Spread the word—GT has teamed up with *IMPACT (a local production company) and the Santa Cruz Film Festival to host Take One: A Screenwriting Competition.
The king of controversy, Gregg Gillis (a.k.a. Girl Talk), schools Cruzans on copyright law, sex onstage, and living a double life
Gregg Gillis is an awful lot like Clark Kent. Back when he first took on the alias, Girl Talk—long before he became one of the biggest (and most controversial) names in the electropop music scene—he was living a double life.
A mild-mannered biomedical engineering graduate student, Gillis went to school and later held a 9 to 5 job as an engineer. What his classmates and coworkers didn’t know, however, was that he was booking tours over the summer and during winter break, and later hopping on red-eye flights to Europe for the weekend to perform, then returning to reality Monday morning.
“By the time I got a job, I didn’t tell anyone about Girl Talk. It’s hard to explain. Most of the people I was working with were 10-15 years older than me. And I don’t really consider myself a DJ—I jump on top of people. So it never really came up,” says Gillis. “By the time I was getting booked all the time and wanted to bring it up, I couldn’t, because it would seem like I was a compulsive liar or something.”
A legion of dark-haired, jeans-clad, slender teenaged people with attentive attitudes walked past me as I stood over the “Touch Table,” pulling apart and re-attaching objects using miter, dovetail and lap joints.
A few of the young visitors from Nigata, Japan, took my place around the “Touch Table” after I moved on, and, laughing, attached the objects in unintended ways. Meanwhile, I listened to a video of woodworker Michael Singer explaining his technique for joining irregular shapes while I perused a case of tools displayed below. An unfinished chair, a prototype by Om Anand, held a small sign explaining what a prototype is, challenging the viewer to find the finished chair and to notice the changes.
First Friday Art venues pair with local wineries for August Wine Walk
Art and wine. Has a nice ring to it, doesn't it? The folks at the First Friday Art Walk think so, too. To spice up this month's midsummer edition of the popular event (taking place this Friday, Aug. 5), FFAW joins forces with a slate of Santa Cruz vintners to present the August Wine Walk, where art patrons will be able to sample local wines at select FFAW venues around town.
It's a perfect blend, according to First Friday spokesman (and tireless local arts advocate) Chip. Citing our "extraordinary arts community and community of arts supporters," and our region's "unique ... winegrowers and wine enthusiasts," Chip calls the event "exciting in that it is pairing our great art venues with these amazing wineries."
As usual, you'll find work by local artists (painting, sculpture, photography, fabric, ceramics, woodworking), in a staggering variety of venues countywide—cafes, beauty salons, banks, shops and boutiques, from the Eastside to the Westside, Louden Nelson Center to Squid Row Alley, Pleasure Point to Davenport. Designated art galleries, like the Santa Cruz Art League, Felix Kulpa, MichaelAngelo, Artisans, and the Museum of Art & History also participate in the festivities. All venues are open to the public from 5 to 9 p.m., and admission to the Art Walk venues, as always, is free.In addition, this month, more than 20 local wineries will be pouring samples of their finest varieties at select Art Walk venues. The Wine Walk venues are concentrated downtown and on the Westside for easy pedestrian access. Free shuttle service will be available from The Santa Cruz Experience to ferry participants between the two neighborhoods.
SSC's 'Three Musketeers' a palpable hit.
En garde! Prepare for serious roistering in “The Three Musketeers,” the second production of Shakespeare Santa Cruz's 30th Anniversary season. Adapted from Alexandre Dumas' evergreen swashbuckling classic, it's beautifully staged by director Art Manke outdoors in the Sinsheimer-Stanley Festival Glen. In this dynamic production, plots are hatched, troths are plighted, honor is impugned and defended, wars are fought, and swords are crossed at every opportunity. If it all feels a bit breathless, it's still rousing good fun.
Dumas' picaresque novel was first published in serial format in 1844. This new adaptation by playwrights Linda Alper, Douglas Langworthy, and Penny Metropulos (commissioned for the Oregon Shakespeare Festival in 1999) is impressive in its fidelity to the breadth of Dumas' novel. Plot-furthering climaxes chase each other across the stage at breakneck speed. Manke keeps the action fleet and fluid, in and out of the many compartments, balconies, terraces, draperies, and stairwells of Michael Ganio's formidable set. Some incidents feel rushed, but it's worth noting that director Richard Lester needed two feature-length films to tell the same story this adaptation covers in a fast couple of hours.
In a black-on-black topography delineated only by texture, a thick viscous muck marches upward at an angle within a deep steel frame. This tarry density contrasts with the reflective, burnished darkness beyond, suggesting a dangerous precipice looming against shining sky. Carved deep within the tarry cliff, small oblong chambers are scribed with lines suggesting growing seeds. A small cluster of metal type floats above the dark horizon like seeds just released in the wind in an untitled work by Michelle Stitz.
Stitz in her most ambitious and successful works seems to seek that dangerous fulcrum between profoundly minimal and disturbingly unresolved. Just a hair more clear, linear or prescriptive and they could become prettily prosaic, but with any less information, could seem empty of content. That’s a slender hair upon which to hang a reputation and Stitz runs right up to that hairsbreadth, and balances right there, on the precipice.
Local composer, Phil Collins, named county’s Artist of the Year
Though he shares his name with the former Genesis frontman, chances are, unless you’ve taken a music class from longtime Santa Cruzan Phil Collins, or seen him conducting a local ensemble, you wouldn’t be able to pick him out in a crowd. And that’s just fine with him.
Collins enjoys the work he does behind the scenes. For every moment he has spent onstage playing piano or guitar, he has spent an equal amount of time out of the public eye, planning lessons, writing grants for various musical organizations he is involved with, and studying the musical traditions of indigenous peoples around the world.
Local production company uses new journalism to reveal ‘IceWars’ over riches beneath melting Arctic sea
When CNN correspondent Kaj Larsen had the opportunity to head to the North Pole to report on geopolitical events that are surfacing as global warming, causing the Arctic ice to melt, he looked to his roots to help him tell the story.
“I knew I wanted to partner with production companies that had a talent for telling unknown but important stories,” says the Santa Cruz native. So he called The Impact Media Group, a local production company, to collaborate with him on the project.
Santa Cruz musician, Veronica Elsea, reconciles sight and sound
Last Christmas, Veronica Elsea was strolling down Pacific Avenue when she heard the ear-splitting screech of a busker wailing on a guitar. Without hesitation, she walked over to the musician and said, “I’ll give you 10 bucks if you let me tune your guitar.” The performer obliged, Elsea altered the strings, and she walked away.
Elsea, an accomplished music composer and former member of the Santa Cruz County Symphony, was born blind. She and her twin sister—who is also visually impaired—were delivered prematurely and laid in incubators for the first two months of their lives.
When the girls were three, their mother bought a piano, and it wasn’t long before they proved they were musically inclined. “I was always terrified of the idea that you take a blind kid and plop them in front of a piano and they’re this incredible musician,” laughs Elsea, who used to pull all-nighters memorizing sheet music for the symphony. “But [music] was always something that came fairly easy to us.”