Intergalactic Invasion

4

Santa Cruzans who don’t believe in UFOs and think accounts of those who have seen them are crazy might feel differently after seeing a speech by Daniel Sheehan this coming Saturday at a mini festival called the Intergalactic Gathering, which also features bass music, dancing and art.

“The silicon chip and entire computer movement came out of the Roswell crash,” Sheehan says. “Also all of the fiber optics and some of the night vision equipment [the government] has come from UFO crafts.”

I know what you are thinking….but this speaker has some amazing credentials.

Sheehan is a Harvard Law graduate who was also a professor at UC Santa Cruz during the 2010s and taught classes such as “The Trajectory of Justice” and “Alternative Theories to the JFK Assassination.”

His résumé includes working as an attorney on fundamental cases concerning the Pentagon Papers, Watergate, the Attica Prison riots, the Iran-Contra scandal, Three Mile Island, the Greensboro Massacre and the Karen Silkwood case.

But most relevant to this Intergalactic Gathering—held at the 418 Project in Downtown Santa Cruz—Sheehan has inside access to the government’s UFO investigations and is fighting to ensure the public can see long-hidden documents.

“I was shown the Top Secret portions of Project BLUE BOOK,” Sheehan says confidently and matter-of-factly over the phone, speaking about one of the U.S. government’s original UFO investigation projects.

“That’s where I saw the photographs of the crash retrieval—the UFO crash retrieval. There was no doubt of what it was. You could tell this UFO crashed into the field and there were US military personnel all around it taking pictures and film of it while they were trying to drag it out.”

Sheehan was referencing the time in 1977 when he was special counsel to the Congressional Research Service study on all the information the government had on the UFO phenomenon, sanctioned by President Jimmy Carter. Since then he has become one of—if not the—leading attorneys on UFO (or, as the military now refers to them, Unidentified Anomalous Phenomenon or UAP) disclosure. For 20 years he represented Steven Greer’s Disclosure Project and currently represents ex-military official turned whistleblower Luis Elizondo.

On Saturday Sheehan will discuss some of the latest, up-to-date information about UAPs, what the government has known for years and how he and his New Paradigm Institute (a 501(c)(3)) nonprofit are working to pass legislation in Congress to give future whistleblowers more protection to speak out.

“It’s important for regular citizens to know what is going on so we can participate in the decision-making process,” Sheehan says. “But most people don’t feel like they know what is going on because you turn on the TV and it’s all propaganda.”

In true Santa Cruz style, the event is more than just a discussion on non-terrestrial crafts and beings. After Sheehan drops what is sure to be some major truth bombs, Bay Area self-described “Alien Bass DJ” Shlump (the alias for Michael Petzel) is going to spin some new music and old favorites for an identifiable fun party. The lobby will act as a transition zone with live art and vendors.

“Everything that Danny is talking about is serious, real and to be respected,” says one of the promoters, Michael Smith, of Points Collected. “So we wanted to choose some musical accompaniment that reflects that. [Shlump] has gone down the wormhole and knows all about disclosure and his way of creating music showcases that.”

Phoenix Rose of Heart Tribe Presents—the night’s other promoter—agrees.

“It’s a really unique opportunity to fuse serious information about this topic and music that highlights that type of energy,” he says. “It’s bridging two different crowds that have a lot more in common than they think.”

The idea came about when both Smith and Rose were discussing ways to throw a different kind of event with Sheehan’s son, Daniel Paul Nelson. Also a musician, Nelson has known and worked with Smith for over 10 years and became close to Rose after working with Heart Tribe Presents on a touring art project that sent 55,000 signatures to North Dakota’s state attorney’s office in support of dropping charges against Dakota Access Pipeline protesters.

“The idea for this event is to make sure Santa Cruz knows what’s going on concerning UAPs,” says Nelson, who is also the Lakota Law Director of Special Projects at the Romero Institute—Sheehan’s nonprofit law and public policy center located in Santa Cruz and the parent organization to the NPI.

For over 25 years the Romero Institute has been based out of Santa Cruz and was voted “Best Non-Profit” by Good Times readers in 2019 and 2021 with a “Runner Up” status in 2023.

Today the Romero Institute champions three causes: the Lakota People’s Law Project (relating to issues surrounding the 1978 Indian Child Welfare Act as well as water issues surrounding the 2016 Dakota Access Pipeline), Greenpower (relating to issues of renewable energy and climate change) and the New Paradigm Institute.

“The New Paradigm Institute is dedicated to disclosure,” Nelson says. “We’re working with a team of pro bono attorneys to write legislation and lobby for Congress.”

It was created in 2023 as a public policy and watchdog group originally to aid and follow the UAP Disclosure Act (which was later passed into law as part of the National Authorization Defense Act for Fiscal Year 2024) led by U.S. senators Chuck Schumer and Mike Rounds.

“We’re setting up citizen groups globally to pressure lawmakers and produce events to raise consciousness about UAPs,” Nelson says. “We recently just put forward a draft for whistleblower protection legislation.”

The electronic music world has never been a stranger to the idea of UFOs, extraterrestrials and the paranormal. Go to any gathering, rave, renegade or Burning Man and one is almost guaranteed to find some sort of “alien” symbolism, art or reference and Shlump is no different.

His tracks are mixed with heavy bass and robotic sounds that seem to come straight out of science fiction. His latest track, “Drum Beats Go Like,” which dropped this past May, puts the listener in the point of view of someone being abducted on an interstellar craft with an X-Files theme style opening and wave after wave of heavy, radiated beats.

“‘Alien Bass’ really describes the type of dubstep and electronic music I make,” Petzel explains. “It has a psychedelic, ethereal, spacey feel to it because the music I’m drawn to is a bit unorthodox and strange.”

Interested in UAPs and the existence of extraterrestrials since childhood, Petzel even named his latest tour the Alien Trip Tour. Although he’s never had an extraterrestrial or paranormal experience (“But I’ve always wanted to!” he exclaims), Petzel is a true believer.

“It’s crazy ignorant to not think there’s life on all different levels and scales out there,” he admits. “The universe is so vast and we only have knowledge of the tiny blip. Who knows what is out there?”

Ask Danny Sheehan, and he’ll tell you there’s a lot more people who are closer to the truth than they’re telling us.

SEEING SAUCERS Santa Cruz will hear from whistle-blowers and bass DJs at this event. “It’s bridging two different crowds that have a lot more in common than they think,” says Phoenix Rose. PHOTO: Romero Institute

AN EXTRAORDINARY LIFE

Despite known Ufologists (as UFO researchers are called) like Steven Greer and engineers like Bob Lazar—who claims he worked on reverse engineering non-human technology for the U.S. government and went aboard a recovered non-human craft—the modern UAP disclosure movement dates back to Dec. 16, 2017. That’s the day The New York Times published a groundbreaking article that said not only has the Department of Defense—and other national security organizations—known about UAPs and non-human species, they have been actively lying to the American people about their efforts to investigate the phenomenon.

The article centered around information provided by Luis Elizondo and former Deputy Assistant Secretary of Defense for Intelligence Christopher Mellon. Elizondo is a veteran, former senior intelligence officer, special agent and former head of the Advanced Aerospace Threat Identification Program (AATIP), a covert program initiated by the late Senator Harry Reid to investigate UAPs within the DOD.

 According to the Times, the Pentagon allocated $22 million of its budget to AATIP between 2007 and 2012, when the government—at the time—said the program was shut down. However, Elizondo says 2012 is just the year the government funding went dry and the program continued through the Office of Naval Intelligence and the Central Intelligence Agency.

 “There’s a super, above Top Secret program the CIA has called ‘Golden Dome,’” Sheehan tells GT. “It’s able to discover where the UFOs are even when they are still masked and have not rheostatted down to a lower vibration frequency we can see or pick up on radar.”

The Pentagon would later confirm AATIP’s continuance after 2012 along with its successor program, the Unidentified Aerial Phenomenon Task Force (UAPTF), which is now currently the All-domain Anomaly Resolution Office (or AARO, named because many of these unidentified crafts can fly through the air and water with ease). As written by law, AARO has to report directly to Congress.

“There’s a [non-human origin] base off Baja, under the water,” Sheehan says. “Dozens and dozens of UFOs have been monitored coming and going from that particular place, underwater. They know they are being monitored by the U.S. military and our nuclear submarines so they’re being fairly obvious about their presence.”

Along with Elizondo and Mellon’s 2017 testimony, three videos from U.S military surveillance equipment and fighter jets were released by Elizondo through the DOD.

In the videos one can clearly hear the highly trained fighter pilots mesmerized at what they’re seeing. In the now famous “GIMBAL” video, what appears to be the outline of a classic flying saucer is seen flying through the air then smoothly rotating as if on a video gimbal (hence the name). It was taken in 2015 by pilots from the USS Roosevelt, who can be heard saying, “Look, there’s a whole fleet of them!” and “They’re all going against the wind! The wind is 120 knots [138 miles per hour] out of the west.” At one point the object turns at a 90-degree angle without losing altitude.

On Aug. 20 of this year, Elizondo published Imminent, his memoirs about his time in AATIP, what he’s seen and the reasons surrounding his decision to go public. What makes this book even more interesting is that it was approved by the Department of Defense and features a minor few national security redactions throughout. In the book, Elizondo asserts the reason officials are still withholding information is due to issues of national security. As of this writing Imminent has spent the past two weeks on the New York Times’ Best Seller list, hitting number one for the week of Sept. 8 and moving to number six the following week.

Since 2017 more and more videos and information have been released by the government along with more whistleblowers testifying under oath to Congress about the existence of off-world crafts and beings. Even Blink-182 guitarist Tom DeLonge quit the band in 2015 to co-found To The Stars Inc. (formerly To The Stars Academy of Arts & Sciences), a hybrid entertainment and information organization focused on UAP disclosure. After leaving AATIP, Elizondo went to work for DeLonge’s company, which produced the History Channel hit show Unidentified: Inside America’s UFO Investigation, hosted by Elizondo.

Some whistleblowers—such as former United States Air Force intelligence and UAP Task Force officer David Grusch, who testified to the House Oversight and Accountability subcommittee last year along with former U.S. Navy (USN) fighter pilot Ryan Graves and former USN commander David Fravor—claim the government is in collaboration with private aerospace companies and not only has crafts but also “biologics” going back “decades.”

Since Grusch’s testimony, more than 40 individuals from the intelligence and military communities have testified before Congress concerning UAPs.

In other words, the national security state has a retrieval program, multiple crafts and the non-human pilots, living and dead. But this is something Sheehan says he has known for years.

“I interviewed a man I knew as Oscar Wolfe—who also used the name Elmer Stein—that was an Army clerk typist in Project Blue Book,” he says. “He talked to me at length about being in the actual presence of a live E.T. that was being interviewed by his commander. He told me he was able to read the notes of previous interviews and the E.T. said he was one of a number of beings from different star systems that were part of a program inside the Milky Way Galaxy. They were monitoring planets where life had gestated to determine what level they were at and what their state of technology was.”

He says when the extraterrestrial was asked who was in charge of the program it said, “You would refer to him as God but it’s a lot different than you think it is.”

Sheehan says since then whistleblowers within the government have identified multiple, intelligent, non-human species.

“There’s about five or so that we know about. Different people have asserted they’ve seen different ones,” Sheehan continues. “And they appear to be from different star systems throughout the galaxy.”

In a 2023 public report, the Pentagon admitted to over 300 UAP incidents since 2021 all with multiple credible witnesses and/or picked up by multiple sensor systems. Again, unless it is an entire disinformation program by the Pentagon, these are credible claims that Congress has taken serious enough to enact legislation concerning the matter. This all stems from whistleblowers and groups like the NPI pushing for the American people to have the right to know if this is real and if these UAPs pose a threat.

One of the topics he will almost certainly touch on Saturday is Oct. 20, 2024. That’s the deadline for when all agencies of the government must turn over all of their information on UAPs gathered since Jan. 1, 1945, to Congress and the National Archives as signed into law by President Bident last year.

A BIG DAY COMING On 10/20 the New Paradigm Institute’s going to have a two-hour live stream for “Disclosure Day” with noted ufologists. PHOTO: Romero Institute

“All six of the United States Military Services, all 18 of the United States Intelligence agencies and all 34 of the United States Defense Department agencies,” he says. “That’s all the internal memos, the reports, all the meetings’ notes, all the telephone messages. They have to compile everything they’ve ever had, file it all, and put it into a digital format with a searchable index.”

Danny Sheehan’s Roots

Although he’s been a Santa Cruz resident for the last quarter of a century, Sheehan grew up in the small town of Glens Falls, New York (which he says had only 3,000 people at the time). It was the 1950s, a time when Americans were enthusiastic about their government, capitalism seemed to open up doors of endless possibilities and the future seemed set for the stars.

“It was one of those wonderful places to come from,” he remembers. “I learned right from the very beginning you could participate in things and make changes, not just be a spectator.”

Sheehan was accepted at Boston’s Northeastern University before transferring to Harvard University. He graduated in 1967 with a degree in American Government Studies and worked for Bobby Kennedy’s fateful 1968 presidential campaign. During that time Sheehan also attended Harvard Law School and graduated in 1970 with a Juris Doctor degree.

“I had Henry Kissinger for foreign policy and John Kenneth Galbraith [post-Keynesian economist and diplomat] for economics,” he says, adding that because of his education, transitioning from small-town politics to the national scale seemed natural.

However, his college years also opened his eyes as to how politics worked.

“Kissinger opened up his first lecture saying, ‘If there’s any man in this class who doesn’t believe our United States government doesn’t have the right to lie, cheat, steal or even kill to pursue our own self interests as a nation-state, you shouldn’t remain in this course.’”

Sheehan adds a laugh of disbelief.

“So I thought, ‘Whoa, this is really bad,’” he says. “I realized there was this antagonistic, dialectical dynamic that people in the national security state were trained to engage in.”

I WANT TO BELIEVE

Skepticism intact, he is working now to protect those who are afraid to speak out against the government and the whistleblower legislation NPI is trying to get passed into law.

For now, Sheehan hopes to close the gap between his generation and today’s youth concerning what he considers to be his life achievement in an illustrious career.

“This is going to have the most far-reaching impact on the future for everybody on the planet,” he says. “This is the most extraordinary piece of information in almost all of our human family’s history.”

Info: 8pm Saturday, 418 Project, 155 River St., Santa Cruz. $25.

Santa Cruz Shakespeare Meets an American Masterpiece

2

The bittersweet poetry of Tennessee Williams casts a spell in The Glass Menagerie, the fourth production in the Santa Cruz Shakespeare 2024 season.

What a pleasure it is to finally have one of my longstanding wishes come true and see a play by one of America’s most distinguished and controversial playwrights produced by this company. An early work strongly based upon the playwright’s own troubled youth, Menagerie is a perfect place to start. But hopefully this company’s affair with Williams will continue.

The work earns its reputation by leaving an emotional echo that continues long after the lights have gone down. Much of the enchantment must be credited to Charles Pasternak, as skilled a director as he is actor. His light touch with this script is matched by his ability to supercharge the powerful tensions that electrify his actors. Bravo to all.

Repertory casts its spell once again. Tom, played by the agile Will Block, introduces the characters, including himself, his mother Amanda (Marion Adler), sister Laura (Allie Pratt) and “a gentleman caller” (Charles Pasternak). That symbolic gentleman caller is “the long-delayed but always expected something that we live for.” Thanks to the nimble performance by Block, we are able to occupy his narrative overview as well as his entrapment in a life shared with two lonely, abandoned women. Underscoring everything is Tennessee Williams’ love letter to those who are, as he says, different. Despite the misty chill of opening night, the audience hung on every moment of the SCS cast’s plunge into familiar dreams in a heartbreaking scenario.

Deception, illusion and longing perfume the poignant moments of the play. Living in the past, and worn down by disappointment, mother Amanda eternally replays her giddy girlhood as a belle in the deep south.

In seclusion forced by her awkward limp, Laura lives in a timeless present of music played on the old phonograph and a collection of tiny glass animals that she endlessly polishes, rearranges and cares for.

As the playwright’s surrogate, Tom alone lives for the future, the future he can’t wait to escape into, the future that will take him away from this cramped tenement, and a meaningless job in a shoemakers warehouse. Tired of escaping into Hollywood movie adventures, he wants to live a real adventure.

When Tom invites a work friend, Jim, home for dinner, his mother’s obsessive fantasies for Laura’s future spin into high gear. Fussing and reminiscing, preening and nagging, Marion Adler’s Amanda practically levitates with excitement over the prospect of her daughter finally enjoying some attention that she herself craves. This explosion of pent-up longing, her character’s desperate anticipation—a gorgeous eruption of emotions—left the audience breathless.

Williams lets his own character explode in stunning tour de force. Unable to endure his mother’s hovering, relentless criticism, Tom unleashes a cascade of truth-telling sarcasm about what he really does with his evenings. Block is a powerhouse in this pivotal revelation, channeling Tennessee Williams’ own sense of helpless rage over his literary aspirations.

As the gentleman caller, director Pasternak orchestrates a delicate exchange of dreams, coaxing the painfully shy Laura into smiles, even laughter. Here Allie Pratt’s Laura drifts in and out of internal reverie and lucidity. So many colors appear in her characterization of the sweet, troubled Laura. It is an appealing performance and a tribute to both actor and director. Their scene dancing together by candlelight conjures real magic, a moment as timeless as Laura’s fragile glass animals. The final moments embody great theater.

Watching this taut production in the Grove, at night, heightened the intimacy this play requires. And the illusion was polished by the seamless production team. Scenic design by Michael Schweikardt was punctuated by the impeccable costumes of B. Modern, the magical lighting of Marcella Barbeau and Luke Shepherd’s sweet nostalgic sound work. Together they have given the quartet of players a setting that takes us back 80 years into the world Tennessee Williams recalled with poet’s eye and the heartache of a misfit artist. This great artwork is about the people for whom we sacrifice, and the point at which we can sacrifice no longer. Tom can leave his stultifying life but he can’t escape the past, and those he loved and abandoned.

The Glass Menagerie is a haunting play, performed with insight. Such a bold move on the part of Santa Cruz Shakespeare, expanding itself into a longer, richer season. We are incredibly lucky. Here is professional work, enchanting and provocative, performed in a eucalyptus grove in a small community on a northern California Riviera. Don’t even think about taking for granted the presence of this evolving theater company.

The Glass Menagerie, directed by Charles Pasternak, Santa Cruz Shakespeare Grove, DeLaveaga Park, through Sept. 28. Full-moon performance 7pm on Tuesday, Sept. 17.

New ‘Latino Poety’ Collection Overflows With Energy

0

An evening of powerful poetry and a new anthology of work by Latino poets—plenty of reason for celebration next week. Organized by Circulo de Poetas & Writers, the event—titled Bringing the National and Local Together—offers a panel of word artists celebrating the publication of the Library of America’s new anthology, Latino Poetry.

Through readings and in conversation Latino poets—two national and two local—will explore a wide range of issues from ancestry and identity, to voice, resistance, family and community. 

“The event is free and open to the public as a way of outreach to the greater Santa Cruz community,” explains Adela Najarro, executive director of the Circulo. “Cabrillo College has set up daily events in honor of nationwide Hispanic Serving Institution week. This is the major evening event.”

Bringing their deep experience and reputations to headline the evening’s discussion will be acclaimed American Book Award winner Lorna Dee Cervantes and Blas Falconer, a professor in the graduate program at San Diego State University.

Cervantes earned her PhD at UCSC’s History of Consciousness program, and has deep roots in the Santa Cruz writing community. Cervantes and Falconer will be joined by Cabrillo instructor Vicky Bañales and local poet Christopher Rendon, for readings and a conversation moderated by poet and Circulo Director Najarro.

Cervantes is a haunting presence in this anthology, even in so much good company. Like those of so many of her fellow writers, her words in Visions of Mexico While at a Writing Symposium in Port Townsend, Washington bite as much as they dance:

“ … there are songs in my head I could sing you
songs that could drone away
all the Mariachi bands you thought you ever heard
songs that could tell you what I know
or have learned from my people
but for that        I need words …”

The important new anthology of Latino poetry includes work from the historical record dating back to the 1600s, and moves on through to the present documenting the power and English language diaspora of Latino poetry. The beautifully edited and printed 650-page book offers text in English and Spanish on facing pages where relevant.

Latino poetry has woven a rich tapestry for nearly five centuries, and while recognition of this powerful work has grown in recent years, the questions confronted by Latino poets—questions of exile and belonging, language and identity, struggle and solidarity, labor and landscape—continue to gain urgency.

Panelists will read their work and selections from Latino Poetry: The Library of America Anthology and then answer questions posed by the moderator. Questions will explore one or more of the eight core humanities themes: ancestry & identity, language, voice & resistance, first & second homes, family & community, music & performance, labor, and eco-consciousness.

Using a round-robin format, the “national” and “local” poets will share the stage and their insights into Latino poetry. The event will be repeated on April 5, 2025, from 1 to 4pm, at the Watsonville Public Library with a different set of panelists.

Latino Poetry: Bringing the National and Local Together takes place Sept 12 from 5:30 to 7:30pm at Samper Recital Hall, Cabrillo College. Free. 

Street Talk

1

Name your most memorable teacher?

Adria Coulson portrait
ADRIA

My middle school drama teacher, Mr. Guilford. He was always very supportive of me when I was little, because I was very shy, and he helped me come out of my shell.
Adria Coulson, 17, Student


Jake Elliott
JAKE

I had a cool substitute teacher, Mr. Jumper. He told us to smoke weed before class one time, and we just watched South Park in the morning, it was an early class, like 7:30 in the morning. That was pretty funny.
—Jake Elliott, 35, K&D Landscaping, Watsonville


Bri Bierbaum
BRI

I’m going to say the emotion of grief is my best teacher. It’s constantly changing my life. It ebbs and flows. It teaches me to be present, and that peace is not the absence of suffering, it’s the acceptance.
—Bri Bierbaum, 30, Yoga/Dance Studio Manager


MAX

Mr. Rubin, my math teacher. He taught me about putting money into retirement and investing now to buy a house. He changed my life and taught me economical things even though it had nothing to do with the class.
—Max Moore, 18, Student


SOLVAY

My fourth grade teacher, Miss Levy. I was advanced in math and English, so she made assignments just for me. I would also hang out with her outside of school. She was always there for me, especially when I was little.
—Solvay Medford, 18, Student


RICHARD
RICHARD

I met a little Italian guy back in the 80s — Lou Barbara. He knew all about Alpha waves, magnetics, and bio-magnetism, and he taught me everything. From him, I became a magnetic therapist.
—Richard Romano, 74, Magnet Therapist


Meet Santa Cruz County’s District 5 Supervisor Candidates

Election season is upon us and in a little less than two months county residents will vote in two supervisor runoff elections. Back in March, the District 2 and District 5 seats were not claimed since no candidate received more than 50% of the vote, triggering the runoff during the Nov. 5 general election.

The District 5 seat long held by Bruce McPherson will be contested between Christopher Bradford and Monica Martinez, two political newcomers. McPherson will not run for reelection. Bradford is small business owner and community organizer, while Martinez is the CEO of Encompass Community Services. Martinez led with 46.43% of the vote to Bradford’s 21.41% in the primary election.

GT will be featuring candidates running for the county’s important races, and this week it’s their turn to make their case to District 5 voters. We submitted questions to the candidates and their responses are published below. Some responses have been edited for brevity and clarity.

Q&A: Christopher Bradford

Why are you running for the 5th District Supervisor seat?

After losing my home in the CZU fire, I experienced firsthand how difficult it is to have an adversarial government instead of a supportive one. Advocating for my family and community while attempting to rebuild made me aware of the many deficits people experience in the 5th District when looking for fair treatment and support from county government.

I have spoken to and connected deeply with folk from all walks of the community, and so many feel unseen. I am running so that everyone has a voice, not just the connected or wealthy. Our area is desperate for actual change; we don’t want the powers-that-be putting someone in that seat. I can bring collaborative and creative solutions to the table and have no one to answer to except the voters.

What experience do you bring that will help you best represent the district?

I’ve got the experience we need to plan for the future of our district and not repeat the past. I’ve managed large businesses with multimillion-dollar budgets, and have been treasurer/board member for Financial Services Sector Coordinating Council. I’ve had to solve problems, keep businesses profitable, and take care of both staff and investors. I’ve had to be innovative, creative and disciplined in order to make sure the bottom line is squared away. I’ve had to deal with the government as a businessperson as well as a constituent; I’ve directly experienced what people are dealing with and that experience matters. In a time when budgets are contracting, needs expanding and technology rapidly advancing, we need a smart, technical-minded person with a history of creating solutions on that board representing us.

What are some of the most pressing issues for District 5 and how will you work to address them?  

Roads and infrastructure: The state of roads can be a matter of life-or-death in an emergency situation. With zero dollars in the budget for roads next year we are going to have to come up with creative solutions.

Fire recovery and disaster preparedness: We are only 12% rebuilt from the CZU fire four years later. It affects those that lost their homes, drives the cost of living up for area residents and means fewer property taxes. I am committed to working with staff and fellow supervisors on changing this “Culture of No” in our county offices to support rebuilding and get our community to engage with the county so that our neighbors are safer. The lessons we learn from the rebuilding of homes lost during the CZU can be used to improve services for everyone.

Fire mitigation: I want to work on fire abatement strategies to make our communities safer and  more insurable. I already do this as a board member of the Fire Safe Council, but the supervisor position will allow me to do much more.

Cost of Living: It’s becoming more difficult for folks in the 5th District to make ends meet. I plan on generating community programs that reduce that pressure. Things like child care co-ops; community gardens; increased funding for organizations like the Mountain Resource Center; and a pro-building stance to increase housing and drive down rents and housing costs.

Why should District 5 elect you as supervisor instead of your opponent?  

While we may share common goals, my approach offers a fresh perspective. As someone who understands but isn’t entrenched in the county’s processes, I bring an outsider’s creativity combined with practical knowledge. I’m committed to finding innovative solutions to our complex challenges, free from the constraints of establishment politics. My campaign has showcased my  accessibility and engagement—qualities I’ll continue to bring as your 5th District supervisor.

Q&A: Monica Martinez

Why are you running for the 5th District Supervisor seat?

I’m running for 5th District supervisor because I’ve lived through the same challenges our community has faced in recent years: the pandemic, the CZU fire, and devastating winter storms. I’m raising my children here, and I want them to grow up in a thriving, resilient community. Unfortunately, I’ve seen county government fall short in rebuilding homes and maintaining essential infrastructure like roads, power, water, and broadband. I want to change that. With my leadership experience, I’ll work to accelerate recovery, strengthen disaster resilience, and ensure every voice in the 5th District is heard. We deserve better representation and results.

What experience do you bring that will help you best represent the district?

As a lifelong public servant, I’ve dedicated my career to ensuring public resources reach those who need them most. I began by supporting homeless women on Skid Row in Los Angeles, then became executive director of Housing Matters in Santa Cruz, where I launched the successful 180/180 initiative, housing 180 vulnerable individuals. For the past ten years, I’ve served as CEO of Encompass Community Services, managing a $35 million budget and leading 400 staff to deliver vital behavioral health, early childhood, and housing services. My track record equips me to provide strong, effective representation for District 5 residents.

What are some of the most pressing issues for District 5 and how will you work to address them?

Disaster recovery is crucial for District 5. Over the past four years, we’ve faced immense challenges, from the pandemic to the CZU Lightning Complex Fire and the 2022-2023 winter storms. It’s unacceptable that only 15% of the 911 homes lost in the fire have been rebuilt. I’ll work to streamline the rebuilding process, improve coordination with public and private agencies, and ensure residents receive the resources they need when disaster strikes.

Aging infrastructure is another critical issue. As supervisor, I’ll fight for our district to receive its fair share of resources for long-term projects that improve roads, water systems and broadband connectivity. Reliable broadband and cellular service, especially in rural areas, is essential—not just for daily life but for emergency communication. I’ll also prioritize creating safe routes to schools, expanding pedestrian access, and enhancing sustainable, affordable transit options.

Affordable housing is a pressing issue across the Central Coast, and our district is no exception. We must preserve our existing housing stock, expedite repairs, and focus on a sustainable housing ecosystem that includes affordability, workforce housing, and transit-oriented development. We also need evidence-driven strategies to prevent homelessness and support our most vulnerable residents in maintaining stable housing.

Why should District 5 elect you as supervisor instead of your opponent?

With nearly 15 years of public service experience in Santa Cruz County, I have the expertise and relationships to deliver immediate results for District 5. The challenges we face—like disaster recovery, infrastructure improvements, and affordable housing—demand someone who can act quickly and effectively, not someone who needs time to learn the job.

I’ve worked closely with the county, understanding its strengths and weaknesses, and I know how to leverage public funds to improve disaster preparedness, safety, and infrastructure. As Supervisor, I’ll ensure that District 5 receives the resources and attention it deserves, while preparing for future challenges.

My proven leadership has earned endorsements from across the county, including elected officials, the California Democratic Party, Planned Parenthood, SEIU 521, and numerous labor organizations. These endorsements are a testament to my ability to collaborate, solve problems, and deliver real results for our community. 

The 5th District deserves an experienced leader with a deep understanding of its unique needs and a commitment to accelerating recovery, strengthening resilience, and improving the quality of life for all residents. I’m ready to serve and deliver on day one.

A Santa Cruz Thing: Santa Cruz Wharf to Natural Bridges Hike

My wife, Julie, says West Cliff Drive is her favorite place to walk because it is so easy: “You just park your car and start walking and listen to the waves crash against the rocks.” That is a magic feature of the walk, to see and feel and hear that point where the sea meets the land, where the rocks throw the waves into the air, each eruption of spray forming a unique water pattern, every plume as unique as a snowflake.

Sacred Steps

From the wharf, past the Lighthouse, past the world-famous Steamer Lane surfing spot and up to Natural Bridges is about 2 and ½ miles. Writing a 1,000-word column about this West Cliff walk to explain what this bit of coastline means to Santa Cruz is like taking a stroll from Saint Peter’s Square to the Sistine Chapel to write 1,000 words about its importance to the Holy See. For the spirit of Santa Cruz, this land is no less sacred.

From the wharf to Natural Bridges is roughly 5,000 steps for most, and every step lands on thousands of years of blood, sweat and tears to save this sacred place. When we take those steps, something deep in our bodies can feel the spirit that moved the stewards of this precious coastland, from the Awaswas people who lived here for 12,000 years to the current Coastal Commission, in its never-ending struggle to keep investors from buying and destroying this holy place. To quote fabled, former Coastal Commission Director Peter Douglas, “The coast is never saved.”

Santa Cruz Wharf to Lighthouse Beach

Tourists don’t get it. They can’t. I think it’s fine that vacationers are drawn to this walk for no other reason that it is among the most beautiful places on earth. The Santa Cruz Wharf is 2,745 feet long, the longest pier on the West Coast, and as I walk out to the end of the wharf, I’m charmed to hear families speak in exotic languages from around the world.

At the end of the wharf, I lean against the railing and smile at the young couple next to me with big cameras hanging from their necks. The young man points at the city of Monterey across the bay, barely visible in the mist, and asks me, “Is that Hawaii?”

You may have to live here to get it, but walking along West Cliff Drive from the Santa Cruz wharf to Natural Bridges State Park is a good place to start. Out and back on the wharf is over a mile, but it is a way to let the wind fill your hair and your sails.

The wharf does have some of the nicest restaurants in Santa Cruz and tourist trap shops abound with virtually everything manufactured in China stamped with the name Santa Cruz. Walking the wharf is probably the clearest view you’ll get of the entire Santa Cruz Beach Boardwalk. Walk back inland toward the roundabout at Front Street and you can drop down off the wharf and get a short beach walk in on the north end of Cowell Beach. You can get to the West Cliff Drive sidewalk on paths around the Dream Inn.

The world-renowned surfing hot spot, Steamer Lane. PHOTO: Richard Stockton

The sidewalk will take you past marine cliff fauna where you can watch the ever-present surfers ride the waves of the world-famous Steamer Lane. This is where Jack O’Neill developed the modern surfing wetsuit (the water is cold). The path reaches its furthermost point out into Monterey Bay just before it takes a sharp right turn to the Santa Cruz Surfing Museum. Check out the photographs and exhibits that chronicle over 100 years of surfing history. It’s open from noon to 5pm, closed on Tuesdays and Wednesdays.

The Santa Cruz Lighthouse and Santa Cruz Surfing Museum. PHOTO: Richard Stockton 

Just past the Santa Cruz Surfing Museum to the left of the path is Lighthouse Field State Beach. Inland is Lighthouse Field, the site of the Herculean effort to rescue this 37-acre parcel from developers. There are paths throughout the field where you are free to walk; dogs are allowed on-leash only.

Bring Your Binoculars

The West Cliff Drive path runs along the cliffs with huge boulders breaking the crashing waves apart, and you can always see marine or bird life on the rocks. Monterey Bay is known as the “Serengeti of the Sea”—a diverse ecosystem that plays host to 34 species of marine mammals, more than 180 species of seabirds and shorebirds, over 525 species of fishes, and innumerable invertebrates. Use your binoculars to spot whales, sharks, sea otters, sealions, seals and countless species of birds.

If you want more beach, you can drop down into Mitchell Cove Beach, more protected than Santa Cruz Beach. The path continues along the rugged, rocky West Cliff to your left and the mansion beach houses inland and culminates in a parking lot. You can walk down ramps into yet another stunning stretch of sand, Natural Bridges State Beach. There is an electric bike rental station at the corner of Swanton Boulevard and West Cliff Drive.

At the corner of Swanton Boulevard and West Cliff Drive, you can rent an electric bike for $7 for each 30 minutes. The BCycle bikeshare system has more than 80 parking stations in Santa Cruz. Visit SantaCruz.org.

A Place to Dream

Santa Cruz is a place people dream of, and the more you learn about it the more you understand that it was created from people’s dreams. There may be some dreams in life you’ll have to delete—no one will ever perfectly fold a fitted sheet—but if you walk West Cliff Drive your mind will open simply from the walking.

Breathe in the ocean air and you can forget who you are. Walk far enough and your brain will stop, and that is when hope slips in. In Santa Cruz you can decide to leap without a net, to give your dreams a try, and if that net does not appear, then you will learn how to fly. 

Santa Cruz Takes A Stance Against Homeless Drop-offs

Santa Cruz Mayor Fred Keeley sent a clear message last week during an early morning press conference: Santa Cruz will not take on other cities’ unhoused populations. Accompanied by city and county officials, Keeley convened the media to unveil a new ordinance that makes the unannounced drop off of unhoused individuals within the city by other jurisdictions illegal.

Less than a week later, the ordinance was voted into law by the Santa Cruz City Council during a Sep. 10 meeting. Unhoused drop offs of that type are now a misdemeanor.

The move came in response to an incident on June 27 in which a disabled unhoused person was allegedly driven to and dropped off in Santa Cruz by police officers from the city of Hanford, located about 30 miles south of Fresno in Kings County. The individual, whom officials are only referring to as “Person Doe,” had no connection to the area and told them they were brought to Santa Cruz against their will.

Keeley said while local officials will work with other jurisdictions to help settle unhoused people with ties to the community here, Hanford officials did not reach out to the city before deciding to offload Person Doe with all their belongings at the Armory shelter.

Person Doe also alleged in a subsequent interview with city staff that the two officers who transported them suggested Santa Cruz because it’s “laid back and tolerant of people experiencing homelessness.” The officers added that “they are anti-homeless in Hanford,” according to a city staff report.

“Our expectation is that, programmatically, we communicate with each other. We don’t dump homeless people in somebody else’s community. We don’t expect that in our community,” Keeley said at the Sep. 5 press conference.

Hanford Police and the city’s mayor did not engage with Santa Cruz officials after the initial incident and went silent, according to Keeley.

Homelessness Response Manager Larry Imwalle reiterated Keeley’s sentiments at the press conference.

“The Hanford PD’s conduct was not only irresponsible, but it was also inhumane, placing undue strain on local homeless services that we provide to other people experiencing homelessness in the city, and creating challenges to the individuals that don’t have support. Simply, this is not how we do things in Santa Cruz,” Imwalle said.

The ordinance reads as follows:

“No law enforcement officer, agent, or employee of a county, of another city, or of any other governmental entity, when acting in their official capacity, shall transport and drop-off an individual on public property, or private property that is accessible to the public, within the City of Santa Cruz, when the person being transported and dropped off lacks a fixed, regular and adequate nighttime residence.”

A companion resolution also directs the SCPD to add a “prohibition of unsanctioned transport of homeless persons” policy to its manual.  Santa Cruz Police Chief Bernie Escalante was on hand to echo Keeley and Imwalle.

“The actions that we experienced by the city of Hanford and the Hanford Police Department do not align with the values of our community here in Santa Cruz and, as it has been expressed, this is not how we do things in our community,” Escalante said.

Good Times made multiple unsuccessful attempts to contact Hanford city officials for a response to the allegations. Among those contacted were Hanford Mayor Travis Paden and Hanford Police Chief Stephanie Huddleston.

However, the city did put out a statement addressing the situation on the same day of the Santa Cruz press conference.

“On June 27, officers of the Hanford Police Department transported an individual

experiencing homelessness to the City of Santa Cruz at the individual’s sole request. At no

point in time did Hanford Police Department officers suggest, encourage or coerce the

individual to go to the City of Santa Cruz. Any claims of this nature are flat-out false,” read the Sept. 5 release, in part.

“It should be noted that Hanford Police Chief Stephanie Huddleston has previously

explained this series of events to Santa Cruz’s Police Chief. We strongly disagree with the

City of Santa Cruz’s assessment that the City of Hanford is moving its homeless problem

‘elsewhere,’” it went on to say.

Hanford Police also said the decision to transport the individual was made after they refused to seek out homeless services in the area.

Good Times reached out to Kings Community Action Organization—Kings County’s leading nonprofit providing homeless services—for comment on the situation but did not receive a response.

Brian T. Johnson, Community Relations Manager for Hanford, told Good Times in an email on Sep. 5 that the city’s actions are being mischaracterized.

“I’ll add that we take issue with the words ‘dump’ and ‘dumping.’ As stated in our response, our officers provided a service at the request of the individual. [They were] not dumped,” Johnson wrote.

In Santa Cruz County, the Homeward Bound program regularly helps unhoused individuals to connect with family members or other support and offers transportation to reach them. That means helping people leave the area or arrive here, depending on the situation. Hanford officials did not reach out to any local service providers and the city does not appear to have a similar program.

Santa Cruz County District District 3 Supervisor Justin Cummings was also present at the Sept. 5 press conference and said that he would work with his colleagues on the board of supervisors to bring an ordinance similar to the city of Santa Cruz’s proposal forward.

“I think this gives us an opportunity to really dive into how we prevent this from happening and really put forward some consequences for when other jurisdictions do that,” Cummings said.

During the Sep. 10 council meeting, Keeley had the support of the dias, including council member Sandy Brown.

“We are against forced displacement, that’s why I think this is so important,” Brown said.

Music, Maestro!

0

The Santa Cruz Symphony kicks off a new year of shimmering music next week. And here’s why you should care. A lot. There’s more than one ingenious local angle in the programming.

With one eye on well-loved classics and another on artistic talent closer to home, the Santa Cruz Symphony’s 2024-25 season kicks off Sept. 21-22 with new music composer Mason Bates’ electrifying Philharmonia Fantastique and Johannes Brahms’ majestic Symphony No. 1, as well as a brand-new arrangement of Ceremonial Music for full orchestra by renowned local composer Martin Gaskell.

The season is, once again, programmed by Music Director Daniel Stewart. “This is one of the great privileges and responsibilities of being a music director,” Stewart happily admits. “And especially in an organization of this size, because we do have more artistic leeway, you know. We can be more flexible in programming; we can find things a little closer to when they’re going to happen and move quickly when opportunities arise.”

Stewart enjoys the challenge.

“It’s a fun artistic position to be in. In the end, I’ve had the great joy of essentially creating an overall arc within a season of arcs through each individual program, and trying to keep the stylistic and geographic and historical diversity very, very consistent throughout. I want each concert to offer opportunities for breathtaking emotional content and things that can change a person’s life in many ways. To experience the wonder of old favorites and discovery in the new.”

Known to Santa Cruz culturati thanks to his frequent residencies in seasons past, composer Mason Bates is a master at balancing the musical high wire. At the edge of the leading edge, his piece is loaded with sensory pyrotechnics and electronic hijinks.

INSPIRED BY THE BARD In March, Charles Pasternak will set the stage for a program of music devoted to Shakespeare. PHOTO: Santa Cruz Shakespeare

A 25-minute concerto for orchestra and animated film, Philharmonia Fantastique explores the connection between creativity and technology. Working through the distinctive sections of the orchestra, this vibrant musical guide provides a mesmerizing opportunity to lean into the textures and colors of each instrument. (The animated version is a collaboration between Mason Bates, Oscar-winning sound designer Gary Rydstrom and animation director Jim Capobianco.)

Balancing out the program with a reference to the Western canon is Brahms’ first symphony—a gorgeous 19th-century masterwork.

Catching up with Martin Gaskell, who moonlights as a UCSC lecturer in astronomy, we found out more about this transposition of Ceremonial Music, originally scored for brass and organ. “Making an arrangement for full orchestra was indeed a special challenge,” he admitted. “One can take advantage of sounds in an orchestra that cannot be reproduced by an organ. These factors result in the orchestral version of Ceremonial Music having a far different feel.”

The composer explains that the piece was originally written for a friend’s wedding, “a wedding that was going to take place in the large chapel of a seminary. Ceremonies tend to occur in special places.” Well known to many local music groups who have performed his music over the years, Gaskell is looking forward to having his work performed by the Symphony. “I have the advantage of knowing what the Civic Auditorium acoustics are like, what the orchestra and audience setup is like, how the orchestra sounds, and who many of the players will be. Daniel Stewart is a great conductor, better than many conductors of leading orchestras.  Always extremely well prepared. I’ve got no anxieties about the concert.”

The season’s second concert, “Adaptations,” starts off Nov. 2–3 with the world premiere of Spin by Cabrillo College music instructor and composer Josef Sekon. Known as a keyboard specialist who founded the St. John Aptos Keyboard Series, Sekon confesses that he has wanted to compose more orchestral work. And the result is Spin, a work showcasing his restless musical imagination. The late music writer Scott MacClelland once described Sekon’s composing style as “whirling and rotating passages in dialogue.” And Sekon agrees. “Textures of various sizes, shapes and colors are my musical goal. Rapid continuous passages, controlled dynamics and glissandi will create the whirling and rotating. The ending promises to be a unique adventure.”

FRESH SOUNDS November brings the world premiere of ‘Spin’ by Cabrillo College music instructor and composer Josef Sekon. PHOTO: Rebecca Barnes

In addition to Sekon’s premiere work, the concert features Antonín Dvořák’s Symphony No. 8 paired with the virtuosity of Santa Cruz Symphony Artist in Residence and Concertmaster Nancy Zhou performing Erich Korngold’s radiant Violin Concerto, a canonical work for violin and orchestra. Those familiar with Dvořák’s haunting New World Symphony will be entranced by this joyful musical description of the natural world, inspired by the folk music of the composer’s native Bohemia.

And before you know it, the winter holidays will be here. On Dec. 14–15 the Holiday Pops Concert will offer the justly popular Nutcracker by Pyotr Ilyich Tchaikovsky as the centerpiece to an event rich in Yuletide offerings. Starting with A Christmas Festival by Leroy Anderson, Maestro Stewart will lead the Symphony orchestra in Polonaise from Christmas Eve by Nikolai Rimsky-Korsakov, then the gorgeous Fantasia on Greensleeves by legendary British composer Ralph Vaughan Williams. And many more delightful musical adventures of the season.

Always an exciting moment on the Symphony calendar is the “Family Concert” on March 2. Finessed once again by soloist and Master of Ceremonies Omari Tau, the program includes Sergei Prokofiev’s Peter and the Wolf, plus youth-centric selections performed in collaboration with community partners. This concert is sure to engage imaginations of all ages.

The season draws toward a close with two concerts of very special interest to local music and theater lovers. “Symphonic Shakespeare” on March 29-30 offers something to appeal to theater lovers. Fresh from the triumph of his first directorial season, Santa Cruz Shakespeare Artistic Director Charles Pasternak will be on hand to set the stage, so to speak, for a program of music devoted to Shakespeare.

“I’m looking very forward to Santa Cruz Shakespeare’s first collaboration with the Santa Cruz Symphony (though certainly not the last!). A few actors and I will be doing some scenes from Midsummer Night’s Dream, Romeo and Juliet, and the Scottish play [Macbeth] to go along with Daniel’s gorgeous choices in Shakespeare-inspired music. Our work will take place mostly in the symphonic margins, but I am excited for one opportunity where I’ll be doing text while the symphony plays.”

The collaboration between theater and music is one that was the rule, rather than the exception, in Shakespeare’s day. In the case of this concert, music and words have been programmed for mutual enhancement.

Maestro Stewart is keen on diversifying participants in his programming. Hence the presence of Charles Pasternak on the March concert program. “This was a concept that I had already articulated to the board my very first year,” Stewart recalls. “So 10 years ago, I was intent on a collaboration with [Santa Cruz] Shakespeare, which is an absolutely fantastic community. Santa Cruz has such wealth, incredible artistic programs, and Shakespeare was certainly among the forefront.

“I’ve invited Paul Whitworth, I’ve known Mike Ryan, and now Charles Pasternak, and we actually featured both Paul and Mike in our Peter and the Wolf programs,” Stewart explains. “We’ll showcase the incredible musical treatments of Shakespeare’s works by some of the greatest composers. You could create a whole festival around his plays. As long as we were doing this, we wanted to feature some of the all-time classics, the Tchaikovsky and one new one by Anna Clyne. It is a real pleasure to work with Charles. I saw his Hamlet—I was so stunned by it.”

From Felix Mendelssohn comes A Midsummer Night’s Dream and from exciting new music composer Anna Clyne—another artist well-known to Santa Cruz audiences for her bold and innovative orchestral impressionism—comes a dramatic musical study of the Bard’s Macbeth titled Sound and Fury. The program concludes with the Fantasy Overture from Pyotr Ilyich Tchaikovsky’s Romeo and Juliet. Expect to be enthralled.

The Symphony’s classical season finale on May 3–4 offers Wolfgang Amadeus Mozart’s incomparable Requiem, featuring the Cabrillo Symphonic Chorus, directed by choral legend Cheryl Anderson and soloists from the Metropolitan Opera. Preceding Mozart’s monumental creation for voices and orchestra will be Stewart’s arrangement of Overture to Dancer in the Dark by Björk. Yes, I know, exciting. But perhaps even more so will be a world premiere of music composed by Stewart.

“It will be a piece for orchestra, orchestra and some other surprising elements, which I’m going to keep as surprises,” he explains. “It’s a 20-minute work for symphony—there will be some special guest collaboration—and it’s about representing what it’s like to be alive at this moment. I think the best thing that great art tends to do is a very direct reflection of the moment in which we live, through the prism of art. And so what I’m most focused on in this particular one is how you make people feel and find balance in the harmony and harmonization where you don’t expect it. Right now we’re involved in this great moment of change, with technology, and with large language models and neural networks.

“I’m very interested in this new intersection of culture and technology and how it relates to our wonderful traditions of music making and of community making. One of the great things that we represent as an orchestra is unity from diversity, that incredible computation of harmony in society and the great cooperative potential of all of us. And so when the world we grew up in no longer exists, this is something that I hope to create optimism about. And also I’m very keen always in my work to make something that’s fun, equally fun for the musicians, exciting, thrilling for the audiences, as well as a very honest representation of things. But it’s by no means so serious and foreign that it’s not also instantly enjoyable. That’s a tall order, of course, but that’s always the bar that we want to set for ourselves.”

Martin Gaskell
LOCAL COMPOSER Martin Gaskell knows the Civic’s acoustics well and is looking forward to having his work performed there. PHOTO: Contributed

Will he be nervous about presenting his new work in public? Maestro Stewart contends that he’s always so caught up in the minutiae, the details of memorizing the scores, rehearsing, “pursuing all those details that that’s all I can think about, and there’s simply no time for any nervousness. I know so many great artists talk about that particular trait, you know, being with them their entire lives. So there’s no telling what different performers will be feeling.”

About the Mozart Requiem, which—full disclosure, I have sung this music with conductor Stewart and the Cabrillo Symphonic Chorus—the music director agrees: “I’m so looking forward to returning to the Mozart here for many good reasons, especially that it’s one of the great, great works of art. It represents so much in the history of music by one of the greatest artists who ever lived. But in addition to all that I relish the fact that it was performed the first season of my first year with the Symphony ten years ago. And so it was my first collaboration with Cheryl Anderson. Since she plans to retire after that concert, it’s going to be just so emotional for me.”

The wildly popular Spring Pops Concert on June 7 will once again offer music themes from the great John Williams. Expect to hum along, but quietly, to new selections from Star Wars, Indiana Jones, Harry Potter, Jurassic Park and many more favorites from the cinematic soundtrack superstar. And before the concert, do not miss the street party, starting at 5pm in front of the Santa Cruz Civic Auditorium. No doubt about it. The Santa Cruz Symphony’s upcoming 2024-25 concert lineup is one of the top reasons why we live in Santa Cruz. Season tickets are a good idea. Visit santa cruz symphony.org.

Art Without Walls

0

The Santa Cruz Museum of Art & History knows that art doesn’t only belong in museums and galleries. In 2022, MAH organized the first biennial CommonGround, a 10-day, multi-site festival of exhibits, installations and performances that took place in and around the museum, as well as off-site,  namely the Evergreen Cemetery and Davenport Jail. This year’s CommonGround offers a similar schedule of mostly free art and art-inspired events at the museum and other spaces throughout Santa Cruz County.

“Our executive director, Robb Woulfe, was really interested in creating spaces of connection outside of the museum,” says Museum Director of Exhibitions and Programs Marla Novo. “It’s something that the MAH has always been interested in, but he kind of took it to another level, having a biennial that is in multiple places throughout Santa Cruz.”

For “The Pyramids” (Cowell Beach), for example, local land artist Jim Denevan and his son Brighton will create a sand drawing that’s also a community collaboration. Volunteers interested in taking part can sign up on MAH’s website. Denevan is famous for making his sand and ice drawings all over the world. (His art was featured on iconic streetwear brand Stussy’s 2020 collection.) M.K. Contemporary Art will simultaneously display the Denevans’ aerial photography and videos as part of its “Shelter from the Storm” exhibit.

In “Watermarks of the Last Chinatown” (740 Front St., Downtown), artists Huy Truong and Susana Ruiz and author and UC Santa Cruz professor Karen Tei Yamashita will explore in an “augmented reality experience” the history of the last Chinatown, which was destroyed by  a flood in 1955. There were several Chinatown neighborhoods in Santa Cruz between 1862 and the 1950s. A virtual exhibit of the same name currently at MAH incorporates historical photographs, documents, films and interviews with community members.

“Fathoming: Among Whales and Walls” (Davenport Jail) will feature artists Alicia Escott, Angela Willetts and Victoria Perenyi discussing “the mysterious world of whales” and “ecological grief and joy.” It’s a nod to Davenport’s migrating whales, and the two-cell jail-turned-museum, which was built in 1914 and only used twice.

The museum, along with Amah Mutsun Tribal Chairman Valentin Lopez, will celebrate the opening of its new “Kincentricity Garden” (MAH), an native plants garden and community space, which took three years to build in collaboration with the Amah Mutsun Tribal Band.

While CommonGround’s goal is to highlight local art, the festival also engages with national and international artists. Bahamian N.Y.-based Tavares Strachan will be on hand for his “I Belong Here” (MAH), a neon sculpture of text that’s part of the museum’s “Young, Gifted and Black: The Lumpkin-Boccuzzi Family Collection of Contemporary Art,” a new exhibit of mostly recent works by artists of African descent. Another new exhibit at MAH, “Of Love and Revelation: Learning Photography from the Land,” will also be on view.

Australian artist Craig Walsh will present “Monuments” (Evergreen Cemetery), his long-running, outdoor video, which projects and animates people’s faces onto trees and monuments at night. Walsh will project portraits of Luna HighJohn-Bey, Jim Lorenzana and George Ow, Jr.—a real estate developer and resident of the last Chinatown—which will honor ancestors buried in the cemetery.

“The event is about connecting people with stories and spaces that have to do with our landscape and really honoring the natural beauty that is Santa Cruz,” Novo says. “But it’s also uncovering stories about Santa Cruz that you might not know. It’s a beautiful blend of site- specific work and landscape, and how we interact with them and our relationship to them.”

CommonGround runs Sept. 13–22 at MAH, 705 Front St., Santa Cruz. The museum is open Thursday-Sunday; $8-$10. Events at other locations are free. santacruzmah.org/commonground

Caption for second photo:

TIME AND TIDE Local land artist Jim Denevan and his son Brighton will create a sand drawing at Cowell Beach that will be akin to his work at San Gregorio Beach ast year. PHOTO: Peter Hinson

Sonic Explorations

1

Sin Nombre is a refreshingly tight-knit ensemble of seven, or eight, or nine folks who crisscross genres, change up instruments, bring in impromptu guests, improvise at every show, and make the audience feel like they were invited to a private party. And all while they blow everyone away with their musicality, stretching from jam-band moments and ’70s-tinged folk harmonies to a fiddle riff layered over soulful keys and Afro beats.

Among the rotating members of the band are Emilio Rios (guitar), Frankie Carsonie (guitar), Clarabel Moes (fiddle and vocals), Lily Akers (mandolin and vocals), Ashwin Suseendran (keyboard, trumpet, vocals), Adi Biacs (bass guitar) and Nick Quijano (drums).

The two guitarists seamlessly transition between lead and rhythm, accompanied by a bass guitarist, an on-point drummer and a keyboardist/trumpet player who’s also a Ph.D. fellow in ethnomusicology at UCSC. The two lead singers mesmerize with their soulful timbre and textures, interchanging verses or converging with beautiful harmonies.

Having started singing in a family band at 7, Clarabel Moes has a natural stage presence. She traces her musical roots back to that band, which she describes as “basically an elaborate scheme to get us into music festivals as a family.

“It was really fun and that’s how I kind of got introduced to the idea of jamming,” she explains.

Clarabel, Lily and Frankie—one of the band’s core two guitarists—are housemates, but their connection was first made through music. “I was playing at a backyard house show in the summer in Santa Cruz, opening for his old band. It was one of those magical little spots…I heard him play, and he heard me play with my band, and that’s how we met,” Clarabel recalls.

Says Frankie: “We’d like to say Sin Nombre is an ongoing conversation…we’re just coming to it as we go. Sometimes we’ll get into a random EDM jam, and sometimes we’ll get into a funk-afro jam.”

Always leaving room for improvisation, they take turns having solos, sometimes switching up instruments with another band member. Musician friends or other artists on the lineup can pop up onstage.

Bassist Adi credits Frankie as the driving force behind Sin Nombre’s inception. “He was the group’s glue person, and the driving force initially. He was the one who said, ‘This is going to be sick’ and got it going.’” Frankie’s musical journey led him from Columbus, Ohio, to Santa Cruz, where he orchestrated the band’s formation through serendipitous encounters and impromptu jam sessions.

“Sometimes there could be 20 to 30 musicians rotating out…and there was always a potluck,” Frankie reminisces about sessions at the beautiful riverside ranch home that he and several other band members share as housemates.

From these loose rehearsals grew a deeper connection. “One special river jam night, you could tell everyone was listening…everyone was locked in, and we were all meshing. We had played two or three songs that night, and I texted everyone later that week. It was like nine of us—and everyone pulled up at that house to play again, with that specific sound in mind. And literally that day, while we were playing, we got a text saying, ‘Hey, do you guys want to play at a private party?” Frankie recalls.

Needing to come up with a name on the fly, they adopted Sin Nombre, which means “without a name” inspired by a street sign they had seen while traveling in Pescadero, Mexico.

Sin Nombre has released music that can be found on Spotify and other online sources. With plans to release an EP, they will now go through an album’s worth of material to structure their free-flow jams into a more refined form of songs.

As to their genre, says Frankie, “It’s kind of P-Funk style, like in Parliament land, where we’re doing whatever we want…whatever that may be at the moment. You know, Sin Nombre is sin genre.”

Sin Nombre plays Sept. 14 with support by opener Mild Universe and Flat Sun Society. Doors at 7pm; music at 8pm. Tickets are $17. Felton Music Hall, 6275 Hwy. 9, Felton; feltonmusichall.com.

Follow SIN NOMBRE on Instagram:

Lucille Tepperman is a freelancer writer, follow her on Instagram here .

Photos by Natasha Loudermilk

Intergalactic Invasion

The silicon chip came out of the Roswell crash, Sheehan says. Also fiber optics and some of the night vision equipment has come from UFO crafts.

Santa Cruz Shakespeare Meets an American Masterpiece

Two people seated on a stage
The bittersweet poetry of Tennessee Williams casts a spell in ‘The Glass Menagerie, the fourth production in the Santa Cruz Shakespeare 2024 season.

New ‘Latino Poety’ Collection Overflows With Energy

Part of the cover of the book "Latino Poetry"
An event by Circulo de Poetas & Writers offers a panel of artists celebrating the release of the Library of America’s ‘Latino Poetry’ anthology.

Street Talk

row of silhouettes of different people
Name your most memorable teacher? My middle school drama teacher, Mr. Guilford. He was always very supportive of me when I was little, because I was very shy, and he helped me come out of my shell.—Adria Coulson, 17, Student I had a cool substitute teacher, Mr. Jumper. He told us to smoke weed before class one time, and we just...

Meet Santa Cruz County’s District 5 Supervisor Candidates

Side-by-side photos of a woman and a man
Election season is upon us and in a little less than two months county residents will vote in two supervisor runoff elections. Back in March, the District 2 and District 5 seats were not claimed since no candidate received more than 50% of the vote, triggering the runoff during the Nov. 5 general election. The District 5 seat long held...

A Santa Cruz Thing: Santa Cruz Wharf to Natural Bridges Hike

Wave crashing into the shore with spray flying into the air
The magical feature of this Santa Cruz beach walk is seeing and feeling and hearing that point where the sea meets the land.

Santa Cruz Takes A Stance Against Homeless Drop-offs

City officials pass new law making it illegal

Music, Maestro!

Man vigorously waving a baton like a conductor
The Santa Cruz Symphony kicks off a new year of shimmering music next week. And here’s why you should care. A lot.

Art Without Walls

Craig Walsh's outdoor video Monuments
The Santa Cruz Museum of Art & History knows that art doesn’t only belong in museums and galleries.

Sonic Explorations

The band Sin Nombre in mid-song
Sin Nombre is a refreshingly tight-knit ensemble of seven, or eight, or nine folks who ...make the audience feel like they were invited to a private party.
17,623FansLike
8,845FollowersFollow