When you feel the groove in your heart and you’re inspired to dance.
Becca Bing, Boulder Creek, Teacher
When you feel the groove in your heart and you’re inspired to dance.
Becca Bing, Boulder Creek, Teacher
Shelby Graham lives surrounded by artwork—it’s in her gallery, her UCSC office, and in her photography studio behind her home near West Cliff Drive. Images—both making and organizing them—have been her passion since her very first camera, a high school birthday gift from her brother.
Graham exactly suits her studio space, which is sleekly equipped with computer, copier, scanner, photographic infrastructure, and loads of oversized images of butterflies, rocks and botanica. She is selecting large photographs from her haunting Drought Series when I visit her studio, some of them destined for the Valentine’s Ball auction at the MAH.
“The series began two years ago at a residency where I was encouraged to try new work,” Graham says. “I wanted a subject that was current. I came home and saw some dried, withered jasmine vines in my yard. So I turned my backyard into a studio and began to photograph.”
Utilizing matte white backgrounds, Graham turned the drought-twisted vines into a photographic series. “A site-specific modular installation—it was a way of creating a large-scale project that would also be easy to transport and store,” Graham says. “I learned that when I lived in Japan for two years during the early 1990s. The aesthetics of small living quarters. I had big ideas, but not enough space or time,” she says.
Director and curator of UCSC’s Sesnon Art Gallery since 1999, Graham has even less time to juggle the hats of photographer, mom, lecturer in photography, and primary curator of exhibitions. “The biggest change at the Sesnon over the years is that now there are more ambitious projects. We used to do unique exhibitions that featured artists no one had ever heard of,” she says with a laugh. “Now we want a broader reach.”
Feb. 12 kicks off Sesnon’s first collaboration with UCSC’s Institute of the Arts & Sciences. The Collective Museum Exhibition is the result of three visiting artists who re-envisioned the university—all 2,000 of its acres—as a museum. Artists will lead an all-day tour of the outdoor museum, including a walk through the site and the people and stories that comprise the unique UCSC campus. “Like artists, gallery directors in the 21st century have to promote their own work. You have to champion your own shows,” says the tireless promoter of Sesnon exhibitions.
“When I’m in curator mode I want to look at a wide diversity of ideas. I know what it takes to mount a show. It’s an architectural skill,” Graham contends, flashing a million-watt smile. “I can visualize how to put up the show, yet still leave room for the happy accident. You have to be open to letting the materials speak.”
How do you mount an exhibition in a gallery space? “You need a strong idea. One that you can pitch,” she stresses. “So I always work hard on the concept and in having a strong title. That’s incredibly important.” Then Graham moves the idea forward. “You figure out how you can show the idea, and then pull images together to illustrate that concept.” Will it be a solo show, or a group show? “To actually select the work, I do a lot of studio visits, asking artists to create specific pieces. I wear all these hats,” she says. Even with plenty of student assistants, she is a hands-on curator personally doing painting, hauling, dismantling, heavy lifting, and all-around schlepping.
“Everything is a decision-making situation,” Graham says. “There has to be a reason why you paint the wall blue, or that a certain piece should be selected, or that the items should be displayed in certain ways and not others. It comes with practice.”
Born in Wisconsin, to a painter mother and an engineer father, Graham was hooked early. “When my mom went to art events, I came along with her. She used my kiddie pool for one of her ’60s happenings,” she says. Graham soaked up museum collections in Chicago while in high school and enrolled in the art program at Colorado State University. “That’s where I also learned to ski,” she says with a grin.
Devotion to outdoor sports—including mountain biking and tennis—led to meeting her future husband, novelist Thad Nodine, at an ultimate frisbee tournament in Denver. “We moved to Santa Cruz where he went to grad school. I taught high school for four years and then got my M.F.A in photography from San Jose State,” she says. “There I found my creative identity as a sculptural photographer.” It’s an identity she explored during her two years teaching in Japan.
With her sons now in college, Graham looks forward to pursuing artist residencies and expanding her own photographic work. “I work more hours at UCSC now because I’m not going to basketball games. There aren’t enough hours in the day,” admits the high-energy arts czarina with a serious yoga practice. “I try to carry that practice through my week, being grounded and balanced, and yet being ready for anything that comes at me.”
Graham, the photographer, has enjoyed the transition from traditional darkroom photographic techniques to digital photography. “Even though you can see what you’ve got right away, there are always surprises,” she says. “That’s the best part—finding something that I didn’t expect.” shelbygrahamart.com.
With Valentine’s Day coming up this weekend, a voluptuous velvety wine to share with your sweetie is bound to be on your agenda. This special day should be celebrated by lovers everywhere—think hearts, flowers, and, of course, red vino. You don’t want to be drinking some flabby wine without any backbone—better by far to splurge on a sexy elixir that will make your sweetheart swoon.
Soquel Vineyards’ 2012 Cabernet Sauvignon Napa Valley ($55) falls easily into the sensuous category. Drenched in serious flavor, it’s not surprising that this wine was a gold medal winner in the 2015 San Francisco Chronicle Wine Competition.
“The regional character of the Napa Valley is showcased in this Bordeaux blend,” say the winemakers at Soquel Vineyards of this classic Cab. The blend includes 80 percent Cab, 15 percent Malbec, 3 percent Cabernet Franc, and 2 percent Petit Verdot, and offers “layers of sweet, creamy French oak with aromas of dark plum, blueberry, tobacco, and sage.” Full of dark fruit flavors and black pepper—with a dash of vanilla—this full-bodied wine pairs well with everything from burgers and sausage to prime rib and lamb. Start out with a bit of Stilton or blue cheese and a glass of Cab—you can’t go wrong. This wine just loves fat and protein.
Soquel Vineyards also makes a very wallet-friendly Trinity Rosso—a complex blend of old-vine Zinfandel, Cabernet Sauvignon and Malbec, which sells for a reasonable $16. A winding drive up Glen Haven Road takes you to Soquel Vineyards’ beautiful property and tasting room, a perfect destination for Valentine’s weekend!
Soquel Vineyards, 8063 Glen Haven Road, Soquel, 462-9045. Open for tasting Saturday and Sunday, 11 a.m. to 4:30 p.m. soquelvineyards.com.
Santa Cruz Fish Company is importing some delicious Mt. Cook Alpine Salmon from New Zealand’s pure glacial water, which New Leaf will be showcasing this weekend. This is the first farmed salmon to get the best choice in sustainability by Monterey Bay Aquarium’s Seafood Watch program. santacruzfish.com.
There’s no shortage of classical compositions about disaster, heartbreak, loss and devastation. But, there are also plenty of joyful, light-hearted pieces that act as fantastic gateways for newcomers to the genre. The Santa Cruz Symphony has rounded up four mostly classical pieces to introduce the younger set to the wonders of the symphony, performing Lennon and McCartney’s “Beatles Guide to the Orchestra,” “Aquarium” from Camille Saint-Saëns Carnival of Animals, Louis Prima’s “Sing Sing Sing (With a Swing),” and the Finale to Beethoven’s Symphony No. 9. The performance promises to be a lively, engaging time for the whole family.
INFO: Sunday, March 6, 2 p.m. Santa Cruz Civic Auditorium, 307 Church St., Santa Cruz. $8-$12. 426-6966.
WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Friday, Feb. 12 to find out how you could win a pair of tickets to the performance.
The original incarnation of Charmas formed some years back. The players met while at traditional Irish music jam sessions. And this is precisely the kind of music Charmas played in the beginning. But over time, and with some lineup changes, the group has really broadened their definition of what a “Celtic” band can be.
“We do some shows that are real Celtic traditional, like our Christmas shows. Other times we’ll play at Boardwalk Bowl and we’ll do ‘The Distance’ by Cake. I’ll play the guitar riff on the bagpipes,” says fiddle and bagpipe player Elise MacGregor Ferrell. “We also know a lot of sea shanties.”
In addition to Ferrell, the band includes Aaron Clegg (vocals, flute, sax), Jim Powell (vocals, guitar), Mick O’Briain (vocals, bass), and Devin Lara (drum kit). Richard Dwyer (vocals, low whistle, bodhran hand drum) is a frequent guest.
Often times, audiences won’t experience every side of Charmas at a single show. It’s the venue/setting that dictates what kind of material they’ll bring. Depending on the night, they might seem like a totally different band.
“We play at wineries and we just play instrumental, beautiful music and some gentle love songs and people love that. If they saw our rock show, they’d be like, ‘what?’ It’s just a little schizophrenic,” says Ferrell.
In this tradition, Charmas have a very unique show set up for this coming Valentine’s Day. They are billing it as a sort of anti-love show, or as they call it “Songs From Cupid’s Blacklist.” Within the context of traditional Irish love songs, it makes sense.
“In almost every Celtic song, the lovers are murdering each other, or it doesn’t come out well—the hearts are always broken. We’re going to do both dark comedy songs and some really beautiful songs, but the love doesn’t turn out too happily,” Ferrell says. “We do a beautiful song where the guy is trying to cross the Annan River to his lover, but he drowns. That’s how Celtic songs go.”
INFO: 7 p.m. Sunday, Feb. 14. Don Quixote’s, 6275 CA-9, Felton. $12/adv, $14/door. 335-2800.
My friends can be divided into two groups: those who have never heard of Miyuki, a Japanese restaurant in Watsonville, and those who worship it. The eyes of the latter would widen as they recounted unfamiliar dishes—and quickly turn distressed when they found out that I’d never been there, after which they would insist that we make a pilgrimage at once.
So last week, I finally wound my way through the strawberry capital to the temple of all things umami. Two loyal Miyuki-ers (Miyuki-ites?) joined me. One friend is from Watsonville and the other grew up in Japantown over the hill, so I didn’t even bother picking up the menu, and let them fill our table with plate after plate of Japanese homestyle cooking.
The first dish to arrive, Tataki, turned out to be my favorite of the evening: slim slices of raw, buttery albacore, lounging under onion, seaweed, fresh ginger, and lime.
Next up was the mysterious yet aptly named Scallop Dynamite, which was a steaming egg custard served in an oyster shell with tiny pieces of tender scallop hidden within. The whole thing is bubbling and golden, glazed with salty ponzu sauce and dusted with sesame seeds. I investigated this delightful dish with my chopsticks before giving up and happily slurping it, Hog Island-style.
More dishes arrived. My friend opened a snug lacquered box and revealed a dark filet of grilled eel, caramelized with sweetened soy sauce, on a bed of rice.
Steam flowed from Udon Nabeyaki, a hot pot of thick, toothsome noodles in a rich, deeply flavorful broth, in which a dropped egg poached itself among the fish cake and mushrooms, accompanied by a crispy pile of crackling vegetable and shrimp tempura. Removing the lid from a painted tea cup, I found a steamy egg soup with bites of seven different kinds of seafood (I counted). We cleansed our palates with dignified pyramids of rice sprinkled with black sesame seeds and slices of pickled beet. Somehow we managed to cram a platter of Chef’s Choice sashimi and a few bombers of Asahi beer among the mayhem.
Embarrassingly full, we extended our meal by reliving it in detail on the drive home. And lo, I was thus anointed.
452 E Lake Ave., Watsonville, 728-1620.
To most people, an environmental document—like CalTrans’ draft on Highway 1 improvements—seems more like a cure for insomnia than an interesting read.
But that apparently isn’t the case for activist Jack Nelson, the retired county planner who went looking for the projected annual carbon emissions of possible plans to add lanes to Highway 1. Nelson eventually found them, buried on page 408 of the air quality study’s online PDF. The figures appear to be off, though, he says, possibly by a magnitude of a couple hundred.
“Those are important numbers,” says Nelson, the co-chair of the Campaign for Sustainable Transportation. “That’s the future of our sky.”
A chart on that page shows a few inconsistencies, appearing to mix up daily figures with yearly ones. It says, for instance, that if no changes were made to the highway, carbon emissions would total 380 metric tons per year—a figure Nelson says would be impossible, based on the daily vehicle-miles-traveled figures in the chart.
The same chart, just a few rows away, also states that the average miles traveled on a weekday would be 650,000. According to EPA numbers for carbon emitted per mile, that would create about 265 metric tons of carbon emissions per day—over two thirds of what CalTrans projected per year.
So, where did CalTrans get its projection? An input error is Nelson’s guess.
The chart states that weekend emissions, daily peak-hour emissions, and daily non-peak-hour emissions come out to 86, 248 and 46 metric tons respectively.
Add all those up, and you get 380—CalTrans’ magic number.
The Campaign for Sustainable Transportation is lobbying against a possible ballot measure to fund local roads, public transit, rail corridor improvement, the rail trail and the highway, which would get 25 percent of the funds.
Of course, the numbers in the draft study may turn out to be a tiny detail in discussions over the future of transportation in the county, but it is worth mentioning these same figures are indeed referenced in the accompanying 528-page environmental document.
CalTrans officials tell GT they can’t speak about the report while they review comments from the public, which were due on Jan. 18, and compile the final report. But Casey Beyer, executive director of the Santa Cruz County Business Council, says a couple of wrong numbers shouldn’t be blown out of proportion.
“One fact in a 500-page document can and should be corrected,” Beyer says. “But to take that one fact that doesn’t seem accurate and make the assumption that the whole EIR is flawed—that’s not accurate, either. You have to look at the whole EIR.”
Last year, Bay Area guitarist and vocalist George Cole got an unexpected valentine of sorts from Green Day frontman Billie Joe Armstrong, on Twitter: “my friend & old guitar teacher george cole…rad music, amazing guitar player & musician I’ve admired since I was 8.”
In fact, Cole mentored both Armstrong and his Green Day bandmate Mike Dirnt, and while you might not hear much of Cole’s virtuosic vintage-jazz style—he’s often compared to Django Reinhardt—in “Basket Case,” Cole appreciates not only Armstrong’s shout out, but his music, as well.
“Even if I didn’t like it, I would probably say I did,” Cole admits snarkily over the phone. “But I actually do. Green Day’s awesome. I’m a huge fan.”
His former pupils have even turned the tables, Cole says, with their unshakable allegiance to their native East Bay and Bay Area music scene. Cole used to downplay his own roots in NorCal—which, let’s face it, isn’t exactly considered the height of urban sophistication by jazz types—but he’s changed his tune.
“In a way, they’ve influenced me,” he says. “They’re so proud to be from the East Bay that it makes me think ‘wow, I am, too.’ I’m really proud to be from the East Bay and the Bay Area music scene. I think it’s a great place to be from musically.”
It’s certainly provided him with some of his most interesting collaborators, the most recent of them being David “Dawg” Grisman. Cole has been playing guitar in Grisman’s band for two years now, and it was Grisman who gave Cole the idea for the “Cole Sings Cole” show he’ll be performing at the Kuumbwa on Valentine’s Day. Cole and his trio will be performing the songs of Nat King Cole, as well as some of his original songs.
Cole knew and loved Nat King Cole’s hits, but when Grisman loaned him a box set, Cole dug into the jazz icon’s piano trio work, which features what he describes as “amazing interplay between the musicians.”
Cole, pianist Larry Dunlap and upright bassist Jim Kerwin will go for the same interplay as they play Cole’s best-known songs and lesser-known gems. They plan to record an album of Cole’s work—at Green Day’s Jingletown Studios.
“It’s like worlds colliding,” says Cole.
As for doing the “Cole Sings Cole” show on Valentine’s Day in Santa Cruz, Cole says, “It makes perfect sense. Hey, I love Bruno Mars, I love urban funk, but the thing about Nat Cole is these love songs. These songs never go out of style.”
‘Cole Sings Cole’ will be performed at 3 p.m. Sunday, Feb. 14 at the Kuumbwa. Tickets are $25; 479-9421.