Jake Shimabukuro doesn’t want to take any credit for the ukulele boom that, over the last decade, has seen thousands pick up the four-stringed Hawaiian instrument.
But the “Jimi Hendrix of the ukulele,” who not so coincidentally broke through to the mainstream with a viral video of his performance of George Harrison’s “While My Guitar Gently Weeps” in 2006, literally sees his influence on generations of ukulele players at every show.
“Whenever we play in a new venue, the people there will be saying ‘There’s so many people that brought their instruments to the show tonight. Are they going to play along or something?’” Shimabukuro said in a recent interview. “No, they don’t play along or come up [on stage]. They’ll bring them to the signing booth after and I’ll sign them. They’ll say, ‘We’ve never seen that before.’ It’s just kind of a fun, fundamental thing that happens at the shows. I love that.”
Born in Honolulu in 1976, Shimabukuro had been a star in his home state and Japan for more than a decade before “While My Guitar Gently Weeps” garnered widespread notice , launching him on the path to becoming the world’s most famous ukulele player.
But his journey with the four-stringed instrument began decades before anyone heard him play.
“I first picked it up when I was four because my mom played,” Shimabukuro said. “She taught me a few chords and I just loved it. But I was always so shy, I would never play in front of people. When I got older, I took lessons. I always loved playing, but I would only play for my mom and dad. I never dreamed of being on stage. I never even wanted to.
“But it was my passion. I would try to get home from school as soon as I could, so I could practice,” he said. “Back then, I never thought of it as practice. I just wanted to play. That was like my equivalent to video games or whatever. I just wanted to play the ukulele.”
In high school, Shimabukuro met some other ukulele players and began to play with them. But he resisted those who urged him to play at school assemblies and talent shows.
“I was like, ‘No, no, no.’ But somehow, eventually they talked me into it,” he said. “Then I started doing some of those things. And I just really enjoyed performing in front of people, which was a big surprise to my family and even myself, because I was always very shy.”
Talked into making a record by his high school music teacher, Shimabukuro heard himself on the radio shortly after graduating from high school and became the ukulele player in Pure Heart, a trio that, with its 1999 debut album, won four Na Hoku Hanahano Awards, the Hawaiian equivalent of a Grammy.
When the band broke up in 2002, Shimabukuro went solo, signing a deal with Sony Japan. Then, just before posting “While My Guitar Gently Weeps,” which got more than 15 million views, he moved into the U.S. market, opening for Jimmy Buffett and seeing his albums climb to the top of the Billboard World Music Charts.
Those albums contain a mix of Shimabukuro original compositions, cover songs and collaborations with the likes of Gov’t Mule’s Warren Haynes, Dolly Parton and, on the recently released Grateful, many of Hawaii’s top musicians.
The songs from Grateful figure prominently in the show that Shimabukuro and electric bassist Jackson Waldhoff are bringing to venues around the country.
“We’re definitely playing a lot of the music,” he said. “They’re the instrumental versions because I can’t sing to save my life. We definitely do all the instrumental stuff. But we also try to do a lot of the vocal tunes as well, some of the other classics on there like “Kawika.” Hopefully one of these days, we’ll be able to bring a lot of the artists on the album, you know, and we can perform these songs live. We did that in Hawaii, not all of them, but we got a lot of them, for a [fire] relief effort. But it would be great to be able to take them out with me on the road. It would be really special.”
The rest of the show is split between Shimabukuro’s original compositions—which he says he’s becoming ever more confident in performing—and his attention-grabbing covers.
“Maybe 40 percent, if not 50 percent of the show is original songs, but I like to mix in the covers because, for me, when I’m listening to new artists, it’s always so exciting when I hear something that I’ve already heard before and I can hear their interpretation of it,” he said. “It makes it a lot easier to connect with the audience, so I love throwing those in.”
Those covers are selected because they’re personal to Shimabukuro, who grew up listening to his mother’s collection of records from the ’60s, ’70s and ’80s before discovering songs on his own, often while working at a record store.
“Whenever I do a song like ‘While My Guitar Gently Weeps’ or if I get to do something like [Queen’s] ‘Bohemian Rhapsody’ or [Leonard Cohen’s] ‘Hallelujah,’ to me it’s the equivalent of a sports fan wearing their favorite player’s jersey,” he said. “I remember growing up, you know, you would wear your number 23 Chicago Bulls Michael Jordan jersey, or my son loves Steph Curry’s and wears his jersey.
“As a musician when you cover another song of another artist, it’s like putting on your George Harrison jersey or your Queen jersey or your Leonard Cohen jersey,” Shimabukuro said. “You’re kind of celebrating your appreciation and admiration for these amazing artists that inspired you and influenced you.”
So how do you turn an iconic song from a rock band into something that can be played on the ukulele?
“It’s hard to explain,” Shimabukuro said. “I cover, of course, the melody because I do an instrumental version of it. Take ‘Bohemian Rhapsody’—I kind of worked out a fingerstyle way of playing it. So you’re covering chord movements and there’s a lot of counterpoint in that piece too. I try to cover as much as I can with the counterpoint melodies while keeping whatever Freddie Mercury’s voice, his melody lines. You’ll just have to come to the show to get it.”
Jake Shimabukuro plays June 30 at the Rio Theatre, 1205 Soquel Ave, Santa Cruz. $40. riotheatre.com
One thing that often gets lost in all the debate over highly problematic hemp-derived THC products is that the people who make and sell them have every reason to oppose cannabis legalization. After all, the market for their products—some of which might be downright dangerous—exists largely because pot remains illegal in so many states and at the federal level. The hemp-derived products, which can get you high, exist in a legal gray area, and are thus widely available, including in states where pot remains illegal.
The products exist because of the dumb way the law legalizing hemp was written in the 2018 Farm Bill. Hemp in its natural state generally doesn’t contain enough THC to get a person high. The Farm Bill contains language limiting the amount of “Delta-9 THC,” which is the kind most often associated with weed.
But there are a bunch of different kinds of THC. One of them is Delta-8. So naturally, companies—many of them super-sleazy—started making products made from concentrations of Delta-8 (pr Delta-10, or etc.) derived from hemp. They are sold in stores and on the internet, and are easy to obtain by anyone of any age. Depending on how the law is interpreted, they might be no more illegal than a hemp skirt.
Congress is weighing a measure for the 2024 Farm Bill to close this loophole. There is wide agreement in the cannabis industry that “synthetic,” hemp-derived Delta-8 products should be legal and regulated just as regular weed is regulated. But some in the legal-weed business think the amendment being discussed goes too far. That’s at least in part thanks to the fact that some of them are themselves getting into the consumable-hemp business.
As with so many of the problems facing the cannabis industry, this one could be solved pretty simply: by legalizing weed, and regulating all this stuff the same way. Hemp and what we generally think of as “weed” are the same plant, after all (cannabis)—even if hemp and weed contain different amounts of various cannabinoids.
But since federal legalization appears to be dead in the water until at least after the November election (thanks mainly to Majority Leader Mitch McConnell refusing to allow a vote on legalization in the Senate) we’re left in this weird limbo where different parts of the industry are at odds with each other; with a market of unregulated, possibly dangerous products being sold; and with lawmakers at the federal and state levels reaching for clumsy solutions to the problem.
The politics of the situation are even more grotesque at the state level. Cannabis legalization is on the ballot in Florida in November, and, as is the case in most states, polls show a solid majority in favor of the measure (the vote might be close, though, since approval requires 60% of the electorate to vote “yes”).
Republican Gov. Ron DeSantis isn’t even pretending to not be corrupt on this issue: He opposes legalization, but also recently vetoed a bill that would have banned intoxicating hemp products in the state. Marijuana Moment quoted DeSantis baldly stating that part of his rationale for the veto was that “the marijuana industry wanted this hemp bill.”
DeSantis recently created a political action committee called the Florida Freedom Fund, which, even for these people, is a particularly Orwellian name. The PAC exists for the express purpose of defeating legalization and another ballot measure that would guarantee access to abortion, which is, you know, sort of the opposite of freedom.
Behold DeSantis’s word salad in explaining himself: “Some of these people that are funding the marijuana, they came in when we did the medical marijuana, which I implemented because the voters passed it, and they said, ‘We don’t believe in recreation. We just want to do medical. We think it can help alleviate pain or whatever.’ And those same people that were saying that are now trying this amendment.”
The longer we go with a bifurcated legal system, with weed being legal in some respects and illegal in others, the more perverse things will get.
There’s probably a word for it in German: that pleasant atmospheric density only found in a vibrant coffee house—part caffeinated humidity, part invested conversation, part collaboration, part you-do-you, part we-do-great-joe. With superb snacks.
The word for it in Scotts Valley is actually three, namely, “Cruise CoffeeCompany.”
And now the homespun and family-run operation has a third branch in Cruise Club (100 Enterprise Way, Scotts Valley).
The latest chapter complements the first two SV spots—the original Cruise Drive-Through (75 Mt. Hermon Road) and Cruise Cafe (246A Kings Village Road)—because its grab-and-go setup enjoys a shiny commissary kitchen that allows for more loaded (and organic) breakfast burritos, build-your-own bowls, bagel sandwiches and hearty salads for all three (and added catering bandwidth).
Cruise Club also meets a need for healthy fare in a well-trafficked spot, namely the Enterprise Technology Center, given the UC Santa Cruz offices and Enterprise Sports Club gym, among others, who call it home.
Like its sister spots, the Club deploys a half dozen different fair-trade coffees with thoughtful local art on the label and beans custom-roasted in collaboration with Midnight Coffee Roasting, to go with artisan baked goods by The Hot Pink Box Dessert Co.
Owner-operator Erin Buchla came to the CCC adventure after more than a quarter century as a nanny, toting as much care to her expanded family now as she did then (with lots of kid-centric activities too, like regular arts-and-crafts events for parents and littles).
The family-affirmative events include adult-friendly stuff too. Among them: Scotts Valley Cars & Coffee every third Sunday with a parking lot full of interesting cars (like her 1960 Apache Chevrolet truck) and free coffee, and Coffee Shopping each first Saturday of the month, with area makers doing art, jewelry, clothing, macramé, ephemera and more.
The whole idea, for her, boils down to community.
“I was a nanny because I love seeing kids become the people they are,” she says. “Everybody has a talent, whether creating art, building stairs or getting dogs to listen to you. That’s why I love doing events and creating a gathering space, a micro-community—because it brings all those talented people together…I just love people, and working with one another we create a fabulous unit.” cruisecoffee.square.site
BONUS FLOW
Le Creuset has debuted a new “shop-in-shop” at Toque Blanche (1527 Pacific Ave, Santa Cruz), which translates to an atypical stash of professional-grade cookware and kitchen tools, and a 10% restaurant/chef discount, plus a ribbon cutting July 12 equipped with more promotional savings and gifts with purchase, mytoque.com…The new and self-described “informal” coffee bar service noon-4:30pm Friday-Sunday at Chocolate (1522 Pacific Ave., Santa Cruz) is making great use of its vast chocolate catalog for next-level drinks, chocolatesantacruz.com…Never too early to plan around pie: Downtown Felton’s Annual Dessert Pie Contest slices things up Aug. 10: tasty pies, lively music, pie-eating contests and a chance of spotting Bigfoot, check Downtown Felton Association on Facebook…Trivia Night buzzes starting at 6pm every Wednesday in Humble Sea Westside’s “Seacret Garden” (820 Swift St. Santa Cruz). “Things get pretty heated back there!” insiders testify, humblesea.com…Life hack alert: Stuck with a bad cup of coffee? Drop a pinch of salt in…Which inspires a revisited reminder from Isak Dinesen: “The cure for anything is salt water—tears, sweat, or the sea.”
Koji Goto’s path to becoming chef/owner of Ramen Kaito started on the other side of the world in Japan, where he was born and raised. He started cooking there and immigrated to the U.S. at age 25, continuing restaurant work to gain more experience and level up his cooking game. His first foray into ownership came when he opened a restaurant in the Bay Area before he eventually moved to Santa Cruz and founded Kaito in 2013 on the Pleasure Point side of 41st Avenue. He decided to change locations three years ago, moving to the food court in the Capitola Mall.
Goto starts Kaito’s menu tour with the headlining ramen, a traditional Japanese noodle soup with a foundation of broth: a choice of pork bone, chicken bone or vegan/gluten-free. The tonkotsu with barbecue pork is popular and the spicy garlic with chicken is another favorite. Beyond ramen, Kaito also offers a Japanese curry stew with topping options of chicken cutlet, deep-fried shrimp and vegetable croquette. They also have appetizers like poke, teriyaki chicken and potstickers, and sushi selections of nigiri, sashimi and rolls.
For dessert, vanilla and matcha soft-serve ice cream is available, and the robust beverage menu has beer, sake and boba tea as well as traditional Japanese offerings such as green tea, marble soda and Calpico (a yogurt-based drink with different flavors like mango, strawberry and mandarin). Hours are Tuesday-Sunday from 11am-8pm (close 7pm Sunday).
What motivated your immigration?
KOJI GOTO: I wanted to bring Japanese flavors and food to the U.S. I’m happy to introduce part of Japanese culture and provide something different to the community here. And I also wanted to change my life and find a better one here. I wanted to experience and compare different cultures, different countries and a different life.
What inspires you about ramen?
It’s the ultimate Japanese comfort food, originally starting as a street food and something that everyone could enjoy. It’s very popular in Japan, and I grew up eating it from childhood. It’s traditionally simpler in Japan, but here I’m able to provide more options and styles. It’s like fashion; it’s a very trendy food and people of all ages seem to really enjoy it. My food makes people smile and warms their body and soul.
1855 41st Avenue, Suite RO6, Capitola, 464-2586; ramenkaito.com.
Feeling stress in our Santa Cruz paradise? Is your apartment so small that when you bend over in your bedroom you turn on your kitchen stove with your ass? Philosopher Frederick Gros says that “the body on a walk rests in contemplation of wide-open spaces,” and you can find wide open spaces right here in our ever more congested town.
Arana Gulch seems to be serotonin to the Santa Cruzan soul. Under a giant oak I meet two artists who have set up their easels to paint the golden meadow that dominates the preserve. One of the women says, “We’re playing Dueling Watercolors,” and then they pretend to fence with their brushes. At the next giant oak, two kids are climbing the tree; one is hanging upside down with his legs curled over a limb. He says, “I’m a possum.”
One of the last pockets of California coastal terrace prairie, Arana Gulch is right in the middle of Midtown Santa Cruz. The meadow has enormous eucalyptus trees around the edges, and the paved bike/hiker paths are studded with ancient coastal oaks where you can picnic or paint one another in the shade. A path circles the meadow, runs along the western edge and connects the park’s three entrances. I park on Frederick Street and enter from the north at Agnes Street. I walk by a hundred people standing in line to get free food from the Santa Cruz Bible Church and enter the 68-acre Arana Gulch preserve.
There are cows in certain areas to help restore the natural habit; apparently, cows eat invasive plant species and allow the native plants to flourish. I read an information plaque that says there are also cowbirds, and this makes me wish I had brought my helmet to protect me from three-pound cow patties falling from the sky.
The fight over what to do with this property that used to be called the Live Oak Ranch was contentious and long. It was exhausting and frustrating to the combatants over the decades, but what we ended up with is a wonderful combination of plant sanctuary, hiking and biking opportunities in the middle of town, and a way for bikers to safely ride between Midtown to Capitola. According to the city’s website, Santa Cruz has the second highest rate of bike commuting in the United States.
I hadn’t done much walking around electric bikes, and there is a stream of them passing through this preserve. Our local Santa Cruz City trails allow legal e-bikes on trails designated for bike use. If you are on a bike, or a hike, it is an amazing way to get from the Seabright neighborhood to Live Oak, or down to the yacht harbor.
Get-Off-Of-My-Lawn
On the paved trail, a kid speeds by on his electric bike with his dog while he talks on his cell phone. I’m certainly projecting here, but to me the dog looks concerned.
I was all set to rail against the e-bikes in Arana Gulch but found out that what the kid is doing in the photo is legal.
California requirements for riding e-bikes:
Riders must be 16 years old or older.
Riders must wear a helmet.
Riders cannot travel with a passenger.
So, I guess the kid in the photo nailed all three. He’s got a helmet; it seems a stretch, but he could be 16; and the dog is legal as well (having a dog in your car does not let you drive in the carpool lane). Even talking on his cell phone is legal. I used to think as I got older, I would become more of an activist. It turns out I’m just getting crankier.
Keeping the Arana Gulch controversy heated is just what we do. The commuter route aspect continues to be criticized; a quiet green space is now a paved thoroughfare for bicyclists. Some decry the loss of tar plant (endangered) territory because of the paved paths, but it does keep walkers and riders from widening dirt trails. Apparently, the new trails avoid the main tar plant population areas. What is cool about the trails is how easy it is for people of all mobility skills to come here. The more people, the safer it is.
The Coastal Prairie Loop Trail circles the entire meadow and runs along the western boundary. The Marsh Vista Trail goes to Arana Creek. There is a bathroom and water fountain near the harbor entrance to Arana Gulch along the docks.
How to Get There
From the harbor: On Seventh Avenue, turn into the Upper Harbor entrance at Brommer (between Capitola Road and Eaton Street). Park at one of the meters, and at the rear of the harbor there are trails leading into Arana Gulch.
From Agnes Street: Follow Soquel Avenue east from downtown Santa Cruz. Pass Frederick Street, turn right on Mentel Avenue or Park Way and it’s a block to Agnes Street. When parking, be sure to check the parking signs; the Santa Cruz parking police are famously tenacious. For more information, visit the City of Santa Cruz’s Arana Gulch page.
In 2005, my journey into the profound realm of death midwifery began unexpectedly yet inevitably, as I stepped into the role for one of my dearest friends, Susan. At 62, battling leukemia, Susan entrusted me not just with her final days, but with the sacred task of guiding her and her loved ones through a transition marked by grace, dignity and healing.
My path to becoming a death midwife was paved long before Susan’s illness. Rooted in a deep-seated belief in conscious dying, nurtured during a transformative journey to Peru in 1986, I found myself drawing on unseen reserves of empathy and intuition. Little did I know those lessons learned amid ancient landscapes would prepare me for the sacred duty of midwifing souls through their final passage.
When Susan made the courageous decision to forgo further treatments, opting instead for comfort and closure, our journey together took on a new dimension. It wasn’t just about managing symptoms or logistics—it was about crafting a sacred space where Susan could find peace and her loved ones could bid her farewell with love and reverence.
One of the defining moments came when I suggested a gathering of Susan’s closest friends, her beloved “sisters,” to share memories and say their goodbyes. Despite initial logistical concerns, Susan’s unwavering spirit and my insistence on the importance of the moment prevailed. We transformed her dining room into a sanctuary of love, adorned with her favorite flowers and cherished mementos, ensuring every detail reflected the beauty of her life.
Each woman arrived, carrying tokens of affection and heartfelt messages, bearing witness to Susan’s impact on their lives. As tears mingled with laughter and sorrow, it became clear that this gathering was not just a farewell, but a healing ritual—an affirmation of love and a celebration of a life well-lived.
In those final days, as Susan’s strength waned and her body sought solace in sleep, I became her companion in the quiet moments, while her husband tended to other matters. The soft music playlist I created filled the room, enveloping us in a cocoon of tranquility, while I whispered words of comfort and stroked her brow, assuring her of the love that surrounded her.
One profound lesson I carried from my training and experiences was the understanding that hearing is the last sense to go. Despite her unconscious state, I knew Susan could hear every word spoken, feel every touch bestowed upon her fragile form. It underscored the importance of creating an environment steeped in love and serenity—a stark contrast to the clinical detachment often associated with dying.
Before the inevitable moment arrived, and Susan drew her final breath, I made a deliberate choice to bathe her and pass in the light. Drawing open the curtains, I invited the warmth of the sun to fill the room, casting away shadows and embracing her departure with gentle radiance. It was a gesture not just for Susan but for her husband and loved ones—a testament to honoring her journey with dignity and grace.
As I cleansed her body and dressed her in her favorite attire, I felt a profound kinship with midwives throughout history, gently ushering new life into the world. This time, however, it was about honoring life’s culmination—a final act of love and respect for the vessel that had housed a vibrant soul.
In the aftermath, as I reflected on Susan’s journey and my role within it, I realized the profound impact a death midwife can have. Beyond the practicalities of care, our role is to transform the experience of dying from one of fear and loneliness to one of solace and connection. It’s about ensuring that each person’s final moments are imbued with the essence of their life—a celebration rather than a mournful farewell.
What we want in our last breath, I’ve come to understand, is a sense of peace and fulfillment—a knowing that we are loved and that our life has mattered. As death midwives, we have the privilege of creating that environment, of holding space for both the departing soul and those left behind. It’s a responsibility that requires empathy, intuition and a deep reverence for the sacredness of life’s closing chapters.
The lessons learned from Susan’s journey continue to guide me as I accompany others on their final pilgrimage. Each experience reaffirms the importance of presence, compassion and the healing power of love. It’s not just about easing physical discomfort but about nurturing the spirit, offering solace, and facilitating a transition that is as gentle and meaningful as possible.
As I look ahead, I carry with me the wisdom gained from Susan’s passage—a reminder that death, like life, is a natural part of our journey. Through our work as death midwives, we have the profound opportunity to reshape how society views and experiences death—not as an end, but as a sacred and transformative passage filled with love, honor and the enduring legacy of lives well-lived.
Shelley Whizin is a transformational life coach who guides families through a loved one’s final passage with a commitment to honor, dignity and healing. Contact her at sh*****@sh***********.com or 818-414-5111.
I am talking with Rita Rivera, a longtime figure on the Santa Cruz wellness scene, about posture.
We agree that among other things, posture—or the way we hold our bodies—is a form of communication. Someone walks toward us with open arms and we can tell they’re happy to see us. Slumped shoulders or crossed arms—maybe not so much.
Clearly our emotions affect our posture, but can posture affect emotions?Can, as one study famously suggests, a smile forced by holding a pencil between your lips make you happy, even if the expression is emotionally devoid?
This conversation with Rivera was inspired by a recent article suggesting that yes, it can. The author, clinical psychologist Joseph Wielgosz, describes his studies and the two-way relationship between posture and stress.
Rivera has been teaching posture health for decades. She recalls taking her first Alexander Technique class in New York City, where she was working as a professional ballet dancer. “So, here I was spending four or five hours a day training in pointe shoes, and it really builds up a lot of stress and tension in your body,” Rivera recalls. But she wasn’t in pain and looking for treatment; instead, she went because her boyfriend at the time had paid for a session he couldn’t use.
“I was blown away by the experience,” she says. “At first I didn’t know what I was getting into; it’s very subtle work. The bottom line is it helps you develop kinesthetic awareness.”
I can relate. During my speaking engagements I’ll often stop to ask audience members to notice their posture. There are always rustles and whispers as people reposition and sit up straight.
Rivera says, “Most of us are very unconscious of our posture whether on the phone or computer—really, whatever activity you’re doing. We tend not to notice unless we’re in pain, right? When we’re in pain, we’ll pay attention.”
Rivera describes a typical two-part Alexander Technique session, which includes working in a chair and then on a mat or massage table: “It’s a very gentle, hands-on technique with a focus on breathing, because that is critical to get someone really present in their body, and to access the parasympathetic nervous system, slow their mind down.”
After that first session in New York, she says, “I realized how much tension I was working with at the ballet bar. It really changed my work habits tremendously, and so when I moved to Northern California in 1983 I did the three-year [Alexander] training here and started teaching.”
Today clients see Rivera at her Santa Cruz clinic for reasons that span physical and emotional pain and recovery from injury. “You develop bad habits because you’re protecting the injured part of the body. So I help clients stay balanced as best they can while they’re in that process of healing,” she says.
“What if you have a job where you’re sitting at a desk all day long?” I ask “Is sitting still the new smoking?”
This question has come up often enough to inspire Rivera to develop “Your Brilliant Back,” a 28-day guided video series to support posture change.
She says “a lot of back pain is related to posture and depending on what people do in their lives. Both too little movement and too much physical exertion can create stress in the back.
“Think about people who are on their computers or driving, neck strained or hunched forward. Developing awareness around your posture is essential for a wellness plan. Because as we age, our posture doesn’t automatically get better. We follow a trajectory of the patterns that have been set up in the body,” she says.
“So if you’re in a chronically stressed state, and unconscious about the way you’re using your body, as you age, you’re going to follow that trajectory,” she cautions. “That’s why I think it’s so essential to pay attention to good postural use.”
In the end, posture is more than just physical alignment—it’s a reflection of our overall well-being. By embracing a few basic principles, we can feel better physically, and at the same time build emotional resilience. As Rita Rivera reminds us, paying attention to how we carry ourselves can have profound effects on both our bodies and minds. So stand tall, breathe deeply, and let the connection between body and mind guide you toward a healthier, more balanced life.
Learn more about the Alexander Technique at RitaRivera.com.
The first time I felt the physical power of music it was negative.
I had been at a two-day rap concert called Summer Jam at Shoreline Amphitheatre and in the middle of the second day I came down with a flu that was as bad as when I had Covid. My throat swelled, my head ached and I could barely walk, I was so dizzy.
The lyrics reflected how I felt. It was all N-word with an unhealthy dose of misogyny. And to make matters worse, two of the performers pulled guns on each other backstage and they shut the show down early.
The next day I had committed to cover a concert by the band Yes at Concord Pavilion, not just because it was my job, but I was bringing a friend, the musician Greg Kihn, who wanted to go despite my illness.
Here’s the amazing part. Midway through the first song, my head cleared, my fever abated, and damn, I felt great. It was like a miracle.
Now, my skeptical side thought it was a 24-hour virus and cured on its own. But it happened so fast and powerfully, I was convinced it was because the positive music of the band with the positive name cured me of a case of illness caused by negative vibes.
So, I was thrilled when our wellness writer Elizabeth Borelli was working on a story about sound baths and their curative possibilities. I’ve wanted to try one and will do so after reading the cover story. Let me know if you tried one and how it went.
On other fronts, we’re taking another look at how Downtown SC is changing, this time south of Laurel Street, by the KP Pavilion. Our picturesque and relatively sleepy town is on the way to looking like a Silicon Valley city. Is this progress, or a case of paving paradise and putting in a parking lot? Check out two articles by William S. Woodhams for the facts.
More positivity as master hiker Richard Stockton takes a stroll through the once hotly contested and now beloved Arana Gulch. It’s a great one if you can avoid the way-too-fast ebikes.
Writer John Koenig takes you someplace you didn’t expect: local classes for ancient sword fighting. It’s either the most Santa Cruz thing you’ve heard, or the least. You have to love living in a community filled with daily surprises.
Speaking of surprises, ukulele player Jake Shimabukuro returns to the Rio Theatre and will turn heads as usual. I’m no fan of the uke. It’s up there with the bagpipes, which I avoid at all costs. But people come away from his shows celebrating the things he’s done with it. He’s collaborated with Warren Haynes and Dolly Parton, so those are some high-level references.
There’s a lot more in this issue, which also features a special section on health and fitness that should keep you reading up to the July 4 holiday.
Enjoy!
Thanks for reading.
Brad Kava, Editor
PHOTO CONTEST
SUMMER’S HERE It was a full moon, it was solstice, it was Jive Machine jammin’ on the beach, with our beautiful Monterey Bay as a backdrop. It just doesn’t get any better than this. Photograph by Ross Levoy
GOOD IDEA
The Santa Cruz County Animal Shelter will cut adoption fees by at least half until June 30. Currently, the shelter houses 74 dogs and 180 cats, and 23 dogs and 115 cats in foster care.
The adoption fees for puppies and kittens under six months will drop to $105 and $60, from $210 and $125. The fees for adult dogs and cats will drop from $150 and $110 to $75 and $55. Rabbits of all ages can also be adopted for $35, down from $75.
The shelter will waive adoption fees for six dogs, two cats and four rabbits that have been at the shelter for more than 60 days. The fees include spay or neuter surgery, vaccinations, flea and tick services, microchipping and licenses.
Santa Cruz Parks and Recreation, in partnership with the California Department of Transportation, will hold a ribbon-cutting for the newly renovated Main Beach public restrooms at 120 Beach Street, Friday at 10am.
The project, funded by the Clean California program led by Caltrans and the Parks and Recreation Facilities Tax, increases ADA accessibility, provides cleaner restrooms and upgrades site furnishings. The building features a collection of three tile mosaic wall murals by local artist Taylor Reinhold titled “Pacific Dream.” This $1 million project was made possible by Governor Gavin Newsom’s Clean California program, a historic, $1.2 billion cleanup effort led by Caltrans to remove trash, create thousands of jobs, and reclaim, transform and beautify public spaces.
QUOTE OF THE WEEK
“After silence, that which comes nearest to expressing the inexpressible is music.”― Aldous Huxley
The romance of swordplay has been a part of human history for centuries, particularly in the legends surrounding knights and samurai.
For those who have ever imagined themselves in a thrilling duel, or who simply crave a novel way to better health, the sword fighting disciplines of East and West are practiced for fun and fitness in downtown Santa Cruz every Thursday evening.
Each has its own style and history, attracting devotees in search of varied rewards. Both engage the mind and body, while the social aspect of group classes adds another dimension to the experience, building camaraderie and community.
And despite the outward gracefulness of swordplay, the constant movement and focus required during practice elevates the heart rate, for cardio exercise. And as the lessons progress, drills become more complex, demanding greater endurance.
At the Santa Cruz Todokai dojo, which hosts classes at the London Nelson Center, wooden bokken swords arc and swirl in meditative choreography, suggesting samurai of long ago. Atop the three-story River Front Parking Garage, members of the Society for Creative Anachronism (SCA) face each other with cold steel, like Old World duelists.
Wielding a sword requires precise coordination between eyes, hands and feet. Duelists practice balance and dexterity, learning to move with fluidity and precision.
UNLEASH THE INNER WARRIOR Tim Converse (left) with Kris Agerbeek at sword practice organized by the Society for Creative Anachronism. Photo: John Koenig
Tim Converse, 56—aka Juan Santiago when in character—is an SCA sword instructor.
“Many sword fighting styles we learn are Spanish,” he says. “The steps are very fluid and dance-like, and harken to flamenco in a sense.”
He explains that rapier fencing utilizes lunges and footwork as well, with the added weight of the sword serving to strengthen arms, shoulders and legs. In the SCA, the more rough-and-tumble fighters advance to melee combat with heavy armor and heavier swords, building even more muscle and endurance.
Iaido (ee-eye-do) is “The Way of Drawing the Sword,” taught by Merek Dorf at Santa Cruz Todokai. Its kata drills engage core muscles for stability as students perform powerful strikes and blocks.
The local teachers and adherents of each style are enthusiastic and welcoming toward beginners, and equipment is usually available for first-timers who are unsure about going all in. Instruction is slow and methodical, to maximize safety and progress.
Sensei Merek, 49, calls it “laying the foundation for being you within your body—feeling and understanding your body movements.”
Sword fighting classes welcome all genders, youth and seniors.
M. Latta (they/them) is an SCA novice with a rapier, experienced in mixed martial arts. They compare their experience as a newbie to “scaffolding” in preschool teaching—a way of learning basics toward progressively attainable goals.
Cindy Liang, 27, is currently the youngest and newest student at Santa Cruz Todokai. She loved how Sensei Merek explains the story behind the different movements.
“It’s not just exercise,” she says. “Each of the different forms has a different scenario behind it that gives a deeper meaning and beauty to what we do.”
Wielding a sword requires precise coordination between eyes, hands, and feet. Duelists learn to control their movements with fluidity and precision, improving overall balance and dexterity. This translates to better posture, injury prevention and increased confidence in physical abilities.
The added benefit to sword fighting is that it’s more than just physical. Iaido involves quieting the mind. A duel with the rapier is a mental game as well—anticipating your opponent’s moves, reacting quickly, and developing strategic thinking. Drills and sparring sessions demand laser focus and discipline, improving concentration and reaction time that can translate to other areas of life.
Practicing the breathing and body movements of the samurai or learning to move like a European duelist will challenge both body and mind, leaving participants stronger, sharper and more connected to history.
Santa Cruz Todokai, Thursdays, 5:45-7:45pm, at the London Nelson Center, Room 5, 301 Center St, Santa Cruz.
SCA sword practice, Thursdays, 7-10pm, at River Front Parking Garage, top level, 74 River St, Santa Cruz.
I am sitting at my home office desk, researching the local sound bathing scene, when a sudden blast of searing clatter makes my head swim. I reach for the ear plugs kept close for such occasions, knowing the neighbor’s gardeners will finish their auditory assault on errant leaves in 30 minutes or so.
In a world where the level of noise continues to rise, leaving our already overloaded senses in a terminal state of imbalance, a sound bath sounds like a very good remedy.
Sound has a timeless connection to meditation and healing, deeply rooted in cultures around the world. Australian Aboriginal tribes have been using the didgeridoo for more than 40,000 years as a powerful tool for sound healing. Meanwhile, Tibetan and Himalayan spiritual ceremonies have long featured the soothing tones of singing bowls. Today, sound meditation, particularly in the form of “sound baths,” is gaining popularity.
These immersive experiences use instruments like Tibetan singing bowls, quartz or crystal bowls, gongs and bells to guide listeners. They emphasize that sound is more than something you hear—it’s something you feel, resonating through tactile vibrations and frequencies.
Sound bathing has been described as stepping into a sanctuary of tranquility where time seems to slow, in a mystical experience that transports you to realms of deep relaxation, as waves of harmonic vibration wash over your body and allow access to the subconscious mind.
This may sound abstract and even exaggerated. Yet one recent study published in the Journal of Evidence-Based Integrative Medicine found that an hour-long sound meditation helped people reduce tension, anger, fatigue, anxiety and depression while increasing a sense of spiritual well-being
And then, the terms sound bathing and sound healing are often used interchangeably, sometimes followed by claims extending beyond relaxation into larger promises of healing pain, disease and past life trauma. As I did research for this article, I went in with a curious mind. I was sold on the relaxation benefits, but wondered what one could expect from 45 minutes of surround sound beyond that.
My introduction to sound bathing came long before I planned to write about it. I was new to Santa Cruz County and loved the idea of combining sound and meditation in a relaxed group setting.
The session featured a combination of sound and reiki, a form of light-touch energy healing. Not sure what to expect, I walked into the quiet, softly lit room where 20 or so comfortably dressed people were lying down in yoga class style on mats, equipped with plenty of blankets, bolsters and eye pillows.
I followed suit and found a place at the back of the room in case I needed to sneak out early. As the session began, a young man sporting a long beard and even longer white robe began working his way through the array of instruments arranged at the back of the room. There were the ubiquitous crystal bowls, as well as chimes and gongs of all shapes and sizes, and the aforementioned didgeridoo.
I closed my eyes and let myself relax, absorbing the soft, deep notes that began to fill the room. As the instruments gently changed, the sounds seemed to waft in from all corners of the room. Lying there adrift in surround sound, I had to break the spell and open my eyes to see how this worked. Indeed, Emerson was silently weaving his way through the space, bathing the participants in a symphony of sound.
Not typically one to find solace in lying still, I was surprised to find the resonant notes transporting me to a state of calm relaxation. Meanwhile the reiki practitioner lightly touched my temples, furthering the meditative state I found myself in.
The hour passed quickly and I left in a state of tranquility. I was eager to learn more about the mechanics of sound bathing. Is it healing, or a great way to unwind? I interviewed three local experts in this newly trending art.
SOUND PRACTICE Carrie Arlah Burr draws on her background as a musician in her sessions at Breath and Oneness. Photo: Elizabeth Borelli
SURROUNDED BY SOUND
Carrie Arlah Burr is a co-owner (along with her mom, Leslie Warren) of Capitola yoga studio Breath and Oneness, where I teach a weekly vinyasa class.
I meet Burr at her studio, where she immediately takes a seat on the floor of the carpeted sound room, inviting me to follow suit. After a somewhat awkward start, I regain my composure and ask about her journey into sound and music, which she says is deeply intertwined with yoga.
“It’s difficult to discuss one without the other as they are so closely related for me,” she explains. “My experience with sound and music started early in my life. I was raised in a household where music was a constant presence. Both of my parents were classically trained musicians, and I started learning instruments at a very young age.
“My first instrument was the piano, and over the years, I expanded my repertoire to include a variety of other instruments and took up singing. I was part of a professional choir for most of my youth, and I received extensive training in music theory.”
She describes how her technical and formal training in music continued through college. She even released an album in her early 20s (Arklah, on Spotify). Then, after a decade of intense involvement in music, she took a break for about 10 years.
At Breath and Oneness she began integrating sound into practices, offering sound baths and incorporating live music into yoga sessions.
“While not everyone who practices or teaches sound healing comes from a musical background, for me, it was foundational,” says Burr. “My technical training in music deeply informs the sound healing work I do, as well as the training programs we offer.”
Recognizing that sound healing is deeply embedded in human history, Burr believes there is a resurgence of interest in using sound as an efficient way to bring bodies into a state of coherence and alignment.
“When we first introduced sound healing at our studio, we started with crystal tone bowls, which I believe are particularly powerful for this time. Crystal bowls are relatively new instruments, having been around for only a few decades, but their specific frequencies and vibrations seem to resonate well with the current needs of people,” she says. “They are among the most effective tools for consciousness work that I have encountered.”
But, I ask, who attends—and why?
“People come to our sound healing sessions for various reasons, but common experiences include relaxation, spiritual connection and meditation. The sound healing sessions act as portals, amplifying whatever intentions people bring with them. Whether it’s relaxation, meditation or seeking spiritual messages, sound healing enhances these experiences through its coherent and intentional vibrations. The benefits of sound healing are multi-faceted, encompassing physiological, spiritual and emotional aspects.”
She elaborates, “The instruments we use in our sound healing sessions are carefully selected for their quality and the specific type of healing they offer. For instance, the gong is an indispensable instrument in this art form due to its powerful and transformative vibrations. Other instruments like hand pans, tongue drums, and Tibetan singing bowls also play a crucial role. These instruments are sourced from reliable and trusted suppliers to ensure they are of high quality and produce the desired healing effects.”
ELEMENTAL Crystal Bowls make sounds that are considered holy
around the world. Photo: Nina Rath Shutterstock
PEERING INTO THE CRYSTAL BOWL
Fast forward to a Tuesday evening in June, where the scene unfolding on Moran Lake Beach in Santa Cruz resembles a Hollywood movie set. A silver-haired dude in a Hawaiian shirt is setting up to film a sound bathing session. His subject is a blond woman wearing a flowing white tunic, surrounded by large crystal bowls and dozens of seated spectators. I’m here after a Good Times colleague described sound bather Kim Molloy’s weekly sunset sessions as life changing. And the strong following of attendees growing steadily over the past 10 years would seem to agree.
Intrigued, I meet Molloy at the Farm restaurant in Aptos. In response to my questions, she describes her work as a transformative modality that harnesses the power of sound frequencies to promote physical, emotional and spiritual well-being. She says every sound practitioner brings a unique approach to this practice, shaped by their personal journey and development in sound healing.
Molloy’s introduction to sound healing began in 2012 with crystal bowls during a meditation session led by her teacher on the East Coast. The experience immersed her so deeply that when it ended, her teacher had to call her back to reality. This initial session ignited her curiosity and set her on a path to explore the potential of sound healing.
“I discovered that the energy body, which can be equated to the spirit, has the capacity to travel into higher dimensions and vibrations through sound,” she explains. “This revelation became a cornerstone of my spiritual practice. When I moved to California, I sought to continue my practice but found that the local crystal bowl practitioner had moved. My meditation teacher suggested that perhaps it was my turn to take on this role.”
She reached out to a clairvoyant and intuitive named Amira, who selected a set of crystal bowls based on her energy. Each bowl corresponds to a musical note that resonates with a specific chakra, aligning the body’s energy centers through sound.
Molloy says the magic of sound lies in its ability to bypass the mind and work directly on the body, clearing energy blocks, increasing energetic flow and promoting relaxation. Many people enter a theta brainwave state, associated with deep relaxation and meditation, during sound healing sessions. This state allows for a heightened sense of peace, creativity and spiritual awareness.
Group sessions, including her donation-based community event “Sunset Beach Bowls,” offer a collective healing experience. Held every Tuesday at Moran Lake Beach, these sessions attract 100-150 people. The event features a blend of crystal bowls, the sound of ocean waves and a bonfire, creating a healing environment that incorporates all four elements: earth, water, air and fire.
People bring chairs, blankets and sometimes even picnics. Despite the casual atmosphere, the core group of attendees is deeply engaged in the healing process, positioning themselves between the bowls and the ocean to fully immerse in the sound.
Molloy says sound healing works as a catalyst for personal transformation. It helps individuals move forward on their healing journey, whether they are dealing with trauma or seeking spiritual growth. The process can be likened to peeling an onion, gradually uncovering and releasing layers of deep-seated emotions stored in the cellular memory.
Kim Johnson, a client of Molloy’s since 2021, describes individual sessions where she relaxes lying down on an amethyst crystal pad, with one healing bowl near the crown of her head and others surrounding her in a cocoon of sound.
SOUND AND THERAPY
Shira Stone may be the original Santa Cruz sound bather.
“It’s a beautiful thing, but what I do goes even deeper into healing,” she says. “It’s not quite sound bathing, though I do sound baths. What I do is a deep dive into frequencies, emotions and trauma.”
She began with a thriving massage practice. Her 15 years in the business gave her a true hands-on approach to understanding how the body is connected to emotions. From there, she says, sound healing came into her life through a past life memory, unexpectedly.
“About 40 years ago, sound healing wasn’t really a thing. I was doing a massage on a friend, and he asked me to do something different. I opened up, trusting that unexpected things could happen. Suddenly, Tibetan bowl sounds started coming out of my mouth. I had never heard these sounds before.”
Stone saw herself “in an ancient amphitheater with everyone making the same sounds. There was a person in the center, and we were directing the sounds to them. I did the same with my friend’s throat, and it was like a revelation: This is your path.”
Stone began experimenting with sound healing, working both individually and in groups, discovering the profound impact it could have. It was consistently transformative.
This journey led her to psychotherapy, and she earned her license in 1988, leading to further training in somatic therapy, including a four-year bioenergetic program, all of which helped refine her approach.
In sessions, Stone guides people to give voice to the sensations in their bodies, particularly those linked to trauma, encouraging them to focus on bodily sensations and express these feelings vocally.
“If someone feels tightness in their chest, I guide them to vocalize this sensation,” she says. “Naming the emotion helps the brain relax, facilitating healing. This process is about reconnecting with buried emotions. Trauma often buries emotions in the body, disconnecting them from consciousness. By giving voice to these emotions, individuals can reconnect them with the rest of their being, restoring harmony.”
Group sessions are also a significant part of this practice. The collective voice in a group setting can amplify the healing effect. In these sessions, people sound together to heal one person in the center or participate in group sound baths and community healing sessions using their voices collectively.
When asked for an example, she explains how she helped a woman with unexplained stomach pains to vocalize the fear sensed in her belly, which she discovered was linked to unacknowledged childhood trauma. Releasing that fear brought relief.
Stone says people seek out her services when dealing with issues like low self-esteem, anxiety, depression or relationship troubles, often without realizing these problems are linked to trauma. Sound healing guides them to connect with their bodies and uncover hidden emotions. Sessions vary in format; sometimes they involve sitting and talking, focusing on bodily sensations, while other times she uses a massage table and sounding over specific areas of the body. Sessions always end with harmonious sounds to foster a sense of love and calm.
Stone’s approach goes beyond typical therapy by deeply integrating sound and somatic practices. It’s all about reunification and helping people reconnect with their authentic selves. By listening to and expressing their emotions, individuals find healing and harmony within themselves.
In a world that seems to be getting noisier by the minute, sound healing offers a sanctuary. Even if it only offers a subtle form of healing in the way massage or breathwork or yoga do, that’s enough for me. Beyond relaxation, it’s a gateway to testament to the timeless power of sound in human healing. Each session, whether enhanced by the vibrations of crystal bowls or the supportive energy of a group, offers a sanctuary for those seeking relaxation, spiritual growth or a means to navigate life’s emotional complexities.
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For those who have ever imagined themselves in a thrilling duel, or who simply crave a novel way to better health, the sword fighting disciplines of East and West are practiced for fun and fitness in downtown Santa Cruz
Sound has a timeless connection to meditation and healing, deeply rooted in cultures around the world. Australian Aboriginal tribes have been using the didgeridoo for more than 40,000 years as a powerful tool...
