What’s your biggest Santa Cruz pet peeve?

0

“The disparity between people who are making it and people who are not.”

Larkin Wintrode

Lompico
RN

“The vilification of the Beach Flats community, and the takeover by the Seaside Company of whole neighborhoods and their garden.”

Jessica Brooks

Santa Cruz
Librarian

“Smoking and spitting.”

Robert Steffen

Santa Cruz
Observer of the Universe

“People who are always angry.”

Pepe Palacios

Santa Cruz
Brewer

“That you have to pay to park. ”

Joe Hill

Los Gatos
Pastor

Could Self-Driving Cars be the Norm by 2050?

1

After touring an exhibition put on by Yanfeng, the world’s largest auto interior company, I hailed an Uber driver who happened to be on his first day of work. Six fares in and loving it, he sparked up the customary chit-chat, asking what I’d been doing. I stuttered. I didn’t want to deflate his excitement, but I’d just seen the future, and it didn’t include him.

Yanfeng’s San Jose showroom prototype sported a soon-to-be omnipresent feature that will replace virtually any vehicle service that requires an actual driver. But, more cheerily, it’ll also reduce traffic, pollution and death, plus save trillions of dollars. The revolutionary feature? A steering wheel that nestles into the dash during autonomous mode.

Sitting in the glitzy, leather-wrapped faux cockpit, I wondered if America—a land wedded to the lusty mythology of exploring the open road—could ever let automated driving overtake the manual method. Han Hendriks, a Yanfeng vice president with a crisp German accent, sighed and answered with the casual surety of a man hearing this question for the 4,000th time.

“Autonomous flying was introduced to the commercial airline market in the ’70s,” he says. “And without any exception, all the pilots said, ‘Never. I will always fly my plane.’ Today, all pilots fly autopilot. No exceptions.”

To Hendriks, anyone opposed to autonomy is thinking about it wrong. Californians might love to wind through eucalyptus-lined mountain roads and redwood groves. But automated driving, at least the first wave, will take over navigation nobody wants to do—Highway 1-esque straightaways or traffic jams where the average American wastes somewhere between 38 to 81 hours every year.

“Sure, you love driving in your [Porsche] 911 on Sunday,” Hendriks says. “But do you love driving when you’re in a traffic jam every morning? Every evening? That’s a different driving. I love driving, but I hate traffic.”

Assemblymember Mark Stone (D-Scotts Valley), a self-described technophile, is already intrigued by the possibility.

“I love the technology. My one caveat is I love to drive,” says Stone, who wants to be able to take over, when his car isn’t stuck in traffic. Most congestion on roads like Highway 1 and Highway 17, he says, is caused by aggressive driving, and drivers trying to zig and zag around one another, slowing down everyone else on the road.

He adds that people will be tempted to over-react to accidents caused by self-driving cars, but that the vehicles are still safer than the distracted drivers out there who text and such while behind the wheel.

Automated driving wouldn’t just let people nap, work or do whatever in traffic. It would also drastically improve safety and reduce commute times. Intercommunicating cars could “platoon” in columns too tightly packed for humans to ever sustain—an arrangement that’s denser and more aerodynamic. This could end gas-guzzling, stop-start jams and spawn a ripple effect of positives as its usage expands.

“First of all, it’s safety, because 95 percent of all accidents are human error,” Hendriks says. “The second one is cost, because all these accidents cost a fortune—hospitals, insurance, safety systems and so forth.”

The estimated savings are huge. In 2015, 35,000 people died in automobile accidents. In what may sound like a cold calculation, the Department of Transportation (DOT) has computed the value of a human life at $9.6 million—so that’s more than $300 billion, taking into account economic factors, like income.

Additionally, the Centers for Disease Control estimates these deaths represented a work and medical loss of $44 billion. On top of that, 2.3 million people were injured in cars in 2013. The DOT ranks injury costs from minor ($27,000) to unsurvivable ($9.2 million). Needless to say, car accidents add billions of dollars in injuries, as well.

“We could prevent 90 percent of [lives lost],” says Amit Garg, an in-house venture capitalist for Samsung who spends much of his days thinking about the mobility revolution. He notes that it will “create huge amounts of opportunity” and “change the societal landscape.” It will also potentially dislocate the 10 to 15 million people who drive people and things around for a living.

“I think it will be better for us as a society,” Garg says. “Some people will have to retrain jobs. There will be losers in this.”

And for those in favor of a habitable planet, a report by the Intelligent Transportation Society of America claims these cars could chip away at 2 to 4 percent of oil usage and greenhouse gas emissions each year over the next decade. The real reductions will come as we replace gas tanks with batteries and find cleaner ways to make electricity. With pioneers like Tesla, it’s not inconceivable that autonomous driving and sustainable power develop hand-in-hand.

And more immediate than the eventual demise of person or planet, automation offers an otherwise non-purchasable commodity: time.

“The average commute globally is 40 minutes, one way,” Hendriks says. “So now you can give people that two times per day. What is a driver going to do when he or she is in a vehicle with that time? And how is the interior going to support this new activity—this relaxing, working, eating, exercising?”

 

Road Work

Yanfeng has cooked up some modest but sexy changes. In autonomous mode, the front two seats rotate 18 degrees to facilitate more natural conversations and recline to a relaxed, but not necessarily sleep-inducing angle. The plastic surfaces buzz when touched, then kill the germs left behind in under three hours—a crucial feature for shared vehicles. Tucked into the side panels, LED lights glow in any pigment, pattern or brightness desired. Next to a tablet embedded in the dash, there’s a spot for phones to sit and sync with the car. Between the shins of the front passengers, there’s a cubby for something purse-sized.

Like a collegiate lecture hall desk, a small table folds out of the huge central console toward the driver. The inside of the console is lined with tracks for tambour dividers that can be rearranged to make larger compartments, which could fit a half-dozen books, or smaller “secret” compartments to sock away valuables. All of this sits above a blue-lit mini-fridge that can be pushed open to back-seat passengers at the touch of a button.

Since “80 percent of car use is by one or two people,” Hendriks says, front-riding passengers will be able to fold down the back seats, then extend their chairs horizontally. There, they can gaze at the stars through the sunroof, watch a film on their ceiling or—ahem—engage in other activities for people with time and privacy (facilitated by adjustable window opacity).

Thirty corporations—including Google, Apple, Microsoft, Tesla, BMW, Mercedes, Ford, GM, Honda, Toyota, Volkswagen and Uber—are developing their own vehicles. On Wednesday, Sept. 14 Uber announced it was launching a pilot program of self-driving cars in Pittsburgh. A report by the University of Michigan predicts autonomous functions will be standard on a majority of cars on the road in the 2050s.

These automobiles could drop passengers off at their destination, then wait by circulating on less busy streets or parking themselves in tighter-packed lots. Way out in the future, the car might leave the lot, pick up remotely ordered groceries, nab the kids from a playdate and then snag the original passenger before driving home.

Consider an area like Los Angeles County, where 14 percent of land consists of parking spaces, according to a recent blog for the Los Angeles County Metropolitan Transportation Authority. Autonomous vehicles could help bring about denser city planning, especially if metropolitan areas create sharing systems centered around vehicles similar to the Google Bubble car—an automobile that makes the Fiat 500 look positively macho.

Stripped of a steering wheel, speedy engine, brake/gas pedals and most bulky safety features, these Pixar-esque vehicles could be ideal for ridesharing in low-speed, high-traffic metropolitan areas. Vehicles constantly circulating from one request to the next could be increasingly useful as roughly two-thirds of humanity is projected to live in cities by the century’s midpoint. Last month, MIT spinoff Nutonomy began piloting a small number of autonomous taxis on the streets of Singapore. This month in Pittsburgh, Pennsylvania, Uber will test out 100 self-driving Volvo SUVs, though they will be supervised by human drivers.

“You might have parts of large cities where no human-driven vehicle would be allowed,” says Dorothy Glancy, a lawyer who has been studying the possibilities of automated vehicles for more than a decade. “You’d have a whole bunch of autonomous vehicles available to serve the people in those areas, and it might be considerably safer.”

These advances, however, come with grim news for the job market. Hundreds of thousands of car mechanics and drivers will likely become unnecessary, along with 1.6 million American truckers. Daily, trucks transport 70 percent of all cargo in the United States, or $11.4 trillion of freight. But since deregulation during the Carter administration, this bedrock profession has been transformed into a “sweatshop on wheels,” where drivers routinely work lonely, 10-plus hour days for wages that occasionally work out to less than minimum wage. At the end of 2015, the American Trucking Association reported a shortage of nearly 50,000 drivers, one that’s expected to grow to 175,000 by 2024.

The current landscape is far from perfect. Trucks only account for 1 percent of the cars on the road, but produce 28 percent of vehicle-based pollution. One in seven are empty, leading to increased congestion, and they kill approximately eight people a day in accidents.

To modernize and improve this shipping method, two Google alums—Anthony Levandowski and Lior Ron—founded Otto, a startup pioneering autonomous truck-driving. They seek to retrofit existing trucks with updated sensors, software and other modifications. And they recently completed a test-drive of their technology on a public highway. After further upgrades and research, their goal is to spread to “every corner of the U.S. highway system.” On Aug.18, Uber announced that it had acquired Otto as part of the company’s foray into autonomous driving.

Currently, the most advanced autopilot models—pioneered by Tesla, BMW and Mercedes Benz—don’t trust their cars enough. They allow for cruising on highways, either open or congested, and that’s about it. Despite the limitations, it’s still a wild ride. Hendriks showed me a video of himself bombing down a European freeway at 130 mph in a BMW 7-Series with his hands off the wheel—well, most of the time.

“It’s a safety system where you have to touch the wheel every 15 seconds,” he says. “And that will go away over time because it’s kind of silly. But you don’t need pedals. You don’t need your hands on the steering wheel. The car drives itself. I actually closed my eyes for a minute, just to sense how that feels. It is unbelievable—and you can buy that today.”


Amit Garg and other industry experts will speak on the “Autonomous Vehicles at the Crossroads” panel held Friday, Oct. 7 at the C2SV Technology + Music festival in San Jose.

A Bike Share Program is on Santa Cruz’s Horizon

1

Zach Davis was on the road listening to the radio last month when a story came on about the growing world of local “bike share” programs. Millions of riders have hopped on in cycling-friendly communities all over the country.

“I was sitting in my car feeling a little embarrassed we didn’t have one, because bikes are a great way to move people in an engaging way,” says Davis, a member of Santa Cruz’s Downtown Commission and a co-owner of eateries including the Penny Ice Creamery.

But at the following commission meeting a couple of days later, the advisory body heard a presentation on a possible bike-share program, one that could launch as early as January. Davis now feels excited that, because the city has come to the trend a little late, local leaders will be able to piggyback on ideas that have worked elsewhere.

The whole process started over the summer when J. Guevara, the city’s economic development manager, took a cold call from a bike share vendor asking if Santa Cruz might be interested in starting a program of its own that would allow customers to rent a bike right off the street by the hour, day, week or month.

Guevara remembers telling the salesperson, “Yeah, we just received a gold bicycle-friendly award, moving up from silver, and we’ve got our eye on platinum. And we’re developing section seven of the rail trail, and we are a great market with between two and three million visitors, as well as a resident population that really embraces and loves cycling.”

Both the Downtown Commission and the Transportation and Public Works Commission unanimously recommended that the city continue moving forward with the proposal last week, after asking questions about customer service, safety, liability and upkeep.

One transportation commissioner, Philip Boutelle, remarked that the League of American Bicyclists, which gave the city its recent gold certification for biking, provided a report card on how the city can make it up to platinum. And while the bike share made the list of recommendations, Boutelle suggested that city leaders should keep an eye on other items, like conducting speed studies and looking for ways to calm traffic.

Commissioner Peggy Dolgenos asked how the vendors handle helmets, or if they require them.

Transportation Planner Claire Fliesler responded that bike share vendors heavily recommend using helmets, but don’t require them because they can be “a barrier to entry” for new riders. Vendors in some places, though, have partnered with bike shops, offering discounts of 15 to 30 percent off helmets. And a study from the San Jose-based Mineta Institute found that no one has died from a shared-bike crash in the United States. It also found that people have been less likely to be injured on a shared bike than their own—either because the bikes aren’t built to go as fast or because people are more careful on a ride they aren’t familiar with.

When it comes to the contract, Fliesler says the city will pick a company that offers “customer service 24/7 and that it would be a pleasant experience from beginning to end.” She adds that the bikes are very difficult to steal, strip or vandalize and that customers generally aren’t held liable for any missing bikes.

Fliesler and Guevara have entertained bids from three companies—Zagster, Social Bicycles and BCycle—with offers ranging from free to “expensive.”

“The zero-cost vendor is the best-performing vendor, and is very attracted to our market and is motivated to capture it,” Guevara told the transportation commission.

Generally, Guevara explains, there are two kinds of bike share programs. The first is what planners call a “hub-based” style, where people lock up the bike to a designated bike rack. Customers pay at a pay station, which automatically unlocks one of the bikes from the hub. This is what most people probably picture when they think of bike shares, as it has already taken off in metropolitan areas like New York City, which launched its Citi Bike program three years ago. The problem is that installing all those hubs and pay stands gets expensive.

The newer approach planners have been using is sometimes called the “smart bike” model. It uses normal bike racks and lets users unlock the bike with their phone. Afterward, they can lock up the bike wherever they would like. The approach has proven cheaper and more flexible, Guevara says, making it more enticing, as well as the preferred model for smaller markets like Santa Cruz.

Guevara plans to take the plan to the City Council in November, and with the council’s approval, the city manager’s office would be able to negotiate a contract. He hopes to have a bike-share system running at full speed by the summertime. To do that, the company would plan to launch with about 50 bikes and 10 bike racks in early 2017. Commissioners say that one day they’d love to see the program spread into other parts of the county, perhaps along the rail corridor and its accompanying trail.

The city may provide some basic infrastructure, like racks, but Guevara says he wants the vendor’s employees to take care of repairing bikes, moving them around and keeping an eye on the fleet. In order to help support the program financially, he plans to pitch possible sponsors, including health-care companies like Kaiser Permanente, Dignity Health and Palo Alto Medical Foundation.

Each bike comes with its own GPS tracking device, making it easy to track where cyclists go.

Right now, to calculate bicycle traffic, Fliesler stands on a street corner with a clicker counting bikes, a method that she’s found is time-consuming and not particularly effective.

“We will be able to get a depth and density of data on where people are riding, what routes people are riding, where they are parking,” she says. “And we’ll be able to install bike parking, install bike infrastructure, and do a number of things to help these routes really shine.”

Loma Fire Forces Evacuations in Santa Cruz Mountains

0

A fire in the Loma Prieta area has burned more than 1,000 acres, taken out one structure and forced hundreds of evacuations in the Santa Cruz Mountains.

The fire has stayed in Santa Clara County, but on Monday Santa Cruzans could see hot smoky plumes peaking over the ridgeline. As of 8:30 a.m. today, the fire was at 5 percent containment, having burned 1,080 acres and threatening 300 homes. Bay Area News Group, has since reported that it’s now actually at 2,000 acres.

According to the Cal Fire website, the fire started around 3 p.m. on Monday. And as temperatures soared above 100 degrees, it had already grown to 500 acres within about three hours. The cause is unknown.

Cal Fire has not yet posted fire map, but the nearby Loma Prieta Winery posted on Facebook that the flames were headed southeast, in the opposite direction of the iconic summit vintners.

Residents can relocate to evacuation centers at the Morgan Hill Presbyterian Church, the Levy Family Campus/Jewish Community Center in Los Gatos, or the Santa Cruz County Fairgrounds, which also has an evacuation center for livestock. The Santa Cruz County Horsemen’s Association ground on Graham Hill Road has an evacuation center for livestock as well.

According to NBC Bay Area news, Cal Fire is currently battling 12 uncontained fires, and there have been 5,794 wild fires this year, burning 555,866 acres.

As of today, the Soberanes Fire in nearby Monterey County has been burning three months, scorching 128,380 acres—big enough to make it the 17th-largest fire in state history and the biggest in more than a year, according to the Cal Fire website.

Preview: Laura Marling Returns to Moe’s Alley

0

Despite more than a decade in the music business, Laura Marling does not fit the cliché of the self-indulgent, self-aggrandizing singer-songwriter. The British folk singer is reserved and difficult to track down—or, as her publicist puts it, “notoriously interview shy.” Marling seems reluctant to talk about herself, but when she does, she chooses her words carefully; she is thoughtful and sincere. That should come as no surprise to anyone familiar with her music.

Marling balances powerful and expressive lyrics with a subtlety far beyond her 26 years. She writes with an efficacy and earnest energy that would take most a lifetime to master. She also rips on guitar, but performs with such grace that you might miss it while focusing on her expressive, bright songbird voice.

Marling dove headfirst into London’s music scene at age 16, keeping company with folk bands like Mumford & Sons and Noah and the Whale. She released her first album at 18, and has come out with four more since.

Naturally, her approach to writing has changed throughout the years. “I think that everything that I’ve done has been at the right time, for the right reasons, whether they’ve had good or bad outcomes,” she says. “I think I’ve come full circle—I’ve tried to take control of the mood that moves through you when you write music, and now I’m back to a nice place, to the innocence of it. I don’t try and control it as much.”

Marling moved to Los Angeles after the release of her fourth album, and ended up taking a year off from all musical pursuits. During her hiatus, she travelled extensively over the West Coast, collecting lyrical fodder for Short Movie, her fifth and most recent album. Her travels included a spirited conversation with an old hippie in a bar outside of Mount Shasta, who repeated, “Life’s a short fucking movie, man” after every sentence.

Marling’s soul-searching took her through Santa Cruz on more than one occasion; she sings about it on the album’s seventh track, “Easy”: “How did I get lost, looking for god in Santa Cruz?/Where you go to lose your mind/Well I went too far this time.”

Marling couldn’t be convinced to divulge the inspiration behind those lyrics, saying only that she has friends who live here. True to form, she leaves much to be read between the lines.

Short Movie is grittier than Marling’s previous releases. She pushes her voice to peak vulnerability, owning a level of emotive expression that shows her art fully coming into its own. Electric guitar appears on more than one track, infusing her delicate folk songs with heavier rock vibes.

These days, Marling is focusing on “non-musical things,” including a podcast that explores the lack of female presence in the music business. “I was inspired to investigate the experience of female recording engineers in male-dominated music studios … it seemed like I was noticing people younger than me, suffering because of this,” Marling says. “Young female engineers inexplicably lacking confidence where they needn’t lack confidence. And it seems to be by no intention or malice of anybody, but it’s just the way that [the business] is set up.”

Marling’s podcast consists of friendly conversations between herself and female musicians, engineers, and producers; the first season’s guests include Karen Elson, Haim, Dolly Parton, and Emmylou Harris, among others. Topics covered include being forced to wear excessive makeup and uncomfortable clothing at photo shoots, being objectified by journalists, and the contradictory portrayal of female superstars like Beyoncé as strong and independent, while also hyper-sexualized.

Throughout her career, Marling has found learning from women much easier than learning from men. “I think that by a combination of things that contribute to my character, I fear that I’m more likely to appear silly if I make mistakes in front of a man,” she says. “For some reason, in front of a woman I feel more … able to suffer that vulnerability, without fear of being condemned.”


Laura Marling plays at 8:30 p.m. on Tuesday, Oct. 4, at Moe’s Alley. $17 in advance, $20 at the door.

Music Picks Sept 28—Oct 4

0

 

THURSDAY 9/29

ROOTS

DAVE RAWLINGS MACHINE

Gillian Welch is a rock star of the contemporary roots movement. The one-time Santa Cruzan seems like she just shuttled in from the Dust Bowl, and we love her for it. What roots music newbies may not know, however, is that behind the name Gillian Welch is actually a duo comprising her and her longtime partner David Rawlings. One of the most creative, soulful and talented roots guitarists of our time—and a top-notch producer whose roster includes Old Crow Medicine Show—Rawlings is a quiet master of the genre and the secret weapon behind one of the most highly regarded roots outfits around. Thursday sees Rawlings at the Rio Theatre with his own group, the Dave Rawlings Machine, which has been called “one of the hottest string bands on the planet.” CAT JOHNSON

INFO: 8 p.m. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $32.50. 423-8209.

ALTERNATIVE

MEKONS

The Mekons’ self-titled album (1980) is a tough listen, even for wacked out British post-punk. The band’s next record of new material, Fear and Whiskey (1985), is kind of a country album, and quite possibly the first example of recorded “alt-country.” If there’s any question as to why the Mekons isn’t a household name, this kind of explains it. The members take “undefinable” to whole new heights. Even though Fear and Whiskey is considered a classic in the genre, the members pride themselves more on being genre-deviants than alt-country forebearers. The last couple of decades, they’ve consistently released boundary-pushing records, but they’ve stayed mostly under the radar. AARON CARNES

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

 

FRIDAY 9/30

AMERICANA / JAM

SCOTT COOPER & THE BARRELMAKERS

Scott Cooper & the Barrelmakers is a Santa Cruz-based Americana jam band that falls somewhere between the Grateful Dead, String Cheese Incident, and the Tedeschi Trucks Band. Drawing from a wealth of musical experience, which includes work with China Cats, the Gary Gates Band, Stackabones and more, singer-songwriter Cooper fronts the all-star outfit comprising Dark Star Orchestra drummer Mark Corsolini, lap steel guitarist Scott Walker, veteran bassist Terry Shields, and pianist and vocalist Lachlan Kane. Recommended if you like long jams that romp through rock, roots and the blues. CJ

INFO: 9 p.m. The Pocket, 3102 Portola Drive, Santa Cruz, $5. 475-9819.

INDIE-POP

SEA KNIGHT

Every song on Sea Knight’s debut EP Where Are You is an important personal statement. Or maybe that’s just how it sounds with the combination of bassist Sami’s occasional violin work and vocalist Linda’s dramatic melodies. That’s not to say the group lacks in the subtly department. The San Francisco four-piece creates a lot of tension with slow builds and repeated phrases (both on the guitar and with the vocals), and with just four members, brings a lot of nuance to the music. The band has yet to follow up their 2014 EP—yet another slow build, I guess. AC

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

GYPSY ROCK

DIEGO’S UMBRELLA

Blending Eastern European and traditional Roma music with a kitchen-sink approach that includes rock, ska, klezmer, flamenco and even a bit of polka, Diego’s Umbrella is a true original. Hailing from the Bay Area, this high-energy outfit combines cultures, sounds and styles into a one-people dance party that invites listeners to get their grooves on. Also on the bill: Santa Cruz favorite, Coffee Zombie Collective. CJ

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

 

SUNDAY 10/2

FOLK

ABALONE GREY

Each member of Abalone Grey brings a unique music background to the mix, including elements of classical, jazz, roots, rock and even metal, which partially accounts for the band’s unique sound. Another explanation lies in the expert songwriting and the organic and subtly crafted harmonies that make this bluegrass collective stand out in Santa Cruz’s abundant folk scene. The band tours regularly, but the members agree that “pound for pound, Santa Cruz is really great—chock full of great bands and great venues.” KATIE SMALL

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

JAZZ

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS

There’s no sonic experience quite like a finely honed big band surging with seemingly unstoppable momentum, building to a delirious climax, then dropping down to a brushes-on-cymbal whisper. And there’s no large ensemble in jazz that plays with the swaggering authority and well-oiled precision of Wynton’s locomotive Jazz at Lincoln Center Orchestra. With a repertoire ranging from Jelly Roll Morton and Duke Ellington to Miles Davis, Jackie McLean and beyond (not to mention an impressive roster of originals commissioned from bandmembers), the 15-piece orchestra features exceptional improvisers. ANDREW GILBERT

INFO: 7:30 p.m. Santa Cruz Civic Auditorium, 307 Church St., Santa Cruz. $36.75-$68.25. 427-2227.

 

TUESDAY 10/4

ELECTRO

PEACHES

Peaches’ genre (and gender) bending makes it difficult to succinctly categorize her music—her sound lands somewhere between surreal avant-garde pop and post-punk electro with deceptively self-aware satirical lyrics, usually delivered in rap form. As far as reviewers go, Uncut seems to have gotten closest with a designation of “high art, low humor, and deluxe filth in a hugely seductive combination.” Peaches’ experimental performance art is best digested in visual form, which may be why her music videos are such intense productions. Good luck tearing your eyes away from the provocative, bizarre spectacle that is the music video for her newest single, “Vaginoplasty,” and prepare for an uncomfortable but oddly pleasurable reaction previously reserved for the smell of your own body odor. KS

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $20/adv, $22/door. 429-4135.


IN THE QUEUE

CHICK COREA TRIO

Legendary jazz keyboardist, composer and bandleader. Wednesday at Kuumbwa

TECH N9NE

Prolific, indie rap trailblazer. Wednesday at Catalyst

JOLIE HOLLAND TRIO

Singer-songwriter and founder of the Be Good Tanyas. Thursday at Don Quixote’s

HOT TUNA

Long-running Bay Area blues rockers. Friday at Rio Theatre

ERIKA WENNERSTROM

Frontwoman of garage rock group Heartless Bastards. Tuesday at Catalyst

Be Our Guest: Hard Core Cider Tour

0

 

There are festivals for beer and wine, so why not one for hard cider? The folks behind the Hard Core Cider Tour agree and have rounded up dozens of the world’s top hard cider makers for a traveling celebration of the craft that makes stops in San Luis Obispo, Pasadena and Santa Cruz. Boasting unlimited 2-ounce samples of cider, the local leg of the tour features food trucks, music from the Olde Blue Band, and more. It will also raise funds for Life Lab, a garden-based educational program. 


INFO: 1 p.m. Saturday, Oct. 8. San Lorenzo Park, 137 Dakota Ave., Santa Cruz. $40/adv, $50/door. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Monday, Oct. 3 to find out how you could win four tickets to the event.

Love Your Local Band: Fulminante

0

I first heard Fulminante last year when the band was booked for my surprise birthday party. Admittedly, most of the night is pretty fuzzy—although clarifying pictures exist in the everland of social media—but this local power trio wasn’t easily forgotten.

“Anybody who looks at us thinks we’re a rockabilly band,” says drummer Josue Monroy. “But we’re not.”

Formed only last year, Monroy, stand-up bassist Paul “Wolfman” Grimm, and guitarist Brenda Martinez have since ignited the local scene with their intoxicating brew of infectious tunes. They start with a punk and surf base, but craftily add flavors of gypsy energy à la Gogol Bordello, the Latin style of Manu Chao, and a dash of ska that recalls one of their favorite local bands, La Plebe—bringing the Fulminante (“explosive”) flavor to head.

“Josue and I played together in the Atomic Aces, and when that ended, we wanted to do something different,” Grimm remembers. “He kept bugging me, ‘Dude! Let’s play something fast! And I want it sung in Spanish!’”

When Monroy answered Martinez’s Craigslist ad to jam with some local musicians, the three naturally clicked and began writing.

“I like to not tell them how to play, ya know?” Martinez says. “Charles Mingus did that with his musicians because he wanted them to play it the way they wanted.”

Their creative ambition drove them to release their first, self-titled EP last February. Recorded on analog at Real to Reel Studio in Sand City, it contains four of their fans’ favorite songs, including the wild anthem “Taco Surf Party” and the headbanging-yet-danceable “Mala Suerte.”

Just remember, these serious musicians don’t take themselves seriously.

“Life is hard enough,” says Martinez. “To make people forget about their day for 45 minutes is a blessing.” 


INFO: 9 p.m. Friday, Sept. 30. Poet & The Patriot, 320 Cedar St., Santa Cruz. Free. 426-8620.

Could Farmed Seaweed Save Us?

0

Agriculture played a defining role in human history, but many believe that it’s aquaculture that holds the key to our future.

Seaweed is already a $5.6 billion global industry, according to the Food and Agricultural Organization of the United Nations, and it appears to be rapidly growing. Beyond a myriad of commercial uses—like food additives, fertilizers and cosmetics—seaweed demand is also increasing due to its nutritional properties. A superfood of the sea, it’s loaded with vitamins A, B, and C, as well as micronutrients like calcium, iron, manganese, zinc, and iodine. It is also a rich source of antioxidants, and even contains a type of fiber called alginate that may block fat absorption in the gut and lead to better weight management.

A 2003 study published in the journal Endocrine Practice found that kelp supplementation increased levels of the thyroid-stimulating hormone (TSH), essential in regulating metabolism. And a 2008 study published in Nutrition Research and Practice looked at patients with type 2 diabetes, and found that taking a seaweed supplement led to better blood sugar control, lower triglyceride levels, higher HDL (healthy cholesterol), and even greater antioxidant enzyme activity.

Although commercial-scale seaweed farming has yet to take off on the West Coast, those in favor of it see it as rife with potential, and a boon for entrepreneurs and disenfranchised fisherman whose usual fish stocks have declined or disappeared. For one, seaweed is one of the fastest-growing organisms on Earth, with some species growing around two feet per day. Many farmers also employ what’s known as integrated multi-trophic aquaculture, where they farm shellfish like mussels, scallops, oysters, and clams in symbiosis with the seaweed—each one fed and fertilized by the other’s byproducts.

In the northeastern U.S., there are currently 15 permitted farms, all of which have cropped up within the last eight years, according to internationally renowned seaweed expert Dr. Charles Yarish. Expansion of the practice on the East Coast, and the beginning of farms on the West Coast, has been slowed by regulatory state government agencies reacting to environmental concerns.

“All the states have really come around and they are all working to try to facilitate the permitting operations,” Yarish told NBC News. “It takes time, just let everyone work at a speed which ultimately protects the environment, protects the entrepreneur, and also protects public interest.”

Aquaculture’s slippery reputation can be attributed to environmental concerns. Many people associate it with large-scale fish farms that can poison the surrounding ecosystem with excessive nutrients, disease, and escaped animals. But according to Yarish, seaweed farms may actually benefit their surrounding ecosystems because the plant readily absorbs inorganic nutrients like nitrogen and phosphorous, which can harm the environment and are often over-concentrated in highly populated areas, due to runoff from farms and wastewater treatment facilities.

Seaweed farms may also help with another major ocean problem: acidification. When seawater absorbs carbon dioxide (CO2), it results in a slight increase in the acidity of the ocean—which wreaks havoc on all types of sea-dwelling plants and animals. Seaweed and seaweed farms may be one tool to fight this urgent environmental issue because the plant naturally absorbs CO2 from the ocean, mitigating ocean acidification in a natural and sustainable way. Seaweed also releases oxygen back into the atmosphere, which can help restore the surrounding environment. NOAA (National Oceanic and Atmospheric Administration) believes in the idea and is currently researching its effectiveness by planting a mini kelp forest in Hood Canal, Washington, and then monitoring surrounding water quality.

According to Santa Cruz resident George Leonard, chief scientist at the nonprofit environmental advocacy group Ocean Conservancy, the aquaculture of seaweed and shellfish avoids the usual pitfalls of fin-fish aquaculture because it is “non-fed.” While the farming of fish requires massive amounts of environmentally questionable feed, Leonard says that seaweed and shellfish aquaculture require no food or chemicals beyond what the ocean naturally provides. It’s almost like a farm that never has to be watered or fertilized. “Aquaculture is not a panacea to the world’s problems,” Leonard told NBC News. “But, I think aquaculture done right, in the right places, can be a major contributor to [fixing] what ails the ocean and what society needs from our living and healthy ocean.”

Watsonville Film Festival Launches in Restored Fox Theater

0

Over the last few weeks, Joann Godoy has spent around 200 hours staring at a sea of gray. Even now, she’s on her hands and knees inside the Fox Theater in Watsonville, trying to find any spots that she and her husband Marc might have missed while putting several coats of gray paint onto the floor of the historic theater.

“After 32 years of marriage, this is the kind of thing we do together,” she jokes.

As she touches up the paint job, the Watsonville Film Festival—the first event to be held in the South County landmark in years—is a week away, and she has no regrets.

“It’s actually pretty peaceful,” says Godoy. “I get to where I’m one with the paint. I’m an introverted kind of girl.”

But not so introverted, maybe, when it counts. Festival director Consuelo Alba reveals that far from just being handy with a brush, Godoy—whose official title is “project manager”—has a reputation as a difference maker in the world of South County nonprofits, and was instrumental in working with the city to get the WFF into the Fox, which has been Alba’s dream since she and her husband John Speyer co-founded the festival five years ago.

“Finding Joann was one of those big moments,” says Alba, as she stands in the center of the theater that she and her team have been working nonstop, seven days a week, to renovate.

There is something about Alba that inspires big moments, and influential people. She has won the support of some of the biggest names in Santa Cruz County business, like George Ow, who connected her with a movie theater consultant, and Barry Swenson Builder, whose senior vice president Jesse Nickell personally oversaw the restoration of the Fox’s roof, which had been in such bad shape before the repairs that pieces of it were falling away. She has sought out advice from locals like Laurence Bedford, upon whose Rio Theatre in Santa Cruz Alba hopes to model the Fox’s success, and Geoffrey Dunn, who will be honored on opening night this year, as part of a tribute to pioneering local filmmakers. Dunn’s documentary about Filipino farmworkers, Dollar a Day, 10 Cents a Dance, which he co-directed with Mark Schwartz, was actually shown at the Fox three decades ago, and will be the first film screened when the theater re-opens for the festival on Thursday.

Alba has brought both Watsonville’s old guard (like community activist Alan Hicks and El Teatro Campesino vet Frank Rodriguez) and new blood (such as Jacob Martinez, who helped found the WFF, and Gabriel Medina, both of Digital NEST) onto the festival’s board and production team. Perhaps most importantly, she won over Green Valley Cinema owner Hank Garcia, who also owns the Fox.

“It’s not just about watching a film,” says Alba of the WFF. “It’s about making connections, and it’s about what resonates with the community.”

Alba’s incredible calm—even in the midst of the total chaos that comes with 10 months of restoring a 93-year-old theater—and irrepressible positive attitude are a big part of what makes her passion so contagious. It also sometimes makes people underestimate her, she admits.

“Some people think I’m naïve,” she says. “I’m not. I’m aware. This has been very hard. It’s a very stressful project. But I’m at my best when I’m calm. That’s my main job, just to be calm. I take it very seriously.”

And she’s being taken seriously now, too. Whereas the restoration of the Fox on a nonexistent budget once seemed like a pipe dream, it is now a reality. The 450 new seats were donated by Cinelux. Barry Swenson Builder did the roof renovation for free. Alba’s team of volunteers like Godoy has worked tirelessly. It’s all been building up to this week, when the festival will show off their work while presenting a diverse slate of films over four days, Sept. 29-Oct. 2.

The opening night program, “Local Visions, Past and Present” will feature Dollar a Day, along with several other short films from local filmmakers. “It’s important to use this place to showcase the talent that we have in this community,” says Alba.

Among the other events she’s most excited about is the live performance by El Sistema Youth Music Program before Friday’s screening of Landfill Harmonic, a documentary about a “recycled orchestra” made up of Paraguayan youths whose instruments are constructed from garbage. Following that family-oriented offering will be the more adult Viva, a fictional film about Cuban drag queens that was Ireland’s entry for the Best Foreign Film Oscar race last year.

Perhaps the most offbeat event this year is a community bike ride on Sunday morning inspired by the film Ovarian Psychos, which screens Saturday night. The documentary follows a group of Chicano feminist activists in East L.A., several of whom will be traveling to Watsonville to attend the screening.

“Where they live is so similar to where we live,” says Alba of the film’s protagonists. “I see friends that I have here in Watsonville in those women.”

The closing film is Boy and the World, an animated film from Brazil that was nominated for an Oscar last year, to be followed by a fiesta at 5:45 p.m. at Plaza Vigil on East Beach Street.

But this year’s biggest standout might just be The Great Sasuke, a documentary about the Japanese wrestler who singlehandedly made his native country crazy for Lucha Libre. Its Mexican-Japanese mash-up seems perfect for Watsonville, a city with prominent immigrant communities from both cultures.

Other WFF offerings this year include everything from a program of horror shorts from local filmmakers to Indivisible, a documentary about the “DREAMers,” students whose parents have been deported.

Alba says there is a long way to go in figuring out a long-term model for the Fox, but the restoration effort and the film festival are proof of its potential.

“This is just a preview of what we can do,” she says.


The Watsonville Film Festival runs Sept. 29-Oct. 2 at the Fox Theater, 15 Maple St. in Watsonville. Schedule information along with day passes, all-access passes and single-event tickets are available at watsonvillefilmfest.org.

What’s your biggest Santa Cruz pet peeve?

Local Talk for the week of September 28, 2016

Could Self-Driving Cars be the Norm by 2050?

Autonomous car
Self-driving vehicles rollout presents exciting, but big questions

A Bike Share Program is on Santa Cruz’s Horizon

Bicyclists on bike path outside of Santa Cruz
We’re late to the game, but local players say that’s actually a good thing

Loma Fire Forces Evacuations in Santa Cruz Mountains

Loma Prieta fire in the Santa Cruz Mountains
Fairgrounds take evacuees as crews battle to keep blaze out of Santa Cruz County

Preview: Laura Marling Returns to Moe’s Alley

Laura Marling
On her new album, British singer-songwriter Laura Marling looks for God in Santa Cruz

Music Picks Sept 28—Oct 4

Wynton Marsalis
Live music for the week of September 28, 2016

Be Our Guest: Hard Core Cider Tour

glass of apple cider
Win tickets to Hard Core Cider Tour on Saturday, Oct 8 at SantaCruz.com/giveaways.

Love Your Local Band: Fulminante

Fulminate band
Fulminate plays Friday, Sept 30 at the Poet & the Patriot.

Could Farmed Seaweed Save Us?

Seaweed farm in Asia
Many believe super-nutritional seaweed could be the next big green industry

Watsonville Film Festival Launches in Restored Fox Theater

Watsonville Film Fest luchador
How Consuelo Alba made her dream of bringing the Watsonville Film Festival to the historic Fox Theater a reality
17,623FansLike
8,845FollowersFollow