyepatch that would become a trademark for him. “And then he got the pirate look going,” says surfing historian Kim Stoner, who has a ’62 O’Neill board hanging in his living room. “That fit Jack to a tee.”

O’Neill, after all, was an all-around nautical master. In addition to being a wildly successful businessman and a surfer himself, he was a sailor, a hot air balloonist and a windsurfer—not to mention an underrated bodysurfer. That pirate-like black eye patch—to go with his graying beard—would cement his image as an icon and even provide the company, which shared his name, with new logos. And when it comes to O’Neill, brand loyalty is no joke. Fans like Michael Thomas of Lodi wear O’Neill pretty much all of the time.

“I have a hat, some swimsuits, shirts, flannels. My girl, she rocks a couple bikinis from O’Neill and also a couple hats. My boys, same thing—swimsuits and a few shirts, a few hats, all those styles,” Thomas said Friday night as he perused O’Neill on Pacific Avenue, with his family still reeling from the news of the man’s passing several hours earlier. “His design is going to be imprinted for another 10 or 15 years. The style’s almost immortal. You can pick up some shirts from 10 or 15 years ago, and it looks like it just came off the shelves.”

Ten years ago, the style took on a life much bigger than Santa Cruz, when O’Neill sold the trademark to a European company—for more than $200 million, according to a source close to the deal. That decision spread the image and clothing logos even farther and wider. O’Neill Wetsuits, now a separate group, is still family-owned and run by Jack’s eldest son, Pat. There are only four O’Neill surf shops, all of them local and owned by the wetsuit company.

The man’s true legacy, at least as far as O’Neill himself was concerned, is in a catamaran called the O’Neill Sea Odyssey, which he helped design.

Close to 94,000 students from all over the Monterey Bay, San Francisco Bay Area and Central Valley have come for field trips on the 65-foot vessel to learn about marine biology and the fragility of Earth’s ecosystems. “When he looked out into the ocean, he saw a playground,” says Dan Haifley, executive director of the program. “He also saw a classroom, and he wanted to protect it.”

Many of those who come to Santa Cruz for a sail are low-income students, and it is often their first time seeing the ocean. Within the next year, the Sea Odyssey plans to welcome its 100,000th student, and it’s on a fundraising campaign to celebrate that landmark.

“Jack’s passing certainly is the end of an era for us. This was his vision. He started the organization, along with his son Tim,” Haifley says. “He regarded the ocean as a living entity. It has a lot of ecosystems in it. His philosophy was that the ocean is alive.”

O’Neill often told people the program was the best thing he ever did.

“The wetsuit is [Jack’s] commercial legacy, but I think the O’Neill Sea Odyssey is his spiritual legacy,” Dunn says. “It continues to give back to the community, and the world at large.”

Many surfers remember his goodwill through the years, like his support for the local junior lifeguard program and sunscreen awareness campaigns that he sponsored.

Nine years ago, the Santa Cruz Surfing Museum was at risk of closing due to city budget shortfalls. O’Neill gave it enough money to survive for four months, while the Santa Cruz Surf Club kicked fundraising efforts into high gear. “He did a lot of things for the surfing community,” Stoner says, “that people didn’t know about.”

The O’Neill family is asking that people send any memorial contributions in support of Jack’s love of the oceans to oneillseaodyssey.org. A group of locals is encouraging Santa Cruzans to break out their favorite O’Neill’s apparel for a citywide “Wear a Jack O’Neill Shirt Day” this Friday, June 9. The family and company are also planning a possible paddle-out in his honor.


Jack of all Trades

We asked people to tell us their stories of O’Neill. Here are some highlights:

Dennis Judson:

When O’Neill tapped Dennis Judson to be CEO in the 1970s, he gave Judson free reign of daily operations, letting him do whatever he wanted—that is until O’Neill had a problem with one of his hot air balloons. “He would shut down a factory and have everyone work on his balloon” Judson remembers. “I said, ‘Jack, what are you doing?! We have to get all this neoprene out. You know, the balloon occupied the whole factory. It was basically a giant spinnaker. And when the balloon was there, it was hard to work on anything other than that goddamn balloon.”

Jeff Pappas:

Jeff Pappas’ father Joe was O’Neill’s second employee at the Cowell Surf Shop. A longtime family friend, Pappas raves about the entrepreneur’s ability to think “three steps ahead” of everyone else. But his favorite story is a time in the early 1990s, when the two were sitting in an airport in San Diego preparing to fly home. O’Neill spotted two Catholic school girls and asked them what books they were reading. O’Neill had read all those same religious texts himself, prompting a deeply philosophical conversation before takeoff. “It was incredible how much he could communicate on so many different levels,” Pappas says. “So humble.”

Jon Foster

A former member of the O’Neill surf team, Jon Foster remembers one afternoon at the harbor, seeing O’Neill on a boat with sons, Pat and Mike, in the mid-60s. O’Neill taxied over toward Foster and called out, asking him to join them aboard. But as the teenager stepped one foot off the dock, O’Neill slammed the vessel into reverse. “Bam. Right in the water,” Foster recalls, chuckling at the prank. “He thought that was great fun. I knew I was a part of something when he could joke with me like that.”

Randy Gray:

Randy Gray’s parents, Bill and Jimmie Jean, used to hang out with O’Neill and his first wife Marjorie when they still lived in San Francisco. They ran with a crowd that included baseball great Joe DiMaggio, Randy says. His dad and O’Neill used to surf together in the days when watermen wore wool sweaters to stay warm. (A good sweater lasted a few waves until it got wet and waterlogged, forcing surfers to paddle ashore.) Then O’Neill came up with the idea of foam suits to keep surfers comfortable, suggesting Bill take out a mortgage on his house to invest in the business. Bill politely passed on the business venture and never lived it down. Randy says, “When he got older, he laughed about that: ‘Yeah, I told Jack, You’re full of shit!’” Although he was a good sport about it, O’Neill clearly got the last laugh.

Larry Dunham:

When Larry Dunham’s brother Roger joined the O’Neill surf team, the honor came with a surfboard. Larry remembers going to Pleasure Point with his brother to check out the surf at Pleasure Point in the mid-60s. Larry says he advised Roger not to leave his brand new board in the back of the pickup truck while they walked across the street, but he did it anyway. And when they came back a couple minutes later, the board was gone. “We were really blown away,” Larry says, “so we go back to the shop, and Jack said, ‘Roger, just pick out another one.’ He was that kind of guy.”

Tom Ralston:

Tom Ralston remembers one night he spent with O’Neill’s second eldest son, Mike, drinking at the Crow’s Nest. They finally got back around 3:30 a.m. to O’Neill’s home on East Cliff, where they were going to spend the night and where O’Neill had a trampoline that he loved using for exercise. “We were pretty lit when we went to bed,” Ralston says, “and Jack was on the trampoline at 5:30 that morning, and he was jumping on the trampoline to John Philip Sousa music.” The sound blaring marching band sounds rattled Ralston hard. To this day, he wonders if O’Neill was trying to screw with him and maybe teach him sort of lesson—maybe that “the early bird gets the worm,” Ralston says, “and if you’re going to be up until 3:30, you’re also going to pay a price.”

Suzanne Haley:

From her days working in the company, Suzanne Haley remembers one day O’Neill took everyone out sailing in his catamaran, departing from the Santa Cruz Harbor, en route for Monterey. As he pulled up to an end tie along the dock, the harbormaster barked that he couldn’t park there. The two men squabbled back and forth, with O’Neill repeatedly yelling back that he was only going to be there a minute while he grabbed a quick part for his boat in the shop. Then O’Neill took the whole team out for a long, fancy lunch and ordered a few bottles of wine. “That was Jack,” Haley says.

Drew Kampion:

Some remember O’Neill for his fondness for a special libation. “When Bruce Brown—you know, he’s the director of The Endless Summer—would come to town, Jack would sponsor his showings. The minute Bruce arrived, the martinis would start pouring,” says Drew Kampion, who ran an advertising agency that had O’Neill’s company as a client in the 1970s. “Jack was quite the party guy and an exuberant guy.” Later when Kampion penned O’Neill’s biography, he fondly recalls sitting on O’Neill’s couch with him for hours beside giant windows, as waves rolled in around him, from the Hook to Pleasure Point. “It was such a wonderful time,” Kampion says. “He was such an authentic guy. He still is, because he will always stay and remain in the present tense and keep going no matter what anyone else does after.”


Update 06/08/17: We originally misreported the name of the O’Neill CEO during the 1970s as being Dennis Johnson. His name is Dennis Judson.

Lawsuit Calls Cisco Responsible for Oppression Abroad

Despite a narrow escape from police during his last visit, Charles Lee returned to his native China on Jan. 22, 2003, to relay a message that would cost him the next three years of his life. The physician—a newly naturalized U.S. citizen who lived in Menlo Park at the time—spent more than a year rehearsing the proclamation he would deliver by hacking into a state-run television broadcast. He wanted to tell viewers about the Communist Party’s brutal persecution of the Falun Gong, a quasi-spiritual movement outlawed in 1999 as an “evil cult.”

Instead, Lee walked straight into the arms of his captors.

Public security officers told him that they knew of his impending arrival, he says, and arrested him as soon as he stepped off the plane. Until his release in 2006, Lee says, he endured torture, forced labor and attempts to brainwash him into rejecting the beliefs that rendered him a political target. But the spyware that ostensibly helped party officials zero in on him and thousands of other Falun Gong practitioners wasn’t created in China. Rather, the censorship and surveillance system—dubbed the Golden Shield—was crafted and custom-built in his adopted homeland, at the San Jose headquarters of Cisco Systems.

Lee is one of the lead plaintiffs in a class-action claim accusing Cisco of designing software, hardware and training to help China’s ruling party persecute Falun Gong adherents, who cultivate self-improvement through exercise and mindfulness. The lawsuit hopes to address an evolving legal question: Can American corporations be held liable if foreign governments use their product for repression?

The federal district court in San Jose dismissed the case in 2014, saying Falun Gong victims—many of whom sought refugee status in the Bay Area—failed to prove that Cisco knew its product would enable oppression. But last month, the plaintiffs asked the 9th Circuit Court of Appeals to revive the allegations.

Attorney Paul Hoffman, who represents the Falun Gong members, says any perfunctory research would have alerted Cisco that its surveillance technology enabled systemic persecution. For more than a decade, Human Rights Watch, the U.S. State Department and the New York Times have reported how Chinese authorities subjected the Falun Gong to torture, enslavement, organ harvesting and “re-education” through labor. Cisco shareholders raised concerns in 2002, 2003, 2005, 2008 and 2010, according to Hoffman’s co-counsel, Terri Marsh.

The outcome of the appeal could have far-reaching impacts on how U.S. companies—and technology companies in particular—conduct business under authoritarian regimes. Although Silicon Valley touts its potential to promote human rights and democratization, it also creates tools of oppression, Hoffman notes. But at what point does a company become complicit?

“In the digital age, repressive governments do not act alone to violate human rights,” Hoffman says. “They have accomplices—including American technology companies like Cisco, as alleged by plaintiffs—with the sophistication and technical know-how that those repressive governments lack.”

Cisco attorney Kathleen Sullivan cautioned the court in 2014 about the risk of holding high-tech companies liable for violations of international law simply because they provide general-purpose technologies. “If you hold that creating networking equipment and services, the same routers and the switches that are enabling everybody in this courtroom to connect across the internet today, if you hold that that technology, because it’s customized for police use, is somehow specifically directed at torture,” Sullivan argued, “I submit there’s the danger that it would take [Silicon] Valley down with it.”

The Cisco case largely rests on how much the company knew when working with the Chinese Communist Party on the Golden Shield. Marsh says Cisco went beyond merely providing routers and switches. The high-tech firm took pains to market the Golden Shield system as a way to find practitioners of Falun Gong. As proof, she points to a Cisco document leaked to reporters on the eve of a U.S. Senate human rights hearing. In the 90-page PowerPoint presentation, Cisco engineers framed the Chinese government’s crackdown on “‘Falun Gong’s evil religion and other hostiles” as a lucrative opportunity.

“They use a term, douzheng, which literally translates to a persecutory campaign against a group or class of people disfavored by the Communist Party,” Marsh says. “Cisco used that term to describe the intent of this technology that they uniquely tailored for that very purpose.”

There’s another important question the Cisco case could help to answer. If corporations enjoy the rights of personhood—as secured by the 2010 U.S. Supreme Court ruling in Citizens United v. FEC—then should they be held to the same standards of social responsibility? Corporations were designed to limit liability, says Francisco Rivera, head of the Santa Clara University School of Law International Human Rights Clinic. “If you invest in a corporation and things go bad, you only lose what you invested,” he says. “You don’t go to jail.”

But what if a corporation engages in human rights violations abroad?

U.S. courts are conflicted on that point. One possible remedy comes by way of an obscure 1789 law called the Alien Tort Claims Act, which has become a way for foreign victims of human rights abuses to seek relief in American courts. If aiding and abetting liability under the alien tort statute is to mean anything, Hoffman says, it must apply to corporations in cases like Doe v. Cisco.

In 2011, the same year Lee sued Cisco over its ties to Golden Shield, the United Nations adopted its Guiding Principles for Business and Human Rights. Multi-national corporations pledged to uphold the voluntary standards proposed by a coalition of governments. “That was important because those guidelines were formed by governments and not the industries themselves,” Rivera says.

Silicon Valley, in recent years, has taken similar pledges. When then-candidate Donald Trump talked about creating a database of Muslims, the biggest names in the high-tech industry signed the “Never Again” pledge. “We refuse to build a database of people based on their Constitutionally-protected religious beliefs,” the statement read. The pledge acknowledged the role technologists played in past oppression, including IBM’s efforts to streamline the Holocaust. Cisco signed, as did Palantir, the controversial data-mining company that provides critical technology for Trump’s ramped-up deportation efforts.

“We’re at a point of having to move beyond voluntary principles,” Rivera says.

Santa Clara University law professor David Yosifon wants to see corporate rhetoric about social responsibility align with corporate law. He is working on a book—titled Corporate Friction: The Social Cost of Corporate Law and How to Fix It and slated for publication in 2018—that will outline a prescription for reform. “If we cannot keep corporations out of our democracy,” he says, “then we must have more democracy in our corporations.”

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