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New Year's Evolution

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Contents

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ON THE COVER

Photograph by Chip Scheuer

POSTS 4 CURRENTS 6 BRIEFS 7 COVER STORY

STAGE/ART/EVENTS 15 BEATSCAPE 16 CLUB GRID 18 FILM 22 EPICURE 25 FOODIE FILE 26 ASTROLOGY 27

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Messages M essag ges es & Send letters to Santa Cru Cruz uz W Weekly, e eekly, letters@santacruz. letters@santacruz.com .com or to Attn: Letters, 877 Ce edar Street, Suite 147, Santa Cruz, C 95060. Cedar Include city and phone number n or email address. Submissions may be edi ited for length, clarity or edited

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factual inaccuracies kno own to us. known EDITORIAL EDITO ORIAL EDITOR EDITOR STEVE PALOPOLI PAL A OPOLI STEVE spalopoli@santacruzweekly.com spalopoli@santacruzw weekly.com

STAFF S TAFF WRITERS W GEORGIA A PERRY PERRY gperry@santacruzweekly.com gperry@santacruzw weekly.com

JACOB J ACOB B PIERCE jpierce@santacruzweekly.com jpier rcce@santacruzw weekly.com

RICHARD VON VON BUSACK BUSACK richard@santacruzweekly.com richar rd@santacruzw d weekly.com

CONTRIBUTING C ONTRIBUTING G EDITOR EDITOR CHRIS TINA WATERS WAT TERS CHRISTINA PHO TOGRAPHER PHOTOGRAPHER CHIP SCHEUER S C ONTRIBUTORS CONTRIBUTORS ROB BREZ B SNY Y, BREZSNY, PAUL M. M DAVIS, DAV VIS, PAUL GANT T, MICHAEL S. GANT, JOE E GARZA, GILBERT T, ANDREW GILBERT, MARIA GRUS SAUSKAS, GRUSAUSKAS, JOR RY JOHN, JORY CA AT JO OHNSON, CAT JOHNSON, KELL LY LUKER, LUKER, KELLY SCOTT MA CCL LELLAND, SCOTT MACCLELLAND, A VERY MONSEN, V M AVERY P AUL W AGNER PAUL WAGNER

A ART & PRODUCTION PRODUC CTION DESIGN DIRECTOR DIRECTOR KARA A BROWN BROWN KARA PROD DUCTION PRODUCTION OPER RATIONS OPERATIONS COORD DINATOR COORDINATOR MERC CY PEREZ MERCY DE ESIGNER GRAPHIC DESIGNER TA ABI ZARRINNAAL ZARR RINNAAL TABI ED DITORIAL EDITORIAL PROD DUCTION PRODUCTION SEAN GEORGE AD DESIGNER DE ESIGNER VA ANEY YCKE C DIANNA VANEYCKE

DISPLAY DIS SPLAY ADVERTISING ADVERTI ISING SENIOR ACCOUNT ACCOUNT EX XECUTIVE EXECUTIVE ILANA RAUCH-PACKER RAUCH--PACKER ilana@santa acruz.com ilana@santacruz.com A CCOUNT EXECUTIVE EXE ECUTIVE ACCOUNT DENI SE TOTO TOTO DENISE denise@santacruzw weekly.com denise@santacruzweekly.com OFFICE MANAGER MA ANAGER JOHN N BLAND jbland@santacruzw weekly.com jbland@santacruzweekly.com

PUBLISHER PUBLI ISHER JEANNE HOWARD H WARD HO

PRESIDE PRESIDENT ENT & EXECUTIVE EXECU UTIVE EDITOR ED DITOR DAN D AN PU PULCRANO LCRANO

Task T ask F a Force o orce R Report t a Sham Sh Re: “Use Re: “Use th thee F Force” orce” (Curr (Currents, ents, Dec. 11): This doesn’t address T his rreport eport is a ssham. ham. a It d oesn’t ad dress ttwo wo fun fundamental damental public p lic saf pub safety feety issues, issues, while minor ones likee w hile ffocusing ocusing on min o m or on es lik h omelessness — m aking homeless homeless homelessness making peo ple a bugaboo bugaboo on o w hich to to p roject people which project all our pub lic safety saffeety fears fears e and needle needle public — and eexchange. xchange. 1. The The rreport eport ffocuses ocu o uses on so-call ed so-called “n uisance cr imes.”” T hese ar ot thr ea atts “nuisance crimes.” These aree n not threats tto o the the pub lic, bu ather th cerns o public, butt rrather thee con concerns off d owntown m erchan a ts and and oth er business business downtown merchants other peo ple w ho wr ongly be lieve th omeless people who wrongly believe thee h homeless ar uisance” w ho thr eaten th eir aree a “n “nuisance” who threaten their busin esses. Cas ting this as an im portant businesses. Casting important pub lic saf feety issu espicable div ersion public safety issuee is d despicable diversion fr om vvalid alid pub lic saf ssafety feety con cerns. from public concerns. 2. No No data data h as be een ggathered athered showing showing has been

that discar that discarded ded needles needles are are a major major pub public lic saf safety feety hazard. hazard. T The he rreport eport states states this this as fact, fac a t, ci citing tiing an unr unrealistic ealistic “zero “zero tolerance” tolerance” policy policy ggoal, oa al, n never ever es establishing tablishing thr through ough ffactual a tual ac an analysis a ysis h al how ow mu much ch d danger anger discar discarded ded n eeedles thr ea aten th lic. Ag ain,, this needles threaten thee pub public. Again, cr eates an ea other ffalse al a se ttarget arget ffor o or pub blic ir e, creates another public ire, div verting a tttention fr om vvalid alid pub l c saf li feety diverting attention from public safety con concerns. ncerns. 3T 3. The he rreport eport ad advocates vocates th thee discr discredited edited “b “broken roken win window” dow” po policing licing sstrategy, trategyy, w which hich h ass been a civil rrights ights disas ter in ot ther has disaster other ci tiies, m ost n otably N ew Y o ork Ci tyy, w here iitt cities, most notably New York City, where is bogg b ed d own in ffederal eederal cour t. bogged down court. 4N 4. otably missin g fr om th epo ort is Notably missing from thee rreport er a ca adi atin t g gang gang violence violence b y aggr essive eradicating by aggressive tteenage eeenage gangsters gangsters hooking hooking u p wi th hM exican up with Mexican dr u car ug tels, dr agging ggood, ood, un susp pecting drug cartels, dragging unsuspecting tteenagers eeenagers in to th ang cul ture thr o h oug into thee ggang culture through fr e access to ee to drugs drugs and and alcohol. alcohol. T hese free These ggangsters an ngsters ar e tterrorizing errorizing d ecent ffolk olk l are decent in emb eembattled attled n eighborhoods lik he neighborhoods likee th the

Westside. They Westside. They are are probably probably pub public lic enemy enemy number n umber on one, e, bu but ut th thee ttask ask fforce o orce m merely erely advocates ad dvoca ates ed education ucati t on rrather ather th than an a p proactive roactive ggang ang er eradication adication n ef effort. ffo ort. Su Successive ccessive ci city ty councils coun cils h have ave sou sought ught tto o hid hidee this—gun this—gunss an and d dr ugs—under th ug. drugs—under thee rrug. 5. Da ta sugg ests th revalence o xual Data suggests thee p prevalence off se sexual vi olence ag ainst w omen an d cchildren hildren is violence against women and rrising. ising. Ev Even en if sstable, tab a le, iit’s t’s sstill till un unacceptable. acceptable. Santa San ta Cr Cruz uz d doesn’t oesn n’t eeven ven h have ave a cen center ter for fo or victims vi ctims o off se sexual xual violence—the violence—the n nearest earest one one is in W atsonville. Al so ign ored ar Watsonville. Also ignored aree onlin onlinee p redators who who ttarget a get primarily ar primarily w omen predators women an d cchildren hildren on th tthee In ternet an d use and Internet and oth er eelectronic lectronic d evices tto o thr ea aten th eir other devices threaten their vi ctims—stalking w as com pletely ign ored victims—stalking was completely ignored b ask fforce. or o ce. byy th thee ttask In sshort, hort, th tizen's Pub lic Saf feety thee Ci Citizen's Public Safety T ask Force Force w asted a unique unique o pportunity Task wasted opportunity tto o ggarner arner pub lic su ssupport pport ffor or o d ata-driven public data-driven m easures tto o ad drress ser ious pub lic measures address serious public saf fety e thr eat. Ra therr, th ey ffocused ocused on o safety threat. Rather, they cr iminalizing po overtyy. criminalizing poverty. O ften po liticia ans will cr eate ffalse a alse ttargets argets Often politicians create tto o div ert a tt t ention na way fr om issu es th ey divert attention away from issues they w ould rrather ather rremain em main sil ent on. T he ttask ask would silent The fforce or o ce ffailed a ailed us. Expec ta Cr C uz tto o spir al d own nwards Expectt San Santa Cruz spiral downwards in to an eeven ven m orre ser ious cr iminal into more serious criminal qu agmire, especi ially ffor or w o omen an d quagmire, especially women and cchildren. hildren. Pub lic saf ssafety feety can onl Public onlyy be ad dressed bott om mu pb road coali tion addressed bottom up byy a b broad coalition o ty p a tners — ca ar atering tto o th off communi community partners catering thee w hims o h ocal fr ringe gr oups wi th th eir whims off vvocal fringe groups with their h ateful agendas aggendas m akes San ta Cr uz lless ess saf fe, hateful makes Santa Cruz safe, w hile dividing h dividing the th he community. communityy. while DR. JOHN COHEN Santa Cruz Santa

Conserve Conser rve What? Re: R e: e “W “Water, Waterr, Water Water Everywhere” Evver e ywhere” (Currents, (Currents, Dec. 18): In Interesting terestin ng photo photo of of Mr. Mrr. Lon Longinotti. ginotti. What Wh at if little little or n no ow water ater com comes es thr through ough th that at downspout d ownspou ut this yyear, e r, or n ear next? ext? W We're e'r e e in th thee middle mid dle o off a ser serious iou us dr drought. ought. We We are are heavily hea avil v y dependent d ependent on rainfall rain nffall a to to replenish replenish our water water supply su pply eac each h yyear. ear e r. Y You ou can o can’t’t con conserve serve w water ater that th at yyou o ou haven’t haven’t ggot. o ot. JIM MACKENZIE

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PLEASE, NO TWERKING Laina Copley has a vision of female sexuality beyond Miley Cyrus.

Not the Same Old Grind ‘Burlesque boot camps’ mix empowerment and sex appeal BY GEORGIA PERRY

o hear Laina Copley describe it, starting out in burlesque dance sounds a little bit like being inside a womb. “I had this experience of just being in this super supportive environment with other women who were all like loving me up, and I wasn’t feeling compared to or competed against, and it was really nurturing to just be surrounded by this really supportive feminine energy,” says the 26-year-old dance instructor, who first experienced the dance form while living in Boulder, Colorado. After that, she moved to Santa Cruz and founded the Sirens burlesque troupe, which debuted at the 2012 Fringe Festival. Then she began teaching classes, both drop-ins

and multi-week “Burlesque Boot Camps” at the Tannery Arts Center. Her first boot camp culminated in a performance this past November, in which participants invited close friends and family to sip from paper cups of wine and provide exuberant catcalls while the women performed solo, selfchoreographed routines based on their “shadow sides.” Shadow sides are the “parts of ourselves that we disown,” explains Melanie Cobb, one of the boot camp’s participants. “My real personality is very accommodating. I want to take care of everyone’s feelings. So my shadow side was just, like, fuck it. ‘Go fuck yourself’—that was my little tagline,” she says. Burlesque dance gained popularity

in America between the late 1800s and the 1930s, when it was a staple in variety shows and cabarets. It is a sort of bawdy, character-driven striptease that today is classified as “vintage”—a lot of the songs, costumes and dance moves evoke turn-of-the-20th-century America. To that end, it’s sexy while still being very playful and humorous. Throughout the duration of the eight-week course, Copley instructs the participants on the basics of burlesque—how to develop a character, make costumes and do basic dance moves. In addition, she brings a discussion question each week for the group to talk about. In discussions for the last class, they broke down the concept of “sexy,” and thought about how they wanted to define it. They

explored the underlying competitiveness in female relationships. (“If you’re prettier than me, then I don’t like you,” as Copley explains it.) And they were encouraged to think about what they want from their relationships with other women, using the class as a “Petri dish” for how to cultivate strong, positive female relationships. “We have camaraderie, we all support each other. It’s a totally different female environment, to have women not bashing each other, actually supporting each others’ beauty. That’s very different,” says Alanna Williams, who completed the class in November, and says the confidence she gained from it has carried into her everyday life. A curvaceous blonde with the wide grin and bright eyes of a Hollywood starlet, Copley herself got into burlesque after years of struggling with an eating disorder. “I didn’t want to be in this toxic relationship with my body anymore, and I saw this flier for burlesque auditions for a troupe. I imagined putting myself out there in front of an audience in this state where I felt really uncomfortable in my body, and I was just like, ‘That sounds terrifying. I think I have to do it,’” she says. For Copley, burlesque was a crucial part of learning to accept and love her body. Unlike some other forms of dance, burlesque as an art form tends to celebrate all body types. Of the group of dancers that completed her November boot camp, Copley says, “They’re all different body types and sizes and everything, but nobody’s comparing themselves to anybody else. They’re all just like, ‘Yeah! Go you! That’s so awesome! You’re wearing pasties! Or you’re doing this thing that’s kinda scary!’ And they’re super supportive.” Laina Copley teaches drop-in burlesque classes every Wednesday from 7-8pm at the Tannery Arts Center, 1040 River St., Santa Cruz. $15 per class. Enrollment is still open for her next 8-week boot camp; info at www.juicybodylove.com.

Briefs Ditching Court

Ditching Court, Part II When basketball super-fan Robert Frost wrote “Nothing gold can stay,” he was obviously talking about the Santa Cruz Warriors. And anyone who saw rookie Seth Curry play for the blue and gold in Santa Cruz’s’ opening game against the Austin Toros knew they were watching a basketball poet who would not stick around forever. Curry, younger brother of Golden State star Stephen, scored 36 points that night—the highest scoring total by a Warrior in the team’s two seasons in Santa Cruz—and put up six assists, too. “I can make a lot of tough shots out there, so I take ‘em. It’s the aggressiveness I have in me to make plays for my team,” point guard Curry said after the November game. But now he’ll be taking that aggressiveness elsewhere, since the Memphis Grizzlies signed Curry, who was averaging 21 points and eight assists, to a contract on Christmas Eve. He could provide a boost to a defenseminded Memphis team riddled with injuries. We’ll have to wait to see if Curry’s impressive passing was helping the Santa Cruz team, and if he was also helping shooting guard Cameron Jones grow (or just depend on him that much more). One thing’s for sure: back-up point guard Kiwi Gardner is definitely jumping for joy. 0

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“Hey, this would be a great place for a new development!” Louis Rittenhouse must have thought to himself as he wandered the property he co-owns at Soquel Drive and Thurber Lane. “If it weren’t for all these trees and that nasty stream.” That’s our dramatic recreation based on the true story (which, as we know from watching Hollywood movies, means nothing) of how real estate mogul Rittenhouse and other owners of the property ended up filing suit against Santa Cruz County for $6.3 million over damages related to a drainage ditch. But now, a new, even murkier twist: Rittenhouse, a former Santa Cruz city councilmember, and the other plaintiffs filed on Dec. 16 to stay litigation against the county, effectively dropping the case for now. According to court documents, Santa Cruz County installed a series of pipes between 1962 and 1989 above the property, which have sent water running through the mostly vacant 6.3 acre lot for decades. A drainage ditch formed, and the county made that central portion— about three-quarters of an acre—an “urban open space” in 1994 with an amendment to its general plan. In 2010, Rittenhouse, who is best known around Santa Cruz these days for owning the famously vacant building on Church and Pacific, applied with the county to remove the vegetation and trees from the property. He demanded the county pay for the removal of the “Urban Open Space” designation, so he could build something there. The county refused, and instead required Rittenhouse cover the cost of the $20,000 environmental impact report for the change—something Rittenhouse didn’t want to do. Instead, he filed suit. The $6.3 million in damages, the complaint alleges, would cover Rittenhouse’s losses from having the property, which is located in the county’s first district, lay mostly empty. Santa Cruz County’s lawyers stated in their argument that the statute of limitations renders Rittenhouse’s case invalid. But Lund and Rittenhouse’s filings counter that the statute of limitations doesn’t apply because the problem is “continuing.” Either way, Rittenhouse now thinks

this can be handled outside the courtroom. He joined the advisory group for the Transit Corridors Plan for Sustainable Communities in Santa Cruz County, which is studying land use in the unincorporated part of the county where his property is. The Transit Corridors environmental impact report may or may not cover the mucky ditch, but Rittenhouse, it appears, figures it’s worth a shot. “Our Sustainable Santa Cruz process is working with the community to decide what development should look like in the unincorporated part of the county,” says first district supervisor John Leopold, who has been involved in the Transit Corridors process. “That’s why we’ve been wanting to work with large land owners to get it right. I still think we can do that, and it takes two to tango.”

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From the Fringe

Santa San nta Cr Cruz uz singer-songwriter singer-songw wrriter K Kendra endra M McKinley’s cKinley ey’s un unorthodox orrth thodox soun sound dh has a as her h er poised d ffor or big things o things BY B AARON CARNES S

anta Cruz anta Crruz has has a fascinating fascin a atin t g connection Americana and conn ecction tto o Am ericana an d rroots oots music, music, and and for fo or decades decades many many of of the the biggest bigg est bands bands here here (the (the Devil Devil Makes Makes Three, T hree, Blackbird B ackbird Raum, Camper Bl Camper Van Beethoven) have influenced byy ffolk, V an a Beeth oven) h ave been infl uenced b olk, bluegrass and other traditional American b luegrass an d oth er ttr aditional Am erican ggenres. enres. es Even Ev veen ffor or o San Santa ta Cruz, Cruz, however, however er, this is a p particularly articularly ffertile eertile tim timee ffor o or Am Americana, erica ana, an and d iits ts rrecent ecent eexplosion xplosion over ov er the the llast ast yyear eear h has as be been een w well ell d documented ocumented in Santa Weekly. Cruz W eekly e . But justt on th thee fr fringe off th that phenomenon Bu ut jus inge o at p henomenon has arisen onee o off th thee llocal musicc scen scene’s most h as ar isen on o musi ocal e’s m ost interesting artists, 23-year-old Santa Cruz native in teresting ar tists, 23-y year-old San ta Cr uz n attivve

Kendra McKinley. Having played her only Kendra M cKinleyy. H avin v gp layed h er first first show show onl y a year ago, has year and and a half half ag o, her her profile profil f eh as been rraised aised as the the roots roots scene scene accepted accepted her her as a sort sort of of honorary honorary member—in member—in fact, fa act, her her first first show show was was with with bluegrass bluegrass locals locals the the North North Pacific Pacific String String Band, Band, who who urged urged her her to to open open for fo or them them at at the the Crepe Crepee Place. Place. But But aside aside from from her her acoustic, acoustic, c singer-songwriter singer-son er songwr w iter style, styyle, she she doesn’t doesn’t fit fit neatly nea atl t y into into any any traditional traditional notion noti o on of of Americana—or Americana—or anything anything else. else. “She “She has has a grander grander vision vision than th han a lot lot of of songwriters songw writers do. do. She She thinks thinks and and writes writes in a larger larger context context than than a lot lot of of songwriters songw writers do. do. She’s She’s well-versed well-vveersed in a lot lot of of different difffeerent music, music, and and it it comes comes through—not through—n — ot just just in some some of of the the choices choices she she makes makes musically, musically, but but the the confidence confidence that that

she she writes w ites and wr and plays plays with,” with,” says sa ays Jeff Jefff Kissell, K Kissell, bassist bassist for fo or the Marty O’Reilly occasional the M arty O’R eilly Old Old Soul orchestra, orchestra, a and and occasi onal bassist basssist for fo or McKinley. McKinleyy. “There “There have have been beeen a lot lot of of pop pop musicians mussicians that that have have done done that, that, but but there th here aren’t aren’t a lot lot now. now. There’s There’s certainly certainly not not many many in Santa Santa Cruz.” Cruz.” McKinley’s McKinley’s music music contains contains elements elemen nts of of folk, folk, jazz, jazz, blues, blues, e baroque baroque and and chamber-pop. chamber amber-po pop. What Wh hat ties ties it it all together togetther is its its theatricality—and thea attricality—and her her rich rich musical musical knowledge, knowledge, which whi h ch she she uses to to texture texture her her ideas. ideas. She She doesn’t doessn’t just just casually casually listen listen to to and and pay pay homage homage to to old old jazz, jazz, she knows knows how w to play pla ay hundreds hundrreedss of of Tin Pan Pan Alley Alley jazz tunes, depth off jazz tun es, and and her her music music demonstrates demonstrates a d epth o knowledge knowledge and and experience experience far fa ar beyond beyond her her years. yeears.

F R O M T H E F RIN G E

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Even with just her acoustic guitar and vocals, McKinley creates gorgeous, nuanced arrangements that could function as surreal soundtracks to a 1950s children’s cartoon, or romantic Tim Burton montages. Her songs are filled with both wide-eyed wonder and meticulously calculated composition, and her voice is a cross between Ella Fitzgerald and Joanna Newsom.

Rite of Passage

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Only about eight months after her first show at the Crepe Place, McKinley was headlining the Kuumbwa Jazz Center to celebrate the CD release of her debut album, Chestnut Street, which she recorded with Kickstarter contributions earlier that summer. For a lot of locals, playing the Kuumbwa is a rite of passage that takes years to work up to. It came to McKinley much quicker. Not only was the venue filled with friends, family and fans anxious to see her perform, but she would be playing on stage alone for the hour-and-20-minute set. “That was really exciting, and intimidating, especially playing the freaking piano at the Kuumbwa. I was thinking, oh no, McCoy Tyner’s played this and I’m going to play it. Better not fuck up,” McKinley says. During the course of the set, McKinley rotated between several different instruments—acoustic guitar, piano, ukulele—and she did some with just vocal looping (a process of using an effects pedal to record and layer vocal lines). McKinley may have just started performing, but she didn’t just start playing music. As a young kid she was in love with the Beatles, and sang and played their songs to an almost obsessive level. But she never took it upon herself to actually write music. When she turned 18, she wanted to study theater, but wasn’t accepted into any of the programs, so she switched gears and ended up studying music at UCSC. “I was always so much more interested in music. For some reason, that light bulb didn’t go off until very late,” she admits. “It did—and I’m happy that it did.” She studied music intensely, but much of what she learned in school

were things that she already knew. “I had always relied so heavily on my ear. Since I was little, I would dissect what I heard musically into all the separate parts, which I learned that not everyone does. If I sang a melody, I could hear the entire thing realized in a four-part texture. That was just the way that my brain processed music. So it was exciting to learn theory, because I learned the names for all the things that I was hearing,” McKinley says.

‘She has a grander vision than a lot of songwriters do...she’s wellversed in a lot of different music, and it comes through—not just in some of the choices she makes musically, but the confidence that she writes and plays with.’ — Jeff Kissell During her years in college, she did start to write some music, but still not much. It wasn’t until her first show at the Crepe Place that the floodgates opened. In no time, she had enough music to fill her debut album Chestnut Street, which she recorded only a few months later. By December, she had enough material to play that hour and twenty minutes of mostly original songs at the Kuumbwa for her CD release show.

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1 0 F R O M T H E F RIN G E “The most terrifying thing about writing songs is [the fear that] you’re going to be expressing all your deepest darkest feelings and that no one’s going to like it. Once I started gaining positive reactions, I felt more comfortable with whatever instincts I had, and just sort of gave myself permission at last to just write what I heard in my head. Now I’m always thinking of five songs at a time,” McKinley says.

struggles to make sense out of. “I’ll hear the melody, and I instantly run home and record it. I want to save it. I want to coddle it and help it grow. I keep singing it over and over again until I run upstairs and record it. It happens all the time, which makes it hard to listen to other music sometimes. My brain feels full,” McKinley says.

Fully Formed

Even though the Kuumbwa CD release show was an introduction of McKinley’s work to many, it also marked the end of her time as an exclusively solo performer—not that she hasn’t still performed alone on stage since then, but she has also embarked on the process of collaborating with other musicians, which she finds herself more and more drawn to. In April, she played as part of the Club Kuumbwa series, and at the Do It Ourselves Festival, which she helped organize. For both shows, she brought a band that included Jan Purat (violin), Alex Bice (drums, vocals), Jack O’Brien (upright bass), Emily Meehan (backing vocals) and Rob Marshall (backing vocals). “At this point in my life, I am so much more interested in music as collaboration. I really like the idea of working with a number of different people, and hearing their interpretations. You make a bigger sound that features more people. That’s what I’m most interested in, not having the spotlight, not being the superstar, but just making music with other people that want to make music for people that want to hear that music being made,” McKinley says. One of the songs she debuted at the Kuumbwa the second time around was quite different than anything on Chestnut Street. Titled “Bitter Suite,” it is a 12-minute Duke Ellingtonesque composition separated into three movements. On it, she plays the piano and sings throughout, and is accompanied by her band. The first movement is called “I’m Going to Buy You a Boat.” It has the swagger of a 1940s striptease tune, but the complexity of the Beatles’ Abbey Road. The second movement, “Baby Dynamite,” has a light bossanova groove to it and a strong pop chord

When she did debut her music in a public forum, unlike most musicians, she was already a refined performer with a unique voice and a unique sound, not to mention her actual singing voice and musicianship was well beyond musicians with decades more experience. “She had a pretty clear sense of what she wanted to do even before she knew exactly how to do it. She has a clear vision of her music,” Kissell says. On “Chestnut Street,” the album’s title track, she creates an orchestra of sound using only her voice. She builds wordless vocal arpeggios one at a time (an effect she does flawlessly live, using her looping pedal), giving it the gentle bounce of classic jazz combined with late ’60s chamberpop. About a minute and a half in, she begins singing actual words on top of it. (“I can hear the pitter patter of the rain/and I’m watching all the cars imitating shooting stars out my window.”) The two lines repeat through the remainder of the song. The album gets its name from a house she was living in on Chestnut Street while she wrote most of the material. The title song, like others on the album, evokes very specific sensory and emotional experiences from the time she spent there. McKinley recorded almost everything on Chestnut Street completely on her own (with the exception of “An Ode to John Hartford’s ‘In Tall Buildings,’” which also has Jeff Wilson on the banjo). Most of the songs are just McKinley and her acoustic guitar, and a couple are just her and her vocal looping pedal. As complex and nuanced as her songs end up, they generally just begin as these wordless repeating melodies which she

Building a Band

'Since I was little, I would dissect what I heard musically into all the separate parts...that was just the way that my brain processed music.' — Kendra McKinley She then left the band behind for an already planned trip to Europe. For the front end of the trip, she had landed an unusual gig of playing on an eight-day cruise through parts of the Mediterranean Sea. It was an unusual cruise, in that there were only about 100 passengers, and there were several musicians recruited as performers. “A lot of the passengers, even if they weren’t recruited as musicians, brought their instruments as well, or borrowed other people’s instruments. There was a lot of collaboration throughout the trip,” McKinley says. As excited as she was about playing on the cruise and traveling in Europe, she wasn’t that happy about being a solo artist again. “It made it frustrating when I would get these ideas for a fully realized song that could be played by my band in particular, and knowing that I wasn’t going to be able to realize it until I don’t even know what date,” McKinley says. “But it’s also a challenge when you’re writing a song for one performer so see how much you can pack into one song, how potent you can make it. I appreciate that challenge.”

She met up with her backup singer Meehan later in Europe, and the two of them travelled throughout the continent, hitting Holland, Sweden, Denmark, Germany, Austria and Italy. McKinley picked up gigs in every one of those countries, sometimes at clubs, but often at parties or just busking on the street. The trip opened up new possibilities. “Traveling and playing music is ultimately what I want to do with my life. Any opportunity to combine the two is all right by me,” McKinley says. “Traveling with a guitar is a really nice way to make friends, because it sparks up a lot of conversations. Then you end up being asked to prove yourself as a musician. That was essentially what I did.”

Next Big Thing When she arrived back in Santa Cruz in August, she reunited with her band, with the exception of her bass player, who left to study music at Berklee College in Boston (she’s been using substitutes to take his place). Just as she seems poised for big things, she’s leaving Santa Cruz, planning to relocate to San Francisco this year, with the hopes that it will help her advance her musical career. “I love the City. While traveling, I was always thinking in the back of my mind that I was going to have to figure out where to go once I returned to the States. San Francisco felt like the right place. So now I am going to give it a shot,” McKinley says. She has plans to continue playing with her band, but she really wants to branch out as much as possible to really expand her musical repertoire. In fact, she recently started a triphop side project called Whizbang Operations with Oliver Whitcroft. He plays an Akai MPC (midi sequencer, sampler, drum machine) and McKinley plays the looping pedal. “I really hope to engage in some more collaborative songwriting in the coming year,” McKinley says. “I also look forward to actually naming the group. I am not the biggest fan of calling ourselves the Kendra McKinley Group, because I want to be representative of all members. All these people have interesting ideas to contribute.” 0

J A N U A R Y 1 - 7, 2 0 1 4

structuring. The final movement, “So Long,” is a romantic orchestral ballad done in the fashion of a musical theater closer, a la “Memories” in Cats. It’s an astonishing display of advanced musical talent. If she seemed like she was already quite skilled only a year earlier, when she first performed at the Crepe Place, she had quickly jumped leaps and bounds.

J A N U A R Y 1 - 7, 2 0 1 4

List your local event in the calendar! Email it to calendar@santacruzweekly.com, fax it to 831.457.5828, or drop it by our office. Events need to be received a week prior to publication and placement cannot be guaranteed.

Stage DANCE Bellydance Showcase

GALLERIES

THEATER

CONTINUING

8 Tens @ Eight

Felix Kulpa Gallery

The 19th annual festival of short plays written by Bay Area playwrights. www.sccat. org. Fri, Jan 3, 8pm, Sat, Jan 4, 3 and 8pm and Sun, Jan 5, 3pm. $15-$30. Center Stage, 1001 Center St, Santa Cruz, 831.425.7529.

Lunch: A Modern Musical Myth An original musical about a deceased Wall Street specialist who must answer three Manhattanites prayers before being allowed into heaven. Fri, Jan 3, 7:30pm, Sat, Jan 4, 7:30pm and Sun, Jan 5, 2pm. $22-$42. Cabrillo College Crocker Theater, 6500 Soquel Dr, Aptos, 831.479.6154.

Art

Neon art by Brian Coleman featuring glass tubes filled with multicolored glowing gasses. Gallery hours: ThursSun, noon-6pm. Thru Jan. 26. 107 Elm St, Santa Cruz, 408.373.2854.

Santa Cruz Museum of Art and History Toy Trains. A rotating cavalcade of operating toy trains from the 1920s to the 21st century. Gallery hours: Tues-Sun, 11am-5pm. Thru Jan 5. Rydell Visual Arts Fellows. An exhibition showcasing the diverse work of four local artists who received grants to pursue their projects. Gallery hours: Tues-Sun, 11am-5pm. Thru Feb. 23. $5 general; $3 students/seniors. Museum hours Tue-Sun, 11am-5pm; closed Mon. 705 Front St, Santa Cruz, 831.429.1964.

Various Santa Cruz County Bank Locations

MUSEUMS

Bank Arts Collaborative. Down on the Farm: Seven local artists whose work represents the beauty of simple life on the farm.

CONTINUING Santa Cruz Museum of Art and History Free First Friday. View the

San Francisco’s City Guide

Young Remedy San Francisco’s own comes correct with new album ‘Twerk Chair.’ Jan 2 at Brick & Mortar Music Hall.

Anthony B Pan Afrikanist in the tradition of Marcus Garvey brings conscious reggae alive. Jan 3 at the Independent.

Mon-Thurs, 9am-5pm, Fri 9am-6pm. Thru Jan. 3. Free. n/a, Santa Cruz.

Events LITERARY EVENTS Health & Wellness Author Night A local author panel promoting health and wellness: Elizabeth Borelli, Rita Rivera and Mary Toscano. Tue, Jan 7, 7pm. Bookshop Santa Cruz, 1520 Pacific Ave, Santa Cruz, 831.423.0900.

Storytime Former Shakespeare Santa Cruz actress Billie Harris and Book Cafe manager Jill Rose perform animated readings of children’s stories. Mon, 11am. Capitola Book Cafe, 1475 41st Ave, Capitola, 831.462.4415.

The Writer s Journey Monthly writing practice facilitated by 7-time local author Laura Davis. Mon, Jan 6, 7:30pm. Bookshop Santa Cruz, 1520 Pacific Ave, Santa Cruz, 831.423.0900.

NOTICES Baby Feeding Circle A chance to relax, feed your baby and chat with other new mothers. Open to all mothers and babies. Mon, 10:30-11:30am. free. Luma Yoga & Family Center, 1010 Center St., Santa Cruz, 831.325.2620.

Beat Sanctuary A weekly class for exploring exercise and spirituality through dance. Wed, 7:309:15pm. $15. A dance class for exploring authentic movement as connection, exercise, prayer and spiritual practice. Wed, 7:30-9:15pm. $15. Santa Cruz Yoga, 402 Ingalls Street, Santa Cruz, 831.227.2156.

Beauty, Mystery, Discovery

A ‘Western Winter Formal’ with the North Bay’s ﬁnest acoustic duo. Jan 4 at the Great American Music Hall.

A mixed media art show by Rosalind San Felipe exploring the nature of beauty. Fri, Jan 3, 6:30-8:30pm. Free. Pure Pleasure, 204 Church St, Santa Cruz, 831.466.9870.

Aceyalone

Computer Coaching

The most tongue-twisting member of Freestyle Fellowship switches up styles. Jan 4 at the New Parish.

Basic computer help for adults: Emailing, searching the internet, creating passwords and more. Sign up for 30-minute sessions at the front desk. First Sun of every month, 1-4:30pm. Free. Santa Cruz Central Branch Library, 224 Church St, Santa Cruz, 831.427.7700x7635.

The Easy Leaves

Pharoah Sanders Quartet If Coltrane was the father of spiritual jazz, Sanders was the son—” and still inspires. Jan 3-5 at Yoshi’s Oakland.

More San Francisco events at www.sfstation.com. exhibits for free every first

A Course In Miracles Study Group A weekly meeting on learning how to forgive and live in

peace. Drop-ins are welcome. Thu, 7-9pm. The Barn Studio, 104b Park Way South, Santa Cruz, 831.272.2246.

Dog Hikes Santa Cruz International Dog Owner’s Community hosts a weekly one-hour, easy hike along the beach for dog lovers and their pets. www.newdogsintown. com Mon, 8:45-9:45am. Free. Aptos Beach staircase, 1049 Via Palo Alto, Aptos.

J A N U A R Y 1 - 7, 2 0 1 4

Different belly dancers each week on the garden stage. Presented by Helene. www. thecrepeplace.com. Sat, 1:30pm. Crepe Place, 1134 Soquel Ave, Santa Cruz, 831.429.6994.

Friday of the month. Docent tours at noon. First Fri of every month, 11am-6pm. Spotlight Tours. Bringing the artists’ voices directly to visitors. Go behind the scenes and museum-wide exhibitions. First Sat of every month, 11:30am-12:30pm. Museum hours Tue-Sun, 11am-5pm; closed Mon. 705 Front St, Santa Cruz, 831.429.1964.

Eating Disorders Resource Center Meeting Groups will be led by Kimberly Kuhn, LCSW and Carolyn Blackman, RN, LCSW. First Fri of every month, 6-7:30pm. Sutter Maternity and Surgery Center, 2900 Chanticleer Ave, Santa Cruz, 408.559.5593.

Fatherhood Class A monthly dads’ class supporting men in taking an active hand in parenting babies and children. First Mon of every month, 7-8pm. $5-$10 suggested donation. Luma Yoga & Family Center, 1010 Center St., Santa Cruz, 831.325.2620.

Figure Drawing Weekly drawing from a live model, facilitated by Open Studio artist Richard Bennett. Mon, 7-10pm. $16. Santa Cruz Art League, 526 Broadway, Santa Cruz, 831.426.5787.

Friday Shakespeare Club A group of diverse women engaging in stimulating discussions of Shakespeare’s plays. www. fridayshakespeare.org. Fri, Jan 3, 10:30am-12:30pm. Free. First Congregational Church of Santa Cruz, 900 High St, Santa Cruz, 831.438.3615.

FRIDAY 12/20 — SUNDAY 1/5

Lunch There’s a little-known song by the band Ra Ra Riot called, “Dying is Fine.” That may be the case. But after the dying, that’s where the questions start to come up. In the musical comedy Lunch, which premieres this Friday, the protagonist is a Wall Street tycoon who learns he will not be allowed into heaven until he spends a lunch shift running around Manhattan answering the prayers of other humans. Don’t be surprised if the show lands itself in the actual Manhattan after its run here—it is written by Emmy-winner Rick Harris and musical superheroes Steve Dorff and John Bettis. Thu-Sat evenings at 7:30pm, Sunday matinees at 2pm at the Cabrillo Crocker Theater, 6500 Soquel Dr., Aptos. $22-$42. 7-8pm. Conscious Lounge, 1651A El Dorado Av @ Capitola Rd, Santa Cruz, 831.359.0423.

Grief Support

NAACP Santa Cruz Membership and Leadership Outreach Effort

A lunchtime drop-in support group for adults grieving the death of a family member or friend. Tues. 6-7pm at 125 Heather Terrace, Aptos; Fri. noon-1pm at 5403 Scotts Valley Dr. Ste. D, Scotts Valley. free. Various sites, NA, Santa Cruz, 831.430.3000.

Members of the community are invited and encouraged to attend meetings of the NAACP Santa Cruz County Branch #1071. First Mon of every month, 7:30pm. Progressive Missionary Baptist Church, 517 Center St, Santa Cruz.

Insight Santa Cruz

Overeaters Anonymous

Meditation sits, talks and discussions every day of the week. Learn the formal practice of meditation and engage with a community dedicated to reducing suffering by cultivating compassion. Visit www. insightsantacruz.org for specific times and more information. Ongoing. Insight Santa Cruz, 1010 Fair Avenue, Suite C, Santa Cruz, 831.425.3431.

Miracle Working Spiritual teacher Dominique Free leads a weekly class on cultivating the consciousness to heal, overcome, succeed and create miracles. Thu,

A 12-step support group for those who wish to recover from compulsive eating. Sundays 9-10:15am at 2900 Chanticleer Ave, Santa Cruz and 4-5:15pm at 115 South Morrissey, Santa Cruz. Mondays 12:15-1:15pm at 420 Melrose Ave, Santa Cruz and 7-8pm at 4951 Soquel Drive, Soquel. Tuesdays 12:15-1:15pm at 420 Melrose Ave, Santa Cruz. Wednesdays 10:3011:30am at 1335 Seabright Ave, Santa Cruz; noon-1pm at 49 Blanca Ln #303, Watsonville; and 6:30-7:30pm at 335 Spreckles Dr, Ste. A, Aptos. Thursdays 1-2pm at 301 Center St., Santa Cruz.

Fridays noon-1pm at 49 Blanca Ln, #303, Watsonville and 12:15-1:15pm at 225 Rooney St., Santa Cruz. Saturdays 9-10am at 532 Center St, Santa Cruz and 11am-noon at 75 Nelson St, Watsonville. 831.429.7906.

Postpartum Health Circle A weekly community circle offering support and information about postpartum changes for mothers. Wed, 1:30-2:30pm. $5-$10 donation. Luma Yoga & Family Center, 1010 Center St., Santa Cruz, 831.325.2620.

Qigong Flow Led by Bonnie Eskie, MFT. Tue, 10-11am. $10-$12. Louden Nelson Community Center, 301 Center St, Santa Cruz, 831.515.4144.

Support and Recovery Groups Alzheimer’s: Alzheimer’s Assn., 831.464.9982. Cancer: Katz Cancer Resource Center, 831.351.7770; WomenCARE, 831.457.2273. Candida: 831.471.0737. Chronic Pain: American Chronic Pain Association, 831.423.1385. Grief and Loss: Hospice, 831.430.3000. Lupus: Jeanette Miller, 831.566.0962. Men Overcoming

Abusive Behavior: 831.464.3855. SMART Recovery: 831.462.5470. Trans Latina women: Mariposas, 831.425.5422. Trichotillomania: 831.457.1004. 12-Step Programs: 831.454. HELP (4357). Pagans in Recovery: 831.428.3024. Narcotics Anonymous: saveyoursanity@aol.com. Clutterers Anonymous: 831.359.3008.

The Speaker s Gym Instructor Noel Murphy provides leadership coaching and public speaking skills every week. www. thespeakersgym.com. Wed, 7-9:30pm. Discovery Gym, 75 Mt. Hermon Rd., Scotts Valley, 831.238.1234.

Zen, Vipassana, Basic: Intro to Meditation Zen: SC Zen Center, Wed, 5:45pm, 831.457.0206. Vipassana: Vipassana SC, Wed 6:30-8pm, 831.425.3431. Basic: Land of the Medicine Buddha, Wed, 5:30-6:30pm, 831.462.8383. Zen: Ocean Gate Zendo, first Tue each month 6:30-7pm. All are free.

AROUND TOWN Comedy Showcase A new comedy showcase hosted by DNA featuring a different Bay Area headliner each week. Tue, 8:30pm. Free. Blue Lagoon, 923 Pacific Ave, Santa Cruz, 831.423.7117.

Yoga Instruction

Queer Movie Night

Pacific Cultural Center: 35+ classes per week, 831.462.8893. SC Yoga: 45 classes per week, 831.227.2156. TriYoga: numerous weekly classes, 831.464.8100. Yoga Within at Aptos Station, 831.687.0818; Om Room School of Yoga, 831.429.9355; Pacific Climbing Gym, 831.454.9254; Aptos Yoga Center, 831.688.1019; Twin Lotus Center, 831.239.3900. Hatha Yoga with Debra Whizin, 831.588.8527.

A monthly event featuring an LGBTQ-themed film plus snacks and socializing. First Fri of every month, 6pm. Diversity Center, 1117 Soquel Ave, Santa Cruz, 831.425.5422.

UCSC Farm Tours Learn about organic farming while visiting greenhouses, orchards, and row crops. First Sun of every month, 2-3:30pm. Free. UCSC Farm and Garden, UCSC, Santa Cruz, 831.459.3240.

J A N U A R Y 1 - 7, 7, 2 0 1 4

IT’S THE SHE’S, BEACHES! The up-and-coming Bay Area foursome up and come to the Crepe Place.

THURSDAY THURSD AY

11/2 /2

RISIN RISING NG APPALACHIA APPA ALACHIA Chloe and Leah Smith, S the two sisters behind Appalachia, Atlanta Rising Appalachi a, grew grew up in A tlanta and now call New Orleans home.. But, while the music incorporate they make does incorpor ate instruments, banjo, including the ban njo, fiddle fiddle and spoons, that aree found Southern ar found in Sou thern rroots oots music, the Rising soundd also consists of djembes, Appalachia soun didgeridoos tablas didgeridoos, tablas and an occasional session. hardd to pin down, beatboxing sessi ion. A bit har take big-picture, these women tak ke the big-pictur e, one-world music-making oute to music-m rroute making and pull together soul,, world music and mor moree to elements of soul celebrate multi-dimensional, celebr ate this mu ulti-dimensional, global culture culture Quixote’s; of ours. Don Quix xote’s; $15 adv/$20 door; (Cat 8:30pm.. (C at Johnson) Johhnson)

FRIDAY F FRID AY

11/3 /3

COFFIS C B BROTHERS / M MCCOY TYLER B BAND Heere are Here are two har hard-working d-working local bands th that at met crossroads me et at the cr ossroads of ffolk, olk, country and Coffis Brothers rrock. occk. The Coff is Br others & the Mountain Men M out interesting ou ut of Ben LLomond omond have struck an inter esstingg balance ballads—thanks ba alance of ffast ast songs and ballads—thank ks largely playing. lar rgely to acoustic and electric guitar play ing. McCoy Mc cCoy TTyler’s yler y ’s trio meanwhile gets a lot of sound three so und out of thr ee people. Guitarist TTyler yler y often target-shoots oft ten tar get-shoots his strings instead of strumming str rumming to get lead guitar sound while both upright Brown drummer up pright bassist Clinton Br own and drumm er Chad Ch had Bowen sing back-up. Don Quixote's; $10; 8pm. Pierce) 8p pm. (Jacob Pier ce)

FRIDAY FRID AY

11/3 /3 3

VAUD & THE T VILLAINS S A very cursory glance (and we mean very cursory) of music history rreveals e eveals these ffolks olks might be the largest largest band ever to play Moe’s Moe’s Alley. Alley. With 19 members, Vaud Vaud a & Villains— such fun wordplay wordplay on the early e 20th-century Vaudeville Vaudeville era!—put era!—put on a boozy full-band cabaret that’s cabaret show that ’s at times times fun, at times dark and always dynamic with w guitars, guitars a sousaphone and sounds st straight traight out of Broadway’s Broadway’s All That Jazz. Moe's M Alley; $12 adv/$15 door; 9pm. (JP)

FRIDAY FRID AY

11/3 /3

MAD D MARIONETTES MAR RIONETTES / JOS JOSHUA SHUA LOWE & TH THE HE JUNCOS The klezmer klezmer-sounding r-sounding Mad Marionettes put exciting on an excitin ng ffoot-stomping oot-stomping show with lots of percussion percussion and minor keys. (We’re (We’re not suree whyy the these aree angry angry, sur ese marionettes ar g y, but closely ordinary they very clo osely rresemble esemble or dinary humans, they’re so maybe th ey’re just looking ffor or their strings?) If that that band doesn’t doesn’t wear out your ankles, local folk folk band Joshua Lowe’s Lowe’s Juncos draws might with ttheir heir music, which dr aws lyrical from Greg Brown, influence fr o Gr om eg Br own, John Prine and Snider.. Cr Crepe TTodd odd o Snider epe Place; $8; 9pm. (JP)

SATURDAY

1/4

Celebrating Creativity Since 1975

E-40

Saturday, January 4 U 7 pm

MONDAY

1/6

PHAROAH SANDERS QUARTET In the early 1960s, tenor saxophonist Pharoah Sanders was playing at the Village Gate in New York. John Coltrane, who was in the audience, liked what he heard from the young Sanders and invited him to sit in with his band. For the next several years, until Coltrane’s death in 1967, Sanders played alongside, and learned from, the jazz great regularly. Known for his fierce and passionate approach to playing, his mastery of the unrestrained, free-jazz style and the spiritual undertones of his music, Sanders is one of the most extraordinary artists and composers of his time. Kuumbwa; $26 adv/$31 door; 7pm & 9pm. (CJ)

MONDAY

1/6

BLUES HARMONICA BLOWOUT He’s 23 years in now, by the official count, and Mark Hummel may have just assembled his most impressive line-up ever for the Blues Harmonica Blowout that blasts into Moe’s every January to help ring in the new year. The original Bluesbreaker himself, John Mayall, along with Rick Estrin, Curtis Salgado, Little Charlie Baty, Aki Kumar and Hummel’s

THE RAYBURN BROTHERS BAND CD Release Concert + Sharon Allen Tickets: rayburnbrothers.com U 7 & 9 pm | No Comps

Mon. January 6

PHAROAH SANDERS QUARTET 9pm: 1/2 Price Night for Students

Thursday, January 9 U 7 pm

The Hanrahan Quartet Performing JOHN COLTRANE’S 50th Anniversary! “A LOVE SUPREME”

ANTHONY B

Concerts ZONGO JUNCTION Jan. 2 at Moe’s Alley

7 & 9 pm | No Comps

ROBBEN FORD

Monday, January 13 U 7 pm | No Comps

KIM NALLEY with the MARCUS SHELBY ORCHESTRA

Jan. 4 at Moe’s Alley

THE TUTTLES WITH AJ LEE Jan. 5 at Don Quixote’s

CHATHAM COUNTY LINE Jan. 19 at Crepe Place

BOOKER T. JONES Jan. 20 at Kuumbwa

own battalion of Blues Survivors will all join him to pay tribute to West Coast blues legend Sonny Boy Williamson II. Christ, who’s he going to get next year, the ghost of Sonny Terry? Holograms, y’all! Moe’s Alley; $30; 8pm. (SP)

1/8

THE SHE’S The members of the She’s are really young; like teenage-ish. They’re also really quite good at crafting summery pop music that sounds like one part Beach Boys, one part Dum Dum Girls and a pinch of the Donnas. This foursome of longtime friends that calls the Bay Area home has caught the attention of music lovers and critics— the SF Bay Guardian named them one of the year’s Bands On the Rise—with simple, well-crafted ditties that bring to mind beach cruising, young love and hanging out with friends. Also on the bill: the Wild Ones, a local, all-girl, garage-punk outfit that is turning heads and ears with its throwback, and throwdown, sound. Crepe Place; $8; 9pm. (CJ)

7 pm | No Comps

Thursday, January 16

Sunday, January 19

7:30 pm

ALBERT LEE

RED MOLLY

ANTHONY B

WEDNESDAY

Fri. January 10

Tickets: snazzyproductions.com Mon. January 20

7 & 9 pm | No Comps

BOOKER T. JONES

Unless noted advance tickets at kuumbwajazz.org and Logos Books & Records. Dinner served 1-hr before Kuumbwa presented concerts. Premium wines & beer. All ages welcome.

320-2 Cedar St [ Santa Cruz 831.427.2227

kuumbwajazz.org

J A N U A R Y 1 - 7, 2 0 1 4

A while back, E-40, long one of the East Bay’s most popular underground rappers, decided that the city of Mountain View was conspiring to keep him off the bill for Rock the Bells at Shoreline. City officials issued a statement saying “That’s cray-cray! We’re keeping it real up in here. E-40 is a Yay Area treasure, and we vigorously deny these accusations while we chill in our new stunnas, digging his classic slumpers.” Well, something to that effect, anyway. Really, can you blame them for wanting to make nice with the guy who wrote “Don’t be talkin’ under yo breath, ’cause that might be the cause of your death?” Catalyst; $24/$29; 9pm. (Steve Palopoli)

1011 PACIFIC AVE. SANTA CRUZ 831-423-1336 Friday, January 3 Â&#x2039; In the Atrium s AGES 21+

HAMMERDOWN

$RS ONLY s P M P M

E-40

J A N U A R Y 1 - 7, 7, 2 0 1 4

Saturday, January 4 AGES 16+ plus A-1 !DV $RS s $RS OPEN P M 3HOW P M *AN D-Lo Atrium (Ages 16+) Jan 11 Tribal Seeds (Ages 16+) Jan 11 Sin Sisters Burlesque Atrium (Ages 21+) Jan 15 White Fence Atrium (Ages 16+) Jan 16 Yellowcard/ Ocean Ave (Ages 16+) Jan 16 Austin Jenckes Atrium (Ages 21+) Jan 17 Tainted Love (Ages 21+) Jan 17 Sincere Atrium (Ages 16+) Jan 18 Hopsin/ Dizzy Wright (Ages 16+) Jan 18 The Murder Junkies Atrium (Ages 21+) Jan 21 Kicks â&#x20AC;&#x2122;nâ&#x20AC;&#x2122; Licks Atrium (Ages 18+) Jan 23 Yuckmouth Atrium (Ages 16+) Jan 24 Infected Mushroom (Ages 18+) Jan 24 Foreverland Atrium (Ages 21+) Jan 25 Hieroglyphics (Ages 16+) Jan 25 Eliquate Atrium (Ages 16+) Jan 26 Jayke Orvis Atrium (Ages 21+) Jan 27 Emery Atrium (Ages 16+) Feb 1 Y & T (Ages 21+) Feb 22 Z-Trip (Ages 18+) Feb 28 Dr. Dog/ Saint Rich (Ages 16+) Mar 4 G-Eazy (Ages 16+) Mar 7 Downlink/ Dieselboy (Ages 18+) Mar 8 Bone Thugs-N-Harmony (Ages 16+) -AR Michael McDonald (Ages 21+) Mar 11 Shpongle (Ages 18+) Mar 21 Iration (Ages 16+) Apr 12 Tiger Army (Ages 16+) Apr 15 Dark Star Orchestra (Ages 21+) Apr 25 Zoso Ultimate Led Zep Experience (Ages 21+) Unless otherwise noted, all shows are dance shows with limited seating. Tickets subject to city tax & service charge by phone 877-987-6487 & online

www.catalystclub.com

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11101 101 P PaciďŹ c aciďŹ c A Avenue, venue, Santa Cruz

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3102 3 310 2 Portola Portola Dr Dr.,., Santa Cruz

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1120 20 Union St, St, Santa Cruz

R THEATRE RIO THEATRE 11205 205 Soquel A Avenue, venue, Santa Cruz

S SEABRIGHT BREWERY BREWERY 5 Seabright A 519 Ave, ve, Santa Cruz

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SUN

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Nite Nit e Creepers Creepers

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BLUE BLUE LAGOON LAGOON 831.423.7117 831.423.7117

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BOCCI’S BOCCI’S CELLAR 831.427.1795 831.427.1795

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J A N U A R Y 1 - 7, 7, 2 0 1 4

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FRI 11/3 /3

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110 11 0 Monterey Monterey Ave., Ave., Capitola Capitola

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211 21 11 Esplanade, Esplanade, Capitola Capitola

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783 7 8 Rio del Mar Blvd, 83 Blvd, Apt Aptos os

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2591 25 591 Main S St, t, Soquel

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215 21 15 Esplanade, Esplanade, Capit Capitola ola

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1 Seascape S Resort Resort Dr, Dr, Rio del Mar

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7500 7 5 500 Old Dominion Ct, Apt Aptos os

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MOSS MOSS LANDING INN 831.6 831.633.3038 33.3038

J A N U A R Y 1 - 7, 7, 2 0 1 4

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J A N U A R Y 1 - 7, 2 0 1 4

Film HEP CATS Folk musician Llewyn Davis (Oscar Isaac) takes a friend’s tabby on a road trip.

Village People The Coen brothers’ latest film revisits the 1960s folk scene through one troubadour’s troubles BY RICHARD VON BUSACK

OU WERE EXPECTING A Mighty Wind, maybe? Llewyn Davis (Oscar Isaac) is homeless in winter 1961—a couch surfer especially unappreciated by Jean (a fundamentally miscast Carey Mulligan), the girlfriend of his buddy Jim (Justin Timberlake). Jean is pregnant after a misspent night with Llewyn, and she hates Llewyn for it. Davis is making a few dollars here and there playing trad folk at passthe-hat “baskethouses” in Greenwich Village. Sometimes he goes uptown and crashes with his old professor. But this situation takes a toll when he loses his host’s cat. (Evocative animal, this big orange tom: he stirs up memories

of films about rootlessness, such as Breakfast at Tiffany’s and The Long Goodbye.) On a spur-of-the-moment trip to Chicago to see a promoter, Davis tries to escape his personal hell as well as the memories of a long-gone partner he once had. There are numerous moments in Joel and Ethan Coen’s films that are too sad to think about: the statue of Paul Bunyan in the snow in Fargo; Mattie Ross in True Grit’s farewell to the outlaw Frank James, “Keep your seat, trash”; the parable of the dybbuk in A Serious Man. Inside Llewyn Davis is maybe their chilliest work. Bitter can be good. The film is intelligently anti-nostalgic—even if the Village

really looks like a snowbound village, it makes you not want to go back to the 1960s. Like TV’s Mad Men, it makes you remember what a tightly run, unsparing place JFK’s America was. Bruno Delbonnel’s dove-grey photography puts a halo of frost on New York. But the Coens’ usual depth of frame is lucid as always: a vast turnpike eatery with miles of snot-green tiles, or an apartment hallway that disappears into a slapstick-brutal angle of two apartment doors. T-Bone Burnett, who assembled the O Brother, Where Art Thou? soundtrack, collaborates with the Coens once again. As a musician, Isaac is sensationally watchful and

sympathetic, even playing a seething man who doesn’t give up much. He pours full tragic force into “Death of Queen Jane,” the ballad of Jane Seymour’s demise in 1537. But his Llewyn also plays along on a lovably goofy novelty song about John Glenn’s then-upcoming rocket ride. The most deadly wit comes from Davis’ co-passenger on the Chicago trip, a fountain of bile named Roland Turner. John Goodman is once again the Coens’ wrecking ball swung against an unoffending wanderer. Turner’s speech about the power of black magic is one of the most baleful moments in the Coens’ catalogue. Watching Inside Llewyn Davis, some will shrug, as F. Murray Abraham’s promoter Bud Grossman does, and say “I don't see a lot of money here.” This striking and melancholy film begs the question of where the money is today, though. Burnett’s afterword to the published screenplay points out “we’re being told now that artists are to crowdsource their work, that artists are to follow the crowd rather than lead the crowd. Well, there’s no artist worth his salt who will follow the crowd.” As the rock musician David Lowery has been noting online, digital reproduction is bleeding royalties from musicians and writers. Davis’ plight mirrors the thwarted talents of today: circumstantial failures, not deluded failures. Turner—named after the jesting Turner in the film Performance?— imitates a victim of the voodoo he knows how to work: “I just can’t make anything come out right. My life is a big bowl of shit. I don’t remember making this bowl of shit.” Inside Llewyn Davis isn’t cuddly, but it’s loaded with soul. And it’s one memorably harrowing look at an artist pushed to the point of oblivion by scorn, misfortune and the iron hand of the market. INSIDE LLEWYN DAVIS R; 105 min. Opens Friday

Film

Mouse Traps

The year in film included many ‘Disney’ missteps plus a spot-on skewering of the ‘Happiest Place on Earth’ BY RICHARD VON BUSACK

bad year for The Mouse. Watch Disney try to burnish its image with the lie-filled Saving Mr. Banks—where they imagineered the story of a starchy Brit (Emma Thompson) learning to lay back and enjoy market penetration, almost literally so, as when Thompson’s P. L. Travers— world traveler, disciple of Gurdjieff, journalist—ends up trysting with a giant stuffed Mickey Mouse. Cut to The Lone Ranger—a Disney franchise that no one knew how to launch. Who was that movie for? For kids? For psychotic kids? For cineastes with fond memories of Dead Man? The studio’s artistic content showed

self-doubt, as in Frozen. What the hell is this movie about, asks the person looking at the posters? Is it another Ice Age movie? And then there was 2013’s Revolt of the Disney Girls. The critical love for Spring Breakers is due in some respects to Palo Alto’s own James Franco’s grilled, cornrowed pimp. Defenders of this movie (I’m not really one) decided that the transgressive qualities of this MTVish thang were proved by defecting Disneyites Selena Gomez and Vanessa Hudgens, going down and dirty. And Spring Breakers came out even before the former Hannah Montana decided to twitch her undernourished hams at that

awards show. I preferred Randy Moore’s all-out attack on Sleeping Beauty’s castle. Escape from Tomorrow even has a counter on its website tabulating the number of hours the film has been available via VOD, ticking off the time until the filmmakers are sued by The Mouse. It’s the greatest cultural swipe since Todd Haynes went after Karen Carpenter in Superstar. Moore adds to the encouraging black and white revival of ’13: Frances Ha, Much Ado About Nothing, Nebraska and the nighted, charcoal and snow-tinted colors of Inside Llewyn Davis, which one remembers in black and white as if one had been the cat watching

J A N U A R Y 1 - 7, 2 0 1 4

NOT HAVING A BALL A trip to the Happiest Place on Earth turns surreal and paranoid for a family man under pressure in ‘Escape From Tomorrow.’

it. While proving the viability of monochrome, Moore also snatched his movie out of the most heavily monitored places on earth. You’d rather steal chump change from Smaug. Even when I was a kid, we called Disneyland “The Magic Dictatorship”— they knew how to keep an eye on the revelers back then, and I imagine their eyesight and hearing has only improved over the years. Moore’s composite Kingdom (of Florida’s Disneyworld and California’s Disneyland) demonstrated effrontery that matched the stunt. The budget may have been small, but it was a million-dollar idea to bring David Cronenberg to the Happiest Place on Earth. I laughed like a hyena at one bit: that film-noir sucker, the horny middleaged dad (Roy Abramsohn), needed to be lured by a pair of ooh-la-la Disney princesses. It would have been one French girl in the old days: that’s inflation for you. Lucky coincidence that the two temptresses leading the sap into a labyrinth of hallucinations— “It’s a small, small world for you to DIE in”—were part of my own 2013 personal l. of h.; my favorite movie of the year was Blue Is the Warmest Color with its two mesmerizing leads, but I also loved the two unfortunate women facing religious mania (or is it religious solace?) in the Romanian tragedy Beyond the Hills. Or the troubled classriven women’s friendship in Frances Ha, or brave Beatrice sticking up for her kinswoman Hero in Joss Whedon’s typically feminist take on Shakespeare. It’s the reason why the Bechdel Rule means so much as I get older, and why male buddy films mean less to me. I like seeing a woman shoot an arrow into an oppressor as much as the next man. On the whole, the fight and flight of the action hero is not the default mode in drama with women. Again, on the whole, women, like slaves (12 Years) or old men (Nebraska), have to get crafty, to learn to endure and escape. 0

Film Capsules

J A N U A R Y 1 - 7, 2 0 1 4

New

PARANORMAL ACTIVITY: THE MARKED ONES (R; 84 min) How much do you think the makers of the Blair Witch Project wish they could go back in time and re-do their sad attempt to turn their movie into a franchise, using everything we’ve learned from Paranormal Activity? The producers behind PA have done absolutely everything right, and now they practically have a Marvel Universe type of thing happening with this spin-off from Paranormal Activity 4, which creates a completely different storyline about a young man “marked” by supernatural forces, but will no doubt tie in to the main Katie-

Demon-and-her-stolen-babyHunter storyline somehow. Even more intriguing, this film is specifically targeted at a Latino audience, setting the franchise up for success across demographic lines. Maybe GOP leaders will show up opening night to pick up some pointers? (Opens Thu at Cinema 9)

Reviews 12 YEARS A SLAVE (R; 133 min) Based on an 1853 memoir, this story of a free African American kidnapped and sold into slavery in the South is easily the bestreviewed film of the year. AMERICAN HUSTLE (R; 138 min) When it comes to cool, movies either got it or they don’t. And there’s

S H O W T IM E S

something about the promise of director David O. Russell and an all-star cast led by Christian Bale, Bradley Cooper, Amy Adams and Jeremy Renner taking on a con man story (with mafia tie-in!) that is going to make American Hustle irresistible to a lot of movie lovers. Throw in the great trailer that suggests everyone involved has lived up to that promise, and it doesn’t seem like hyperbole to say that in terms of movie cool, American Hustle could be the Pulp Fiction of its time. ANCHORMAN 2: THE LEGEND CONTINUES (PG-13; 119 min) I tried to get through the Ron Burgundy book, but trust me, his ridiculousness isn’t that interesting unless it’s coming out of Will Ferrell’s mouth.

Movie reviews by Steve Palopoli and Richard von Busack

That’s the thing that made Anchorman so great in the first place—these characters weren’t shticks, and they even transcended the caricatures they were meant to be in the first place. They seemed like real people—hilarious, dumbass real people— living in some kind of alternate reality that was a lot like ours, except funnier and with news-team gang fights. Can this muchanticipated sequel recapture the magic? Don’t look at me, I have no idea. (Opens Wed at 41st Avenue, Cinema 9, Scotts Valley and Green Valley) DALLAS BUYERS CLUB (R; 117 min.) Matthew McConaughey continues his bizarre transformation into one of the best actors of our generation in this true story

about a Texas electrician named Ron Woodroof, who took on the medical establishment after being diagnosed with HIV in the ’80s—in his attempt to get alternative treatments for himself and others, he became a drug smuggler. What has gotten into McConaughey, anyway? Remember when he was the acting equivalent of lumber back in the Contact days? Jared Leto is making a different kind of comeback, after not making films for a while—here he plays a transvestite who forms an unlikely partnership with Woodroof. DELIVERY MAN (PG-13; 103 min) If you feel like the premise for this Vince Vaughn comedy—slacker finds out his sperm-bank donation

Showtimes are for Wednesday, Jan. 1, through Wednesday, Jan. 8, unless otherwise indicated. Programs and showtimes are subject to change without notice.

APTOS CINEMAS

122 Rancho Del Mar Center, Aptos 831-426-7500 www.thenick.com

The Hobbit: The Desolation of Smaug 3D — Wed-Thu 9:45pm; Fri-Wed call for showtimes.

The Hunger Games: Catching Fire — Wed-Thu 11:30; 2:45; 6; 9:20; Fri-Wed

Philomena — Wed-Thu 2:30; 4:45; 7; 9:05; Fri-Wed call for showtimes. Saving Mr. Banks — Wed-Thu 1:30; 4:10; 6:45; 9:15; Fri-Wed call for showtimes.

call for showtimes.

41ST AVENUE CINEMA

call for showtimes.

Mandela: Long Walk to Freedom — Wed-Thu 11:15; 2:35; 6; 9:15; Fri-Wed

1475 41st Ave., Capitola 831.479.3504 www.cineluxtheatres.com

Walking With Dinosaurs — Wed-Thu 3; 8:15; 10:30; Fri-Wed call for showtimes. Walking With Dinosaurs 3D — Wed-Thu 12:30; 6; Fri-Wed call for showtimes.

American Hustle — Wed-Thu 12:45; 3:45; 7; 10; Fri-Wed call for showtimes. Anchorman 2: The Legend Continues — Wed-Thu 11; 1:45; 4:30; 7:20; 10:15;

CINELUX SCOTTS VALLEY CINEMA

Fri-Wed call for showtimes.

The Hobbit: The Desolation of Smaug — Wed-Thu 12:30; 4; 8; Fri-Wed call for showtimes.

226 Mt. Hermon Rd., Scotts Valley 831.438.3260 www.cineluxtheatres.com

DEL MAR

47 Ronin — Wed-Thu 1:15; 4:15; 7:10; 10; Fri-Wed call for showtimes. American Hustle — Wed-Thu 12:45; 3:45; 7; 10:15; Fri-Wed call for showtimes. Anchorman 2: The Legend Continues — Wed-Thu 11; 1:30; 4:20; 7:20; 10:15;

Nebraska — call for showtimes. Saving Mr. Banks — call for showtimes.

Frozen — Wed-Thu 11; 1:45; 4:30; 7:10; 10:10; Fri-Wed call for showtimes. The Hobbit: The Desolation of Smaug — Wed-Thu 11:15; 3; 6:45; 9:45; Fri-

1124 Pacific Ave., Santa Cruz 831.426.7500 www.thenick.com

Fri-Wed call for showtimes.

12 Years a Slave — call for showtimes. Dallas Buyer’s Club — call for showtimes. Inside Llewyn Davis — call for showtimes. Philomena — call for showtimes.

Wed call for showtimes. Grudge Match — Wed-Thu 11:20; 2; 4:40; 7:30; 10:15; Fri-Wed call for showtimes. Saving Mr. Banks — Wed-Thu 1; 4; 7; 10; Fri-Wed call for showtimes. The Secret Life of Walter Mitty — Wed-Thu 11; 1:45; 4:30; 6:45; 9:30; FriWed call for showtimes. Walking With Dinosaurs —Wed-Thu 11:15; 1:30; 4:10; 9:30; Fri-Wed call for showtimes. The Wolf of Wall Street — Wed-Thu 11:55; 4; 8; Fri-Wed call for showtimes.

RIVERFRONT STADIUM TWIN

GREEN VALLEY CINEMA 8

NICKELODEON

Lincoln and Cedar streets, Santa Cruz 831.426.7500 www.thenick.com

155 S. River St, Santa Cruz 800.326.3264 x1701 www.regmovies.com

American Hustle — Wed-Thu 12:15; 3:15; 6:30; Fri-Wed call for showtimes. The Secret Life of Walter Mitty —Wed-Thu 12; 2:30; 5; 7:30; Fri-Wed call for showtimes.

SANTA CRUZ CINEMA 9

1405 Pacific Ave., Santa Cruz 800.326.3264 x1700 www.regmovies.com

Paranormal Activity: The Marked Ones — (Opens Thu 10pm) call for showtimes. 47 Ronin — Wed-Thu 5:10pm; Fri-Wed call for showtimes. 47 Ronin 3D — Wed-Thu 11:30; 2:20; 8; 10:50; Fri-Wed call for showtimes. Anchorman 2: The Legend Continues — Wed-Thu 11:05; 12:15; 2; 3:15; 5; 7:25; 8; 10; 10:50; Fri-Wed call for showtimes.

Frozen — Wed-Thu 10:45; 1:30; 4:15; 6:50; 9:30; Fri-Wed call for showtimes. Grudge Match — Wed-Thu 11; 1:45; 4:30; 7:15; 10; Fri-Wed call for showtimes. The Hobbit: The Desolation of Smaug — Wed-Thu 11:05; 2:35; 6:15; Fri-Wed call for showtimes.

1125 S. Green Valley Rd, Watsonville 831.761.8200 www.greenvalleycinema.com

47 Ronin — Wed-Thu 10:45; 1:40; 7:30; 10:15; Fri-Wed call for showtimes. 47 Ronin 3D — Wed-Thu 4:30pm; Fri-Wed call for showtimes. American Hustle — Wed-Thu 1; 4; 7; 10:15; Fri-Wed call for showtimes. Anchorman 2: The Legend Continues —Wed-Thu 11; 1:40; 4:15; 7:15; 9:45; Fri-Wed call for showtimes.

The Hobbit: The Desolation of Smaug — Wed-Thu 12:15; 3:30; 6:45; 10; FriWed call for showtimes. Grudge Match — Wed-Thu 10:45; 1:30; 4; 7; 9:45; Fri-Wed call for showtimes. Saving Mr. Banks —Wed-Thu 10:45; 1:30; 4:15; 7:15; 10; Fri-Wed call for showtimes. Walking With Dinosaurs — Wed-Thu 1:05; 3:10; 7:30; 9:30; Fri-Wed call for showtimes. Walking With Dinosaurs 3D — Wed-Thu 11; 5:15; Fri-Wed call for showtimes. The Wolf of Wall Street — Wed-Thu 12; 3:45; 7:30.

accidentally fathered hundreds of children, and 142 of them are suing him—sounds familiar, it might be because it sounds exactly like the kind of comedy Vince Vaughn would have made by now. He actually didn’t, but New Zealander Ken Scott did in 2011, a movie called Starbuck on which it is based. I know some of those Kiwis have thick accents, but really, they’re remaking New Zealand films now? ENDER’S GAME (PG-13; 104 min) There’s been a lot of LGBT supporters protesting this movie because of the despicable anti-gay views of Orson Scott Card, the author of the book it’s based on (and a producer of the film). I don’t know if the film itself should be judged on the basis of that—maybe more on the fact that Ender’s Game wasn’t a great book to begin with, certainly inferior even to Card’s short story of the same name on which it was based. (Philip K. Dick’s Time Out of Joint is a far superior take on a very similar idea.) But whether or not you think the political issues should affect whether or not you see the film, at least we can all agree the guy’s a total douche. FREE BIRDS (PG; 91 min) Owen Wilson and Woody Harrelson star in this animated movie that is seriously about turkeys traveling through time. They go back to try to stop JFK’s assassination. Just kidding, of course; they try to get turkey off the Thanksgiving menu. FROZEN (PG; 108 min) Disney animated film has the kingdom of Arendelle trapped in perpetual winter, with young Anna (voiced by Kristen Bell) teaming with a rugged outdoorsman (Jonathan Groff) to journey across the frozen wasteland and lift the spell. Blizzards, trolls and a comicrelief snowman (Josh Gad) stand in their way. THE GREAT BEAUTY (NR; 142 min) Comedy-drama from director Paolo Sorrentino (who did the Sean Penn film This Must Be the Place a couple of years ago) satirizes the Italian nightlife scene through the eyes of a writer trapped by the success of his first novel. THE HOBBIT: THE DESOLATION OF SMAUG (PG-13; 161 min) We’re now up to five hours of Hobbit adaptation, so it’s understandable if, like Ice Cube, you’re asking “Are we there yet?” But c’mon, the dragon part of The Hobbit is the best part, by far! So even if you’re on Middle Earth overload, just hold out for a hero, like Bonnie Tyler.

HOMEFRONT (R; 100 min) Jason Statham gets as close as he ever will to a dramatic role in this story of a former DEA agent who moves his family to a sleepy little town. Oh, don’t worry though, there’s a druglord there! Do they fight? Are you kidding me? It’s Statham! Plus, Sylvester Stallone wrote the screenplay, so yes, that’s happening. James Franco and Winona Ryder co-star. HUNGER GAMES: CATCHING FIRE (PG-13; 146 min) Jennifer Lawrence and Liam Hemsworth return in the further adventures of Katniss Everdeen and friends. This time, it’s personal! Just kidding. It’s not that personal. INSIDE LLEWYN DAVIS (R; 105 min) A likely contender not only for most misspelled title of the year, but also for several Oscars, this latest film from the Coen Brothers has Oscar Isaac as an aspiring folk singer in Greenwich Village in 1961. OUT OF THE FURNACE (R; 116 min) Christian Bale plays Casey Affleck’s brother (they couldn’t get Ben?), who must save him after Casey falls in a crime ring. SAVING MR. BANKS (PG-13; 125 min) Author P.L. Travers (Emma Thompson) meets up with Walt Disney, who wants to make her book Mary Poppins into a movie. Other stars include Jason Schwartzman and B.J. Novack as two “supercalifragilistic” songwriters and Colin Farell as Travers’ dad in the writer’s flashbacks. THOR: THE DARK WORLD (PG-13; 122 min) If he had a hammer, he’d hammer in the morning. He’d hammer in the evening, all over the nine realms. Anyway, Thor is back in a plot that’s basically what you’d expect: blah blah Dark Elves, blah blah wormhole, blah blah anomaly. Thank god for the Loki comic relief. WALKING WITH DINOSAURS (PG; 87 min) When I was a kid, we had like four dinosaurs: stegosaurus, triceratops, brontosaurus and, of course, T-Rex. Now they don’t even count brontosaurus anymore, and my three-year-old is asking me about ankylosaurus and archaeopteryx—what? I don’t know that crap! Maybe I can send her to this movie, an animated family story based on the live animatronic stage show, while I pout in the corner with my old stuffed dino, Mr. Bronty.

Send tips about food, wine and dining discoveries to Christina Waters at xtina@cruzio.com. Read her blog at christinawaters.com.

WOMAN IN GREENS Whatever La Posta’s Katherine Stern cooks up this year, we want to be there for it.

A New Year of Santa Cruz Dining BY CHRISTINA WATERS

veryone has favorite places, foods, flavors and must-have culinary products. These are the items you find yourself reaching for, fantasizing about and looking forward to each and every time. I've got mine too. It's no secret that I return again and again to the hearth of chef Katherine Stern, whose LA POSTA menu never fails to deliver both the anticipated satisfactions and new surprises. One of our final dinners of 2013 found us feasting on the inimitable house breads studded with nuts and warm from the oven. I loved an antipasto plate of

Dungeness crab salad surrounded by various beets, various citrus slices, avocado and branches of peppery brassica. We also grazed on the salumi misti that included tiny gems of duck prosciutto as well as a pork paté that had me sentimental for France. Our favorite entree was a Fogline Farm chicken breast done Milanese “schnitzel” style, with a bold cabbagefennel slaw. Each dinner at La Posta becomes my favorite. My top coffee of the year is (was, and will be) the earthy sweet macchiato creations from Lulu's Octagon.

Always stamped with a lovely triple heart of thick foam, this is an espresso drink worth fighting for. The bread that has won my heart this year is the Walnut Sourdough from Companion Bakeshop. Sometimes I get it from the Westside Farmers Market, sometimes I let myself visit the Bakeshop itself. A temple of temptations, it has now created an indecently intriguing almond rye cookie to match its illegally addictive pumpkin tea cake. The round loaves, including my favorite Walnut Sourdough, are always fragrant from the wood ovens. The crust is thick and

chewy. The texture is both pliant and tender. I've seen fellow admirers of this bread tear apart a loaf with their bare hands in the market and begin eating before they even reach their cars. Small wonder. The hot sauce of the year is Chalula red pepper sauce, a hot sauce with depth and flavor, as well as kick. The runner up is Sriracha chile sauce, always fiery, endlessly adaptable. The condiment of the year is Major Grey’s Hot Mango Chutney. I literally add it to every slow-cooked dish I make. Our house red wine of the year is Santa Cruz Mountain Vineyards’ Grenache. Full-throated, complex yet not wildly complicated, flexible enough to join almost any food and well under $20 in price. Any grenache made by winemaker Jeff Emery works for me. My favorite bottled water this year is the mineral-intensive Gerolsteiner. Loaded with bubbles, this is a sparkling water that lets you know you’re not drinking mere tap water. It contains more calcium, magnesium and bicarb than San Pellegrino. And our house sandwich this year is the mighty, sensuous, and omega oil-driven tuna salad sandwich from New Leaf Market. Maybe it’s the little shredded carrots, or the micro green scallions. Just don’t know. But it is a serious tuna sandwich, especially the way we like it made—on nine-grain bread with mayo, tomatoes, lettuce, sprouts and pickles. Our favorite neighborhood weekday dinner? A shared salad and shared pizza at Pizzeria Avanti—add a glass of red wine and you've got just about everything you need without spending a fortune. In 2014 I look forward to more dinners at O'mei, Pizzeria Avanti, Booka, Laili and Maharaja (gotta check out the full menu). And I anticipate good things from Assembly, Splash and Your Place. We'll see. I invite you to join me in dining often at favorite restaurants. If we frequent them, they will thrive. Happy New Year!0

J A N U A R Y 1 - 7, 2 0 1 4

Chip Scheuer

Epicure

F O O D I E F I LE

J A N U A R Y 1 - 7, 2 0 1 4

Chip Scheuer

VOODOO HE DO SO WELL Lou Caviglia has successfully reinvented his downtown spot Clouds as Louie’s Cajun Kitchen.

Louie’s Cajun Kitchen Lou Caviglia, co-owner

ou Caviglia calls Cajun cooking “American Mexican food.” “It’s rice and beans,” says Caviglia, who closed Clouds Downtown to open Louie’s Cajun Kitchen in the same spot last year. “A lot of the people in the South have no money, so they needed to create a cuisine that wasn’t based on expensive ingredients.” Southern families can feed a whole group for the price of one fancy steak. And by slow-cooking his food and using the right spices, Caviglia has been able to craft his tasty dishes while keeping them affordable.

SANTA CRUZ WEEKLY: What’s that thing behind the bar? CAVIGLIA: A voodoo altar given to us by a voodoo priestess in New Orleans. You don’t tell it what to do. You ask it for things. It’s really fun. She’s really powerful. Every day we give her a shot of rum and some food. She always has to have tobacco. And then at the end of the night, the last customer out takes the shot of rum for good luck. The little altar’s covered with trinkets and things for the safety of our customers getting home. Does it work? Yeah, it definitely has spirit. There’s no doubt about it. It

makes it fun and interesting. You have to be careful to feed her, because she gets mad. Sometimes business won’t be that good and then “we forgot to feed her dinner!” We’ll feed her and give her rum, and then here come the customers. It’s pretty strange. How do you get your ribs so tender? We rub ‘em and let ‘em sit for a

minimum of 24 hours. Then we slow cook ‘em. Then when we get the order, we reheat them with the sauce. Do you like whiskey? There’s a lot of it here. Yeah, it’s an American product, and we’re an American place, so it seemed like a good fit. And whiskey is definitely the best deal as far as alcohol’s concerned, mainly because it is a domestic product, so there’s no tax increment. It is amazing how many liquors come from other countries. There’s a huge tax. That’s why they’re so expensive. You can get really good bourbons for really reasonable prices. Who would win in a fight, you or Vasili? I outweigh him by about 60 pounds. He’s a tough character. I’d have to sit on a table. And if he could lift it up in his mouth with me on it, he’d win. —Jacob Pierce

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TAURUS (April 20-May 20): For F years, French French Édouard Manet and French Frencch poet SStéphane téphane painter Édouard Mallarmé hung out with each other othher every day. day. Mallarmé referred elationship as “the most referred to their rrelationship influenced nced each other to complete friendship.” They influe become better artists and humann beings. I'm guessing that in the coming months, TTaurus, aauru us, you'll thrive on that kind of stimulating companionship. companionship. Having such regular regular contact with a like-minded like-mindeed ally might even be an important factor factor in ripening your yoour intelligence. At At the very least, I predict soulful predict that soulfu ul friendship will be a crucial theme in 2014. 2014 YYou oou will attract attr a act blessings and generate generate luck for for yourself by deepening deepening your ability to cultivate cul tivate synergistic synergistic bonds. GEMINI (May 21-June 21-June 20): St. St. Peter's Peter's Basilica is a very old church a life-size church in Vatican Vatican City. City. It contains c life-size bronze bronze statue of St. St. Peter Peter that is at least 700 years old. Over the centuries, countless visitors have paid their respects respects by kissing and touching toucching the feet feet of the idol. The metal composing the right rigght foot foot has been so thoroughly thoroughly worn down by these thesse gestures gestures that the individual toes have disappeared, disappeared,, leaving a smooth surface. surface. You Yoou will have a similar kind kin nd of power in 2014, Gemini. Little by little, with your steady affection s affection and relentless relentless devotion, you can transform transsform what's rigid and hard. hard. CANCER (June 2121-July 21 July 22): Big Big rivers don't don t travel travel in straight aree cur curvy str aight lines. Their paths ar v and complicated, vy with periodic turns and bends. In some places they they'ree sslower slower.. Their depth flow ffaster aster and in others they'r way, and width may vary along the wa y, too. YYour our o own rivers, destiny is like one of those big riv vers, CCancerian. ancerian. In stretches, some years, it meanders ffor or long str etches, slowing crooked down as it wanders along a cr ookked course. It may narrower even get shallower and nar rower ffor or a while. But I moree rrapidly expect that in 2014, you will be moving m mor apidly traveling moree dir direct oute, than usual. YYou oou will be tr aveling a mor ect rroute, deep. ep. and you will be both wide and de LEO (July 23-Aug. 23-Aug. 22): “In game games es ther theree ar aree rules,” writes science fiction fiction author Kim Stanley Stanley Robinson, “but in life life the rules keep changing.” changinng.” This is always true, of course, but I think it will be b an especially now poignant i t truth t th for for you between b t n andd your next birthday. birthday. During the coming months, you may sometimes feel feel as if every last law w and formula formula and corollary cor ollary is mutating. In some cases, casses, the new rules coming into play will be so different different e from from the old rules you've been used to, they may at first first be hard hard to figure figure out. But now here's here's the happy ending: ennding: It may take a while, but you will eventually see that these new rules have an unexpected logic and beauty beauty that will serve serve your future future well. VIRGO (Aug. 23-Sept. 23-Sept. 22): I pr predict e edict that you will commit no major acts of self-sabotage self-sabbotage in 2014. Congrats! Congr ats! I also foresee foresee that you will be exceptionally careful eful not to hurt or damage yourself. car youurself. Hooray! Hooray! More More good news: You Yoou won't be as critical criticcal of yourself as you have sometimes been in the past. ppastt. The judgmental j g little voice in the back of your head heaad won't be nearly as active. Yay! Yaay! Even your negative emotions em motions will diminish in frequency frequency and intensity. intensity. Hallelujah! Halleluujah! Whoopee! Abracadabra! Abr acadabra! LIBRA (Sept. 23-Oct. 23-Oct. 22): The citizens c of Iceland love literature, liter ature, but many are are not content conteent to simply read. read. One out of every 10 Icelanders writes wrrites and publishes a book at sometime in his or her life. life. I know it's unrealistic, unr ealistic, but I would love to seee at least one in ten of all my Libra Libra readers readers do the same sam me in 2014. I think you'ree ready you'r ready to make a big statement—to statem ment—to express express

yourself in a more moore complete and dramatic dramatic way than ever before. before. If you're yoou're not ready ready to write a book, I hope you will attemptt an equivalent accomplishment.

SCORPIO (O (Oct. ct. 23-Nov. 23-Nov. 21): I'm hoping you will find a new teacher teachher or two in 2014, maybe even a find mentor. Not a guru guuru who tells you what to do. Not mentor. expert” who claims to know what's an exploitative ““expert” or you or a charismatic nar cissist who collects right ffor narcissist adoration. What I wish ffor or you, Scorpio, is that you will adoration. se and humble sour ces of inspir ation ation, connect with wis wise sources inspiration, e-long le arners who listen well and stimulate with lif life-long learners you to ask good questions, with curious guides who t rresources esources you don't rrealize ealize you open your eyes to ming months, you ar need. In the com coming aree primed to launch or years; a quest that will keep you busy and excited ffor ou get excellent help in fr aming that I'd love to see yo you framing quest. SAGITTAR SAGITTARIUS RIUS (Nov (Nov.. 22 22-Dec. -Dec. 21): In 2014, it's possible you wil farm or a petting willl be given a cabbage farm quest that's not exactly in close zoo or some beq bequest alignment with your y lif e's purpose. But it's more more likely life's receive will be that the legaciess and dispensations you receive quite useful. Thee gener al tr end is that allies will make general trend available to you a steady flow of useful things. YYour oour ability to attr actt what you need will be high. In the attract coming i months, th , I may even have h reason to t name goodd reason you an honor aryy Scorpio. YYou oou might match those Gr eat honorary Great roficiency at extr acting the essence of Manipulators' pr proficiency extracting what you want fr ffrom om every situation. CAPRICORN N (Dec. 22 22-Jan. -Jan. 19): W Would ould you be or you inter ested in a m motto that will help set the tone ffor interested in 2014? I've gott a suggestion that's in alignment with the astr ological omens. It's fr om a poem by Margaret Margaret astrological from A twood. TTry rry sayi ng this and see if it work or you: Atwood. saying workss ffor “Last year I abst tained / this year I devour / without abstained guil a an art.”” If you choose to make this guiltt / which is also aff irmation yourr own, be sur orget about affirmation suree you don't fforget the ffact act that dev vouring without guil devouring guiltt is an art—a skill requires craft craft a and sensitivity. sensitivity. You Yoou can't afford afford that requires insstinctual and greedy greedy in 2014; you to get blindly instinctual compuulsively overcompensate overcompensate for for 2013's shouldn't compulsively deprivations. Be cagey and discerning as you satisfy voracious hunger. h hunger . your voracious AQUARIUS S (Jan. 20-Feb. 18): The coming months time to meditate on the concepts of will be a good time trouble. Go ahead happy accidentss and benevolent trouble. throw constructive consttructive mischief into the mix, too, and throw graceful chaos. Are Are you and maybe evenn a dose of graceful for playingg around around with so much paradox? paradox? Ar game for Aree enntertain the possibility that fate fate has you willing to entertain generous plans ffor or you that ar generous aree too unexpected to Therre's only one requirement requirement that you anticipate? There's have to meet in order order to receive receive your odd gifts in whicch they'll be offered: offered: YYou've oou've got to be the spirit in which eager to learn, and flexible. open-minded, eager PISCES (Feb.. 19-Mar 19-March ch 20): I think we humans needd some new emotions. ti It' true It's t that th t old ld standar t d ds d standards like sadness, ang gerr, jealousy y, and ffear ear ar anger, jealousy, aree as popular as ever ever.. But I wouldd personally love to be able to choose fr om a gr eater vvariety, arietyy, especially if at least 51 per cent from greater percent of the new cr op of emotions wer crop weree positive or inspiring. ens that in 2014 you Pisceans will be Now it so happe happens primed to be pio oneers. YYour oour emotional intelligence pioneers. should be oper ating at peak levels. YYour oour imagination operating will be even mor re ffertile ertile than usual. So how about it? more Ar eady too gener ate rrevolutionary evolutionary innovations Aree you rready generate in the art of ffeeling eeling unique and inter esting ffeelings? eelings? interesting TToo get started, co onsider these: 1. amused rreverence; everence; 2. consider poignant excitem ment; 3. trick ous excitement; trickyy sincerity; 4. boister boisterous empathy empathy.. Homework: T o hear Part One of my threeTo part audio fo orecasts about your destiny in forecasts ttp://bit.ly/BigPicture2014. 2014, go to h http://bit.ly/BigPicture2014.

Visit RE Visit REALASTROLOGY.COM AL ASTROLOGY.COM ffor or R Rob’s ob’s Expanded E Weekly Weekly Audio Audio Hor oscope es and Daily Text Text Message Message Horoscopes Hor oscope es. The The audio horoscopes horoscopes Horoscopes. ar e also available available by by phone at at are 1.877.873.4888 1.877.873 3.4888 or 1.900.950.7700 1.900.950.7700

J A N U A R Y 1 - 7, 7, 2 0 1 4

ARIES (Mar (March ch 21-April 19): Deep Deeep bronzes bronzes and smokyy cinnamons and dark choco chocolates smok olates will be your luckyy colors in 2014. Mellow mah mahoganies esonant luck oganies and rresonant too. russets will work well ffor or you, too o. They will all be part life's conspiracy of lif e's conspir acy to get you to slow s down, deepen groove your perspective, and slip into thee sweetest gr oove ever.. In this spirit, I ur urge nestle ever ge you to ne estle and cuddle and caress moree than usual in the com coming car ess mor ming months. If you aren't wheree hom home ar en't totally clear on wher me is, either in the heart, external world or inside yyour hea rt, devote yyourself to intelligence. Exploree ffinding inding it. Hone your emotional in ntelligence. Explor your rroots. oots. On a rregular egular basis, rremember em member your rreasons easons life. sources ffor or loving lif e. SStay tay in close touch with the sour ces that ffeed eed your wild soul.

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