Clean Energy to the Rescue?

What if the energy that heats your home and keeps the lights on could be cheaper, cleaner and more locally sourced?
That may be a reality as soon as the summer of 2017, with Community Choice Aggregation (CCA)—an idea that local leaders from Santa Cruz to King City and the far southern reaches of Monterey County have been talking about for years. Last month, Santa Cruz County became the first in the group of regional partners to approve a feasibility study for the program.
A CCA allows cities and counties to create their own energy system, one that allows residents to drop their PG&E plan and opt-in. CCAs also purchase and support local green projects. The group can fund those projects by pooling revenue from the revenues it collects from ratepayers.
One goal of the project, says First District Santa Cruz County Supervisor John Leopold, is to help create more renewable energy jobs in the Monterey Bay. Leopold says that PG&E profits from energy sales would instead stay in the community to fund clean projects, create jobs and stimulate the local economy.
“The millions of dollars leaving our community right now [are] going into a corporation that is not necessarily investing in our community—this is a way to capture those resources for projects we care about,” Leopold says.
Nearly half of greenhouse gas emissions created by the Monterey Bay region come from energy production.
Regional leaders created Monterey Bay Community Power (MBCP), a public/private partnership, in 2013 to assess the environmental and economic impact of creating a possible CCA for the Monterey region, which includes 21 municipalities in Santa Cruz, San Benito and Monterey counties.
Each partner has passed resolutions in support of a CCA and has started reviewing the feasibility study, a cost-benefit-analysis which consultants from Pacific Energy Advisors finished in March.
The system puts the control of energy purchasing and pricing into local hands—allowing the community to decide what type of energy mix best serves their needs via CCA administrators who would decide which energy sources to use. PG&E would still transmit and deliver energy, as well as handle customer service.
Ratepayers will have an option to stay with PG&E, but Virginia Johnson, the project manager for MBCP, says it will be a tough sell for PG&E to keep customers.
“We can double the amount of green energy that we use, pay the same rates, and we can book surplus revenues to fund local energy projects. That benefits the community, keeps the control local, the rate local, the money local,” says Johnson, also a staffer for County Supervisor Bruce McPherson.
CCAs began in Massachusetts in 1997, and have since been approved by six other states including California. As of 2014, CCAs serve about 5 percent of Americans in more than 1,300 municipalities, including the counties of Marin and Sonoma.
The law requires PG&E to cooperate with CCAs, whether they want to or not. In 2010, PG&E donated $46 million to a ballot measure that would have made it more difficult for CCAs to form, but it was defeated at the polls. PG&E spokesperson Brandi Merlo says that a CCA’s implementation will not impact PG&E’s ability to provide services.
“We respect the energy choices provided to our customers,” she says, “and we are cooperating with CCA programs.”

Plugging for Change

Last year, approximately 30 percent of the energy delivered by PG&E came from state-qualifying renewable resources like solar and wind. MBCP’s feasibility study offers three possible supply scenarios, all of which would produce more renewable energy than PG&E.
Joe Jordan, a former researcher for NASA who teaches renewable energy at Cabrillo College, attended a recent meeting on the CCA proposal. He’s overall optimistic about the possible switch, saying it’s a great opportunity to reduce greenhouse gas emissions. But he’s also concerned that the CCA will be “too timid” in achieving its green goals.
“If you’re going through all this trouble, go big, be bold. The sky’s the limit,” Jordan says. “From my NASA background, let me just say: always be wary whenever anyone says it couldn’t be done.”
California’s energy regulations require that all electricity retailers, including CCAs, provide a minimum 33 percent of all electricity from eligible renewable energy sources by 2020, and 50 percent by 2030. MBCP recommends using a variety of renewable sources, among them—solar, geothermal and wind.
MBCP has highlighted three different supply scenarios they are considering. Each would reduce greenhouse gas emissions, increase renewable energy and keep the rates equal to or lower than PG&E’s.
The first scenario’s rates would be less than or equal to PG&E’s, with customers saving an average of 42 cents every month in the first year. The CCA proposal would produce an estimated 20 percent fewer emissions than PG&E right away and an estimated 42 percent fewer emissions by year 10. The CCA proposal would double the renewable energy compared with what PG&E provides, and the energy sources would be local.
In scenario two, there would be more savings for the ratepayer than in scenario one. The average household would see average monthly cost savings of 68 cents over the first 10 years. Emissions would also be lower than in the first scenario over time. Scenario two outlines a plan for buying more renewable energy credits—importing clean energy, instead of producing the bulk of it locally. The CCA would produce an estimated two and a half more times renewables than PG&E does.
Scenario three saves ratepayers the most money, with the average household saving $4.50 per month over the first 10 years. It leverages both local renewable energy and energy credits. This CCA is estimated to produce only 1 percent more renewable energy than PG&E. This is the only option that would leverage hydroelectric power from dams, a power source no longer considered renewable in California because of ecological impacts, even though the energy is carbon-free.
The startup cost of a CCA is $2 million, a small burden that all the partners would share. MBCP expects the money to be paid back in less than four years.
Partners have until Oct. 31 to decide whether or not they would like to be included in the CCA. And even if they don’t decide at that point, they can still opt-in in the future.
Santa Cruz County could go through with the CCA by itself, as it does not require other partners in order to move forward. However, Johnson says it will be beneficial to everyone if more groups join in.
“There is a great advantage to an economy of scale,” Johnson says. “The more buying power we have as a tri-county improves our ability to procure the best energy.”

Preview: Edge of the West at Moe’s Alley

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As a young music student, Jim Lewin had what he thought was a promising start as a drummer. When it came time to upgrade from his practice mat to an actual drum, however, his mom suggested that he take up the guitar instead. Lewin has since become a renowned guitarist, and his mom hasn’t forgotten why.

“I once said, ‘Mom, remember when I was going to be a drummer and you pushed me over to guitar?’” says Lewin, who has performed with Todd Snider, Peter Rowan, Leftover Salmon, Gillian Welch and others. “And my mom said, ‘Yes, and you’re welcome.’”
Despite his musical success, however, Lewin, who hails from Santa Cruz, is not well-known here at home. Early on, he played with “a gazillion bands,” including the Continental Drifters and Harmony Grits, but he eventually left town and launched a career as a professional touring sideman. While playing arenas and big venues on the road with other artists, he didn’t have much opportunity to build a local following.
These days, Lewin is back in Santa Cruz, working with his own band, Edge of the West. Residing at the intersection of country, Americana, rock and what Lewin calls “hippie jam band stuff,” Edge of the West gives Lewin a chance to explore his own ideas and music.
“I’ve decided to become a bandleader and push some of my own creative impulses to harvest,” he says, “and to create the sort of band that I think will be of service to the community, and have something to add to the national conversation. Even in this saturated environment, it’s still important to have roots-based hippie music where people can gather to socialize and party and have a shared love of the roots and the future.”
Lewin also wants to show his hometown audience what he’s been working on for decades.
“This is my base, and these are my people,” he says. “It means a lot to me to be recognized at home, and for my family to get to see this.”
His music is influenced heavily by the artists he’s performed with over the years. In particular, he points to bluegrass mandolin legend Frank Wakefield, who Lewin describes as the missing link between Bill Monroe, the father of bluegrass, and David Grisman, who ushered in progressive bluegrass in the 1960s; Great American Taxi, an Americana and country act formed by Vince Herman of pioneering jam band Leftover Salmon; and country singer-songwriter (and one-time Santa Cruzan) Lacy J. Dalton, who Lewin toured and recorded with for years.
About his time with Dalton, Lewin says he learned a lot about the music business, about writing, and about “navigating life as a person who’s fated to base their life around music and make that work.”
On Saturday, Dalton joins Lewin at Moe’s Alley to celebrate the release of Edge of the West’s self-titled debut. The album, which showcases Lewin’s love of rock, jam and country, is full of wild stories about conspiracies, good times, romance, and the drug-fueled rock ’n’ roll lifestyle. Lewin describes the album as his comic book record, a collection of 12 little stories that are a bit absurd and campy. Beneath the surface, however, the album addresses more serious topics of people making their way through life, searching for meaning and love. On it, he blends elements of the music he loves into an Americana meets garage jam-band sound that he calls “cosmic honky-tonk.”
“I use the term ‘cosmic honky-tonk’ to describe it,” he says.
“I try to plant a tie-dyed flag,” he says of his cross-cultural, open-minded appeal. “My concerts are a good place to bring your hula hoops, your tie-dyes, and also your cowboy boots and a jug of moonshine.”


Edge of the West will perform at 8:30 p.m. on Saturday, May 7 at Moe’s Alley, 1535 Commercial Way, Santa Cruz. $10/adv, $13/door. 479-1854. Lacy J. Dalton opens.
 

Fired Up at Pizzeria Avanti

It’s hard to believe it’s been almost four years since the original Avanti concept moved down Mission Street, leaving the former cozy bistro to blossom into its new identity as Pizzeria Avanti. Since that time, chefs Hugo Martinez and Rene Serna have been firing up the pizza oven and finessing nightly specials—and in the process reminding Westside locals just why they’ve always loved this little spot in the tiny Palm Street strip mall. Well, now it’s official. The two talented chefs are officially the sole owners of Pizzeria Avanti. Congratulations! It’s a tough business in any economy, but growing a restaurant, sticking with it, re-inventing the salads and pizzas every night, and adding depth to the wine list—all of this requires more than just skill. Martinez worked as chef at the Ristorante Avanti for 15 years before the transition to pizzeria. Serna cooked at Carried Away in Aptos before joining Martinez in the busy Avanti kitchen. Their chemistry as collaborators and menu creators is obvious and notable.
Whenever we dine there—at least once a month—the main dining room fills up, with some regulars at the wine bar and a steady steam of patrons coming to pick up their takeout pizza orders. The pizza specials—last week we inhaled a delicious creation of portobello mushrooms, organic asparagus, olives and feta—are always deeply satisfying.
Did I mention that not only do Avant’s pizzas showcase perfect thin crusts, but the dough itself is addictively delicious? Old World pizza made by New World experts.  
But the salad specials—always featuring what’s just come into the farmers markets—are remarkable. Beets, avocados, shaved fennel, arugula, and satiny vinaigrettes adorn my latest favorites. The lamb burger has a following, as does the remarkable lasagna and the house signature Brussels sprouts appetizer, dotted with squash, pancetta and pumpkin seeds. Last week we split a strawberry pie dessert and moaned our way through ripe berries, a cookie crust and a sexy layer of whipped cream.
Martinez keeps an eye on the house from his steamy kitchen, always upbeat and radiating energy. Service is strong and the prices are friendly. Everybody has a neighborhood spot, a go-to dining room that offers just what you feel like having, the wine you enjoy without having to think too hard, and an atmosphere that is welcoming. Pizzeria Avanti has achieved that rare balance, and chef/owners Martinez and Serna are the key to that appeal. Pizzeria Avanti, 1711 Mission St., Santa Cruz. Open 5-9 p.m. Sunday-Thursday and 5-9:30 p.m. Friday and Saturday. 425-1807, pizzeriaavanti.net.

Mother’s Day Wine

If your mom is like mine, she appreciates a lively afternoon in the vineyards. And so you might just consider a visit to the ever-lively, ever-welcoming Alfaro Family Vineyards this coming Mother’s Day weekend. There’s a lot to interest even the most finicky, world-weary mom. For example, there’s winemaker Richard Alfaro—a force of nature himself and a one-man tribute to living well, drinking well and dining well. But if your mom needs more than just one winemaker to make her day, there will be live music from 1-4 p.m. (on Saturday by Those Guys, on Sunday by Ken Constable). Also, seven wines poured for your mom’s edification and delight, and light snacks. All of this is free for members of Alfaro’s rapidly expanding wine club. For those not yet in the club, there is a fee for tasting and snacks. If your mother wants to extend her special day all the way to Wednesday, May 11, take her to the Shadowbrook where the Alfaros will be on hand pouring half-priced wines with complimentary hors d’oeuvres in the Rock Room Bar and Lounge. Be good to your mom!

Guitarist William Coulter Fools With Celtic Tradition

If you were in Santa Cruz during the 1980s, you couldn’t have resisted the lilting music of Isle of Skye. At the center of the accomplished quartet, which seemed to play every venue available, was guitarist William Coulter, he of the blond hair and the dancing fretwork. Committed to Celtic music, Coulter found his calling a few decades ago and never looked back.
Originally from New Jersey, Coulter came out to Santa Cruz to attend UCSC, where he now teaches classical guitar. As Coulter grew up, he says “everything was about classical music.” His father had founded a choral group that performed in Carnegie Hall. “We had a harpsichord,” Coulter says. “I grew up surrounded by classical music and instruments.”
After high school, all three of his siblings headed for California. “My brother Steve left a note on the refrigerator. It said ‘Go West Young Man!’” And so he did. Music beckoned seriously in 1984. “My brother Steve, who plays Celtic harp [and teaches in the UCSC Writing Program], inspired me to pursue it,” says Coulter. “We formed Isle of Skye—my brother, me, Chris Reader on fiddle, and singer Beverly Slade.” Armed with hammered dulcimer, harp and guitar, the group played old Irish and Scottish music at Caffe Pergolesi and the Saturn Cafe. “Our gigs were mostly local,” Coulter says.
“Still, I always had a strong feeling for classical music,” he says. “Even during the folk music phase, I never got over my love of classical music.”
Next came a bachelor’s degree in music at UCSC, thanks to the mentorship of harpsichordist Linda Burman Hall. “Women have always been angels in my life,” he admits, with a wild Irish rover grin. Next came an MFA in classical guitar performance from the San Francisco Conservatory, followed by a second master’s in ethnomusicology from UCSC.
After a trip to Ireland, Coulter went to Portland, Oregon to study with the brother of Celtic music icon Enya. Irish music had devoured him.
The old tunes cast a deep spell, at once haunted and haunting in their mournful beauty. Coulter felt the allure. “I love it. I listened to a lot of Bach when I was young, much of it contains a dance energy—the Brandenburg Concertos, for example. Irish tunes have that same driving energy,” Coulter says. “That’s what moves me. The dance vibe.”
Coulter updates the music he collects from living performers. “I’m not the ‘keep the tradition alive’ artist,” he admits. “I’m more the interpreter and arranger. I make instrumental arrangements from songs.” The melodies, the Irish language—“the sound is old and beautiful to me,” says Coulter. “I listen to contemporary Irish singers. I make arrangements of these melodies. I work with these and make them my own.”
Coulter happily confesses to taking “a classical California pop approach to making Irish my own.” Nine out of 10 Irish singers took their material from other sources, he reminds me. “My experience has taught me that the real tradition is to have the music live on and move on—not be in a museum,” he says.
Restless and generous in his performing, Coulter plays and tours with several groups from two to three months out of the year. One is called One Lane Bridge, “with John Weed on fiddle, me on guitar, and Aria DiSalvio on cello. We perform folk music from Galicia, Brittany, Scandinavia, Ireland, and America.”
With Coulter’s intricate and driving guitar at the center of the music, the trio’s sound is enchanting and lilting. And more. He’s recently formed a new duo with Edwin Huizinga called Liquid Gold, which he describes as “virtuoso violin meets Celtic guitar” performing arrangements of Bach and Vivaldi, as well as Bulgarian and Swedish folk music.
William Coulter won a Grammy in 2005, and he continues to orchestrate performance triumphs. He just completed a residency with the Omaha Symphony, where, as visiting artistic director, he created a lavish production called “Celtic Journey.”
“I spent a year building that show—arranging music for traditional musicians, dancers and a storyteller, including an 80-piece orchestra. We had two sold-out shows,” he says, beaming. The prospect of producing more Celtic Journeys is tempting. “It might be that I go on for years doing it with many orchestras. I can reproduce it locally, using local musicians and dancers,” he says.
Seasoned performing artists like Coulter exist in a landscape of networking. He can show up anywhere with his guitar and immediately attract collaborators.
“I feel so ridiculously blessed by how I’ve lived my life,” he grins. “Music never ends—there’s always more to learn. That’s the beauty of it.”


Info: William Coulter plays with Edwin Huizinga as Liquid Gold at 7:30 p.m., Saturday, May 7, St. John’s Church, 125 Canterbury Drive, Aptos. Tickets $16/adv, $20/door, brownpapertickets.com. Coulter plays with One Lane Bridges at 7:30 p.m. on Wednesday, May 25, at Don Quixote’s, 6275, Hwy. 9, Felton. $15/adv, $17/door, donquixotesmusic.info. Also see: williamcoulterguitar.com.
 

Burgers: Myth vs. Reality

A few years ago, blogger and gardener Waldo Jaquith set out to produce a farm-to-table cheeseburger entirely from scratch. He even thought he’d write a book about the ordeal.
But ultimately, he gave up. “Further reflection revealed that it’s quite impractical—nearly impossible—to make a cheeseburger from scratch,” he wrote. That’s in part because the ingredients of the cheeseburger as we know it are all in season at different times of the year. Plus, “It would be wildly expensive—requiring a trio of cows—and demand many acres of land. There’s just no sense in it,” he wrote.
Nevertheless, Americans consume an estimated 50 billion burgers a year—a figure that could not possibly be so high without our industrialized, post-agrarian food economy.
From an environmental standpoint, the beloved burger remains among the least-green menu choices one can make: Cows emit between 2.5 and 4.7 ounces of methane for each pound of beef produced—and about 13 times more global warming gases than chicken, pound for pound, according to a 1999 study at the University of East Anglia in England. Livestock accounts for about 18 percent of global greenhouse gas emissions globally, including 65 percent of human-related nitrous oxide and 35 percent of methane, which have 296 times and 23 times the global warming potential of carbon dioxide respectively. It takes more than 3,000 gallons of water to produce one pound of beef, according to the Water Footprint Network, though estimates vary depending on how far back you look in the production line.
But while the debate over whether grass-fed or grain-fed beef is better for the environment is a heated one, the debate over which is healthier for the human body is more conclusive.
The average feedlot cow eats 2,800 pounds of corn or grain during the “finishing period” of its short life, enabling it to put on about 1,000 pounds in a few months. (This may include organic beef, which is simply fed organic grains during the finishing period.) The problem with grain-fed meat lies in its omega-6 to omega-3 ratio; which can be as high as 20-to-one, and omega-6s are pro-inflammatory, says Dr. Dawn Motyka of KUSP’s Ask Dr. Dawn radio show.
“When you put animals in a pen, you’re increasing omega-6s, and you’re also increasing the saturated fat, which is also inflammatory,” says Motyka, who says she eats only grass-fed meat about once every two weeks, since she knows it’s not an efficient conversion of protein.
“When you eat game animals that live on grass, the actual cell walls and cell membranes of that meat are rich in omega 3 fatty acids,” says Motyka. “And the ratio in the meat is about two-to-one, two omega-6 to one omega-3. That more closely resembles our ancestral diet.”
While studies confirm that omega-3 is about twice as high in the meat of grass-eating cows, it shouldn’t really be used as a marketing ploy: grass-fed beef averages about 35 milligrams of healthy omega-3 per serving. Compare this to 1,100 milligrams of omega-3 in a serving of salmon.
Grass-fed beef also contains more vitamin E and conjugated linoleic acid—all beneficial to human health—and is slightly lower in saturated fat. “All meats, whether it’s grass-fed or free range or corn fed, have a lot of saturated fat,” says Motyka. “But in general, free range meat is more muscle-y, and has less fat than farm-raised.”
Grass-fed cattle are not typically given antibiotics (though this isn’t guaranteed unless it’s organic), while it’s standard for cattle in “concentrated animal-feeding operations” (CAFOs) to get a side of antibiotics with their grain. Why? According to Dr. Andrew Weil, (who happens to be a vegetarian), the need for antibiotics results from the fact that cows are not adapted to digest grains—it wreaks havoc on their digestive systems and results in alterations in the natural flora of their gastrointestinal tracts. In a 2016 test by Consumer Reports, 18 percent of samples of conventional ground beef and 9 percent of samples from sustainably produced beef were contaminated with antibiotic-resistant bacteria.
“When you have a hamburger, that’s essentially meat paste, and bacteria can spread very rapidly,” says Motyka, who says she sees lots of food-borne illnesses in her practice. Cooking a burger well definitely helps cut down on the bacteria, but it also may produce more polycyclic aromatic hydrocarbons, which are carcinogenic. “If you’re going to eat meat, it should really look like a piece of muscle,” says Motyka.
Yeah, but, sometimes we just really want a burger. Because we are hungry, because we are spoiled Americans, because it’s Tuesday. In that case, I recommend paying a little extra for the luxury and heading to Motiv’s Ulterior, Gabriella Cafe, 515 Kitchen & Cocktails, or burger., which all serve (delicious) grass-fed burgers. But remember, the healthiest burger—for the planet and for your body—is, alas, a veggie burger.

The Return of Michael Moore

Rolling into this election year, Michael Moore was in a fighting mood. The 62-year-old director of the highest-grossing documentary of all time, 2004’s Fahrenheit 9/11, had a presidential candidate (Bernie Sanders) he believed in, and several (the entire GOP slate) that he was itching to take down. There was a toxic-water crisis in his hometown of Flint, Michigan—the setting and subject of his debut film, 1989’s Roger and Me—and by January he was calling for the arrest of the state’s governor, Rick Snyder.
Perhaps most importantly he was ready to release Where to Invade Next, his first film since 2009’s Capitalism: A Love Story, with a plan to hit the TV and press publicity circuit harder than ever—part promotion, part political crusade. The American left’s foremost provocateur was back.
Then, less than a week before Where to Invade Next opened in theaters, it all came crashing down. Admitted to a New York hospital on Jan. 31, he spent a week in intensive care, forcing the cancellation of his promo tour. Exact details were hard to come by at the time, and though Moore was in good spirits when he posted a Facebook update shortly after, his admission that “trying to get back to just breathing is enough of a burden” didn’t exactly inspire confidence in his health.
He says now that he understands why fans were worried about him.
I was worried about me,” he tells me from an “undisclosed location” while on an overseas trip. “But I’m fine now. I got pneumonia. I didn’t get it checked out as soon as I should have, and ended up in the hospital with it. Don’t ever do that.”
While he was out of commission, his film hit theaters with less than the typical amount of fanfare for a Michael Moore documentary (though of course it did extremely well in Santa Cruz). However, it’s one of his best. Whereas his films like 2002’s Bowling for Columbine and 2007’s Sicko took deadly serious topics and found some humor (and a lot of outrage) in them, Where to Invade Next inverts the paradigm, taking an absurdly funny premise—that Michael Moore himself is going to “invade” several European countries to steal their good ideas—and finding the hard truths about American life inside of it.
While stretching geographically, Moore also stretches emotionally, and Where to Invade Next is more pensive and philosophical than anything he’s done before. Sure, there’s outrage to be had over what isn’t being done in the U.S., but there’s also joy and genuine wonder in the way he celebrates what is being accomplished elsewhere. It’s a shame that, so far, this is probably his least-seen film since his 2002 breakthrough into the mainstream.
So you can understand why Moore feels like he’s got some catching up to do. If his to-do list from last week—over the course of which he declared the GOP a “dead party” and wrote a letter to President Barack Obama berating him for what Moore sees as a dismal and shortsighted response from the president to the Flint crisis—is any indication, he’s jumped right on it. On Saturday, May 14, he’ll continue making up for lost time when he speaks at the Santa Cruz Civic Auditorium.
What relevance do you think your new film has to the presidential election, and how much will you be discussing your support for Bernie Sanders at the Santa Cruz event?
Well, we’re in the craziest election year of anyone’s life—no matter what your age. So I’m going to try to make some sense out of it, if that’s actually possible. Which I think it is. I’m concerned about what’s happening, and what’s going to be happening in November. I have a lot of thoughts, based on the movie I just made, about Bernie’s whole platform. None of it’s new, it’s all being done in dozens of other countries and everybody’s happy. That doesn’t mean those countries don’t have their own problems, but they aren’t problems with seeing a doctor when you get sick, they aren’t the problems of being in a debtor’s prison once you leave college, they aren’t the problems of getting daycare for your kids, or maternity leave when you have a kid, or on and on and on and on. Hillary and others have said he’s all pie in the sky, it’s all up-in-the-air stuff. Actually no, it’s all happening on Planet Earth, as we speak. And I have the proof. I have a two-hour piece of evidence.
What inspired the premise of ‘Where to Invade Next’—parodying the idea of U.S. imperialism and using it for positive social change?
The ideas in the film started coming to me when I was 19 and I got a youth hostel card and a Eurail pass, and I went to Europe with a backpack. I spent the summer seeing something different than the United States, and I was kind of amazed. I kept thinking “why don’t we do this?” or “why don’t we do that?” And every trip I’ve taken since, I have the same feeling.
When did you decide to turn that into a movie?

FIRE STARTER Moore’s controversial 2004 film ‘Fahrenheit 9/11’ was the most successful documentary of all time.
FIRE STARTER Moore’s controversial 2004 film ‘Fahrenheit 9/11’ was the most successful documentary of all time.

Oh, a long time ago. For as long as I’ve been a filmmaker, I’ve thought about it. And I’ve done it at different times in Sicko and other films, I’ve shown people what it’s like in other countries. I live in a country where nearly 70 percent of the population never leaves home. So it’s very easy to fool Americans, ’cause they haven’t seen it. Using the idea of U.S. imperialism, that’s just my frustration with a decade-plus of this country butting its nose where it’s not wanted. And I thought “What if we did a different kind of invasion? What if we invaded not to kill people, but just to steal some good ideas?”
I thought the idea you chose for each country was interesting. Many of them were not the ones people would probably expect, like in France. I mean, if Michael Moore is going to talk about something good in France, no one thinks it’s going to be school lunches.
Well, as a filmmaker I like to make movies that are the kind I like to go see. And when I go see a movie, I don’t like to know in advance what I’m about to see. Including while I’m watching the movie—if I can figure out what’s going to happen 10 minutes from now, I’m instantly bored. I know the audience will think I might go to France for something else. So part of it is my fun I’m having with the audience and their expectations. Part of it is we didn’t do a lot of research for this film, we just kind of went over there. A lot of it was things we discovered in the moment. When you see the look on my face when that Italian couple told me they get 15 days for their honeymoon? That what-the-fuck look on my face? That’s a real look. I didn’t know that until they told me on camera.
They look equally surprised when you tell them how employment works here, after they’ve just said it’s every Italian’s dream to come to America.
I didn’t know about it till they told me that, and it was just heartbreaking standing there listening to it, because I know as a parent—every parent knows—that if you are going to move somewhere, more important than the walk-in closets or how many bathrooms the house has is “How good is the school my kids are going to go to?” [The Finnish] mean it, they really mean it. I mean, they really mean it. It is critical to them that every school is of the same quality, no matter if it’s in a poor neighborhood, a rich neighborhood, whatever. Then again, when I say “poor” and “rich” in countries in Europe, their income inequality is not as wide as ours.
Bernie Sanders has referenced Finland when defending his proposal to make college tuition free at public universities.
When the [Finnish] education minister told me that thing about no tuition, the law—that applies to colleges, too. So there are no private colleges to speak of. So I said, “You mean you don’t have a Harvard?” And she said, “Yes, we do have a Harvard. We have 19 Harvards. We have 19 public universities.” I said, “C’mon, though, cut the bullshit. You can’t tell me that the person who’s going to the University of Helsinki is getting the same education as the person going to the University of …”—and then I just made up “Lapland,” you know, where the reindeer are? And she looks at me and goes, “I am a graduate of the University of Lapland. And I am the Minister of Education.” It was like, oh my god. So … they mean it.
I wonder what she’d think of our public education system.
CAFETERIA CONFIDENTIAL Moore discusses the highs and lows of school lunches with French children in ‘Where to Invade Next.’
CAFETERIA CONFIDENTIAL Moore discusses the highs and lows of school lunches with French children in ‘Where to Invade Next.’

When I watch the movie with an audience, the most sniffles I hear from people tearing up is during the Finland scene of the movie. Because we know our kids are getting screwed.
Your past films have all been shot in the U.S. What was it like filming internationally?
I had more fun making this movie probably than any other film. We decided right from the beginning that we were going to make a film not about other countries, but about ourselves. And my challenge to the crew was, “Let’s see if we can tell a story about the U.S. without shooting a single frame of film in the U.S.” Because after doing this for 25 years, as an individual this has to be interesting to me, too. I have to get excited about it, and I’m not looking to do the same old thing. I want to do something that’s more challenging. So I thought, what if we did this where we have a little bit of archival footage, of U.S. prisons or whatever, but we will not ourselves shoot through our cameras a single frame in the United States of America. But the entire film is clearly about the United States of America. On some level, I don’t give a rat’s ass about Finland and their education system. I care deeply that we have sunk so low, and maybe we can learn something from them.
In 1989, you were documenting devastation in Flint, Michigan in your first film, Roger & Me. Almost three decades later, the situation there is even worse—thanks to the toxic water crisis. You’ve been following this closely, what do you think needs to be done?

There are now 11 documentaries that have been made about me by the right wing. One of these days I’m going to have a little film festival of just the anti-Michael Moore films.

Well, people are still being poisoned. They need to remove and replace all the pipes now. That’s a big job, and Obama should be sending in the Army Corps of Engineers to do it—and he isn’t. He announced today that he’s going to go to Flint next week. I wrote a very angry post about that and put it on Facebook a couple of hours ago.
Over the course of your career, the biggest change seems to have been that while you started out as an outsider trying to get access to the powerful, you yourself have become powerful, at least in terms of cultural influence. People make movies about you now. What’s it been like for you on a personal level to experience that shift?
It’s been interesting. Mostly I see the humor in it. There are now 11 documentaries that have been made about me by the right wing. One of these days I’m going to have a little film festival of just the anti-Michael Moore films. I think that’d be pretty funny. And there’s probably been at least half a dozen books written. Look, I’m one of the few people on the left who have crossed over to have a wide mainstream audience, in Middle America especially. We on the left are usually confined to the Church of the Left, which if it’s a movie theatre, it’s, you know, the Film Forum. If it’s a town it’s Santa Cruz. I mean, right? So they don’t make 11 movies about Noam Chomsky—and they should, because he’s a dangerous man because he puts out a lot of truth. But his audience does not go to movies at the supermall in Hays, Kansas.


Michael Moore will speak at 8 p.m. on Saturday, May 14, at the Santa Cruz Civic Auditorium. Tickets are $33-$53.75, call 420-5260 or go to santacruztickets.com.

Music Picks Apr 27—May 3, 2016

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WEDNESDAY 4/27

DANCE-ROCK

THE HEAVY

“How You Like Me Now?” is easily the Heavy’s most recognizable tune. Released in 2009 while the group was getting a lot of hype, it’s a fun dance track that mixes old R&B, garage-rock and the simple yet effective sing-along-chorus—and very dark, very creepy lyrics (though few bothered to listen to them). Now the U.K. four-piece is back with a new record, Hurt & Merciless, with a new set of songs that are just as danceable and dark. AARON CARNES
INFO: 8:30 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $18/adv, $20/door. 429-4135.

THURSDAY 4/28

ELECTRONIC

FLOATING POINTS

This British producer hit the U.K. dubstep scene in 2009, but abandoned his laptop the following year to embark on an entirely new endeavor. Armed with his Studer A80 master tape recorder, he spent the next five years engineering what would become his debut studio album, Elaenia. The seven-track recording is a masterful work of dance music woven with streams of classical, jazz, funk, and experimental instruments and sounds that won him critical acclaim. Oh, and did I mention that during the five-year recording process he also earned his doctorate in neuroscience? Maybe that’s why he can create infectious music that takes over the brain. MAT WEIR
INFO: 9 p.m. Catalyst Atrium, 1011 Pacific Ave., Santa Cruz. $15/adv, $18/door. 429-4135.

AMERICANA

DAVID NELSON + ERIC THOMPSON

For fans of American roots music, a performance by either David Nelson or Eric Thompson would more than suffice. Both musicians have excelled in the acoustic scene over the past several decades, though with less mainstream attention than some of their peers. Between them they’ve played with Bay Area roots legends like Jerry Garcia, David Grisman, Peter Rowan and others. You put the two together, and they perform some incredibly vibrant acoustic duets. Their sound will be familiar to folks that have never heard them before, because they’ve influenced many musicians in the past several decades that came after them. AC
INFO: 8 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $20. 335-2800.

FRIDAY 4/29

GYPSY ROCK

DIEGO’S UMBRELLA

Once described as San Francisco’s ambassadors of gypsy rock, Diego’s Umbrella blends Eastern European and traditional Roma music with rock, flamenco, ska, and a touch of polka. The resulting sound is not as crazy as it may sound—but it is as high-energy and wild as you might imagine, a musical tapestry that reflects our global culture of borderless musical styles. On Friday, the band hits Moe’s Alley, in what promises to be a sweaty, lively affair with non-stop dancing and celebration. Also on the bill: Georgia-based multi-instrumentalist Zach Deputy. CAT JOHNSON
INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $12/adv, $15/door. 479-1854.

AMERICANA

KEITH GREENINGER

Local singer-songwriter Keith Greeninger has made quite the name for himself in the folk/Americana scene. Born in the Santa Clara Valley, he moved to Santa Cruz during his high-school years, leaving for Colorado soon after graduation. But Santa Cruz was in his blood, and he eventually returned. His thoughtful and catchy music reflects our local landscape with its soulful storytelling. He will be joined by his friend, David Jacobs-Strain, an Oregonian with a mean slide guitar and the heart of a bluesman. MW
INFO: 8 p.m. Kuumbwa Jazz Center, 320-2 Cedar St., Santa Cruz.$25/gen, $40/gold. 427-2227.

SATURDAY 4/30

ROOTS

HARMED BROTHERS

One of the standout young roots bands in Portland, the Harmed Brothers get right to the heart of things with acoustic-based music that is raw, honest and without pretension. Led by guitarist/vocalist Ray Vietti and banjo player/vocalist Alex Salcido, the band draws comparisons to early alt-country acts, including the pioneering band Uncle Tupelo—not bad for a couple of young artists with great musical chemistry and a penchant for making heartfelt roots music. As Vietti said last year, “We’re pretty good at making each other a little bit better.” CJ
INFO: 9 p.m. Crepe Place, 1134 Soquel Ave., Santa Cruz. $10. 429-6994.

SUNDAY 5/1

FOLK

PETER HARPER

Born into a musical family and growing up in his family’s shop, the Folk Music Center and Museum in Claremont, California, one would think Peter Harper would have gravitated to a career in music—his brother Ben certainly did. But Peter did his best to avoid music and took a different route, studying fine art and becoming a bronze sculptor. In the last few years, however, Peter has come around to embrace his musical DNA and is pursuing the singer-songwriter life, making music that is honest, warm, and stripped down. When asked about his change of heart around playing music, Peter has said it just didn’t feel right not to share his songs. CJ
INFO: 8 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $7/adv, $10/door. 479-1854.

MONDAY 5/2

JAZZ

AVISHAI COHEN QUARTET

During his long run in the SFJAZZ Collective (2009-2015), Israeli-born trumpeter Avishai Cohen brought a bracing combination of poise, drama and technical bravado to the ensemble. Released in February, his new album Into the Silence revealed a different facet of his musical persona, with its brooding Romanticism, elegiac mood, and compressed lyricism. For his West Coast tour, he’s performing with a quartet propelled by Silence drummer Nasheet Waits, a superlative accompanist who spent years in pianist Jason Moran’s Bandwagon. Young Israeli bassist Tal Mashiach, who also performs with Cohen’s older sister, reed expert Anat Cohen, and pianist Jason Lindner, a member of Donny McCaslin’s electro-acoustic quartet recruited by David Bowie for Blackstar, round out the estimable band. This concert is half price for students. ANDREW GILBERT
INFO: 7 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $25/adv, $30/door. 427-2227.

HIP-HOP

CAKES DA KILLA

There was a time when it was unheard of for a male rapper to be openly gay. Then, as society loosened up, artists emerged and plenty of articles were written on it, mostly taking a very serious tone. Cakes Da Killa emerged about five years ago, and then three years ago released his breakthrough mixtape, The Eulogy. As serious as the discussion about gender and orientation became around hip-hop, Cakes has delivered some of the most fun, raunchy, and hilarious music from any rapper in the past decade. His pronouncement of how much he loves having sex with men, in his rapid-fire Brooklyn flow, will bring to mind Nicki Minaj (but better). AC
INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $12/adv, $15/door. 429-4135.


IN THE QUEUE

NATURAL VIBRATIONS

Fun-loving reggae outfit from O’ahu, Hawaii. Wednesday at Moe’s Alley

ENSEMBLE MIK NAWOOJ

Genre-bending Bay Area band blending classical, jazz, and hip-hop. Thursday at Crepe Place

WASABI

Local funk-rock power trio. Thursday at Kuumbwa

PRIDE & JOY

Beloved Bay Area band pays tribute to the Motown era. Friday at Don Quixote’s

CRYSTAL BOWERSOX

Singer-songwriter and American Idol finalist. Sunday at Kuumbwa

Be Our Guest: Santa Cruz Symphony’s Ode to Joy

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Originally a poem written in the late-1700s, “Ode to Joy” is best known as the final movement of Beethoven’s 9th Symphony, which is widely considered one of the greatest compositions in western music.
In that context, the piece has been described as “one of mankind’s supreme epiphanies of love and goodwill,” with its swirling melodies, triumphant horns, and rafter-raising vocals. On May 7, the Santa Cruz Symphony, featuring vocal soloists from the Metropolitan Opera and the Cabrillo Symphonic Chorus under the direction of Cheryl Anderson, bring the masterpiece to town. 


INFO: 8 p.m. Saturday, May 7. Santa Cruz Civic Auditorium, 307 Church St., Santa Cruz. $27-$72. 426-6966. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Friday, April 29 to find out how you could win a pair of tickets to the concert.

Love Your Local Band: Kat Factor

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Gifted with both a powerful voice and a name fit for the stage, Kat Factor sings from a place that she describes as “spontaneous, fun, and deep.” Drawing inspiration from Sarah Vaughan, Factor’s smoldering vocals are well-suited for the jazz-fusion she performs both as a solo artist and with her folk band, Abalone Grey.
When she first moved to Santa Cruz, Factor lived out of her ’89 Honda Accord, busking on Pacific Avenue before teaching children’s choir at Cabrillo College for three years. Now, in between getting her doctorate in Medical Anthropology at UCSC and raising a 4-year-old daughter, the singer finds time to write and perform her own music while booking and promoting the monthly Swing Night show at the Crepe Place. Not one to be pigeonholed, Factor is taking her sound in a completely new direction this summer with the release of a full-length electronic album.
But despite her various endeavors, Factor’s “master plan” isn’t music-related: she hopes to one day open a medical clinic in her family’s hometown of Aloneros, in the Quezon province of the Philippines.
After visiting Aloneros in the wake of Typhoon Haiyan, Factor was struck by the devastation: “Seeing the poverty in the Philippines made me realize, ‘Ok, if I’m onstage, it has to be for a larger purpose … I have a voice, I have a public platform. People are listening. So what do I want to be telling people, if they’re listening?’”


INFO: Friday, Saturday and Sunday, April 29-May 1 at Camp Krem, 102 Brook Lane, Boulder Creek. $45-$120. 204-0751. doitourselvespresents.com/events

Bartolo Wines

Fiano is a white Italian grape that not all winemakers rush around to get their hands on. But expert winemaker Barry Jackson loves to produce anything that contains the noble grape, and he turned some splendid Fiano fruit from Mann Vineyards in Gilroy into a notable libation.

A high-quality white Italian grape variety grown mostly in the Campania region of southern Italy, Fiano is a pretty strong-flavored white wine with intense floral aromas and notes of honey and spice. I first happened to try Jackson’s intriguing Fiano 2014 when in his tasting room to sample his Equinox sparkling wines.
I always enjoy a glass of wine when I’m cooking, and absolutely loved a pouring of the Fiano before I paired it with some baked halibut, sautéed potatoes and green salad—quite a delicious match, I might say. Fiano can be nutty and rich, and some people find it piney and herbaceous. Jackson’s well-made Fiano is extremely flavorful with a lovely smoky minerality. And why not venture out and try lesser-known food and wine? At Andre’s Bouchee in Carmel a couple of weeks ago, we had an amazing tartine with bone marrow, snails on toast, wild mushrooms, garlic, bee balm, and black radish—a culinary feat by Chef Benoit Petel, and an exciting blend of flavors.
The Fiano sells for $26 a bottle and you can find it at the Equinox/Bartolo tasting room on the Westside. Jackson and his wife Jennifer recently moved into the busy Surf City Vintners complex from their previous location on Swift Street. They’re right opposite Santa Cruz Mountain Brewing.
Equinox/Bartolo, 334 Ingalls St., Unit C, Santa Cruz, 471-8608. equinoxwine.com

Eat Like A Greek

What!? You’ve never tasted fasolatha, papoutsakia, pastitsio or youvarlakia? Well, now’s your chance. All these dishes and more can be found at the Eat Like A Greek Food Faire as you listen to the Spartan Band playing melodic Greek music. This three-day event proudly serves authentic Greek food, which is not easy to find elsewhere, and the Greek taverna offers imported Greek spirits, wine and beer, and local selections. So mark your calendars for May 13, 14 and 15 and head to Prophet Elias Greek Orthodox Church in downtown Santa Cruz. Admission is free. Visit livelikeagreek.com for more info.
 

Clean Energy to the Rescue?

Santa Cruz leads the way on push for local green energy grid

Preview: Edge of the West at Moe’s Alley

Santa Cruz’s Jim Lewin steps back from a successful sideman career to focus on his own music

Fired Up at Pizzeria Avanti

Longtime chefs become owners of neighborhood favorite Pizzeria Avanti, plus Mother’s Day at Alfaro

Guitarist William Coulter Fools With Celtic Tradition

Guitarist William Coulter isn’t afraid to take a classical California pop approach to Celtic tradition

Burgers: Myth vs. Reality

The sobering science behind America’s favorite comfort food

The Return of Michael Moore

How Michael Moore threw himself into election-year politics, made a comeback film, wound up in the hospital, and started all over again with a tour coming to Santa Cruz. And yes, he’s for Bernie.

Music Picks Apr 27—May 3, 2016

Local music for the week of April 27, 2016

Be Our Guest: Santa Cruz Symphony’s Ode to Joy

Win tickets to Santa Cruz Symphony's Ode to Joy at the Civic Auditorium on May 7.

Love Your Local Band: Kat Factor

Kat Factor plays this weekend at DIO Fest in Boulder Creek.

Bartolo Wines

Barry Jackson’s Fiano delivers a smoky minerality
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