Freewheelers

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When Lech Wierzynski was a youngster in Warsaw, his parents listened to American music with the volume turned way down and the radio pressed to their ear. In Communist Poland, the American music coming over the airwaves, including Sam Cooke, Ray Charles, and Louis Armstrong, was considered anti-regime.
“If your neighbors heard you listening to American music,” says the frontman for the California Honeydrops, “you could get ratted out and you’d never come back.”
Wierzynski’s parents were journalists and members of the underground solidarity movement. When the movement grew too strong for the government’s liking, the press was shut down and martial law declared. Wierzynski’s father had an agent assigned to follow him around and was eventually given the option to leave Poland or be put in jail, so the family came to the States. The young Wierzynski was three years old.
Wierzynski is now free to sing and play American music—and how he does. The Honeydrops are a beloved Bay Area party band with sky-high energy, a contagious sense of fun, and a strong New Orleans vibe, with funky horns, deep soul, and irresistible dance grooves.
Wierzynski fell in love with the New Orleans sound early, listening to his dad’s Sidney Bechet and Louis Armstrong records. When he started playing trumpet, however, he didn’t find that same joy.
“In school, you learn jazz and they teach you modern jazz, like Miles Davis and Charlie Parker,” he says. “I was like, ‘You know, I like this, but I really love that music that my dad had on. It had so much fun in it.”
When a friend turned him onto the Rebirth Brass Band, Wierzynski found what he was searching for.
“That’s the music of celebration in the streets,” he says. “That sound just did something for me. It’s made for all occasions. It’s made for the saddest and happiest moments in life.”
Once Wierzynski pinned down his style, he took his own music to the streets, busking with Honeydrops drummer Ben Malament in Oakland BART stations.
“I love playing on the street,” Wierzynski says. “You don’t have to call up a club and say, ‘I want to play at your club for ten people and zero dollars.’ You get to go out there and get straight to the people.”
Although associated with the New Orleans sound, the Honeydrops are not limited to one style. They play classic soul, rhythm and blues, funk, gospel, and more. Wierzynski describes it as a mix of different American roots music and adds with a laugh, “It is what it is, I guess.”
What it is is an unbridled celebration, with band members all over the place and audiences in a near-frenzy state. The members tried using setlists, but they never stuck.
“I’ll start off with a couple of songs I want to do,” says Wierzynski. “Then, after that, I look around and somebody just starts something.”
On past recordings, the Honeydrops have tried to recreate the raw energy of their live performances. On 2015’s, A River’s Invitation, however, the band took a different approach. Instead of going into the studio and pretending they were playing for an audience, they recorded in Wierzynski’s living room and just played for each other. The result is a mellower record steeped in classic soul.
“We always felt like we were trying to force something in the studio that wasn’t supposed to be in the studio,” says Wierzynski. “The album is actually the most live in terms of the way it was recorded.”
Their recordings are almost all original songs, but for performances, they have a deep catalog of tunes to draw from.
For their upcoming three-night, two-venue stint in Santa Cruz, the band will cater to the different tastes of their audience and showcase the depth of their repertoire, playing originals as well as reworked renditions of their favorite songs.
“In the tradition of music we play … you’re not supposed to be playing your own songs all the time,” says Wierzynski. “You’re more just an interpreter of a common feeling.” He adds, “Some of those old songs are just so damn good you’d be a fool not to play them.”


7:30 p.m. Thursday, Feb. 11. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $25. 427-2227; 9 p.m. Feb. 12 & 13. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $18-$25. 479-1854

Pub Watch

Sometime this spring we’ll be able to belly up to a 34-foot redwood bar, burrowed into a contemporary beer hall housed in the Old Sash Mill complex (next to Patagonia), and not only sample six to eight artisanal beers on tap, but also savor seriously handmade meats, sausage sandwiches and creative ethnic pub food.
This long-awaited tasting room—The Oasis—and kitchen represents the tasty partnership of Chris LaVeque of El Salchichero butcher shop and brewmaster Alec Stefansky of Uncommon Brewers. “This isn’t my first rodeo,” LaVeque reminded me last week at the shop’s preview tasting. But the new large-scale kitchen—called Matambre—is the first restaurant for LaVeque, whose exceptional prosciutto, sausages, chops, and steaks fuel some of the finest restaurants in the area. Stefansky was busy hauling in infrastructure paraphernalia at the preview, but LaVeque took a minute to give me the lay of the land. “This entire area behind me,” he says, pointing to the former River Street furniture store, “will be the restaurant and lounge. We’re going to push out that wall on the right, and that’s where the kitchen will be.” At the far back of the huge hall, LaVeque indicates where the tap beer tasting bar will be. “There will be cured meats hanging all along the back bar, and upstairs will be beer barrels,” he says, pointing to an enormous loft space. Much more space for meat curing and barrel aging is available in the former Farmers Exchange space. The transformation will take a few more months, but be prepared to be amazed. And meanwhile, stay thirsty. On second thought, go sample some of LaVeque’s patés and sausages over at the Swift Street El Salchichero shop, and check out Uncommon Brewers’ wares at enlightened stores in your neighborhood. I love their Golden State Ale, available at Whole Foods, Shopper’s and New Leaf.

Pasta of the Week

The ricotta pappardelle Bolognese at Gabriella Cafe is nothing short of addictive. So easy to love, those wide noodles—comfort food for fashionistas since the days of the Medici—and that triumphant sauce, slow-cooked so that you can sense every herb, every vegetable, every hour of simmering that occurred before it arrived at your table in a deep bowl. Try it with a starter of roasted beets, goat cheese and honey pistachio puree.

Wine of the Week

Byington Liage Sauvignon Blanc Paso Robles 2013. Located on Bear Creek Road above Los Gatos, the spectacular Byington Estate plays host to tasters and special parties throughout the year. With Andrew Brenkwitz at the winemaking helm, the wines have never been better, as I found out recently, sampling a bottle of the aromatic and mineral-infused Sauvignon Blanc (the sister wine to the house Alliage Bordeaux-style red). Kissed with just a touch of Viognier, the award-winning Liage delivers the citrusy, slate qualities of Sauvignon Blanc, and the kumquat, grapefruit peel and gardenia aromas of Viognier. A beautiful balance of salty and floral, we found it an intriguing food wine, thanks in part to the delicate 13.7 percent alcohol. You’ll have to look around, although I’m told you can find this one at the 41st Avenue Whole Foods—and of course at the hilltop Byington tasting room. Oh, and if you’re a fan of opulent Barberas, Byington’s 2013 creation from Shenandoah Valley grapes overflows with cherry, spice and floral intensity. Why not just stretch your legs and treat your senses—all of them—with a weekend visit to the tasting room, open Thursday through Sunday from 11 a.m. to 5 p.m. byington.com.

Food Porn

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I meet Elizabeth Birnbaum at Hidden Peaks Teahouse, and over a two-hour pot of pu’erh we fill the zen air between us with talk of hedonism, guilty pleasure and the history of aphrodisiacs. Birnbaum launched the Curated Feast last June, and is in the middle of preparing her research for Sexy-Self Love, a women’s event presented by Santa Cruz Socialites at Pure Pleasure next week. While the event is designed around the truth that you can’t love someone else if you don’t love yourself, Birnbaum’s participation promises a rich cultural exploration of love and sex.
“Apparently gladiator sweat was an aphrodisiac to Roman women, because the gladiators were sex symbols. And so the women would use their sweat in cosmetics,” says Birnbaum, her eyes wide. She says that while most of her research starts on the Internet, it ends in the library or with a phone call to a UCSC professor. Then, through Curated Feast, she collaborates with local chefs like LionFish SupperClub to orchestrate a dinner experience that brings to life, say, Ancient Greece or the Silk Road.
There won’t, unfortunately, be any gladiator sweat at Sexy-Self Love, but Birnbaum is working with chocolate maker Becky Potter of Pure Heart Chocolate, and chef Hedy Nochimson to create four small aphrodisiac dishes. Each love bite will introduce a different speaker, including Bez Maxwell on the female orgasm, Amy Baldwin on self-pleasure with tingly toys and Denise Elizabeth Byron on discovering your inner sensuality.
“From 1000 B.C, they found coriander seeds in Egyptian tombs, and coriander seeds were linked to being an aphrodisiac,” says Birnbaum. “And so it’s a way of saying ‘OK, well, we hope that love continues.’ It’s beautiful. So there are all of these poetic, amazing stories about aphrodisiacs.”
But underneath the myth and lore, Birnbaum says, is the fact that foods’ psychoactive chemicals affect our mood and physiology. “If you’re eating foods that trigger physiological reactions, that get your heart pumping, your blood vessels opened up, that make you breathe deeper and sweat a little, all of these effects kind of feel like love might feel,” says Birnbaum, speaking about the capsaicin in hot peppers in particular.
The Aztec emperor Montezuma is said to have consumed chocolate in vast quantities to satisfy his many wives. Among its chemical constituents, chocolate contains tryptophan, which helps produce the serotonin needed for elevated mood and sexual arousal. It also contains phenylethylamine, a stimulant released in the brain when we fall in love.
“Aphrodisiacs have to be put in cultural context to be understood,” says Birnbaum. “Peacock tongues and black pepper were eaten by the Ancient Roman elite. They were both considered aphrodisiacs, and were brought out at special feasts. It almost makes sense that these foods, which would have been a part of a lavish display of wealth, were also getting people excited in other ways.”
Indeed, most foods that are purported to be aphrodisiac (and there are a lot) are expensive or risky to acquire, or are steeped in the power of suggestion. For instance, science still hasn’t figured out whether it’s the high zinc level in oysters (low levels of zinc are linked to low libido) or their faint resemblance to female genitalia that is responsible for their passion-inducing reputation.
“Food is inherently sensual,” says Birnbaum—and we both agree that we wouldn’t want to share a meal with an ex we felt tender about, because it’s also so intimate to eat with someone. To be present in the moment—without phones—and sharing the ecstasy of each bite is not only an experience that parallels the sexual act itself, it’s also a maxim of the slow food movement, in which Birnbaum has been active for many years now. “I think that with Instagram, and ‘food porn’ … it’s funny because if you’re watching real porn, you can interact with it in your own way, ostensibly. But with food porn, what’s your interaction? It’s like, here’s this thing I’m eating, isn’t it sexy and beautiful? But you can’t even smell it, you can’t taste it,” says Birnbaum.
It’s exactly this disconnect that Birnbaum loves to reconstruct, in a multi-dimensional way—by teaching not only where one’s food came from, but also what it has meant to people and events over the eons.


Sexy Self Love event is 7-9 p.m., Feb. 18 at Pure Pleasure. Tickets are $28.42 on eventbrite.com. For info on Curated Feast see thecuratedfeast.org.

Auma Matters

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Before watching The Education of Auma Obama, the 2011 documentary about President Barack Obama’s Kenyan-born half-sister, it’s hard to understand the meaning of the title. After watching it, it’s hard to pinpoint just one. Does it refer to the first half of the movie, which traces Auma Obama’s life growing up in Kenya, and her years studying in Berlin? Or to the end of the film, which shows how Auma has become an educator herself? Or to something else entirely?
But after talking to the film’s director, Branwen Okpako, who will participate in a Q&A at the film’s screening at the Nickelodeon on Wednesday, Feb. 10, it’s clear which of the many possible meanings she intended for the title: all of them.
“There was this constant theme of education,” says the 46-year-old Nigerian-born director. For one thing, she first met Auma Obama in film school in Berlin. Then, besides Auma’s formal education and personal discoveries documented in the film, the title reflects the cross-cultural education that Auma gets about Germany and America, and that her brother Barack gets about his Kenyan roots.
Okpako even had the 1983 Michael Caine film Educating Rita in mind—and in fact considered calling the documentary that, since Auma changed her name from Rita.
“And of course,” says Okpako, “Lauryn Hill and the idea of miseducation.”
That’s the kind of filmmaker Okpako is: a post-modernist modernist, open to all interpretations and themes, while crafting a solid narrative that never gets lost in any of them.
That narrative is particularly interesting in the way it does not begin, as many documentaries desperate to establish their subject’s worthiness would have, with news clips of the president or something else to cement Auma Obama’s ties to him in the minds of the audience. Though we do hear about the upcoming election (Okpako was in Kenya shooting for the 10 days leading up to the 2008 presidential vote), we don’t even see an image of President Obama into an hour in. Instead, the Barack Hussein Obama we learn about is the president’s father—The Education of Auma Obama starts at his grave, a site that will become incredibly important later in the film. When the family returns there after the election results are in, they dance around his grave and sing “Daddy, we are going to the White House.” It is the most powerful scene in the movie—and was the most powerful scene to shoot, as well.
“Our cameraman was so overwhelmed he could hardly hold the camera,” says Okpako.
But the most important thing is that we always learn about these characters in relation to Auma herself—Okpako never lets her story be eclipsed by the fact that her brother is the most powerful leader in the world. It’s possible that was made easier by the fact that she met Auma in the ’90s, before he was.
Some filmmakers, a Michael Moore or Werner Herzog, would probably have put themselves in the role of the onscreen personality who revisits many of the important spots in this story, interviewing people who were involved, but Okpako lets Auma herself drive the action, while the director remains offscreen.
“Once I convinced her to do it, she was open,” says Okpako. “She’s a filmmaker. She understood what I needed in terms of freedom.”
Okpako saw her own role in the narrative much differently. “I try to represent the people watching,” she says. “I am there to be the audience and ask the questions they would have.”


‘The Education of Auma Obama’ will be shown at the Nickelodeon at 7:30 p.m. on Wednesday, Feb. 10. There will be a Q&A with director Branwen Okpako. Tickets are $10.50. Okpako will also give a ‘Living Writers Talk’ at 6 p.m. on Thursday, Feb. 11 at the Humanities Lecture Hall at UCSC, which is free and open to the public.

From The Editor

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ednote stevePlus Letters To the Editor

How would you stop people from littering?

lt-julietTeach them from the time that they’re small that it’s not an appropriate behavior.

Juliet Jones, Santa Cruz, Claims Adjuster

Be Our Guest: BANFF MOUNTAIN FILM FESTIVAL

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BOGWin tickets to the BANFF MOUNTAIN FILM FESTIVAL at The Rio Theatre on SantaCruz.com

Love Your Local Band: Mark London & The SuperGreens

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Mark London and the Supergreens are all about community involvement. When the masterminds behind Santa Cruz’s Hibernation Fest aren’t tracking down locals to join them onstage at the Crepe Place, they’re operating DIY record label Invertebrate Records, in addition to running a blog, “Two-Track Tuesdays,” where they feature music from local artists every week.
Their own musical influences range in scope from Explosions in the Sky to Al Green, which explains their eclectic style and sound. The band has been playing together since 2013, but they prefer to remain, for the most part, underground. They have next to no music available online, but that hasn’t kept them from gaining popularity, or from landing the weekly Monday night slot at the Crepe Place.
Mark London & the Supergreens secured the Mixtape Monday gig through a local band that they originally met at Hibernation Fest. Hibernation is a winter music festival usually hosted at private houses, and often features not only musicians, but also other Santa Cruz artists and local home-brewers. Out of respect for their hosts, Mark London & the Supergreens try to keep the festival “low profile,” opting to reveal the location to a handful of people a few days before the event. Invitations are largely by word of mouth.
“Hibernation has played a huge role in defining our sound, our goals, our mission,” explains bassist Tauvin Pursley. “There are so many pockets of different artists and musicians in Santa Cruz, and we’re trying to bring them all together. That’s what we’re doing with Hibernation, and what we’re trying to do with Mixtape Mondays.”
Sharing the spotlight is the weekly approach, with each Monday featuring a different genre. This furthers the Supergreen mission of building up the musical community while simultaneously expanding their network and ensuring that they play before a different crowd each week.
“We want to encourage other musicians and artists to contact us and try to be a part of Hibernation, of Mixtape Mondays,” says guitarist Matt Barnett. “We need other people to get in on this to actually create something for Santa Cruz. That’s the goal.”


INFO: 9 p.m. Mondays. Crepe Place, 1134 Soquel Ave., Santa Cruz. $3. 429-6994.

Senior Moments

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A charming memoir of a smelly, prickly old lady, The Lady in the Van is based on material that was first performed on stage, then as a radio play. Surprisingly, as a movie it hasn’t lost any keenness.
Its writer and subject is Alan Bennett (played by Alex Jennings), a playwright whose breakthrough was being part of the Beyond the Fringe quartet that paved the way for Monty Python. In 1973, when Bennett moved to Gloucester Crescent in London’s Camden Town, it was a changing district—awaiting the gentry who inhabit it today. Priding themselves on their liberality, the neighbors put up with one Miss Shepherd (played by Dame Maggie Smith in the film adaptation) a transient old lady living in her van on the street. When the parking police tried to run her off, Bennett allowed her to park in his driveway. She would be encamped there for 15 years.
Bennett once commented that he thought he’d go into the clergy just because he looked like a clergyman. Jennings’ Bennett does look like a vicar: tall, self-effacing, awkward, limp-haired. In his never-to-be-forgot Beyond the Fringe sketch, “Take a Pew,” Bennett played a minister trying to explain, with multiple inanities and chummy, hopeless faux-contemporary allusions, the importance of a scripture verse from II Kings 14. The quote was actually from Genesis: “But my brother Esau is a hairy man, but I am a smooth man.”
The funny thing is that Bennett ended up a bit of a non-denominational minister, after all. As opposed to the more overt (and boring) St. Francis imagery in The Soloist—the Jamie Foxx-starring movie on a similar subject to this—The Lady in the Van is a sweet, subdued piece of natural Christianity.
During the course of his friendly but never informal relationship with Miss Shepherd, Bennett often has a good talk to himself. The play depicts Bennett split in half on the grounds that a writer is actually two people in conversation with himself. And while watching this strange woman, and learning her own sad history, he has some guilt about using her for material.
Director Nicholas Hytner is primarily a theater director and an occasional filmmaker. He has made three movies this century. Bennett’s direct address to the camera doesn’t look stagey, and the movie is opened up to take in the hilliest, most endearing part of London as it was 40 years ago. The role is so right for Smith that it might be easy to underrate her very tough and touching work here. (Think of the twinkling a less rigorous actor would have brought to this. Smith’s derelict Miss Shepherd is no pixie.)
Smith has long been a deep-focus underplayer, from her helpless Desdemona in Olivier’s Othello, to 1987’s Lonely Passion of Judith Hearne—the soul is so strong in her that we never really think of this 80-year-old performer’s fragility until the end of the film, when her health fails. Before then, her Miss Shepherd has push. She is willing to be a pain; snarling at anyone who dares to play music around her, or talking grandly of her memoirs, to be titled either The Lady Behind the Curtain or A Woman of Britain.
The fragrance of Miss Shepherd is described as that of “a bad dish cloth”; out of folk wisdom, she eats raw onions to ward off colds. Bennett, not an enormous fan of the physical world, admires the way the ambulance people or the social workers can handle this exasperating woman without minding her moods or her smell. He himself downplays his own ability to stand her bad habits, including her regularly soiling his driveway. “Caring is shit,” Bennett decides. Indeed, cleaning up shit, and putting up with it, is essential to dealing with human beings, instead of being a wry outsider who avoids them.
It’s bemusing to imagine the army of people in their vans, trucks and campers today, displaced by the obscene rents of the Bay Area, being looked after with the care and dignity demonstrated by the characters in this story. The Lady in the Van wells up with compassion; it never drills for it.


THE LADY IN THE VAN
Maggie Smith, Alex Jennings, and Jim Broadbent. Written by Alan Bennett. Directed by Nicholas Hytner. A BBC Films release. Rated PG-13. 104 Mins.

Freewheelers

The California Honeydrops on why setlists don’t really work

Pub Watch

Mega gastro pub-in-progress at the Old Sash Mill, plus the best pasta dish downtown

Food Porn

Aphrodisiacs and the food-sex connection

Auma Matters

Branwen Okpako brings her ambitious documentary ‘The Education of Auma Obama’ to Santa Cruz

From The Editor

Plus Letters To the Editor When I first heard about the supposedly recent phenomenon of “ghosting,” when someone ends a relationship by abruptly cutting off communication with someone else, I thought: oh right, we had this before, except we used to call it “when someone ends a relationship by abruptly cutting off communication with someone else.”...

Film, Times & Events: Week of February 5

Films this WeekCheck out the movies playing locallyReviews Movie Times Santa Cruz area movie theaters > New This Week THE CHOICE OK, we love camp, and we even love the utter absurdity of zombies in classic literature (see below). But we draw a big fat line at handsome shirtless men with...

How would you stop people from littering?

Teach them from the time that they’re small that it’s not an appropriate behavior. Juliet Jones, Santa Cruz, Claims Adjuster         Give them the stink eye, which is what they do in Switzerland, and they don’t have any litter. Anne Greenwood, Santa Cruz, Engineer           An invisible fist in...

Be Our Guest: BANFF MOUNTAIN FILM FESTIVAL

Win tickets to the BANFF MOUNTAIN FILM FESTIVAL at The Rio Theatre on SantaCruz.com Celebrating its 40th anniversary this year, the Banff Mountain Film Festival takes film lovers on incredible journeys from the tops of mountain peaks down to raging rivers and everything in between. The Banff Mountain Film Festival tour, which runs Feb. 19-21, brings...

Love Your Local Band: Mark London & The SuperGreens

Mark London and the Supergreens are all about community involvement. When the masterminds behind Santa Cruz’s Hibernation Fest aren’t tracking down locals to join them onstage at the Crepe Place, they’re operating DIY record label Invertebrate Records, in addition to running a blog, “Two-Track Tuesdays,” where they feature music from local artists every week. Their own musical influences range in...

Senior Moments

The Lady in the Van gives viewers a lesson in compassion and charity
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