Obama’s Stand for the Environment in Tahoe

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“Conservation is more than just putting up a plaque and calling something a park,” President Barack Obama said at the 20th annual Tahoe Summit as he beamed down over a sea of camera phones and sunglasses reflecting the cloudless blue sky and pulsing sun above.

“We embrace conservation because healthy and diverse land and waters help us build resilience to climate change. We do it to free more of our communities and plants and animals from fire, droughts and displacement,” he said.

Obama opened his remarks at the Aug. 31 summit with a few jokes—including a reference to Fredo’s tragic demise at the lake in The Godfather Part II—before switching to a more reflective and solemn tone. In some ways, the event in Stateline, Nevada was reminiscent of a music festival—one headlined by the Killers, who took the stage right after the president.

Obama discussed climate change and conservation at his highly anticipated landmark talk. Sen. Barbara Boxer, Sen. Harry Reid (Nevada) and Gov. Jerry Brown spoke as well.

All year, Obama has been on something of a public relations tour, touting the successes that his administration has achieved over the past eight years, and bringing a more light-hearted tone to his speeches. But his trip to Lake Tahoe represented more than that.

The president has been doubling down lately on his environmental credentials—adding 400 more acres to Yosemite, for instance, on his visit to the national park in June, and ordering a halt to a controversial North Dakota pipeline last week.

On the same day as his speech in Tahoe, the White House announced $35 million to restore streams near Tahoe, manage stormwater runoff and reduce fire hazards, like dead trees, in the area.

Two decades ago, Tahoe’s emerald waters were becoming murky, and invasive species along with logging and unfettered growth were “wreaking havoc,” said Reid, who hosted the event and spoke before Obama.

Today, Tahoe is healthier, thanks to Republicans and Democrats working together, Brown explained. The lake, he said, is an example of how natural beauty can transcend politics. (It’s a trend that reaches beyond Lake Tahoe. The Monterey Bay National Marine Sanctuary has also benefited from federal protections and funding over the last three decades, even under Republican-controlled legislatures.)

The government spent $1.9 billion on the renewal of the popular tourist area that’s home to 290 species of animals. With more than 16,000 acres of wildlife habitat, 1,500 stream-environment zones restored and 2,700 linear feet of shoreline added, it’s “more pristine than it has been in decades,” said Reid.

“Lake Tahoe really is one of the world’s jewels, and there has been bipartisan support to protect it,” Tim Duane, a UCSC professor of environmental studies, tells GT.

Even so, Lake Tahoe’s surface water had its hottest year ever in 2015. Even while protecting natural areas, Duane says Republican leaders have found “ideological, political, and economic reasons” for ignoring bigger environmental problems like climate change, as average worldwide temperatures appear poised to shatter previous records for the third straight year.

In his speech, the president went after climate change deniers, even dropping a snarky comment about U.S. Senator James Inhofe’s poorly received presentation of a snowball on the Senate floor last year.

More than a quarter of U.S. emissions come from transportation, according to the Environmental Protection Agency. Obama mentioned that for the first time ever there are now national emissions standards on commercial trucks, vans and buses.

Brown boasted that 25 percent of California’s electricity now comes from renewable energy, a number that legislators have promised to double by 2030. Raising his voice over thunderous applause, he praised car manufacturer Tesla’s billion-dollar electric battery plant in Nevada as well as the company’s electric car production in California. “Nevada and California are going to electrify and renew the world,” he said.

California passed the first state law regulating greenhouse gas emissions from automobiles in 2002, and since then has been implementing policies to reduce emissions to 1990 levels by 2020. Duane says low-carbon fuel and energy efficiency standards, along with a cap-and-trade program, have made the state a leader in renewable energy development and efficiency since the 1980s.

Duane spent the last 16 months working on a study looking at how the country can achieve its goal of an 80 percent reduction in greenhouse gas emissions by 2050. That, he says, is the goal we “really need” to achieve. In order to accomplish it, he says California needs to “ramp up investment in electric vehicles and their charging infrastructure.”

Duane calls the evolving transportation industry an “enormous business and economic opportunity.”

Looking out over the crowd and Stateline, Obama suggested conserving the natural environment is imperative not just for locals nearby, but also for “our entire ecosystem.”

“Just as the health of the land and people are tied together, just as climate and conservation are tied together,” Obama said, “we share a sacred connection with those who are going to follow us.”

DTA Turns Candidate Forum Upside Down

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There’s a tradition in Santa Cruz of candidate forums that are drier than stale toast.

Typically, a moderator with a list of questions holds a piece of paper and asks something along the lines of “Why is economic development important?” Then the City Council candidates, who are seated at a long table, ramble on for an eternity before smiling and handing the mic down to the next person.

“What usually happens at a typical forum is a group of us gets together and says, ‘OK, what are the questions?’ and the questions usually end up being leading questions whether you want them to be leading or not,” says Chip, the executive director of the Downtown Association (DTA). “The candidates tell you what they think you want to hear.”

This year, in lieu of a traditional forum, the DTA is inviting people to the Santa Cruz Civic Auditorium on Thursday, Sept. 22, when council candidates will each give a nearly seven-minute presentation on their vision for downtown.

“Our big hope is that this will get the community thinking about the decisions the City Council makes and can make for downtown,” Chip says. “And what do we want to see in the next chapter? Downtown 2.0—or whatever version we’re on right now.”

The new format, a presentation style called PechaKucha that hails from Tokyo, lets candidates show 20 PowerPoint slides and speak for 20 seconds per slide. The DTA is hoping it will steer candidates away from pandering and inspire them to talk about what they really believe.

Candidate Sandy Brown, a downtown resident, is already loving the experiment. “I’m really excited to break out of the mold that we’ve been in for several decades now—those of us that have been involved in electoral politics,” says Brown, who is also a labor organizer and assistant professor.

She pictures a Pacific Avenue that’s more inviting and accessible to tourists and locals alike, saying she would like for local governments to be more supportive of local small businesses.

The Sept. 22 PechaKucha will have a tabling area for local nonprofits and stakeholders, like the Walnut Avenue Women’s Center, the Museum of Art & History, the Coastal Watershed Council and the Santa Cruz Warriors.

Chip concedes that the new setup won’t let a moderator ask tough follow-up questions at the event if someone makes up some lofty facts

“It’s totally up to them. There is a risk,” Chip says. “We can have a candidate sell us a nice vision that’s based on nothing, but who knows?”

Of course, there are other approaches for keeping candidates honest, too. The best forum I ever attended was 2012’s InsideScoop at Kuumbwa Jazz, hosted by Cruzio, Santa Cruz Next and Civinomics. Moderators posed different rapid-fire questions for various candidates to keep everyone guessing. At a couple of points, they asked for “a show of hands” to see who supported items like public wireless Internet or a Tannery project for tech.

All night, they teased, and even mocked, candidates who gave lame answers.

Chip remembers helping host a similar forum with then-GT news editor Chris J. Magyar in 2008. “We totally had fun with it,” Chip remembers, of his pre-executive director days. “And I was kind of a color commentator. He knew all of the issues inside and out, and I got to be a smartass.”


The forum will be at 6-9 p.m. at the Santa Cruz Civic Auditorium on Thursday, Sept. 22. Visit downtownsantacruz.com to register. Free. 

Preview: Wayne Hancock to Play the Catalyst

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Wayne Hancock has no use for setlists. The gravelly voiced, tough-talking underground music legend in the making prefers to let his audiences holler out the songs they want to hear—or he just plays whatever he’s in the mood for, and his band of ace musicians joins in.

In the tradition of Western swing great Bob Wills, Hancock’s band members never know when it will be their turn to step into the spotlight for a solo. He just calls out someone’s name, mid-tune, when he wants him to do his thing.

“Nobody plays a part unless I say,” says Hancock matter-of-factly.

He tells the story of a fan who once said to him, “I really like your music, but I hate it that you introduce everybody every time.” One of Hancock’s friends responded, “He’s not introducing them, dumbass, he’s calling a part.”

The old-school technique keeps the band members on their toes and keeps Hancock’s sound fresh and tight. The group doesn’t rehearse—they don’t need to. Instead, they keep their skills honed playing hundreds of dates a year, with each performance driven by Hancock’s be-ready-for-anything approach.

“No one can ever come to my show and say, ‘I know just what he’s going to play,’” he says. “No you don’t. I might pull out a song that I haven’t sung in 25 years.”

When asked how he describes his sound, which straddles country, rockabilly, Western swing, roadhouse blues and big band, he admits that he struggles with that question. He grew up listening to Hank Williams, Bob Wills and Glenn Miller, and hasn’t strayed too far from those classic sounds—he just pulls them all into one.

“I’ve tried different names over the years,” he says, “Juke joint swing and this and that, and, of course, honkytonk. I tell people it’s like boogie swing. It’s dancing music.”

As with all great dancing music, a Wayne Hancock concert is quite a scene. People party and carry on in the great juke joint tradition, yelling at the band for the songs they want to hear, or whatever else is on their mind. This is just the way Hancock likes it.

“I don’t like an audience I can’t cuss at and get a response back from,” he says with a laugh.

Beyond the good-time nature of his shows, Hancock considers his work a service. He has a tattoo that reads “Play ’til you die,” and his idea of his perfect death—which he stresses he doesn’t want to happen now—is to die backstage, by himself, after a great show. He long ago gave up on the idea of being a big star, but he understands that hard-working people need to get out and let loose among friends. He tends to lowball his fees to keep his concerts affordable.

“We do the country doctor thing,” he says. “We go out to the smaller venues—venues that a lot of people I know won’t even touch—because we like that and it’s a needed, necessary thing.”

He says he “ain’t ever going to make a millionaire living” but that he wouldn’t know what to do with that anyway.

“I think if I had a lot of money like that, it would really take a lot of fun out of life,” he says. “It would be nice to have $25,000-$30,000 in the bank, but it’s more important to make good music.”

Hancock is outspoken about his distaste for today’s pop country music. He says he hasn’t listened to country radio in decades. His last record, Ride, unintentionally landed in the Top 40. “I won’t do that again,” he jokes.

Hancock has a new album due out in October. It’s his 10th record in a career that spans 30 years. His longevity is a testament to his toughness, his consistency and his loyal community of fans.

“When you’re on the road that long, people start becoming like family to you,” he says. “It’s your work, and you’re entertaining them, so you help each other out in that way. We’ve all grown up and grown old together.”


Wayne Hancock will perform at 9 p.m. on Friday, Sept. 16 at the Catalyst, 1011 Pacific Ave., Santa Cruz. $12/adv, $15/door. 423-1338.

Preview: Sheila E. and the Mountain Sol Festival

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A few years back, I was lucky enough to see Prince when he did one of his spontaneous sets of Bay Area shows. He did two in San Jose and one in Oakland, and I saw all three. At the time, Prince was at the top of the list of musicians I most wanted to see, and I gotta say, he was everything in concert that I hoped he would be.

But the biggest surprise of those shows was Sheila E., who played an opening solo set and also came out to play with Prince. I had grown up with Sheila E. hits like “Glamorous Life” and “A Love Bizarre,” but I wasn’t prepared for the ferocity of her presence onstage or the sheer physicality of her performance—right from the moment she rose out of the floor to start her set, already whirling and pounding on her stand-up drum kit.

A lifelong musical collaborator and former paramour of Prince, she has of course been asked a lot of questions about his tragic death earlier this year. But the best answer she could have given is her new song “Girl Meets Boy,” a haunting, emotional tribute set against a stark melody.

As she prepares for her first-ever “Glamorous Life” cruise—from Miami to Nassau and back over three days in February, with a line-up that includes herself and some of her famous family members, as well as Ozomatli, George Lopez and more—she’ll perform on Sunday, Sept. 18 at the Santa Cruz Mountain Sol Festival at Felton’s Roaring Camp Meadows. The two-day festival features 10 acts, including headliner Edward Sharpe and the Magnetic Zeros on Saturday, Sept. 17, and bill-topper George Clinton with Parliament Funkadelic on Sunday.

Sheila E. is a Bay Area native, whose father Pete Escovedo is beloved throughout Northern California for his contributions to the Latin Jazz scene and whose uncles include singer-songwriter Alejandro Escovedo and pioneering West Coast punker Javier Escovedo of the Zeros. She spoke to GT about her new single, her memories of Prince, and just how crazy she’s willing to get to entertain an audience.

Having seen you live, I can attest that you really know how to make an entrance. Are you going for maximum psychological impact on the audience?

Absolutely. I always try to come up with things that I would look at as a fan and go, “What if they did this, oh my god—that would be amazing!” I really try to top myself, and do something different. At one point on my tour—this is crazy, but I wanted to come out on stage with that jetpack that back in the day, when you first saw James Bond, you’d see him flying. I wanted to do that back in the ’80s! They refused to let me do it. Insurance was going to be like a million dollars. I’m always trying to do something crazy like that.

Along the same lines, during your set you do some amazing drumming tricks that are very visual. Do you plan these things?

I live in that moment, so I have no idea what I do sometimes. I never know what’s going to happen. Sometimes I know I want to do something, and I try to think of things before I get onstage. But sometimes it just happens on the spot; I do something and it’s like “Oh my god, that worked, I gotta do that again!” When you don’t think about it and you just go, things happen.

Most drummers sit behind the set, which obscures the physicality of what they’re doing. But you really put it on display. How did you develop that style?

Growing up, my mom and dad had parties at the house almost every weekend. We just had people in our house all the time. So we were always performing. Back in the day, we were listening to a lot of Motown music and Stevie Wonder and James Brown. We would start dancing and trying to mock what we saw on television. We loved the attention of people either laughing at us or clapping.

I don’t think I’ve seen someone who looked like they were having so much fun drumming. There’s this joy that radiates from the stage when you play.

What you see is how I feel, absolutely. I have a blast. To be able to go on stage and do what I get to do, my god. I make myself laugh, and I make myself smile.

Did other instruments not inspire those same feelings? I’m curious why you gravitated to drums—a rare instrument for a singer to stick with.

I think because my dad played percussion, watching him doing jam sessions and rehearsing and practicing to LPs back in the day. Just being around drums and percussion all the time. But I wasn’t going to be a musician, I wanted to be an athlete. My mom was an athlete, and I just loved competing. Betting and competing—who’s going to be the best, I bet you I’ll beat you—it was always that in the house with all of us, all the time. I think it was in third grade that my dad suggested I play violin. I’m like, violin? But it was awesome, because then I started learning classical music, loved it, and got scholarships to play violin, as well. And then I was running track, and I was training to be in the Olympics at 13. I wanted to win a gold medal, I was breaking records in the Bay Area that hadn’t been broken in 20 years. I was also, at 14, on an undefeated women’s soccer team. I loved sports. And then one day at 15, I played with my dad in San Francisco, I think it was for Mayor Moscone. We played a show in front of 3,000 people. It was his band Azteca, an 18-piece band. Playing like that, with that awesome musicianship, I’d never experienced anything like it. It brought tears to my eyes, my entire body went through every single emotion that you could have, just about. My dad was crying, we hugged and I was like, “I want to go out on tour with you.” Two weeks later, I was flying to Bogotá, Columbia with him, and that was the beginning of my career.

That’s interesting to hear about the competitiveness in your house growing up, because I noticed that when you were onstage with Prince, too. How much did you two push each other as performers?

We basically did that naturally, but sometimes we’d have side bets. Back in the day, we’d bet, and it wasn’t even how well you played—’cause you know, we would always try to compete—but other stuff: playing ping-pong, basketball, pool. Who was the best-dressed. We would bet each other money. I think I was the only woman in his life who would compete with him like that, at that level. That’s why we were such good friends—I stood up to him, he stood up to me.

‘Girl Meets Boy’ is a moving tribute to him. What I like especially is how you stripped it down to simple vocals and piano melody. You made it your own style instead of trying to recreate something that would be recognizably ‘Prince-like.’ What inspired that?

It just kind of happened like that. It started with my guitar player Michael Gabriel—we were in the studio at 1 in the morning, some of the other band members had left, and he said, “I think I have an idea.” I was like, “I think I have an idea? Let’s just put it down.” He got his phone, because he had sung something in his phone, a little melody, like “la la la.” And I was going, “Wait, hold on, let’s just press record.” So he got his guitar, and we wrote it within the hour. I was already singing the words and the lyrics. It happened very quickly. When songs are like that, I love it. They’re few and far between, those kinds of songs—at least for me. But we were still going through emotion, it was late at night. I couldn’t even sing the rest of the song—I put down the idea of it, but I couldn’t stop crying. So I had to wait, and every time I got ready to sing it the next day, I was like “I can’t sing it, I can’t sing it, it’s just too hard.” But by the fourth day I had to sing it, because we were going into two days of rehearsal for BET and I wanted to release it after that performance so that people could understand what we were doing, what’s been happening, what’s on my heart.


SANTA CRUZ MOUNTAIN SOL FESTIVAL

Saturday, Sept. 17: Edward Sharpe and the Magnetic Zeros, Steve Kimock, G. Love & Special Sauce, Third World, Mike Love. Sunday, Sept. 18: George Clinton Parliament Funkadelic, Pimps of Joytime, Sheila E., Katdelic.

The festival will be held 11 a.m.–7 p.m. Sept. 17-18 at Roaring Camp Meadows in Felton. One-day tickets are $65; $25 for youth ages 11-17. Two-day passes are $115. santacruzmountainsol.com.

Music Picks Sept 14—20

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WEDNESDAY 9/14

COUNTRY

COUNTRY LIPS

This eight-piece ensemble from Seattle is the type of country band that requires some dancing boots, dancing hat, and dancing whatever-the-hell-else-you-need to keep yourself from being a wallflower. They evoke an old-timey swinging country sound. It’s got swagger, style and with all those people on stage playing the songs, a lot going on: sweet harmonies, toe-tapping piano, steel pedal, violin, you name it. This is whiskey-soaked, small town honkytonk music. Does the thought of driving to a dive bar in the middle of a quiet town 100 miles away frighten you? No worries. To reiterate the reviewer’s wise words, they will bring the party to you. AARON CARNES

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

 

THURSDAY 9/15

DUB

MAD PROFESSOR

Dub was originally an offshoot of ’70s reggae. Basically it was the first “remix,” with the producers taking existing songs and making new tracks out of them. The results were often hypnotic and surreal. Mad Professor was one of the leading figures of the second wave of dub in the ’80s, when producers started to work with digital technology. Mad Professor also helped move the genre outside of reggae. He worked with several reggae artists, but also Massive Attack, Sade, and the Orb. AC

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $18/adv, $22/door. 429-4135.

JAZZ

GARY REGINA’S IN THE LOOP

From a one-man orchestra to a burning bandleader, multi-instrumentalist Gary Regina displays all facets of his creative pursuits in an evening featuring two distinct ensembles. Best known as key component of the Santa Cruz world music scene via his work with the bands Special Fun and Worlds Collide, Regina has spent years honing a performance practice using live looping, layering various instruments in real time to creating sumptuously detailed soundscapes. He follows a solo In the Loop set with a full band performance, focusing on saxophone with guitarist Baird Miller, keyboardist Bill Spencer, bassist Bob Wider, drummer Brian Loftus, and special guest vocalist Johnny Fabulous. ANDREW GILBERT

INFO: 7 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $18/adv, $23/door. 427-2227.

 

FRIDAY 9/16

BLUESY ROCK

STONE FOXES

With their unique blend of thunderous Americana mixed with garage rock and a country-blues twist, the Stone Foxes have claimed the self-appointed title, “San Francisco’s rock band.” Their swampy sound includes lyrics that span a variety of topics, from gentrification to income inequality. That consciousness extends beyond the stage, however, and manifests in their Goodnight Moon Project: an effort to humanize the homeless through music and cinematography. The project involves a canned food drive; fans are encouraged to donate non-perishable food items at Stone Foxes concerts—you’ll get a poster in return—and the band will personally deliver the goods to local soup kitchens. KATIE SMALL

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

FUNK/SOUL

SHARON JONES & THE DAP-KINGS

At age 60, Sharon Jones has made a career out of survival and revival, both her own and that of the funky, horn-driven 1960s soul sound that she helped usher into a new era. The singer worked as a prison guard before rising out of obscurity through Daptone Records. After being diagnosed with pancreatic cancer in 2013, Jones made a brutally honest documentary about her experience. The cancer eventually went into remission, only to return a year ago. Jones is still fighting—she had to cancel the European leg of her summer tour, but told Rolling Stone last month that performing is as effective a therapy as any pill. “When I walk out [onstage], whatever pain is gone,” Jones says. “You forget about everything … I have cancer; cancer don’t have me.” Her powerful voice has been compared to a train—when Sharon Jones sings, you’d better get out the way. KS

INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $35/adv, $38/door. 429-4135.

 

SATURDAY 9/17

FOLK

MONICA PASQUAL

Blame Sally is a long-running, musical collaboration between four San Francisco-based female singer-songwriters. In addition to their efforts as a quartet, the members all have various side projects, including solo work and other bands. On Saturday, Monica Pasqual, who plays piano, accordion and sings, brings her new band, the Handsome Brunettes, to town to celebrate the release of their debut album, Is Fortune a Wheel. Joining Pasqual are Blame Sally percussionist Pam Delgado and cellist Joshua McClain. Also on the bill is fellow Blame Sally member Renée Harcourt and her new project, Dear John Love Renée. CAT JOHNSON

INFO: 7:30 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $22/gen, $30/gold. 427-2227.

SUNDAY 9/18

BLUES

JOE LOUIS WALKER

A torchbearer for the blues, Bay Area guitarist Joe Louis Walker spans the distance between blues legends Mike Bloomfield, Buddy Guy, T-Bone Walker, Clarence “Gatemouth” Brown, and the crop of contemporary blues artists. Already a Blues Hall of Fame inductee, Walker has a reputation as a powerhouse guitarist and vocalist, and prolific songwriter. His sound and open approach to styles and genres helped lay the foundation for blues-rock acts the Black Keys and the White Stripes, and his blend of the blues, soul, gospel, rock, and funk is a testament to his depth of musicianship. CJ

INFO: 4 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $15/adv, $20/door. 479-1854.

LATIN-REGGAE

BACHACO

Duo Bachaco couldn’t have come from any other place in the world besides Miami. The band’s music has a true cross-pollination of cultures. The members sing in English and Spanish, and they play reggae, pop, rock, cumbia, reggaeton. It’s sunny and fun but has an intense late-night dance club vibe. The music screams “Don’t even come out unless you intend to spend the next two hours showing off your best moves.” A never-shuts-down town like Miami is perfect for this band. It may not be permanent spring break in Santa Cruz when they roll through, but be prepared to go all in. AC

INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $7/adv, $10/door. 479-1854.

FOLK/COUNTRY

GUY CLARK TRIBUTE

This year has dealt some heavy blows to music lovers, with the loss of David Bowie, Prince, and Bernie Worrell to name just a few. The folk music world took a huge hit with the passing of Guy Clark. One of the finest songwriters of the last 50 years, Clark balanced his stuff-that-works approach to life and music with a musical sensibility that made him one of the great singer-songwriters of his time. On Sunday, local acts, including Sharon Allen, Sherry Austin, Carolyn Sills & Gerard Egan, Michael Gaither, and KPIG’s Sleepy John Sandidge pay tribute to the legend. Proceeds benefit victims of the Sobranes fire. CJ

INFO: 7:30 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $25/gen, $40/gold. 427-2227.


IN THE QUEUE

EAST POINTERS

Folk trio from Prince Edward Island, Canada. Wednesday at Don Quixote’s

LILY & MADELEINE

Minneapolis-based sibling duo supports Brett Dennen. Wednesday at Rio Theatre

NICK MOSS BAND

Celebrated blues guitarist out of Nashville. Friday at Pocket

JOHN KADLECIK BAND

Dark Star Orchestra founding member and his ace band. Friday at Moe’s Alley

CROOKIES

British indie-rockers. Monday at Catalyst

Be Our Guest: Radical Reels Tour

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For four decades, Radical Reels has brought adrenaline-inducing action films about climbing, paddling, biking, BASE jumping and snow sports to audiences around the world. Presented by the Banff Mountain Film and Book Festival, the mini-fest is a traveling selection of the best films from Radical Reels night at Banff. This year’s topics include balloon skiing (yes, that’s a thing.), mountain biking in Africa, scouting snowboard runs with paragliders, backcountry skiing in Japan and more. 


INFO: 7 p.m. Sunday, Sept. 25. Rio Theatre, 1205 Soquel Ave., Santa Cruz. $16. 423-8209. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Thursday, Sept. 22 to find out how you could win a pair of gold circle tickets to the showing.

Love Your Local Band: SA90

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LYLB 1637 SA90“Patient Zero,” the opening track off of local band SA90’s debut record Johnny On The Phone, could be a lost X track—emotionally intense, dissonant dark punk rock.

The rest of the record is solid, too, from start to finish. That may be because, although SA90 is relatively new to the local scene, most of the members are long-time punkers. Several used to be in the Sealants, and before that a whole slew of other punk rock bands. Now in their 40s, they continue to rock out, talk shit about hippies, and live the punk rock lifestyle.

“I feel like I’m still doing the same things I was doing 30 years ago, how I live my life,” says bassist Mark Hanford. “The reason punk rock has lasted as long as it has is because it never really had a goal. It had the goal of upsetting the status quo, but it didn’t have the goal of making the world a better place. Being an adult doesn’t preclude being able to play this really fun, sometimes silly, sometimes intense music.”

The one addition to SA90 who’s newer to the scene is singer Celina Bottini, who brings a lot of the emotional intensity to the music. She writes all of the lyrics, and they are a reflection of her not-so-stable life growing up.

“It really helps me to express a lot of dark periods in my life that I’ve overcome. It’s been therapeutic to me, where I can start talking about events, situations, relationships that tortured me for years,” Bottini says.

The musicians and Bottini are coming from two very different places, but the band connects in a very visceral place. As Hanford puts it: “It’s like three guys that didn’t have a rough childhood picked up this girl that had a really tough childhood, and gave her an outlet to express herself.” 


INFO: 9 p.m. Wednesday, Sept. 21. Blue Lagoon, 923 Pacific Ave., Santa Cruz. $5. 423-7117.

09/14/16 Update: Mark Hanford identified as the bassist. 

Film Review: ‘Complete Unknown’

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Have you ever reached a moment in your life when you just wanted to say, “Enough?” When you wished you could just walk away from everything and start a completely different life somewhere else, no strings attached?

If this notion intrigues you, welcome to Complete Unknown. This low-key character study from filmmaker Joshua Marston is built around a woman who prefers to make up her life as she goes along—one new, invented identity at a time. On the other hand, if this sounds like your vision of hell, and you like your life just the way it is, thank you, then you might not find Marston’s film quite so compelling. The premise is fascinating, but despite heroic performances from stars Rachel Weisz and Michael Shannon, the movie never really evolves much past its initial set-up.

This is a shame, because Marston is capable of much more resonant work. An American filmmaker with multicultural sensibilities, he’s best known for the harrowing but engrossing Maria Full of Grace. His most recent feature, the deeply moving The Forgiveness of Blood, about modern Albanian teenagers paying the price for their elders’ blood feuds, was one of my favorite films of 2011—it was never released in Santa Cruz, but do yourself a favor and catch up with it any way you can.

Complete Unknown revolves around Alice (Weisz), a researcher at a New York City bio lab, who starts eating at the lunchroom of the ag administration corporation across the street. There, she chats up Clyde (Michael Chernus), an administrator who eventually invites her to a birthday party for his friend and colleague, Tom (Shannon). Tom’s a workaholic whose Iranian wife, Ramina (Azita Ghanizada), an aspiring jewelry-maker, has just been accepted into a prestigious graduate program across the continent in San Diego.

At the party, Alice dazzles everyone with her tales of growing up in the wilds of Tasmania with her botanist parents. But Tom is certain he recognizes her as a woman named Jenny he had an affair with 15 years earlier who suddenly disappeared from his life. She finally admits it, even though there’s none of the chemistry between them we might expect from people who had been as ardent lovers as Tom seems to think they were.

As the party progresses from Tom and Ramina’s apartment to a dance club to the remote exurban pond where Alice studies frog songs, Tom is drawn into her reckless life of serial identities. In the film’s best sequence, they encounter a bubbly mensch (Kathy Bates), out walking her dog, who trips and sprains her foot. They help her back to her apartment, claiming to be surgeons, dispensing medical advice to the woman and her Haitian husband (Danny Glover), and we can see how thrilled Tom is to make up a completely new identity for himself on the spot.

It’s unfortunate that Marston begins with an opening montage showing Alice/Jenny in some of her various personae—ER trauma nurse; assistant to a Chinese stage magician. It might have been more interesting if her past was revealed in tantalizing, if unlikely bits, and the audience got to play along, trying to decide if any of it was true. But this way, we already know more than the party guests quizzing her, and we’re impatient to get on with it.

Which leads to the main problem: once the premise is finally established, and the viewer has glimpsed the possibilities, as well as the potential drawbacks, of living an untethered life, the movie ends. We want to know more about how her lifestyle impacts Alice, and how she feels about it. We want to better understand the kind of pull Alice’s example exerts on Tom at this crossroads in his own life. (We feel his frustration when he disparages his job as sending emails “suggesting guidelines.”)

But Marston retreats, just when it seems like the real story is about to begin. He sets us up for a complex drama, but only delivers a prologue.


COMPLETE UNKNOWN

**1/2 (out of four)

With Rachel Weisz and Michael Shannon. Written by Joshua Marston and Julian Sheppard. Directed by Joshua Marston. An IFC Film release. Rated R. 90 minutes.

Marini’s on the Westside, Restaurants Changing Hands, and Dried Cherry Tomatoes

Marini’s has long been a delicious fixture on the Santa Cruz Wharf, offering golly-gee peeks at how saltwater taffy is mixed and stretched, pulled and cut into those bite-sized, chewy, melting morsels of seaside memories. How long? Well, 101 years long, which means my grandparents and parents did some time behind these luscious, traditional candies, all of which are manifestations of founder Victor A. Marini’s original recipe.

And of course, there’s Marini’s downtown, too. And for about a year now, there’s been a jewel box Marini’s tucked into the Westside Ingalls Street complex, between wineries, New Leaf, and the Bonny Doon Vineyard winemaking headquarters. When I was a kid, living far away from Santa Cruz, I always asked my cousins to send me a box of saltwater taffy for special occasions. I adored those watercolor pastel hues, the striped peppermints, the earthy peanut butter flavors. Today Marini’s is famous for a lot more than just very chewy salt water taffy. Chocolate sea salt caramels are one of the top sellers at the Westside store, where every day except Tuesday you can watch the candy-makers working their magic. Turtles! Chocolate, nuts, and caramel—divine. Irresistible caramel apples, homemade fudge and gazillions of truffles line the gleaming glass display cases. What I hadn’t realized was that Marini’s has another wall of colorful little candies from all over (the wall opposite the enormously popular ice cream bins). The kids can take their little Marini’s bags and fill them with whatever candies appeal to them most—licorice, gummies, house-made caramel corn, lollipops. Adults may be content with beer and wine-tasting around the corner. But for the young ones, there’s ice cream cones and fudge, plus the miniature revolving Ferris wheel. For everybody—especially those far from their Santa Cruz home who crave something coastal to chew on—there’s salt water taffy. A bright green 1-pound box of mixed salt water taffies will run you $15. Not bad for a whole lot of oral satisfaction. Marini’s Westside, 332 Ingalls St., Santa Cruz. mariniscandies.com.


Established Changes

Longtime foodies Ashley and Adam Bernardi will be taking over the former Stockton Bridge Grille, following the retirement of veteran Capitola restaurateur Lee Walters.  The Bernardis, who plan to specialize in farm-to-table California cuisine, have brought in chef Anthony Kresge (Mustards Grill and Miramonte), to take over the kitchen at their new restaurant Sotola Bar & Grill. Look for a mid-October opening of Sotola.

And by now you know that Brad Briske (Gabriella, La Balena, Main St. Garden Cafe) is returning to the Santa Cruz area to the helm of his own restaurant. Briske will be back at the landmark Main Street Garden and Cafe site (3110 N. Main St., Soquel), creating handmade items showcasing fresh produce from the restaurant’s garden. Rumor has it there will be special tasting menus featuring Briske’s adventurous cookery. Anticipate an October opening, with lunch and dinner offerings Tuesday through Saturday.


Shepherd Those Tomatoes

Up to your eyeballs in cherry tomatoes? In her latest newsletter, seed queen Renee Shepherd tempts me to try drying cherry tomatoes (of which you doubtless have many this time of year). Slice them in half, put on oven racks at very low temperature, 140-160 degrees, (or in a food dehydrator), for as many hours as it takes to achieve a leathery texture. Shepherd says to store them in jars or ziplock bags in the refrigerator. Eat them as snacks all year ’round, or—this sounds good—rehydrate them in warm water, wine, or broth for about 10 minutes until they plump back up. Then you can pop them into pastas or salads or whatever you want. Cool, huh? reneesgarden.com.

Farmers Market Star of Barbecue

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It takes an incredible amount of passion, skill and time to create great barbecue. I was reminded of this as Austin Towne, the owner of Gordo Gustavo’s BBQ, described his lengthy process of preparing hunks of pork shoulder, racks of ribs, and tri-tips for his stand at local farmers markets. He begins four days ahead of time with between eight and 40 hours of brining in chilis, salt and spices, then applies a liberal coating of his signature dry rub, followed by hours of slow smoking over oak and plum wood.

The result is some of the best barbecue I’ve had in a long time—pulled pork so tender it seems to melt in your mouth, tri-tip fully infused with smoke, and super flavorful Texas-style ribs, a prized pink smoke ring lying beneath the dark, spicy bark.

If that wasn’t enough to set it apart, even after that lengthy preparation the sandwiches and tacos feel so fresh. Towne and his sous Tom Ferdinand, both restaurant industry vets, are passionate about the details, including the vegetables and sauces. Their sandwich buns are buttered on the inside before they’re toasted on the grill side by side with their fillings, and the purple cabbage slaw that accompanies several dishes is crunchy and just creamy enough, with a hidden kick of spice. Their barbecue sauce is made with smoked chipotles for a sweet heat that rises slowly—nothing crazy, just enough to wake up your palate. At the Westside morning market on Saturdays, they’ll top their pulled pork with lightly dressed arugula and a fried egg. The tri-tip tacos may come with kimchi one week, and crumbly Cotija cheese and chili verde the next. Try anything with a few splashes of homemade peach hot sauce, if they have it on hand, for even more layers of sweet and heat.

Unsurprisingly, Gustavo’s frequently sells out, which Towne says is part of his commitment to being efficient with waste. “I’d rather sell out than make so much that there’s extra. From the wood that I use to the compostable utensils, at the end of the markets we’re throwing away next to nothing,” says Towne.


Gordo Gustavo’s vends at the Downtown, Westside and Scotts Valley Farmers Markets. Instagram: @gordo_gustavos.

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Results fall short of ambition in ‘Complete Unknown’

Marini’s on the Westside, Restaurants Changing Hands, and Dried Cherry Tomatoes

Marini's saltwater taffy
Marini’s still uses its original, 101-year-old recipes for its candies

Farmers Market Star of Barbecue

Austin Towne, owner of Gordo Gustavo's BBQ
For Gordo Gustavo’s BBQ, it’s all about the process
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