Coastal Shake-Up Clouded in Secrecy

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The surf is pounding Twin Lakes State Beach just yards from Katherine O’Dea, executive director of Save Our Shores, who is sitting on a log by a rocky jetty.
The beach is, at most, a five-minute walk from the Save Our Shores office at the Santa Cruz Harbor, and this sandy destination is hardly a sliver of the 1,100 miles of California shoreline that is protected and open to everyone, thanks to a California ballot measure passed in 1972. After a recent shakeup at the California Coastal Commission, which is charged with protecting the coast, O’Dea worries that the future of California’s shores may soon be in limbo.
“Everyone does at least have the potential for access, even though everyone doesn’t access it,” says O’Dea, who has lived on the East Coast from Maryland to New Hampshire. “Even around here, there’s a lot of people who never get to the beach. We have that potential. On the East Coast, a lot of it is bought up. Private land—you can’t access the coast for miles, hundreds of miles. So, to have this is an incredible treasure. If we don’t protect it, we’re just insane. It’s insane.”
The disruption that has O’Dea flummoxed is the firing of Coastal Commission executive director Charles Lester on a 7-5 commission vote. It isn’t clear what exactly is behind the decision to lay off Lester. Commissioners spoke in vague terms about what he could have done better, and the group conducted part of its latest meeting, held in Morro Bay, in closed session.
With so little explanation and so much secrecy, it’s hard not to think that there may be something nefarious afoot. Environmentalists, like State Assemblymember Mark Stone (D-Scotts Valley), are worried that pro-development money and professional lobbyists are behind the change.
“There’s long been a tension between the lobbyists who go there [and the commission],” says Stone, a former coastal commissioner himself. “And there have been some very strong relationships with certain commissioners—take them out to lunch, take them out to dinner.”
It’s difficult to track lobbying’s influence on the body, because Coastal Commission lobbyists don’t have to identify themselves—although Stone, along with two other lawmakers, introduced a bill two days after Lester’s firing that would force them to register as lobbyists.
For Lester’s Feb. 10 hearing, Stone and O’Dea both drove to Morro Bay—along with over 600 Californians eager to defend Lester. Beginning immediately after the meeting, O’Dea says she went through several stages of grief, starting with disbelief. Lester, who lives in Santa Cruz, could not be reached for comment for this story.
Locally, the commission and its staff have not been immune from criticism in recent years, taking flack for what some called a series of overreaches. Cyclists were up in arms when the commission sent the Arana Gulch Multi-Use Trail back to the drawing board in 2010. The following year, politicians like Lynn Robinson and Ryan Coonerty criticized the commission when it rejected plans for the La Bahia Hotel.
Stone thinks each of those proposals came back as better projects before ultimately getting approved by the commission—as 80 percent of projects eventually do. He says much of the power of the commission is in negotiating, and he worries that the art of working with developers will be lost under the commission’s next director.
Fred Keeley, a former Santa Cruz County treasurer and lawmaker, agrees that the group’s negotiating power could be at stake. He fears that the ultimate result of Lester’s firing will be new developments benefiting no one but the rich, and leaving large portions of the coast blocked off to the rest of Californians.
The Coastal Commission has 12 members, with eight appointed by the state legislature. Four more are appointed by Gov. Jerry Brown, who chose not to intervene in this matter, calling it “a personnel issue” in the days leading up to the vote. That didn’t sit well with Keeley and other environmentalists.
Keeley notes that Brown, whose four appointees all voted to fire Lester, is the only person who has the power to change his appointments any time he wants.
“Because the governor’s appointees serve at the pleasure of the governor, the governor must agree with what his appointees did,” Keeley explains. “He’s the only appointing authority who could do something about it if he did disagree. And to me, this is an incredibly important decision. This is not a land-use decision. This is the heart and soul of the Coastal Commission.”
Stone says that the governor “should be embarrassed” of what transpired.
Ocean lovers are anxious to see how the Coastal Commission weighs in on Martins Beach in San Mateo County, where Bay Area billionaire Vinod Khosla bought land two years ago. Khosla has closed a road to the beach, cutting off coastal access.
The firing of one person, of course, doesn’t mean that Santa Cruz’s beaches may become overrun with high-rise housing complexes anytime soon. Former Coastal Commissioner Gary Patton says that Measure J, which voters approved in 1978, should provide a framework for protecting natural areas, including beaches.
Former Santa Cruz mayor Mike Rotkin says most politicians in the county are very environmentally sensitive and that noticeable changes would be more likely in Southern California or Eureka County.
O’Dea, who has been at Save Our Shores for four months, says that the commissioners probably did not anticipate how Lester’s firing would put them under a microscope.
“No one in the environmental community is sitting back and saying, ‘Oh well, we tried,’” she says. “Everyone is still fired up. Everyone is still angry. So, it’s not going to get swept under the rug. If that was their intent to rule without much oversight, it’s not going to happen.”

Path Finder

Peggy Dolgenos is 1,000 percent committed to connectivity. At the epicenter of all things Cruzio, Dolgenos seeks not only faster, bigger cyber connections for her community, but also enriched real-world connections among the clients she serves.
Cruzio, started up 26 years ago by Dolgenos and her partner (in life and in business) Chris Neklason, is a rare and feisty independent entity. Competing successfully in the Internet Service Provider arena of big companies like AT&T and Comcast, Cruzio aims to provide even higher-speed low-cost Internet access in the very near future.
The santacruzfiber.com project is all about getting gigabit high-speed, low-cost Internet—currently available in the Cruzio headquarters on Cedar Street—to the greater Santa Cruz community. With enough buy-in from residential and business users, the gigabit (a thousand megabits per second) fiber optic initiative would lay fiber to provide data uploading and downloading at speeds currently available only through costly large telecom providers. The difference is that this service would be locally owned and independently operated. “Enough people will have to sign up, we need buy-in,” Dolgenos explains. “The more subscribers, the lower the fees. We’ll be able to provide from 10 to 100 times the speed for the same money.”
Cruzio’s fiber connectivity benefited from the time when UCSC wanted to bring fiber to its campus. “That gave us the opportunity to work with the same company to bring fiber all the way down into the City of Santa Cruz,” says Dolgenos. “Cruzio’s connection is private and separate from UCSC’s—we’re leasing lines that go along the same path as the lines UCSC is leasing.” Currently, Cruzio has “the best connected building in the county,” but now Dolgenos has set her sights on “fibering up” the rest of the Santa Cruz community. “It’s such a good project. We approached the city about partnering with us, and they said yes. We believe in it—it seems right to offer it to everyone. There’s an economy of scale to doing it all at once, and reaching out to regions beyond the downtown.” And, yes, that means Dolgenos would like everyone to take the gigabit project survey.
“We were always open to big things, to big projects,” Dolgenos recalls. “We were both computer programmers for Santa Cruz Operation. And we thought we were going to change media, from a broadcast paradigm to one that empowered the user.”
When she was growing up, the Cruzio CEO admits, “I wanted to be so many things, an engineer, an artist, a writer, a boss of a company—and now I get to do all of those things.”
Originally from New York, the tall woman with a firm handshake and a soothing smile, moved out here “because just look at it! I fell in love with the Bay Area and Santa Cruz,” she says.
Armed with a degree in Administrative Systems from Yale, Dolgenos took a second degree at UCSC in Computer Science. “I was always a bit late getting on board with technology. But I saw what it could do. And I wanted to empower people,” she says. And so 26 years ago, the region’s independent Internet Service Provider—Cruzio—was launched. “We were one of the first to offer email to everybody. Everybody should have this, I thought, and not just those in universities or government bureaucracies. Being progressive means you believe in positive change,” she says. Her delivery is simultaneously calm, upbeat, and compelling. “I believe businesses should be Utopian, make good things happen. The Internet has done that. On the other hand,” she laughs, “we didn’t foresee spam, and neither did the creators of email.”
“We used phone lines, at first, to transmit data,” she explains, recalling the sounds of dial-up modems reverberating through the garage that was Cruzio’s first home and company incubator. “The epicenter of the business was our garage until 1993. We couldn’t take a vacation for many years,” she says.
Running the business together works out well, Dolgenos believes, “because we’re very different. We help each other out. Chris has more of an engineer’s temperament, things either fit or they don’t. I’m much more comfortable with ambiguity. I’m interested in a lot of things, which is good for entrepreneurs.” Dolgenos was appointed for the past two years as director of the Santa Cruz County Business Council. “If you’ve been interested in a lot of things, you can think about solutions from many points of view.”
Dolgenos refers frequently to “our community,” by which she means the Cruzio community and its subscribers. “We couldn’t do this as easily anywhere else. We are so lucky,” she says, “because our community welcomes an independent company.”
The best part of all? “Our staff,” says Dolgenos. “We have about 30 employees. I love them all. And our co-working spaces are great—we can take advantage of all of the shared interests of other geek heads. We can find out what they’re doing.” And now, with her three children out of the house, and thanks to “having great people to take care of things 24/7,” Dolgenos can actually take vacations. santacruzfiber.com.


CRUZIN’ NETWORK Peggy Dolgenos of Cruzio Internet in the Cruzioworks coworking space in downtown Santa Cruz. PHOTO: CHIP SCHEUER

Form Transformed

Local fans of cutting-edge contemporary dance know that catching the best and brightest onstage often means a trip to San Francisco, but this time the city is coming to us. If the Tannery World Dance & Cultural Center’s (TWDCC) founder and executive director, Cat Willis, has anything to say about it, the trend will continue.
TWDCC is presenting its Winter Dance Fest in the new Colligan Theater at the Tannery on Saturday, Feb. 27, and promises a dazzling blend of artistry, athleticism and innovation.
“The idea behind presenting a winter dance fest has been elevated by the theater—and this show is about presenting excellence in its purist form,” says Willis. “We’ve brought together two tour-de-force, high-powered dancers and choreographers to show that this stage is worthy of that. It’s thrilling.”
Acclaimed dancer, choreographer, and artistic director of Dawson Dance SF, Gregory Dawson, will launch the Santa Cruz premier of his triptych work, “Dent-Drop-Bend.” Schooled in the sculptural grace of ballet and mentored by brash dance experimentalist Elizabeth Streb, Dawson stretches the language of dance to reflect his multi-faceted point of view, his choreography challenging the use of the body in space. Nominated for an Isadora Duncan Award, he has been called “risk-taking,” and “muscularly elegant” by the San Francisco Chronicle.
“‘Dent-Drop-Bend’ works with texture, shapes, color, video, and imagery,” says Dawson. “Often when I work with my dancers, it’s a collaborative effort, but with this construct, it’s me as director and composer being very specific about what I want. The process took a year. Our dancers are very physical. The motion is constant. We stripped the space of its elements because we wanted the audience to imagine what could be done within the spectrum of the proscenium.”
His visual sensibility is angular yet supple, his description of his work often painterly. Dawson says that he tends to write his own scores, working with a technician to make what he hears in his head come to life. The effect onstage is percussive, primal, an expression of form and potential.
“I visualize a lot before I put it on a person. I record sounds I want to hear,” says Dawson. “Sometimes the title comes first, sometimes the movement, sometimes a shape or a line.”
He notes the influence of mentors like Streb and Alonzo King of Lines Ballet, but adds that everything feeds his vision.
“You see or hear something and it becomes inherent inside of you. You read a book and it takes up residence somewhere in your psyche. They all combine with who you are as a person and affect what comes out.”
Local dancer and choreographer, Micha Scott, will open the program with her new venture, Empire Dance Company, and their latest work, “It’s About Time.”
“It captures the fluidity of what was, what will be, and what is,” she says.
It’s also multi-generational, featuring Scott’s two daughters alongside other dancers in the company.
“They’re amazingly gifted dancers, and this piece really tells the story of Empire, what it means to carry on dance within a family,” says Willis. “It’s a powerful thing within the context of the stage, to see Micha and her daughters individually but also in terms of continuity. Their physicality alone is mind blowing.”
Scott returns to her experience as a dancer when talking about her development as choreographer: “I love to challenge myself and my dancers, to push us forward in our capacity as artists. I bring my whole self to my art form, and I strive to be utterly open.”
Willis hopes to bring more world and contemporary artists to Santa Cruz during seasonal runs in the fall and winter.
“With the ethnic dance festival in the fall, it’s our time to curate world artists, those that live here in Santa Cruz along with national and international artists,” says Willis. “In the winter, I hope to exhibit contemporary artists and artists of color working in the local contemporary dance community.”
Willis also wants to exhibit artists who might not have a platform to present work in nontraditional ways.
“I’m really trying to elevate those voices in Santa Cruz,” she says.
TWDCC is crucial in promoting alternatives and diversity in the local dance community, says Willis.
“I’m a woman of color raising a family here. I’m an artist. I’m bringing what I want to see more of in this town,” she says. “That’s always been my goal. It makes our city vibrant.”
Her background in New York informs her point of view.
“It’s a place of incredible economic, racial, and political diversity,” she says. “I want to create those unexpected intersections here.”
Willis notes how the presence of diversity alone brings in more of it, how it has a cascading effect: Politics soften, communities broaden, and the arts thrive. Dawson and Scott, both artists of color, are exhilarating expressions of the waterfall. Willis is thrilled to be part of the process, she says, especially here—in a town that has embraced her passion and vision.
“I tell people all the time, I could not have built this organization anywhere else,” she says. “There’s something special about this place.”


Info: 7:30-10 p.m., Feb. 27. Colligan Theater, Tannery Arts Center, 1010 River St., Santa Cruz. $15-$45. 227-6770.

Family Folk

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On Regina Carter’s family tree, there is a blank spot where her maternal grandfather should be. Growing up, no one talked about him and when she asked, family members wouldn’t tell her anything.
“A lot of my aunts and uncles will just say they didn’t remember him,” she says. “How do you not remember your father? I knew there was something there. There’s a reason people are not remembering and I have to get to the bottom.”
Carter finally found a relative who would share stories about her grandfather with her and answer her questions. When asked if she found what she was looking for from the stories, she simply says, “I did.”
Filling in the details of her family story led Carter to a familiar place: music. A born musician who was playing the piano by the age of 3 and took up the violin at 4, Carter is now a world-renowned jazz violinist in the lineage of greats, including Stéphane Grappelli, Billy Bang and Stuff Smith.
Carter turned to folk songs from the late-1800s in an attempt to connect with her grandfather. In particular, field recordings from the Alan Lomax collection and music from the Alabama Folklife Association provided a glimpse into what her grandfather’s life might have been like. It also inspired a musical project that would become her ninth solo album, Southern Comfort.
The album is a haunting reworking of old folk and gospel tunes, spirituals, ballads, children’s songs, and blues, brought to life with Carter’s soulful and lovely playing. The album showcases familiar tunes, including “Trampin,” “See See Rider,” and “Honky Tonkin’,” as well as lesser-known ones such as “Blues de Basile” and “Cornbread Crumbled in Gravy.”
Where many of the field recordings are single voices, or a group of voices, Carter and her band draw out unexpected elements of the tunes, with crashing drums, accordion, electric guitar and, of course, Carter’s violin leading the way. The result is an emotional and personal exploration of the past, through the lens of modern styles and tools. When Carter plays the songs live, she plays snippets of the original raw and scratchy field recordings to give the audience context.
“Listening to the songs was a way of transporting me,” she says. “It’s my way to make a connection to who [my grandfather] might have been with a little bit of information that I had—to try to understand what life might have been like.”
Born and raised in Detroit, Carter traveled to the South with her family in the summertimes to visit relatives. Those visits provided stark contrast for a city girl. There were no sidewalks, no TV, and everyone used outhouses. The trips were also an opportunity to connect with the folk music of her family and extended community. Carter has vivid memories of singalongs with her family and friends. As she recalls, someone would start playing the piano or pull out a guitar, and whoever was around would join in singing.
“I call it folk music,” she says. “Nothing I would even remember today. I just remember it as a gathering—just what was happening.” She adds with a laugh, “We didn’t have TV, we really had to just deal with each other.”
Since Southern Comfort, Carter has been touring and performing the songs for audiences around the world. Her next project, which is still in the very early stages, is a tribute to Ella Fitzgerald. Carter wants to find and bring to light tunes that are less well-known than the standards the great jazz vocalist recorded.
For Carter, who does volunteer hospice work and regularly plays for people in nursing homes and hospitals, music is a gift that enables us to connect with one another in a very intimate way. The project is another way to connect with music as a means to transport ourselves and honor those who have gone before, she says.
“It puts everything in perspective,” she says. “We always say, ‘Oh, music is so powerful and so moving.’ It sounds like a cliche, but it is. It’s real. When you have those moments, you know it.”


7 p.m. & 9 p.m., Monday, Feb. 29. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. 427-2227. $30-$35.

Getting Credit

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There’s a new push to make sure locals know about various earned income tax credits, especially those made to accommodate low-income people.
Three thousand families fail to claim more than $6 million in tax credits in our area each year because they don’t know the credits are available or don’t know how to claim them, according to Santa Cruz County officials. Depending on their income, locals may qualify for up to $13,900 between state and federal credits.
Santa Cruz Community Ventures and Project SCOUT are holding workshops throughout the county this tax season.

How Westside kid Nat Young became American surfing’s next great hope

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Every morning after coffee, Nat Young gets in his black Toyota pickup truck and cruises the cliffs, searching for Santa Cruz’s best waves.
He doesn’t track the conditions online. He hears by word of mouth the swell size and direction, the wind forecast. He knows the tides, and has developed a keen sense for which of Santa Cruz’s dozens of breaks will have the cleanest waves.
Sometimes it’s simple, and he dives into the ocean at the first spot he checks.
“A lot of times I get picky, and I could literally end up driving from six in the morning to noon, looking for waves, and then end up surfing the very first wave I looked at,” Young says.
At 24, the freckled blond is already Santa Cruz’s most accomplished surfer yet, with three seasons on surfing’s highest level of competition. Young enters the upcoming season ranked No. 10 in the world, the second-ranked American behind Kelly Slater at No. 9.
Young begins the 10-month season March 10 on Australia’s Gold Coast, then goes to places like Tahiti’s Teahupo’o, South Africa’s Jeffreys Bay and Oahu’s North Shore.
When he’s home on Santa Cruz’s Westside, Young surfs every day—two to three times a day.  On his cement patio, around a dozen wetsuits hang on makeshift racks, dripping dry in the sun. A plastic shed houses 60 surfboards from his sponsor Channel Islands Surfboards, and he picks from their various shapes and sizes the right board for the day’s conditions.
To most people’s surprise, Young hit the tour in 2013 with enormous success, reaching two major finals in Portugal and Australia’s Bells Beach and winning the Rookie of the Year award.
He describes the past three years as up and down, his year-end world ranking bouncing from No. 8 in 2013 to No. 13, then to No. 10 the following years.
This year, Young says he wants to win a contest.
“I’ve been on tour three years and I’ve only been in three finals. It’s like you only have one opportunity a year, so you have to take advantage,” Young says. “I think surfing is one of the hardest sports. So many factors are out of your control when you’re in a heat.”
“Everything I can control, whether it’s my training, or my equipment, is huge—knowing your equipment and being on top of it. Picking the right waves: Should I go on this? Or maybe the one behind is better, and trusting that you make the right call … I feel like when you put a lot of work and time and effort into the preparation of it, those decisions come a lot easier.”
 

YOUNG START

Young grew up playing soccer, baseball, golf, and basketball, and competed on Santa Cruz’s junior lifeguard team. He skateboarded and rode his BMX bike and was always at the beach.

BANDING TOGETHER Young (right) works out with his strength coach Joey Wolfe at Paradigm Sport. PHOTO: KEANA PARKER
BANDING TOGETHER Young (right) works out with his strength coach Joey Wolfe at Paradigm Sport. PHOTO: KEANA PARKER

At age 5, he stood up on a boogie board while on a trip to Mexico, then started surfing Cowell’s on a pink board. By the age of 6 he graduated to Steamer Lane, a world-class break known for its talented and macho crowd.
The simple explanation of how a regular all-American kid rose to the top of the surfing world is that he’s ferocious.
Peter Mel, World Surf League broadcaster and Santa Cruz surfer says of Young, “First and foremost, he’s about as competitive a human that I’ve ever met. There’s that. You need that, especially to have the success that he’s had at the level he’s at … He’s never a poor sport, but he does not like losing. He does whatever he needs to do to avoid that feeling.”
Mel’s son, John Mel, 16, calls Young a role model. Young has taken John, a budding pro surfer, under his wing. They lift weights and surf together regularly.
“He’s always wanting to win, and you can see how focused he is to win,” says John of Young’s intensity. “That’s what you need. Basketball, cornhole, ping pong—any of those he’s super competitive and you just know that he really wants to win, and he’s going to practice until he wins.”
Nat’s mother, Rosie Young, says even at a young age her son was fierce.
“We used to play games with him when he was little, like Candyland and Sorry!, and we used to have to let him win. He’d change the rules as we went along. He enjoys it. He enjoys competition,” she says.
When it comes to surfing, Young says he may not have the prettiest style, but when he’s on a wave, he doesn’t think about how he looks.
“I definitely put all my energy, all my strength, into every turn I do,” Young says. “I want to throw everything I have at the wave. When you’re doing that, putting all your power, that — that’s my approach.”

TRAINING HARD

It’s a hot summery day in early January when I meet Young for the first time. The tide is high and not good for waves, so Young is at the gym. He’s just returned from a three-week break from training, after finishing 2015 with a frustrating early exit at Pipeline in Hawaii.
My boyfriend is a huge fan of Young’s, and in our hallway we have a large framed photo of him getting barrelled at Año Nuevo State Park. It turns out Young has the same photo, his first cover for Surfing magazine, hanging in his living room.
During contests, my boyfriend makes me stay up until 2 a.m. to watch the live webcast of Young’s heats. Sometimes in the wee hours we’ll go to our friend Levi’s house to watch, and Levi’s dad will join and reminisce about the time he saw Young surf at the Coldwater Classic. Long story short, Young is a celebrity in our household, and I’ve got the jitters. But when I meet Young at Santa Cruz’s Paradigm Sport, where he trains four days a week between contests with strength coach Joey Wolfe, I’m instantly at ease. He’s just a regular guy. At 5 feet 10 inches and 164 pounds, Young is muscular but blends into the crowd. He’s friendly and talks in intermittent bursts when he’s not doubled over, catching his breath between sets.
Wolfe, the gym’s owner, is a former minor league baseball player. He’s trained Young since 2010, when Young was 18 years old, 20 pounds lighter and just entering the qualifying series, the “minor leagues” of surfing.
“When Nat came to me he was already flexible,” says Wolfe. “His thoracic rotation is off the charts. He’s played baseball, basketball, golf. He’s an athlete first. So having someone with incredible body awareness, who’s already played other sports, it’s about getting him stronger.”
Young likes to train with friends, and on this day he’s lifting with Santa Cruz lifeguard Paul Steinberg and Tyler McCaul, a professional mountain biker from La Selva Beach.
After a foam-roller massage and dynamic stretching warm-up, Wolfe leads the trio through a strength-building routine: kettlebell Turkish get-ups, medicine ball pushups, bodyweight core exercises, and others. In one drill, Young holds the ends of a heavy rope, balances on one foot on a BOSU ball and beats his arms up and down like a Taiko drummer.
Each day the training changes.
Surfers need strength to handle the g-forces of carving aggressive turns. But they also need to be flexible and fast to launch off the wave’s lip and land aerial maneuvers.
Wolfe says he’s careful that Young stays lean, so Young squats less weight than the professional baseball players, for example, but Wolfe doesn’t place much emphasis on sport-specific conditioning.
“For rotational power, that’s no difference for a baseball player, a fighter, a surfer. It’s all the same,” Wolfe says.

THE TEACHER

Young says that without his mother, he never would have become a professional surfer. Until Nat turned 17, Rosie Young drove him every weekend for six years to Southern California, where all the junior contests were.

TEAM NAT Young with his mother, Rosie. PHOTO: KEANA PARKER
TEAM NAT Young with his mother, Rosie. PHOTO: KEANA PARKER

“She had a Jeep and on one of the trips the door fell off,” says Young. “And then there was the Volvo. It got 280,000 miles in four years. It just died on her.”
Rosie Young was a legal secretary before quitting when Nat began his junior career. She spent thousands of hours on the cliffs, videotaping him surf.
She edited the tape into short films, which he’d watch on repeat.
“They were his teacher,” Rosie Young says. “Wherever he surfed, I’d film—up the coast, Pleasure Point, the beaches here. Wherever he went, I went with my camera.”
She says Nat becoming a top 10 surfer was never the goal when he was young. She was friends with other surfers’ parents and enjoyed traveling with her son. His father Dennis, a talented Santa Cruz surfer who died in 2012 of cancer, would take him on surfing trips, she says, and was not a “helicopter dad.”
“He had joy in just watching Nat. He didn’t give much advice, except recommendations on boards,” says Rosie, who joins fans across the world to watch her son compete on live webcasts from her home in Santa Cruz. “If he has a heat at two in the morning, I’ll set my alarm for 1:30 so I won’t be all groggy,” she says. “The ones in Europe are the worst.”
Kieran Horn, a former Santa Cruz surfer and now O’Neill’s marketing and business director in Holland, managed Young in his junior career. He didn’t coach Young, but gave advice on boards and helped him prepare for international trips.
Even at 12 years old, Young was clearly a “man among boys” in contests and already had the fundamentals to become one of the best surfers in the world, Horn says.
Young is known for his backside surfing—with his back to the wave—his strong bottom turn and aggressive vertical attack of the wave’s lip. Broadcasters regularly gush about his powerful “tree-trunk legs.” Off each top turn, his board throws an explosive spray of water, an indication of his strength.
Before Young, Santa Cruz produced a series of backside goofy-footers in the 1980s and 1990s, such as Anthony Ruffo and Chris Gallagher.
“[With Nat], it was like, here’s another backside guy, but to another degree,” Horn says. “Having that bottom-turn to top-turn combination at that young of an age, that is something really important to have competitively. So yeah, it was clear that there was great potential at a young age.”

THE BIG HOPE

Around Santa Cruz, strangers recognize Young and say hi. On Instagram, he has 131,000 followers—and his Facebook page, last updated in 2013, has nearly 5,000 likes.
But he’s not yet a household name, even in his hometown.
As his mother, Rosie puts it: “He’s not like Justin Bieber who can’t walk out of his house. There’s no paparazzi walking around. I mean, there’s probably people in this town who don’t know who Stephen Curry is, but that’s because they don’t watch basketball.”
According to Peter Mel, American surfing is in transition. At age 44, Kelly Slater is still going strong, but he may retire soon. Last year’s retirement of Florida’s C.J. Hobgood, a 17-year tour veteran and former world No. 1, began a changing of the guard. Two new Americans will join the championship tour in March.
Hawaii also includes some standout surfers, such as world No. 15 John John Florence, who has won two championship contests, but Hawaiians are not considered Americans by the World Surf League.
“As far as American surfing goes, he [Young] is our next real big hope. … There’s not a ton of Americans. So he’s the guiding light for all Americans, not just Santa Cruz, but the entire nation,” Mel says.
“I don’t know if he actually thinks like that, but I know that there’s a lot of fans on tour and he’s gonna hold that flag.”


FOLLOW NAT YOUNG: The contest window for the Quiksilver Pro Gold Coast is March 10-21. Young’s first heat will be against John John Florence and Jack Freestone. More info at worldsurfleague.com; download the app for alerts when contests are called.

Boys Town

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What were they thinking with this year’s Oscar nominations?
You don’t need to be psychic to predict that, come Sunday night, the gold will be bestowed on a movie whose cast, filmmakers and subject matter are mostly—how else can I put this?—white and male. Because that is all there is to choose from.
Over at Boys Town (aka: the Motion Picture Academy), white male ensemble casts were almost the only nomination-worthy movies of 2015. Still, there’s less consensus than usual about front-runners this year, which might lead to some surprises in the otherwise cookie-cutter sameness of the field overall.
BEST PICTURE Spotlight This is really a close call. But out of the eight contenders, we can eliminate the three films whose directors didn’t get nominated (adios Brooklyn, Bridge of Spies, and The Martian), and further weed out Room, which hasn’t garnered any pre-season buzz in this category. Which boils down to three buzz-worthy contestants: The Revenant, The Big Short, and Spotlight, each of which has earned some pre-season love. (As has Mad Max: Fury Road, although I don’t think Academy voters will take it seriously in this category.) On the strength of Leonardo DiCaprio’s almost certain lock on the Best Actor prize, The Revenant looks like the one to beat—except that director Alejandro González Iñárritu already won for best film and director last year for Birdman. But I’m betting that even if he does score a second consecutive Best Director award, Oscar gold will still go to Spotlight, the kind of smart, hard-hitting issue movie that Hollywood likes to applaud itself for making.
BEST DIRECTOR Alejandro González Iñárritu, The Revenant. OK, I wasn’t that crazy about the movie, but it was a pretty amazing directorial achievement. Iñárritu has been cleaning up, pre-season, and my hunch is that his winning streak will prevail over Tom McCarthy (Spotlight), Lenny Abrahamson (Room), George Miller (Mad Max: Fury Road), and Adam McKay (The Big Short).
BEST ACTOR Leonardo DiCaprio, The Revenant. I don’t get it either, how 2.5 hours of grunting through the wilderness counts as acting; DiCaprio has given far better performances, where he actually spoke dialogue, but, hey, it’s his turn. Plus, the Academy won’t be able to resist putting Leo up on the podium with Kate Winslet (just in case she wins Supporting Actress for Steve Jobs—as she deserves to), 20 years after Titanic. I’d vote for Bryan Cranston (Trumbo), or Michael Fassbender (Steve Jobs). Eddie Redmayne (The Danish Girl) and Matt Damon (The Martian) round out the category.
BEST ACTRESS Brie Larson, Room. The no-brainer of the year. She’s already won every other award in this category over Cate Blanchett (Carol), Saoirse Ronan (Brooklyn), Charlotte Rampling (45 Years), and Jennifer Lawrence (Joy).
BEST SUPPORTING ACTOR Sylvester Stallone, Creed. For the same reason as above; plus, this is the award they never gave him for Rocky when he was in his prime. Sorry, Christian Bale (The Big Short), Mark Rylance (Bridge of Spies) and Mark Ruffalo (Spotlight). Possible (but unlikely) upset: Tom Hardy, The Revenant, (although it would be a backhanded nod to Mad Max: Fury Road).
BEST SUPPORTING ACTRESS Alicia Vikander, The Danish Girl. With four high-profile films this year, Vikander deserves to win something. I’d give her the Best Actress prize and give this Oscar to Kate Winslet for her pithy, Polish gal-Friday in Steve Jobs, over Rachel McAdams (Spotlight), Rooney Mara (Carol), and Jennifer Jason Leigh (The Hateful Eight).
SHORT TAKES: Look for Spotlight and The Big Short to win their respective Original and Adapted Screenplay awards. (MIA: Aaron Sorkin, unnominated for his smart, literate script for Steve Jobs.) My guess is Inside Out will trump Anomalisa for Best Animated Film, and the Hungarian drama Son of Saul will crush the Foreign Language competition. Expect the vast snowscapes of The Revenant to earn Cinematography gold, while Mad Max: Fury Road speeds off with the Costume and Production Design awards that I would give to The Danish Girl—if only they had asked me!


INFO: The 2016 Academy Awards air at 5 p.m. on Sunday, Feb. 28 on ABC.

Limit Less?

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An election year like 2016 is a busy time for any married couple. Along with ordinary responsibilities to family and work, they make decisions in important races locally and nationally.
But 2016 is of particular importance to State Assemblymember Luis Alejo (D-Watsonville) and his wife Karina Cervantez Alejo, a Watsonville city councilmember and former mayor. Both are pursuing their political aspirations by running for major offices in the Monterey Bay area.
“Bold leadership is needed to address the state’s numerous issues,” says Cervantez Alejo, who’s running for her husband’s seat in the assembly. “Colleges are harder to get into, we still must adapt to California’s historic drought, and jobs and economic opportunities continue to be a concern for families. These are challenges I am willing to take on.”
Her husband, who’s getting termed out of his assembly seat, is running for Monterey County supervisor and says he moved to Salinas last year.
It’s a matter of perspective whether the Alejos are tireless champions of working people or simply politically ambitious opportunists—not that these two things are mutually exclusive.
On one hand, the pair has a strong public service record and a legislative history of looking out for economically and politically disenfranchised communities. Alejo is probably best known for laws he wrote in 2013 to raise the minimum wage and provide driver’s licenses to undocumented immigrants. He authored 20 bills in the last legislative session, 18 of them eventually getting signed into law by Gov. Jerry Brown.
Their opponents, though, have suggested that the two rising Democrats’ political ambitions outweigh their desire to serve, and that the evidence lies in the Alejos’ willingness to shuffle addresses in order to avoid term limits.
Alejo, also a former Watsonville mayor, was elected to the assembly in 2010, as part of the last class subject to six-year term limits. California voters approved the extension of those limits in 2012 to 12-year terms, but too late for Alejo. He is scheduled to term out at the end of this year, prompting his move to Monterey County, where he’s running for District 1 supervisor against incumbent Fernando Armenta in November.
“I moved to Salinas from Watsonville because it is the district with greatest needs,” he says. “It has the highest unemployment rate and the highest homicide rate in the state of California.”
Alejo says he is committed to pursuing some of the same policies he forwarded in Sacramento at the local level.
“Salinas is the largest city in the Monterey Bay area, and it has no year-round shelter for the homeless,” said Alejo, who feels that the city’s response to a ballooning homeless population in the Chinatown area of the city has been myopic and ineffective. “These draconian ordinances are not working. We need a different approach, something more humane.”
Because Cervantez Alejo sits on the Watsonville City Council, she still lives in Watsonville cannot move to Salinas with her husband while in office. The nomadic approach to politics has not sat well with the couple’s political opponents.
Fernando Armenta, the District 1 supervisor on the Monterey County’s board since 2000, did not respond to requests for an interview. Recently, though, Armenta has accused his opponent of using this seat as a launch pad to other offices, after getting termed out. “I don’t think he’s here to stay,” Armento told Monterey County Weekly of Alejo.
California State Sen. Bill Monning (D-Carmel) gets termed out in 2020, and with all his experience, Alejo would look like the obvious front-runner for that seat in four years, although Alejo doesn’t say those are his plans.
“I only have plans to run for County Supervisor in District 1,” Luis Alejo tells GT in a follow-up, via text message. “Most people I talk to recognize that the incumbent hasn’t led on much in 15 years as a supervisor.”
As is often the case when it comes to anything political, these squabbles over term limits go both ways.
Cervantez Alejo, ironically, cites term limits as the principal reason voters should not elect her opponent, Anna Caballero, a fellow Democrat, in the race for the assembly’s District 30.
Caballero, a Democrat who served as mayor of Salinas and on the city council for 15 years, was also elected to the California Assembly twice, serving from 2006 to 2010, before she lost a bid for reelection. She later served in Gov. Brown’s administration as secretary of the California Business, Consumer Services and Housing Agency. Like Armenta, Caballero did not comment for this story, missing two scheduled phone interviews with GT.
Because Caballero was elected to office prior to 2012, she is subject to the same term limits as Alejo. Because of term limits, she would be limited to serving one two-year term.
“I’m only the candidate who can serve this district for the long term,” Cervantez Alejo says. “There are tough issues such as income inequality, affordable housing in our communities, restoring economic vitality. To tackle these issues will require more than the two years she has left.”
Caballero touts the breadth of her experience, saying that sets her apart from Cervantez Allejo.
“I have the opportunity to hit the ground running,” Caballero says. “The first term is a learning opportunity. There is nothing I need to learn.”
These regional squabbles are part of a bigger, possibly shifting picture: there’s a growing belief among experts that term limits may not be serving their intended purpose and may do more harm than good.
The state of California had a part-time “citizen legislature,” which paid a relatively meager wage until the 1960s. That’s when the state’s growing population and increasingly complex political world led to the legislature being professionalized. That continued until 1990, when voters passed Proposition 140, introducing term limits. At the time, proponents argued limits would curb careerist politicians, return the government to citizen legislators, and theoretically create opportunities for minorities and women.
The Public Policy Institute of California concluded in 2004 that such measures have failed to do so.
“Careerism remains a constant in California politics,” the study states. “Many have local government experience and run for another office … when their terms expire.”
Furthermore, the study asserts term limits may actually hinder the proper functioning of a representative democracy, in that legislators are termed out right as they gain the appropriate level of expertise. The continual inexperience of the assembly representatives makes it unlikely that the legislature will hold the executive branch of the government more accountable, particularly during the budget process.
Cervantez Alejo, who has witnessed firsthand her husband’s six-year tenure in Sacramento, admits that, as with all other candidates, there would be a period of acclimatization to the new role should she win the election. “There will be a steep learning curve, regardless, although I definitely have a lot of familiarity with the issues,” she says.
For his part, Alejo says he will be happy to assist his wife should she earn the seat, but also says that the advices flow both ways in their marriage.
“It’s been mutual,” he says. “Karina is one of the smartest people I know. We have always run ideas and strategies past each other. I learn from her, but I also contribute ideas. It’s collaborative.”
In advance of her primary run-off against Caballero in June, Cervantez Alejo has been pulling in big endorsements, including ones from local law enforcement and the California Democratic Party.
Cervantez Alejo says that people who cast her and her husband as ambitious people looking to slake their political thirst are discounting the years of public service both have contributed.
“Both he and I have a strong commitment to our communities,” she says. “This trajectory we’re on doesn’t happen overnight. It’s been a long history of involvement. Anything else is a misrepresentation.”

Pub Hub at East Cliff Brewing Co.

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East Cliff Brewing Co., the newest addition to the thriving Santa Cruz craft beer scene, focuses on British-style cask ales, which are probably foreign to anyone who hasn’t crossed the pond. Malty characteristics shine through in these Old World-style ales, and lower alcohol (around 4-5 percent ABV) allows the drinker to enjoy several without feeling too knackered. Naturally carbonated in the cask (hence the moniker), servers pump the ale with the help of shiny, steampunk-esque beer engines.
Co-owner and brewer James Hrica went to England for the first time in 1999, and it was love at first pint. “The way they served their beer was different,” Hrica says. “It’s not ice cold, it’s not super-carbonated. And the taste was different, too. I came to love those flavors.” He was inspired to take up his homebrewing hobby again in an attempt to recreate the British ales he’d experienced, and repeat trips to Britain deepened his appreciation for the style.
In 2012, Hrica and friend and fellow homebrewer Jon Moriconi began brewing together, driven by a desire to recreate the ales they’d fallen for and couldn’t buy in the States. “There has to be something that inspired all that effort. For us, it was the product that we were making. We couldn’t buy it anywhere,” says Hrica.
Less adventurous beer drinkers shouldn’t let fear of the unknown deter them—English styles are very approachable, perhaps even more friendly to untrained palates than the aggressive double IPAs and sour styles now popular on the market. More geeky drinkers will enjoy the results of different malting techniques and the earthy terroir of English hops, which are rarely used in American styles and have their own unique profiles. My favorites are the roasty and nutty English Brown Porter and the mild yet extremely flavorful Burton’s Bounty IPA, dry-hopped with English Fuggles.
The brewery bears little physical resemblance to a dimly lit British pub—the space is open, light and airy. Whitewashed walls set off a dazzling mural of the Harbor Lighthouse done in psychedelic colors by artist Yeshe Jackson. “That pub atmosphere was something we kept in mind,” says Moriconi. “We wanted to build a place where people could spend a few hours with their friends, have a pint or three, and not have to stumble home.”


Open 4-9 p.m. Friday, 12-9 p.m. Saturday,11-8 p.m. Sunday. 21517 E. Cliff Drive, Santa Cruz.

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Pub Hub at East Cliff Brewing Co.

East Cliff Brewing Co.
East Cliff Brewing adds British technique to local beer scene
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