Emails: Public Record or Personal Business?

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A few years ago, City Councilmember Don Lane remembers Robert Norse, a perennial critic of city officials, throwing a pointed question his way: “Do you ever use your private email to talk about City Council issues?”
“I don’t do it very much, and I try to steer away from it, but I wouldn’t say, ‘No, I never have done it,’” recalls Lane, one of a handful of city councilmembers who have used private email addresses in some official capacity, of how the question was a wake-up call. “From that moment on, it raised my consciousness.”
Every now and then, someone will email Lane at his personal Cruzio email address about a city issue. And should someone make a public records request on a given topic, he says he will include messages about city-related business from his personal email account if there are any. But just to be safe, he also makes a point of carbon copying his city email address when he replies to such emails.
That’s exactly how officials everywhere should respond, says government transparency expert Peter Scheer—but they often don’t.
Scheer is the director of the First Amendment Coalition, which is based in San Rafael. He says all local governments should have a policy stating that if someone is going to use a non-government email, like a Gmail account, they need to either cc: their city address or forward their messages to an official account, preserving them for public records.
“It’s possible to have it both ways. You can use your personal email. But you have to have a policy that if you use your private email, you have to send your copy to the city’s server,” he says.
In 2016, our options for communicating with one another via technology continue to expand. And when it comes to the regulations that ensure transparency, most governments across the country are still, at least in some ways, like the Wild, Wild West.
The city of Auburn has a policy like the one Scheer calls for, but such policies don’t appear to be very common. In Santa Cruz County, no local government has a protocol regarding emails, personal or otherwise.
The topic of emails and government is one that readers will, of course, be familiar with because of Hillary Clinton’s use of a private email server while she was Secretary of State. Transparency and security concerns spurred an FBI investigation, resulting in scathing criticism from both the FBI and the State Department—a specter that continues to hang over the presidential candidate during the Democratic National Convention this week.    
But it’s not just a Clinton issue—arm-wrestling matches over the “private” emails of government officials have been playing out all over the country, and California is no exception. A lawsuit fighting for the non-city emails of former San Jose Mayor Chuck Reed and other officials there about a city project has been sent to the California Supreme Court after a lower appeals court demanded that Reed and company turn them over. And earlier this month, a court order embattled Sacramento Mayor Kevin Johnson to turn over more than 50 personal emails on city matters to the Sacramento News and Review.
Scheer and others have additionally called for the email records of the members of the California Coastal Commission. Activists are seeking a window into the commission’s backdoor discussions that led to the firing of esteemed director Charles Lester—and the commissioners, apparently, do not have official Coastal Commission email addresses.
Earlier this month, the U.S. Court of Appeals in Washington D.C. ruled that government officials may not use private email accounts to dodge Freedom of Information Act requests. Essentially, the case, which overturns a lower court’s ruling, states that as long as the employee is corresponding about government business, they are doing so as a government agent.
Tony Condotti, the city attorney for both Santa Cruz and Capitola, says it’s a “best practice” for city officials to keep city business on their city email. “In so doing, they don’t create the problem of intermingling their personal email communications with those that relate to city business. Also, it keeps clear that the communications are a public record,” Condotti says.
A few Santa Cruz city councilmembers have been known to use non-government emails over the years—something that could create confusion when it comes to public records requests.
In 2012, activist Steve Schnaar, a Bike Church mechanic, looked into why the city had ended a popular bike distribution at the Bike Church, and began making public records requests. The city’s records coordinator told him at first that then-Vice Mayor Hilary Bryant had more records, but she later followed up with Schnaar that “those emails were under a personal email account and not relevant to any city business.”
Schnaar felt that city officials were hiding something. “What are the protocols for public employees using private email addresses?” he asked me at the time, suggesting I look into it.
Bryant, who is no longer on the council, did not return messages seeking comment for this story, but the distribution ended up going to the Bike Dojo after she put in a good word for them, which critics said was inappropriate because of her connections with the owners. (The city ultimately took the distribution away from the Dojo as well, setting up its own distribution because the business was not a nonprofit, like the Bike Church, and was therefore ineligible for the program.)
In past years, City Councilmember David Terrazas has used his private email address for city business, although he now asks people to reach him on his city address. City Councilmember Pamela Comstock says she has three email addresses, one for her personal use, one for her day job and a third for her council position. She says when she checks her email remotely, her phone will sometimes reply to the wrong address, and she finds herself constantly forwarding emails to her city email or cc:ing her correct address.
Councilmember Micah Posner uses a non-city email address to send out newsletters and updates, although he was on vacation and unavailable for comment as of deadline. (Ironically, his personal email sent back an auto-reply about his schedule, but his city one did not.)
In Scotts Valley, the mayor and all of the city councilmembers use their own personal email addresses, which are posted on the city’s website. Tracy Ferrara, the Scotts Valley city clerk, says their emails are, nonetheless, available when someone files a public records request.
Lane notes that even a request for someone’s city email in Santa Cruz requires a certain degree of trust in public officials. When someone makes a request for his messages, he still has to go through his archives himself, copying and pasting messages one by one.
Scheer says that, in general, if someone uses their private email and doesn’t comply with a public records request, it’s often easier for them to hide their messages. It creates extra steps for community members to access them, and they would never be able to do so without filing a lawsuit.
As forms of communicating become more advanced, it becomes easier for government officials to avoid public oversight, he adds. Scheer, who has written about this topic for nearly a decade, says that he has never heard of anyone filing suit over Facebook messages, for instance.
“The issue really hasn’t changed that much,” says Scheer, “although certainly technologies do complicate it.”

Wineries Use Owls for Rodent Problems

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Julie Johnson delights in pointing out bluebirds whenever one alights in her certified organic vineyard. To encourage the colorful avians to stick around, she’s put up more than 20 nest boxes, and she instructs her vineyard workers to recognize and spare the nests of other songbirds when they are working in the vines.
“People get excited about seeing these birds do good things,” says Johnson, who owns Tres Sabores Winery in Napa Valley and hopes the bluebirds will snatch up problematic insects.
The good these birds are doing in this and the scores of other organic and sustainable winery operations that have installed nest boxes, however, has until recently remained somewhat anecdotal. Johnson has also placed several nest boxes for owls at Tres Sabores. The nearly ubiquitous owl box mounted high on a pole almost functions like a totem these days; on many a vineyard tour the guide will point to these boxes as evidence of the winery’s environmentally friendly bona fides—be they certified organic, sustainable or merely well-intentioned.
“They’re like superstars of the vineyard,” Johnson says of the owls. “We know that barn owls are among our nighttime predators that are really crucial for vineyards, capable of eating an incredible amount of rodent pests.”
But vineyard operators like Johnson can’t say for sure whether a vineyard is even a particularly good place to site the nest, from the owl’s point of view, or if the whole fad amounts to a new kind of greenwashing.
To answer questions about the efficacy of owl boxes, graduate student researchers from Humboldt State University have begun a first-of-its-kind study, painstakingly mapping the interaction between owls and vineyard habitat in the Napa Valley.
“Finally, we’re starting to get some really great research,” says Johnson, who hopes that the findings will help her to develop a program for “bird-friendly” farming or wine, similar to Fish Friendly Farming, based in Napa, and the Smithsonian Migratory Bird Center’s bird-friendly coffee program.
In the forested hills somewhere between Loma Prieta and Los Gatos, Jerold O’Brien sees wild owls flying around his Silver Mountain Vineyards.
“I see a number of them around. It seems like there are more of them in summertime than in the wintertime. I would assume they’re there because they’re eating something,” says O’Brien, who also has an owl box on his property, although he isn’t sure how often it gets used.
The organic winery is home to swarms of gophers, too, which love to chomp on grapevine roots and can kill a young plant—anything younger than eight years—O’Brien explains.
“We have a lot [of gophers], because we go out trapping every six or eight weeks. We’ll trap for three or four days. In three or four days, we might catch 15 or 20 gophers,” says O’Brien, whose 9-year-old dog Spencer assists in finishing off the pesky rodents.
 

Research Takes Flight

Under the shade of the oaks at Tres Sabores last summer, Carrie Wendt is on break explaining the owl study research she began in the winter of 2015. A graduate student pursuing a master’s degree in natural resources and wildlife at Humboldt State University, Wendt studies the ecological services that wildlife can provide in agriculture. Although owl boxes have been used in vineyards for several decades, there is little to no scientific literature about them. Many of the oft-cited statistics on owls come from studies done in England and elsewhere.
To start, Wendt cold-called hundreds of vineyard managers up and down Napa Valley for permission to monitor their owl boxes. With a list of nearly 300 boxes in hand, she visited them all three times at 10-day intervals—making for long drives around Northern California.
Nest boxes fail for a variety of reasons, says Wendt: opportunistic mammals may climb into them, or red-tailed hawks and great horned owls may hunt the parent owls while they fly to and from the box.
Widely used poison bait for rodent control is also a hazard, as owls may be poisoned when consuming stricken rodents. But sometimes it’s a lack of available prey that makes owls abandon their nest.
From Tres Sabores, I follow the student’s bumper-stickered truck across the valley to Saint Helena Winery, off the Silverado Trail, on the search for a surviving chick. An owl box is located in the middle of a vineyard, and was last seen containing one healthy, surviving chick. As Wendt maneuvers a swaying camera pole into the box, a chick’s head appears out of the darkness.
Still a fuzzball of downy feathers, he’s almost grown-up, and looking downright surly as he sways and bobs in front of the camera. The dark side of his success is that, most likely, he consumed his siblings—not uncommon in the unsentimental world of the barn owl.
Following up on Wendt’s work, Humboldt State grad student Xeronimo Castaneda has been tagging adult owls with GPS transmitters. The work must be done within a demanding time frame: Castaneda has to find owls while they’re in the nest box with chicks 14 to 21 weeks old. Afterward, the adults roost elsewhere while continuing to feed the increasingly large chicks.
The boxes have hinged doors to facilitate cleaning. But it’s not for amateur ornithologists. The team had to apply to two agencies, the Bird Banding Laboratory, a division of the United States Geological Survey, and the Institutional Animal Care and Use Committee, to obtain permission to capture and tag owls. Researchers will then be able to track the owls and their hunting habits using GPS.
Castaneda suggests that while further study needs to be done, it may be true that even if owls aren’t actively hunting within the vineyard, their very presence affects the behavior of rodents, deterring them from eating vintners’ precious grapevines.
Castaneda mentions a small experiment conducted by an undergraduate that has yielded some interesting preliminary results. The student created a set of sandboxes, burying 100 sunflower seeds—rodent food—in each, and placed some in areas known to be populated with owls.  
“It’s interesting that across the board,” says Castaneda, “those little bait stations where there were no owls—all the seeds were gone. But where there were owls, a portion of those were still left.”

Unrest at the Democratic National Convention

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A thunder and lightning storm brewed over Philadelphia around midday on Monday, July 25, and inside the Democratic National Convention (DNC), the weather forecast also looks intense. That storm started at California’s delegation breakfast inside the downtown Marriott hotel over eggs, oatmeal, coffee and juice. Alex Padilla, the California Secretary of State who’s in charge of voting, took to the podium in front of the state’s Clinton-Sanders delegates, and the chanting began: “Count our votes, count our votes!”
Sanders delegates rose to their feet during the meeting and broke into chants of “Bernie, Bernie.” Rep. Barbara Lee (D-Berkeley) asked delegates to join her in voting for Clinton and the chants of “Bernie, Bernie” rained down upon her. The same happened to Rep. Nancy Pelosi (D-San Francisco), San Francisco Mayor Ed Lee and Rep. Mike Honda (D- San Jose)—all Clinton-supporting superdelegates.
I sat between two Santa Cruz Sanders delegates, Shawn Orgel-Olson, who ran Sanders’ Santa Cruz campaign, and former County Supervisor Gary Patton. Both looked stunned, at first, before joining in the chanting.
“What burns the butts of these Bernie people is that [the DNC leaders] want to pretend Clinton is the nominee, but it’s not official,” Patton shouted over the chanting, noting that the nominating process was scheduled to be finished the following day.
“We are still his delegates and we’re glad to be out here supporting him,” Orgel-Olson added.
This is my third DNC, and I’ve never seen this kind of raw, angry energy. It poured out onto the street, where more than 5,000 protesters came ready for a battle. At the Florida delegation earlier that morning, Rep. Debbie Wasserman Schultz (D-Florida), the recently disgraced DNC chair, got booed off the stage.
Toward the end of California’s two-hour breakfast, Clinton supporters finally caught on and chanted, “Hill-a-ry, Hill-a-ry.” But it was too late. The “Bernie” voices ruled the day. 

Preview: Shawn Wasabi to Play the Catalyst

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“Mac and Cheese.” “Pizza Rolls.” “Marble Soda.” No, this isn’t the menu for a new downtown café; they’re titles of songs by electronic artist Shawn Wasabi.
So is he obsessed with food or what? Well, yeah—but that’s not why he’s named so many of his songs after it. The real reason is actually a window into his approach to the electronic genre, which he thinks of more as mashups than standard electronic music.
“I like to see the parallels between modern fusion food and musical mashups. It’s kind of funny,” Wasabi explains. “Mac and cheese is a mashup of American cheese and Italian pasta. Pizza rolls are a mashup of pizza and egg rolls. A lot of my stuff is mashups of other material. I take a lot of different styles and make them work together.”
And he doesn’t just mean he draws from a lot of influences—he literally rams different styles together into a single song. “Pizza Rolls,” for instance, is a mashup of metal riffs and EDM beats. “Mac and Cheese” is a mixture of modern house music and retro video game noises.
Originally from Salinas but now living in L.A., Wasabi has been making music for a little more than three years. His early songs were comprised mostly of samples, which he’d bring to life using a triggering board and other electronic equipment, and it was posting videos of them on YouTube that got him a following. He records himself playing his songs live in single takes, usually with close-up shots of his fingers on the equipment. His videos have garnered millions of views, with “Marble Soda” approaching 10 million. Fans are dazzled by his nimble fingers; one YouTuber commented: “I have no idea what you’re doing, but it’s amazing!” Another wrote “You are insane. This is insane. What is this?”
“I’ve gotten used to the fact that what I do isn’t as easy as playing a guitar,” says Wasabi. “It takes me hours upon hours to get the perfect take where I play everything correctly and not mess up bad.”
To the delight of his fans, Wasabi plays some of his songs live, just like in his videos. His concerts are a mixture of live tracks and a more DJ-like approach to playing music, adjusting filters to pre-recorded tracks.
“People like seeing the live aspect thing brought into electronic music, but it would be really exhausting to mash up buttons for an hour,” Wasabi says. One time, Wasabi remembers messing up a song live, and getting so tripped up he just had to stop and move on to the next song.
If there’s any wonder why retro video game noises are so prominent in his early tunes, it’s because before recording solo, Wasabi was in a band that played chiptune, a style that mixes rock and electronic music with the bloops and bleeps of ’80s video games. What Wasabi is doing isn’t exactly chiptune, but it’s very similar. Even when he’s not sampling old video game noises, the fun, friendly vibe is right in line with the chiptune ethos. His music is just plain fun, sprinkled with cute noises, and doesn’t have an ounce of the aggression that has so dominated the big room and dubstep subgenres.
Basically, Wasabi is a gentle guy with green hair who loves to play video games and eat junk food, and his music reflects exactly who he is as a person.
“I’m not really threatening. I don’t think I have music that’s threatening either. I hardly get mad at people,” Wasabi says. “I tried making aggressive music, but that’s difficult for me.”


INFO: 9 p.m., Friday, July 29, Catalyst, 1011 Pacific Ave., Santa Cruz. $10/adv, $12/door. 429-4135.

Preview: John Adams Pays Tribute to Marin Alsop at Cabrillo Festival

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Next week, Santa Cruz will host the world premiere of a work by American composer John Adams, commissioned by the Cabrillo Festival Orchestra in honor of Marin Alsop, and it’s serendipitous for many reasons. One of them is that Adams, a Pulitzer-prize-winning composer of opera and symphonic works, was himself the interim artistic director of the Festival in 1991, during the period between a Dennis Russell Davies sabbatical and the hiring of Alsop as director for her unprecedented 25-year tenure.
A frequent contributor to and featured artist of the Festival, Adams and his wife Deborah O’Grady established in 2011 an invitational competition for young composers to create short musical pieces. Those selected each year add to the rich texture and youthful energy of the innovative annual program. Many a career has thus been launched.
This year Adams was commissioned to create a tribute and musical farewell to the outgoing artistic director. And the ridiculously busy composer just happened to have an idea-in-progress up his sleeve. On Aug. 6—the second evening of this year’s Festival—audiences will be treated to an orchestral piece excerpted from a larger work, an opera about the California gold rush Adams is in the throes of creating with his frequent colleague Peter Sellars (Doctor Atomic).
The new work represents a moment in Adams’ larger work in progress called The Girls of the Golden West, partly inspired by Puccini’s opera Girl of the Golden West (La fanciulla del West).
“Peter Sellars wanted to do an update of that opera,” Adams says. “He had been asked to do the Puccini opera thinking that the libretto was very dated. I read the libretto for the Puccini and found out that the librettist [Guelfo Civinini, working from a play by American David Belasco] actually did spend time in California.” The Puccini opera premiered in New York in 1910. “But we’re looking at the story with modern eyes,” Adams promises.
As he thought about what he might create in honor of Marin Alsop, Adams found something close at home. “There is an orchestral portion—a dance for Lola Montez—within the opera I am working on,” he says. “The idea was sparked by a San Francisco newspaper from the 1880s, where we found a histrionic description of her rather fabulous spider dance.”
Adams reminded me that Montez was a celebrated and controversial fixture of courts, saloons, and theaters the world over in the mid-19th century. “She was the mistress of King Ludwig I of Bavaria, who made her a countess,” he says. The Irish-born Montez also had an affair with Franz Liszt (among others) before she fled Europe for the wild frontier of the California gold rush. Here she developed her daring spider dance which she flaunted in the gold fields of Australia as well. Montez was a girl of two golden Wests, as it turns out.
Adams, who confessed he hadn’t yet written the music for Montez’ dance, has used the occasion of the Alsop commission to “jump ahead in the opera and write this section. It’s a stand-alone piece for Marin and I expect she will perform it elsewhere in the future.”
Montez was only one of the “girls of the golden west” Adams and Sellars describe in the upcoming opera. Few women ventured into the 1850s gold fields, but Adams found two extraordinary stories.
“I have a little cabin in the high Sierras near Downeyville, and there was a famous event that happened there,” Adams says. “A young Mexican woman was working in a bar and was harassed by a miner. She stabbed him to death. Apparently there was a quick trial and within 24 hours the town had hanged her. We wove a lot of stories around her,” he reveals. “And the other woman was Louise Smith Clappe, who wrote for a local newspaper under the name Dame Shirley. She spent 18 months in crude mining camps, and she wrote letters, called the Shirley letters, that I consider an outstanding example of 19th-century American literature,” he says. Clappe and her physician husband had come to the West for the mountain climate, and the writer mined her personal experience of the gritty ambience of the rough mining camps during the 1850s height of gold fever. “We’ve created scenes around those letters,” Adams adds, tantalizingly.  
“The opera will premiere in 2017, the year of my 70th birthday,” he says. “San Francisco Opera seemed the right place to premiere it, given the history behind the opera.” Will there be more operas from the composer of The Death of Klinghoffer? “More opera?” Adams laughs. “I’ve been working on this opera daily for almost two years, and I’ve just begun orchestrating the second act. It’s a lot of work.”
A sneak preview of Adams’ next opera can be heard on Aug. 6, as the composer’s gift to outgoing conductor Alsop.


Edit 7/27/16 11:00am: Opera incorrectly attributed to John Adams was removed. 

Review: Cabrillo Stage’s ‘Fiddler on the Roof’

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Back in 2012, the Cabrillo Stage summer musical series mounted one of its most successful productions, Anything Goes. It was a frothy 1930s period piece built around vintage Cole Porter songs, and featuring what may be the single most electrifying production number in CS history—a massive syncopated tap extravaganza to the title tune, in which everyone but the orchestra was onstage dancing.
That show was directed and choreographed by Kikau Alvaro, making his CS debut. And now Alvaro is back in the same capacity for the second production of the company’s current season, Fiddler on the Roof. True, there are few opportunities for ensemble tap dancing in this enduring tale about the denizens of a poor Jewish shtetl in a remote area of Russia toward the end of Tsarist rule. But Alvaro still delivers a wonderful production of this classic musical, vividly imagined in the design and dance departments, and blessed by a knockout centerpiece performance by Adam Campbell in the central role of Tevye, the dairyman.
Originally produced on Broadway in 1964, the Joseph Stein-Jerry Bock-Sheldon Harnick musical was based on the stories of Sholem Aleichem. The original production was directed and choreographed by the great dance maestro Jerome Robbins (whose choreography Alvaro reproduces here, according to the credits). And while the dancing is terrific (especially ensemble pieces like Jewish and Russian men dancing in a bar during the song, “L’chaim!,” or the villagers celebrating a wedding), this is not a show that depends on dancing; rather, it’s a moving tale of life, love, family, and, of course, tradition, in an era of changing values.
Tevye is the engine that makes this show go. Campbell’s great singing voice can be big and expressive, or soft and sweet, and his wry demeanor is irresistible, whether conversing with God, or in his robust rendition of Tevye’s signature song, “If I Were a Rich Man.” A poor dairyman whose assets amount to one milk cow and a lame horse, Teyve and his wife Golde (Marianne Thompson, another fine singer) have five daughters to see settled, with the help of village matchmaker Yente (Alice Hughes). A staunch upholder of “Tradition” (as laid out in the rousing opening number), Tevye’s worldview is challenged as, one by one, his three eldest daughters choose their own husbands for love, rather than submitting to arranged matches.
Tzeitel (a spirited Brenna Sammon) begs to be released from a proposed match with elderly butcher, Lazar Wolf (an entertaining Mike Stark), so she can marry the shy young tailor she loves, Motel (engaging Ryan Fish). Hodel (winsome Marina Hallin) strikes up a rapport with penniless scholar and revolutionary Perchik, played with sweet, comic fervor by Jordan Sidfield. Most challenging to her father is young Chava, played with quiet determination by Jenni Chapman, who falls in love with non-Jewish Russian boy Fyedka (Ryland Gordon).
Highlights of this production include the “Dream,” in which Tevye persuades Golde to agree to the wedding of Tzeitel and Motel by claiming her Grandmother Tzeitel (a very funny Anya Ismail), visited him from beyond the grave to endorse it—a scene enacted onstage by the entire company. The candlelit “Sabbath Prayer,” sung onstage and in the aisles, is also lovely. And while most of the showstopper numbers are in the first act, Act 2 includes the moving, heartfelt duet, “Do You Love Me?” by Tevye and Golde.
Scenic Designer Skip Epperson’s sets are as evocative as they are clever, a row of simple house exteriors that move around and revolve to disclose various interiors. (The crossed-log roofline of the central one makes a splendid perch for the eponymous Fiddler, nicely danced by Conrad Useldinger.) Most impressive is the painted backdrop in which the sun sets and the moon rises in a swirly Chagall-like skyscape, while lights twinkle on and off in distant mountain villages. (Lighting design is by the ever-stalwart Kyle Grant.)
Maria Crush’s costumes (vests, tasseled prayer shawls, and bloused Russian outfits for the men; peasant skirts and kerchiefs for the women) beautifully convey a sense of period while giving everyone room to move and dance. In terms of production and performance, this Fiddler is rich indeed.


The Cabrillo Stage production of ‘Fiddler On the Roof’ plays through Aug. 14 at the Crocker Theater, Cabrillo College. For information, call 479-6429, or visit cabrillostage.com.

First Brewery Opens in Watsonville

Last Saturday, a stream of thirsty customers made their inaugural visit to Elkhorn Slough Brewing Co. to investigate Watsonville’s first brewery. From the steady congratulations bestowed upon owners Julie Rienhardt and Michael Enos on their opening weekend, this day had been eagerly anticipated.
I was looking forward to visiting the brewery myself, having had the opportunity to enjoy some of its small-batch beers at local taprooms in Santa Cruz over the last few months. The craft brewery is located in a high-ceilinged warehouse in an industrial park off of Airport Boulevard, a short distance as the heron flies from its nearby namesake estuary.
A chalkboard menu and a short bar welcome guests as they enter through a roll-up door. A modest three-barrel brew house hugs the back wall, and a smattering of upturned barrels, picnic tables and much-loved furniture fills most of the space. It’s cozy, and thankfully cool on a hot day, especially with a glass of lemony, grassy Low Tide saison in my hand, and my friend’s dog snoozing at my feet.
But what really captured my interest was a neat row of oak barrels lined up on the opposite wall under decals of cranes leaping into flight. Inside them is beer, delicious beer, slowly maturing in its port, whiskey, or wine-infused casing, while yeast—which began its life on apples from Rienhardt and Enos’ property—metabolizes its sugars into complex flavors.
Enos and Reinhardt’s brewing methods for their barrel-aged beers take hyper-localized brewing to a whole new level. They begin by pressing apples from their orchard and allowing the juice to ferment farmhouse-stye in the open air, culturing the yeast found naturally on the fruit. Then, they inoculate their barrel-aged beers with this active cider, producing truly wild ales with unique, complex, and sometimes wholly unexpected characteristics.
If this sounds like an unusual way to ferment beer, it’s because it is. It can be risky, because it’s difficult to control—a brewer isn’t always sure what kind of yeast will take hold or what kinds of flavors it will produce. “That’s why our motto is, ‘May the Funk be with you,” Enos says, laughing. He is being modest. A veteran brewer of more than two decades, he’s had the opportunity to fine-tune his recipes and has the competitive accolades to prove it. Still, there’s a significant amount of seasonal improvisation inherent to his methods.
“We like to listen to our environment, and incorporate it into our beers as much as possible,” says Enos. “That’s why we have a place name for our brewery,” adds Reinhardt. “We feel there’s amazing nature all around us, and there’s great flavors in nature. We’re using ingredients that are available here, brewing at ambient temperatures and really having some fun. Our beer reflects what we think is the taste and flavor of this area.”
As an example, they point out one barrel smeared with dark purple juice—evidence of the 20-ish pounds of fresh-picked olallieberries they crammed into it the weekend before. When the local prickly pears ripen, the fuschia-colored fruits will be added to an old tequila barrel with their house saison.
Most of these beers won’t be ready for another four to 12 months—so stay tuned. In the meantime, the new brewery is definitely worth a visit. There were five beers on tap last weekend, including the Gooseblind IPA, which is laden with tropical pineapple flavors and aromas. My favorite was the Moro Cojo, a medium-bodied sweet and sour wheat saison that I was amazed to find is brewed with Kolsch yeast. This culture, which usually produces clean, crisp lagers, had been distressed by high Watsonville temperatures, which resulted in some deliciously funky flavors. Says Enos about their unorthodox style, “We like to use brewing knowledge, and the un-knowledge, and then break that knowledge.”
UPDATE 7/28/16 9:31a.m.: Title of the article changed to more accurately reflect the location of the brewery. 


65 Hangar Way, Unit D, Watsonville. Open 1-6 p.m. on Friday and Saturday. elkhornsloughbrew.com.

Ted’s Riverview Coffee

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Coffee is just coffee? Local coffee roaster Ted Jones begs to differ.
In his opinion, even the premium brands of coffee don’t scratch the surface of the blissful, culinary experience one can have with the right cup. That’s why he started Ted’s Riverview Coffee (formerly Riverview Coffee Roasters) a few years ago. He gathers the best coffee beans from all over the world, roasts them just right, and delivers them to coffee lovers in the area—or anywhere, really. Folks only need go to his website to order some. We asked him to spill the beans on his business.
Just how good is your coffee?
TED JONES: Absolutely fantastic. I only deal in the very top 1 percent of all coffee in the world, the very best of the best. It’s hard to get it across. You’ve got to experience it to realize what a difference there is. Coffee is really at its best the first couple of weeks from roasting, but it’s really hard for people to get coffee that fresh. When you get it at Peet’s or Starbucks, you’re getting coffee that’s older. Sometimes the bag of Starbucks that’s sold is up to two years from roasting. The average is six months from the roast date. Also they roast the coffee to a char level. Once you get a taste for nice coffee, and you go back to tasting that, it almost tastes like an ashtray kind of flavor.
Where do you source your coffee?
Really great coffee is seasonal. I’m only getting coffees that are six to nine months maximum from harvest. If I had to pick my top three favorites, it would be Ethiopia, Guatemala, and Brazil. I usually try to keep those three on the menu as much as possible. The Guatemalan is so balanced and pleasing. It’s a great coffee to put in a blend, because it can anchor a blend and give it that traditional aspect that you’re looking for in coffee. Then a really nice Brazilian has a beautiful nuttiness to it. Sometimes it’ll get other flavors like spice and raisin, but really good, nice-bodied coffee without having to be over-roasted. Ethiopia is so amazing because that is the birthplace of Arabica. It’s where the first high-quality coffee trees were found. And many of them are still growing in places they’ve grown for hundreds of thousands of years. You get all sorts of characteristics in [that] coffee that you won’t get in other places.


riverviewcoffeeroasters.com.

Music Picks July 27—Aug 2

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WEDNESDAY 7/27

REGGAE

JO MERSA MARLEY

The grandson of reggae legend Bob Marley, Jo Mersa Marley is part of the next generation of musicians in a family whose musical legacy shows no signs of diminishing. Blending dancehall, reggae, R&B and EDM, the eldest son of Stephen Marley is making a name for himself as an adventurous artist in his own right. As he told Rolling Stone, “I am one of the new generation of Marleys, but I am still experimenting at the same time … My plan is to do something new with my roots.” CAT JOHNSON
INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $12/adv, $15/door. 423-1338.

LATIN JAZZ

ARTURO SANDOVAL

Cuban-born trumpeter Arturo Sandoval has been an international force ever since he helped make Irakere the most influential Latin American jazz ensemble of the 1970s. His solo career really took off when he fled his homeland and settled in the U.S., where he was championed by modern jazz legend Dizzy Gillespie. A brass virtuoso with an ebullient stage persona, Sandoval is also an accomplished pianist who’s been known to sing a tune or two during his performances. Now based in Los Angeles, his band is stocked with well-traveled veterans. ANDREW GILBERT
INFO: 7 and 9 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $35/adv, $40/door. 427-2227.

INDIE-ROCK

WALLY JOYNER

Wally Joyner rocks pretty hard, with influences like Guided By Voices and Dinosaur Jr. The dual guitar work is nuanced and layered with intricate harmonies and unexpected chord changes. It’s lively, immediate rock, but lush nonetheless. You can get lost in the subtle melodies underpinning the songs. Here’s hoping for a new album soon by this talented local quartet. AARON CARNES
INFO: 9 p.m. Crepe Place, 1134 Soquel Ave., Santa Cruz. $8. 429-6994.
 

FRIDAY 7/29

REGGAE

RICHIE SPICE     

Born Richell Bonner in Kingston, Jamaica, Richie Spice is a heavyweight in the international reggae scene. The Rastafari singer has been touring worldwide since the late 1990s, and is well known for his positive, inspiring messages of empowerment. In 2007, Richie’s hit single “Youths Dem Cold” made the Billboard Top 100 chart; the song’s lyrics capture the singer’s signature style and consciousness: “If education is the key, then tell me why the bigger heads make it so expensive for we?” KATIE SMALL
INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $25/adv, $30/door. 479-1854.
 

SATURDAY 7/30

BOLLYWOOD/BLUES

AKI KUMAR BLUES BAND

East meets West in San Jose’s Aki Kumar Blues Band, a unique blend of Indian pop and Chicago blues. Born and raised in Mumbai, singer Aki Kumar grew up listening to Bollywood music; he moved to Silicon Valley at age 18 to become a software engineer, but discovered the harmonica instead. Think a Hindu Howlin’ Wolf with Little Walter’s chops. KS
INFO 9 p.m. The Pocket, 3102 Portola Drive, Santa Cruz. $7. 475-9819.
 

SUNDAY 7/31

BLUES

ANA POPOVIC

An absolute original, blues guitarist and vocalist Ana Popovic has single-handedly put Serbian blues on the map for American audiences. Born in Belgrade, Popovic, who now calls Memphis home, is an award-winning guitar shredder blending elements of the music from her homeland with the energy and fire of the contemporary blues scene. A standout of the genre, Popovic recently released Trilogy, a collection of 23 blues, jazz and funk tunes spanning three CDs. CJ
INFO: 8 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $18/adv, $22/door. 479-1854.

ROOTS-ROCK

SMOOTH HOUND SMITH

Based in East Nashville, Smooth Hound Smith is a hard-rocking Americana roots duo comprised of Zack Smith on guitars, vocals, foot drums, harmonica and banjo, and Caitlin Doyle on vocals and percussion. With an attention-grabbing sound that combines garage rock, blues, folk and soul, the duo balances the edgy progressiveness of a rock band with an obvious respect for well-established genres and styles. Currently mid-tour with the Dixie Chicks, Smooth Hound Smith is taking a break to play a handful of West Coast venues, including Don Quixote’s. CJ
INFO: 7 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $10. 335-2800.
 

MONDAY 8/1

GARAGE-ROCK

MYSTERY LIGHTS

The setting for Mystery Lights’ video “Melt” is at (semi) local record store Vinyl Revolution, down in Monterey County. These guys are from Brooklyn. So the point here is that this band knows a good remnant from the psychedelic ’60s when they see one. And owner Bob Gamber plays a prominent role in the video, greeting guests and tripping out on the neon flashing colors sparkling from the Mystery Lights’ record sleeve. Without even hearing the music, you would correctly guess that the music is filled with heavy doses of reverb, droning organs, and proto-punk drum beats. It’ll bring you right back to the surreal ’60s—or if you were born after the decade, it’ll give you an honorary guest pass. AC
INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $8/adv, $12/door. 429-4135.
 


IN THE QUEUE

NEWEN AFROBEAT

Chilean Afrobeat group makes its Santa Cruz debut. Wednesday at Moe’s Alley

SISTER SPARROW & THE DIRTY BIRDS

Funk and rock out of Brooklyn. Thursday at Moe’s Alley

SHWAYZE

Rap and alternative hip-hop out of Malibu. Saturday at Catalyst
CAROLYN SILLS COMBO
Local classic country standout pays tribute to Patsy Cline. Saturday at Don Quixote’s

ALBERT LEE

British rock guitar legend. Monday at Kuumbwa

Be Our Guest: Fiddler on the Roof

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This summer, Cabrillo Stage presents Fiddler on the Roof, the story of a poor Jewish dairyman named Tevye, and his five daughters in the Pale of Settlement of Imperial Russia in 1905. One of the most popular Broadway musicals of all time, Fiddler features unforgettable tunes—including “Tradition,” “Matchmaker, Matchmaker,” “If I Were A Rich Man,” and “Sunrise, Sunset”—and addresses the challenges of changing times and social mores, as well as the anti-Semitism of Czarist Russia. 


INFO: Through Aug. 14. Cabrillo Stage, 6500 Soquel Drive, Aptos. $16-$40. 479-6154. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Tuesday, Aug. 2 to find out how you could win a pair of tickets to the production.

Emails: Public Record or Personal Business?

While Clinton takes flak for her server, government email rules are unclear even here in Santa Cruz

Wineries Use Owls for Rodent Problems

As vineyards use birds to cut back on pests, a study looks into their effectiveness

Unrest at the Democratic National Convention

Former Mayor Chris Krohn talks to Sanders-supporting Santa Cruz Delegates at an unwieldy Philadelphia breakfast

Preview: Shawn Wasabi to Play the Catalyst

For Shawn Wasabi, electronic music is a sonic smorgasbord

Preview: John Adams Pays Tribute to Marin Alsop at Cabrillo Festival

Composer John Adams draws operatic inspiration from women of the gold rush

Review: Cabrillo Stage’s ‘Fiddler on the Roof’

Soaring performances, production, fuel ‘Fiddler on the Roof’ Cabrillostage.com

First Brewery Opens in Watsonville

Elkhorn Slough Brew
Innovative brewing methods, refreshing results at the newly opened Elkhorn Slough Brewing Co.

Ted’s Riverview Coffee

Ted Jones seeks to deliver the perfect beans

Music Picks July 27—Aug 2

Music Picks for the week of July 27, 2016

Be Our Guest: Fiddler on the Roof

Win tickets to 'Fiddler on the Roof' at Cabrillo Stage on Aug. 5
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