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October 7-14, 2009 Vol. 1, No. 23

Pacific Perspective The Pac Rim Film Fest’s fresh take on a shifting world p13

Community TV Dangling by a Cable

p9

| Fabulous Arts Complex, Darling p27

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october 7-14, 2009

SANTACRUZ.COM

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A/<B/1@CH 1=; october 7-14, 2009 1=<B3<BA

Contents. P OSTS

p4

L O C A L LY

p7

CURRENTS

p9

COVER STORY A&E

p13

p27

S TA G E , A R T & EVENTS

p32

B E AT S C A P E CLUB GRID FILM

p36 p38

p43

EPICURE

p49

ASTR OLOGY

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CLASSIFIEDS

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ON THE COVER Sri Lankan children in ‘The Third Wave’

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Posts. P osts. Messages M essages &

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EDITOR E D I TO R B@/17 6C97:: B@/ 17 6C97:: 6 (traci@santacruzweekly.com) (traci@santtacruzw a eeekly.com) STAFF STAFF WRITERS WRITERS @716/@2 D=< 0CA/19 @716/@2 D=< 0C CA/19 (richard@santacruzweekly.com) (richarrd@santtaacruzweeekly.com m)) 1C@B7A 1/@B73@ 1C@B7A 1/@ / B73@ (curtis@santacruzweekly.com) ((curtis@santtacruzw a eeeklyy.com)) 83AA71/ :CAA3<6=> 83AA71/ :CAA3 3<6=> (jessica@santacruzweekly.com) (jessica@santtacruzw a eeekly.com) CONTRIBUTING CONTRIBUTING EDITOR E D I TO R 16@7AB7</ E/B3@A 16@7AB7</ E/B3@A CALENDAR CALENDAR EDITOR E D I TO R >/C: E/5<3@ >/C: E/5<3@ (calendar@santacruzweekly.com) (calendar@santtacruzw a eeekly.com) POETRY POETRY EDITOR E D I TO R @=03@B AE/@2 @=03@B AE/@2 PROOFREADER P RO O F R E A D E R 83/<<3 A16CAB3@ 83/<<3 A16CAB3@ EDITORIAL EDITORIAL INTERN INTERN @C:/ /: </A@/E7 @C:/ /: </A@/ A /E7 /CAB7< A/@23::/ /CAB7< A/@ @23::/ CONTRIBUTORS CO N T R I B U TO R S @=0 0@3HA<G @=0 0@3HA<G ;/C@33< 2/D72A=< ;/C@33< 2/D72A=< >/C: ; 2/D7A ;716/3: A 5/<B >/C: ; 2/D7A ;716/3: A 5/<B /<2@3E 57:03@B 83<< 7@3:/<2 /<2@3E 57:03@B 83<< 7@3:/<2 AB3>63< 93AA:3@ A1=BB AB3>63< 93AA:3@ A1=BB ;/11:3::/<2 <CBH:3 ;/11:3::/<2 <CBH:3 AB3D3 >/:=>=:7 >3B3 A63/ AB3D3 >/:=>=:7 >3B3 A63/ 1/@:73 AB/BA9G 1/@:73 AB/BA9G >/C: E/5<3@ ;=::G H/>> >/C: E/5<3@ ;=::G H/>>

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Send let letters teerrs ttoo Santa Santa Cruz Weekly, Weekly e y, let letters@santacruz.com teerrs@san s nttaacruz.com or ttoo A Attn: ttn: LLetters, ettteeerrs, 115 Co ett et C Cooper ooper e St., Sant San Santaa Cruz, uz 95060. 060. Inclu Include udee cit city ittyy and phone clarity inaccuracies known us. phone number number or email address. address. Submissions Subm missions mayy be be edited editteed for for or length, length cl le leng laritt y or or factual factual ac a inac a curacies racies know nown ttoo us s.

=CB =4 B63 =CB =4 B63 ; /@57<A ;/@57<A STEPHEN KE STEPHEN KESSLER ESSLER cchafes hafes aatt h his is w wellelleearned arned n omination aass S anta Cruz Cruz C ounty nomination Santa County P oet Laureate Laureate be cause, ffor or h im, tthe he llaurels aurels Poet because, him, rresemble esemble aasafetida safetida bags bags p rescribed by by a n aive prescribed naive ssurgeon urgeon ggeneral eneral tto ow ard off off pe stilence (“Do (“Do ward pestilence W eed a P oet Laureate?� Laureate?� B ullhorn, S ept. 330). 0). Wee N Need Poet Bullhorn, Sept. C elebrating the the “unacknowledged� “unacknowledged� in in Shelley’s Shelley’s Celebrating ffamous amous cclaim laim tthat hat po oets aare re llegislators, egislators, K essler poets Kessler rreminds eminds m ow o ften E merson’s ““foolish� fo oolish� iiss mee o off h how often Emerson’s iignored gnored be fore ““consistency consistency iiss tthe he h obgoblin o before hobgoblin off llittle ittle m inds.� The Th he devil’s devil’s in in the the details, details, the the poet poet minds. K essler w isely rreminds eminds u s. And And his his poet’s poet’s pe rch Kessler wisely us. perch ““in in the the margins� margins� sseems eems llike ike ffreedom reedom tto oh im. him. What if if poetry poetry as as guerrilla guerrilla theater, theater, like like all all What fforms orms o theater, n eeds to to be p ublicly h onored off theater, needs publicly honored ffrom rom ttime ime to to time? time? What What if, if, aass John Jo ohn M ilton tells tells Milton u s, vvirtue irtue must must ssally ally o ut “to “to ssee ee h er aadversary� dversary� us, out her aand, nd, by by doing doing so, so, d raw people p ople of pe of like like and and draw

NUTZLE

diverse minds diverse minds aand nd aspirations aspirations iinto nto tthe he sstreets, treets, aauditoriums uditoriums aand nd ccable able T V sstations? tations? In In o ther TV other w ords, out out o the m argins. words, off the margins. We should should congratulate congratulate Kessler Kessler and and We be provoked provoked tto ow ork for for change change by by h is work his aachievements. chievements. Don D on R Rothman, othman, Cruz SSanta anta C ruz

C<AC0AB/<B7/B32 C<AC0AB/<B7/B32 @/<BA @ /<BA IS SERIOUSLY ERIOUSLY d doubt oubt tthat hat tthe he lletter etter ffrom rom E rin C opp ((“Note “Note tto o Drivers, Drivers,� P osts, S ept. 330) 0) Erin Copp Posts, Sept. d escribes a ttypical ypical d aily rride ide aanywhere nywhere iin n describes daily S anta Cruz Cruz County. County. I h ave been been rriding iding iin n and and Santa have aaround round S anta Cruz Cruz daily daily for for seven seven years, years, and and Santa tthroughout hroughout tthe he ccountry ountry ffor or 330 0m ore yyears. ears. I more h ave n ever rreceived eceived ““cat cat ccalls, alls,� I have have never never have never

been d been doored, oored, I have have never never had had aanything nything me. Myy w worst have tthrown hrown aatt m e. M orst eencounters ncounters h ave been with moose Alaska. b een w ith m oose iin nA laska. This do with myy Th his may may have have something something to to d ow ith m bicycling habits. b icycling h abits. I obey obey all all traffic traff ic rules rules that that on our with aapply pply tto o aall ll vvehicles ehicles o no ur sstreets. treets. I rride ide w ith other users aawareness wareness aand nd ccourtesy ourtesy ttoward oward o ther u sers off tthe o he rroad. oad. I ride ride slowly slowly past past parked parked cars cars and and keep out movement k eep aan n eeye ye o ut ffor or m ovement iinside nside tthe he ccars. ars. I sstop top aatt aall ll sstop top ssigns igns aand nd sstop top llights, ights, aand nd myy p place queue off vvehicles I ttake ake m lace iin n tthe he q ueue o ehicles aatt iintersections. ntersections. Sending divisive message Sending out out such such a d ivisive m essage iiss does nothing promote iirresponsible rresponsible aand nd d oes n othing tto op romote our ssafe afe aand nd rresponsible esponsible ttravel ravel iin no ur ccommunity. ommunity. There between bicyclists T here aare re eenough nough cconflicts onf licts b etween b icyclists motorists without aand nd m otorists aalready lready w ithout iinflaming nf laming tthe he with unsubstantiated ssituation ituation w ith yyet et aanother nother u nsubstantiated rrant. ant. Michael M ichael Lewis, Lewis, Santa Cruz Santa C ruz

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THE BULLHORN EEE A/<B/1@CH40 1=; E EE A/<B/1@CH40 1=; A A/<B/1@CHE339:G /<B B/1@CHE339: :G

A Social Social Movement, Movement, Not N ot B Budget u d g et R Reform eform 0G 16@7AB=>63@ A 0/@9/< 0 G 1 6 @ 7 A B= > 6 3 @ A 0 / @ 9 / <

433:7<5 G=C@ >/7< 4 33:7<5 G=C@ >/7< AS A C AS CYCLIST YCLIST w who ho llogs ogs m many any miles miles ccommuting ommuting w ith ccar ar ttraffic raffff ic iin nS anta Cruz, Cruz, I with Santa h ave ffelt elt yyour our p ain about abo out ffeeling eeling “invisible� “invisible� have pain w hen sharing sharing the the road road with with cars. cars. when would like like to to share share with with you you a few few I would tthings hings I h ave learned learned in in the the last last few few years years o have off rregular egular b ike ccommuting. ommuting. As As I w rote tthem hem bike wrote d own, I rrealized ealized tthat hat tthey hey aall ll h ave tto od ow ith down, have do with cconfidence. onf idence. I ffound ound tthat hat w hen m onf idence when myy cconfidence o nm ike iincreased, ncreased, sso od id tthe he llevel evel o espect on myy b bike did off rrespect I ggot ot ffrom rom d rivers. Hopefully, Hope p fully, these these tips tips w ill drivers. will h elp yyou, ou, aass well. well. help First, T ake tthe he LLane. ane. A re yyou ou hugging hugging the the First, Take Are ffar ar right-hand right-hand side side of of the the lane lane (if (if there’s there’s no no b ike llane)? ane)? If If your your complaint complaint is is that that cars cars don’t don’t bike ““see� see� yyou, ou, tthen hen ttake ake tthe he n ext sstep tep tto om ake next make yyourself ourself sseen. een. For For example, example, when when there’s there’s no no b ike llane ane aand nd yyou’re ou’re fforced orced tto om ix iitt u pw ith bike mix up with ttraffic, rafff ic, tthere’s here’s o ne ccorrect orrect w ay tto od o iit—take t—take one way do tthe he llane. ane. Taking Taking the the lane lane means means riding riding in in at at lleast east tthe he rright ight tthird hird o he llane. ane. An An easy easy rule rule of of off tthe tthumb humb iiss to to ride ride iin n the the rright ight ttire ire ttrack rack w here where ccars ars n ormally d rive. By By taking taking the the rright ight tthird hird normally drive. o he llane, ane, yyou ou h ave eeliminated liminated tthe he d river’s off tthe have driver’s ttemptation emptation tto o ttry ry tto o ““squeeze� squeeze� b ou, w hich byy yyou, which iiss h ow m any aaccidents ccidents h appen. They They h ave n o how many happen. have no cchoice hoice but but to to slow slow d own aand nd move move o ut of of tthe he down out llane ane tto op ass you. you. pass Second, C reate M ovement. Drivers Drivers notice notice Second, Create Movement. tthings hings tthat hat m ove. As As yyou’re ou’re aapproaching pproaching move. aan n iintersection ntersection w ith tthe he rright ight o ay, with off w way, k eep pe daling aall ll tthe he w ay tthrough hrough tthe he keep pedaling way iintersection. ntersection. Y our sspinning pinning llegs egs aand nd rreflectors ef lectors Your w ill gget et d rivers’ aattention. ttention. E ven iiff yyou ou aare re ggoing oing will drivers’ Even d ownhill aand nd d on’t n eed tthe he sspeed, peed, k eep ssoftoftdownhill don’t need keep pe daling tto o ccreate reate m ovement. Besides Besides getting getting a pedaling movement. d river’s attention, attention, your your pedaling pedaling tells tells him him “I’m “I’m driver’s cconfident on dent aand nd I’m I m coming com ng tthrough. hrough � Th rd Make Make Eye Eye Contact. Con ac When When I ride r de in n Third, tra c I keep keep my my h ead u p aand nd I don’t don t wear wear traffic head up sung asses At At intersections, ntersect ons I look ook around around sunglasses. (espec a y at at the the car car behind beeh nd me) me) and and make make eye eye (especially contact with w th the the d r vers There’s Th here s a connection connect on contact drivers. when humans humans make make eeye ye ccontact. ontact Add Add a smile sm e when or a nod, nod and and you’re you re guaranteed guaranteed to to get get more more or respect (i.e., ( e space) space) when when the the light ght turns turns green. green respect apprec ate your your experience, expe p r ence and and know know the the I appreciate ee ng of o disrespect d srespect that that your your story story conveys. conveys feeling Try r these these three three things th ngs next next time t me you’re you re riding r d ng Try n traffic tra c and and you’ll you see see that that as as your your confidence con dence in ncreases you you get get the the respect respect you you are are seeking seek ng increases, rom drivers. dr vers from Clayton C ay on R Ryon, yon Fe on Felton

1G1:7ABA¸ 1 G1:7ABA¸ =CB:/<27A6 = CB:/<27A6 A163;3A A 163;3A IU USE SE b both oth a ccar ar aand nd a b bicycle icycle tto o gget et aaround. round. I h ave b iked iin n L.A., L.A., New Neew York York aand nd a tthird hird w orld have biked world ccity. ity. B elieve m e, C alifornia, eespecially specially S anta C ruz, Believe me, California, Santa Cruz, iiss a p aradise ffor or ccyclists. yclists. This Th his is is seen seen by by the the general general paradise sshow how o espect aand nd ccooperation ooperation aass w ell aass cclearly learly off rrespect well m arked b ike llanes. anes. H owever, w henever I ccome ome marked bike However, whenever aacross cross h yperbolic vvitriol itriol aagainst gainst m otorists, I m ust hyperbolic motorists, must cchuckle. huckle. Th he biking biking community community here here say say they they want want The rrespect espect aand nd their their “rightsâ€? “rightsâ€? with with cooperation cooperation and and ccommunication ommunication with with aan n eye eye toward toward “safety. “safety.â€? H ow ccan an tthey hey cclaim laim tthis his w hen I see see ttheir heir p olitical How when political aagenda genda b eing o ne o hastising aand nd a w ish ttoward oward being one off cchastising wish eeliminating liminating m otorists aand nd b acking o utlandish motorists backing outlandish sschemes? chemes? O ne ssuch uch iiss eexercising xercising ttheir heir ““rightâ€? rightâ€? One tto ou sing tthe he ffull ull rright ight llane ane o ission S treet. using off M Mission Street. T his iiss a sstate tate rroute oute cconnector onnector rroad oad w ith h eavy This with heavy d angerous ttraffic. raffic. Iss this this idea idea toward toward safety safety and and dangerous ccommon ommon ssense? ense? I think think n ot. Then Th hen we we h ave tthe he not. have eexpensive xpensive idea idea of of making making King King Street Street into into a b iking b oulevard. This This is is clearly clearly against against ttheir heir o wn biking boulevard. own p aid cconsultant’s onsultant’s rreport eport of of it it working working well well in in this this paid llocation ocation due due to to the the llack ack of of a grid grid formation formation to to eease ase motoring motoring ttraffic raffic tto oo ther p atterns. other patterns. It is is apparent apparent that that the the biking biking community community It h ere is is not not interested interested in in the the combining combining of of forces forces here ((pedestrian, pedestrian, motorists, motorists, ccyclists) yclists) with with mutual mutual rrespect espect aand nd safety, safety, b ut ffor or their their own own singular singular aims. aims. but T his o nly ffurther urther d ivides the the communities communities and and This only divides ccreates reates rresentment esentment aand nd hard hard feelings. feelings. Oh, aand nd b he w ay, rreview eview tthe he C alifornia’s Oh, byy tthe way, California’s D MV Handbook. Handbook. You You are are a vehicle vehicle on on the the road road DMV aand nd m ust aadhere dhere tto o tthe he ““rules rules o he rroad. oad.â€? T his must off tthe This iincludes ncludes allowing allowing motorists motorists to to eenter nter 200 200 feet feet into into ab ke lane ane to to m ake a rright ght tturn, urn aass well we aass to to edge edge bike make nto tthe he bike b ke lane ane to to safely sa e y view v ew oncoming oncom ng traffic tra c into w hen eexiting x t ng d r veways aand nd p ark ng lots. ots Also, A so tthe he when driveways parking rrule u e iss for or ssingle ng e filee aalong ong n arrow o usy sstreets, treets narrow orr b busy aass o pposed tto o ttwo wo o ore u n ess for or p erm tted opposed orr m more, unless permitted rracing ac ng eevents vents o an fitt into nto a d es gnated b ke lane ane orr ccan designated bike o an m a nta n p osted sspeed peed limits. m ts orr ccan maintain posted You are are responsible respons b e for or yyour our o wn ssafety a ety w hen You own when b k ng E ducat on iss n eeded for or aall cconcerned. oncerned biking. Education needed A dvocat ng p o c es aand nd m s n ormat on tthat hat Advocating policies misinformation urther d v des ccreates reates o n yaw n ose ssituation. tuat on further divides only win-lose E ducate aand nd cchastise hast se yyour our o wn sscofflaws co aws if yyou ou Educate own w sh tto oh ave a p os t ve rrelationship e at onsh p w th tthe he wish have positive with ccommunity. ommun ty Y ou aare re n o longer onger rriding d ng yyour our b ke in n You no bike a 11950s 950s p anned n e ghborhood w th a ccul ud ac planned neighborhood with dee ssac. Mike M ke Speviak, Spev ak San a Cruz Cruz Santa

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FT FTER TE ER tthe he ffaculty, aculty, sstudent tudent aand nd sstaff taff w walkout alkout o on nS Sept. ept. 2 24 4 aatt U UCSC CSC tto op rotest ccuts uts tto o tthe he UC UC budget, budget, a number number of of u ndergraduate protest undergraduate aand nd ggraduate raduate sstudents tudents eescalated scalated tthe he p rotest b occupying th tthee protest byy occupying C ommons bu b ilding o n ccampus. ampus. They They occupied Th occupie i d tthe he ssite he i e ffor it or a w eek, p lanned Commons building on week, planned ffuture uture d emonstrations aand nd sspread pread tthe he w ord aamong mong n ew sstudents tudents aabout bout demonstrations word new tthe he iimpending mpending ttuition uition iincrease ncrease o 0p ercent. W hy d id tthey hey d o tthis, his, aand nd off 330 percent. Why did do h ow d oes tthis his cconcern oncern S anta C ruzans? how does Santa Cruzans? The u ltimate ccauses auses o he b udget ccuts uts aatt UC UC are are the the ssame ame p olitical The ultimate off tthe budget political aand nd eeconomic conomic ffactors actors ccausing ausing tthe he d eep aand nd p ainful ccuts uts iin nS anta Cruz Cruz deep painful Santa ggovernment overnment aand nd p ublic sservices. ervices. P olitically, iit’s t’s w ell k nown tthat hat C alifornia public Politically, well known California h as aan nu nworkable b udget p rocess aatt tthe he sstate tate llevel evel tthat hat m akes iitt n early has unworkable budget process makes nearly iimpossible mpossible ffor or llawmakers awmakers tto o ccome ome tto o aan n aagreement. greement. E conomically, tthe he Economically, sstate tate iiss ffacing acing iits ts w orse rrecession ecession iin nd ecades; ttax ax rrevenues evenues aatt aall ll llevels evels worse decades; o overnment h ave ffallen allen o ff d ramatically. These Th hese ttwo wo ffactors actors b ecame off ggovernment have off dramatically. became a ““perfect perfect sstorm� torm� p recipitating tthe he ccurrent urrent ccrisis risis o udget ccuts uts aatt aall ll precipitating off b budget llevels evels o ublic aadministration, dministration, iincluding ncluding m unicipal sservices ervices aand nd p ublic off p public municipal public eeducation. ducation. W orse, tthere here iiss n o eend nd iin n ssight ight tto o tthe he eeconomic conomic d ownturn Worse, no downturn o he llegislative egislative ssystem ystem tthat hat lleads eads tto o cchronic hronic p olitical sstalemates. talemates. orr tthe political U nfortunately, tthis his w ill llikely ikely llead ead tto om ore ccuts uts iin n tthe he ffuture. uture. Unfortunately, will more lot of of emphasis emphasis has has been been paid paid in in the the media media to to reforming reforming the the budget budget A lot p rocess iin nS acramento aass a ffix ix tto o tthe he ccrisis. risis. Th his iiss n od oubt iimportant. mportant. B ut process Sacramento This no doubt But tthere here aare re other other issues issues at at stake—perhaps stake—perhaps deeper deeper and and more more ffundamental undamental ffor or o ur ssociety—than ociety—than jjust ust h ow a b udget w ill gget et m ade eevery very yyear ear iin n a ttimely imely our how budget will made m anner. Th hese aare re tthe he iissues ssues tthat hat tthe he sstudent tudent o ccupiers aatt U CSC h ad o n manner. These occupiers UCSC had on ttheir heir m inds w hen tthey hey rreleased eleased ttheir heir sstatement tatement ttitled itled ““Occupy Occupy California� California� minds when ((http://occupyca.wordpress.com). http://occupyca.wordpress.com). Fo or tthem, hem, tto o ssuggest uggest tthat hat rreforming eforming tthe he For b udget p rocess iis, s, b tself, a ssufficient ufficient ffix ix tto o tthe he ccrisis risis ffails ails tto o cconsider onsider tthe he budget process byy iitself, q uestion o he ssocial ocial vvalues alues tthat hat ggrant rant a p rimary rrole ole tto op ublic eeducation ducation question off tthe primary public aand nd o ther vvital ital ssocial ocial sservices ervices ffor or tthe he p eople iin no ur sstate. tate. These Th hese vvalues alues aare re other people our u nder aattack ttack b hat h as b ecome tthe he o verriding b ut ffalse alse vvalue alue iin no ur under byy w what has become overriding but our ccrisis, risis, tthe he b udget iitself; tself; eeveryone veryone aand nd eeverything verything iiss ssubordinated ubordinated tto o tthe he budget b ottom lline. ine. Fixing Fixing the the budget budget process process and and not not reversing reversing the the attack attack on on our our bottom ssocial ocial vvalues alues ccould ould ssimply imply m ean tthat hat p oliticians w ill b ore eefficient fficient aatt mean politicians will bee m more sslashing lashing vvital ital ccommunity ommunity aand nd eeducation ducation p rograms! programs! The student student o ccupiers aatt UCSC UCSC reject reject the the voices voices that that say say that that o ur sstate tate The occupiers our p arks m ust b losed aand nd tteachers eachers m ust b aid o ff. But But how how do do w ring parks must bee cclosed must bee llaid off. wee b bring aan n eend nd tto o tthe he ccuts uts tto o ““public� public� California? California? Reforming Reforming the the b udget p rocess budget process m ight h elp b ut iitt iiss n ot ssufficient. ufficient E lecting ffriendlier riendlier p oliticians iin n tthe he might help, but not Electing politicians n ext eelection ect on ccycle yc e m ght b a at ve in n tthe he sshort hort o ed um tterms, erms b ut next might bee p palliative orr m medium but oes n ot aaddress ddress tthe he ssocial oc a ill o unn ng o ur ccities t es aand nd u n vers t es like ke itt d does not of rrunning our universities ccorporations. orporat ons What iss n eeded iss a b road ssocial oc a m ovement tthroughout hroughout C a orn a What needed broad movement California w th tthe he ccapacity apac ty tto o aarticulate rt cu ate a n ew ccollective o ect ve vvision s on for or tthe he future uture with new tthat hat w ep ace tthis h s eera ra o arrow sspecial pec a interests nterests aand nd for-profit or pro t ssocial oc a will rreplace of n narrow eengineering. ng neer ng N obody iss ssure ure aatt tthis h s ttime me w hat a ssocial oc a m ovement tto o fixx Nobody what movement tthe he ssystem ystem w ook like ke yyet, et b ut eexperience xper ence h as ttaught aught a h ard lesson esson tto o will look but has hard sstudents tudents w ho p rotest ccuts uts tto o ttheir he r eeducation: ducat on p et t on ng aand nd aattempts ttempts who protest petitioning tto on egot ate w th aadministrators dm n strators d on ot w ork The Th he only on y cchoice ho ce left e t iss tto o negotiate with do not work. eescalate sca ate ttheir he r p rotests aand, nd w hen n ecessary o ccupy sspaces. paces protests when necessary, occupy C hr s opher SS. B arkaan iss a P h D sstudent uden in n the he H s ory oof C onsc ousness Christopher Barkan Ph.D. History Consciousness pprogram rogram aat U CSC UCSC.

)A AGREE? G R E E ? DISAGREE? D I S A G R E E ? TALK TA L K BACK B A C K TO TO THE T H E BULLHORN B U L L H O R N AT AT ( WWW.SANTACRUZ.COM/NEWS W W W SA N TA C RU Z C O M N E W S

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10 QUESTIONS

PUBLIC EYE

You Y ou will will ffind ind m mee p playing laying w with ith tthe he p pup, up, eexploring xploring n ature, and/or and/or full full m oon sshark hark nature, moon ffishing ishing aand nd b oar h unting. boar hunting. EVOb P`]cUVb g]c b] AO\bO 1`ch- E VOb P`]cUVb g]c b] AO\bO 1`ch-

Santa Cruz Santa Cruz b brought rought me me tto o Santa Santa Cruz, Cruz, tthat hat aand nd sschool. chool. EVOb¸a g]c` TOd]`WbS ab`SSb- E VOb¸ b a g]c` TOd]`WbS ab`SSb-

Swanton S wanton R Road. oad. <O[S a][SbVW\U g]c¸`S SfQWbSR OP]cb < O[S a][SbVW\U g]c¸`S SfQWbSR OP]cb

The Th he upcoming upcoming m mushroom ushroom sseason. eason. <O[S O ^Sb ^SSdS < O[S O ^Sb ^SSdS

People P eople p picking icking m mushrooms ushrooms b before efore I d do. o.

8=3 >/?C7< 8 = 3 >/? C 7 < EVOb R] g]c R] T]` O ZWdW\U- E VOb R] g]c R] T]` O ZWdW\U-

Off ice M Office Manager anager ffor or WAMM WAMM [Wo/Men’s [Wo/Men’s Alliance Marijuana]! A lliance for for Medical Medical M arijuana]! EVOb e]cZR g]c PS R]W\U WT g]c EVOb e]cZR g]c PS R]W\U WT g]c eS`S\¸b R]W\U bVOb- e S`S\¸b R]W\U bVOb-

Paying rrent Paying ent some some other other w way, ay, p possibly ossibly iin na fforeign oreign country. country. EVOb R] g]c R] W\ g]c` T`SS bW[S- E VOb R] g]c R] W\ g]c` T`SS bW[S-

EVOb O`S g]c `SORW\U- E VOb O`S g]c `SORW\U-

Robert R obert A Anton nton Wilson—The Wilson—The IIlluminatus! lluminatus! T rilogy. Trilogy. EVOb¸ EVOb¸a bVS []ab W[^]`bO\b bVW\U b a bVS []ab W[^]`bO\b bVW\U g ]c¸dS ZSO`\SR W\ bVS ZOab bV`SS gSO`a- g]c¸dS ZSO`\SR W\ bVS ZOab bV`SS gSO`a-

Life is Life is too too sshort hort ffor or w worrying, orrying, w waiting, aiting, or or w ondering . . . wondering @SQS\b ^S`a]\OZ T]]R b`S\R- @ SQS\b ^S`a]\OZ T]]R b`S\R-

Cooking organic Cooking organic vvegetables egetables ffrom rom tthe he ggarden arden and and ccreating reating gourmet gourmet home home pizza. pizza. S upport yyour our llocal ocal ffarmer. armer. Support

STREET SIGNS

B63 6C:: B@CB6 B63 B63 6C:: B@C C:: B@CB6!!TvnnfsĂ–t!pwfs-!cvu!uifz!epoĂ–u!lopx!ju!zfu/!Qipup!cz!Usbdj!Ivljmm/! !TvnnfsĂ–t!pwfs-!cvu!uifz!epoĂ–u!lopx T Ă– c u ui e Ă–u l x!ju!zfu/!Qipup!cz!Usbdj!Ivljmm/ ju u Qi u c U j I ljmm

) ssubmit u b m i t your y o u r public p u b l i c eye e y e photo p h o t o to t o publiceye@santacruz.com p u b l i c e y e @ s a n ta c r u z . c o m (

LLocal ocal Poets, Poets, LLocal ocal IInspiration nspiration Myy Day in Sant M Santa a Cruz 11.. Every day with neighbors, E ve r y d ay I ttalk alk w ith n eighb ors, ttradesmen, radesmen, known off ccashiers ashiers aand nd ffriends riends II’ve ’ ve k nown ffor or yyears, ears, ssome ome o wife tthem hem my sstudents tudents ffrom rom yyears ears aago. go. I ccall all tto o my m w i fe door The ffrom fr rom tthe he fr ffront ro n t d o or aand nd sshe he aanswers. nswers. T he cchildren h i l d re n have been but neighbor’s h ave b een ggone one ffor or yyears, ears, b ut tthe he n eighb or’s ccats ats back doves llounge ounge iin n tthe he b ack yyard, ard, aand nd eevery ver y sspring pring d ov e s planter boxes on porch rroost o ost iin n tthe he p lanter b oxes o n tthe he ffront ro n t p o rc h Alone night aand nd sstay tay aall ll ssummer. ummer. A lone aatt n ight iin n tthe he rroom o om upstairs, music watch u pstairs, I rread, ead, llisten isten tto om usic aand nd wa tch tthe he Tell me, has been orr h had sstars. tars. T ell m e, h as aanyone nyone b een lluckier uckier o ad a rricher icher llife? i fe ?

2.. 2 Another It’s been on on A nother sstorm torm ttonight. onight. It t’s b een rraining aining o n aand nd o n months. Everyone off tthe days, wet, ffor or m onths. E veryone iiss ssick ick o he ggray ray d ays, tthe he w et, wind-filled nights. Unable bed, w ind-filled n ights. U nable tto o ssleep, leep, I llie ie iin nb ed, aand nd tthink hink off tthe dead, off tthem beyond o he lliving iving aand nd tthe he d ead, tthe he eeons ons o hem b eyond window. The house, tthe he w indow. T he ssquall quall sshakes hakes tthe he h ouse, ssloughing loughing one direction walls tthe he rrain ain iin no ne d irection aand nd aanother. nother. I ssense ense tthe he w alls me, beyond window, ssurrounding urrounding m e, tthe he rrain ain b eyond tthe he w indow, tthe he marshy gglossy lossy sstreets, treets, tthe he m arshy ffields, ields, tthe he ttrees rees aand nd tthe he rriver iver outside off ttown, where homeless, huddled under o utside o own, w here tthe he h omeless, h uddled u nder bridges, watch b ridges, w atch tthe he rrain-spattered ain-spattered water water rushing rushing past. past. 33.. Most nights, household M ost n ights, I ssit it aalone lone aafter fter tthe he h ousehold iiss aasleep. sleep. done off rritual II’ve ’ve d one tthis his ffor or yyears, ears, a ssort ort o itual tto o aadjust djust tthe he off m myy d days off tthe ttempo empo o ays tto o tthe he ttelluric elluric rrhythms hythms o he eearth. arth.

Th There here iiss tthe he house house and and silence, silence, the the timbers timbers creaking creaking aaround round me, me, tthe he city city aand nd the the ccountryside ountryside stippled stippled with with ssounds ounds b eyond tthe he w indow. These These are are m oments I beyond window. moments ccherish, herish, when when it it is is just just me, me, the the house, house, and and the the miles miles of of m oonlit chattering chattering I cannot cannot separate separate into into individual individual moonlit p ieces o noise, sounds sounds that that scatter scatter from from the the grasses, grasses, the the pieces off noise, ttrees rees aand nd tthe he rivers rivers beyond beyond tthe he cities, cities, all all of of tthem hem rushing rushing iinto nto a sstarry tarry ffuture uture w here I aam m lleft eft behind behind and and forgotten. forgotten. where —Morton Marcus Marcus —Morton Morton M orton Marcus Marcus has has ppublished ublished 110 0 books books of of poetry poe p trry and and a novel novel aand nd had had nearly nearly 5500 00 poems poems published published in in literary literary journals. journals. Next Next yyear, ear, White White Press Press will will publish publish his his translations trranslations of of the the Serbian Serbian poe asko Popa Poppa and and his his n ewest and and ďŹ nal ďŹ nal book book of of poems, poe p ms, ‘‘The The poett V Vasko newest D ark F igure in in tthe he Doorway: Doorway: Last Last Poems. Poe o ms.’ Dark Figure

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Currents. C urren ents. @3D3<C3 4@33 BD Craig J @3D3<C3 4@33 BD Craig Jutson, utson, iinterim nterim ddirector irector ooff C Community ommunit y T Television e l ev i s i o n Cruz County, community TV ooff SSanta a n ta C ruz C ount yy, ssays ays co mmunit y T V iiss iin n a bbad ad sspot. p ot.

Remote R emote CControl ontrol

Commun Community nitty TV in limbo limb bo as Comcast Comcasst rrenegotiates enegotiaates local local ccontracts onttracts

O

aand nd ccable able ttelevision elevision iiss a ssordid ordid o ne tthat hat one iincludes ncludes b reakups, m akeups, aanger, nger, breakups, makeups, ffrustration rustration aand nd ggeneral eneral d rama, w hich, drama, which, iiff tturned urned iinto nto aan n aactual ctual ttelevision elevision sshow, how, w o u l d s t r e t c h p a i n f u l l y o n f o r a t l e ast a would stretch painfully on for at least d o z e n s e a s o n s . A f e w f a c t s , h o w e v e r re dozen seasons. few facts, however,, aare aabundantly bundantly cclear. lear. First and and foremost: foremost: the the franchise franchise First aagreement greement be b tween C omcast aand nd S anta between Comcast Santa C ruz C ounty iiss eexpired. xpired. O n tthe he ttable able Cruz County On d uring tthe he o ngoing n egotiations iiss tthe he during ongoing negotiations iissue ssue o ates tthat hat C omcast ccan an ccharge harge off rrates Comcast ccustomers, ustomers, aand nd aalso lso h ow m uch tthey hey w ill how much will ccontribute ontribute tto op ublic aaccess ccess ttelevision. elevision. public C TV rreceives eceives 88 pe rcent o ts ffunding, unding, o CTV percent off iits orr aabout bout $ 780,000 pe ear, ffrom rom C omcast $780,000 perr yyear, Comcast tthrough hrough tthe he ““franchise franchise ffee� ee� tthat hat sshows hows u p up eeach ach m onth o nC omcast ccustomers’ ustomers’ ccable able month on Comcast b ills. bills. That fee fee is is a sore sore spot spot in in the the That between rrelationship elationship be tween tthe he county county and and Comcast, C omcast, eespecially specially ssince ince cable’s cable’s biggest biggest Direct TV ccompetitors, ompetitors, D irect T V and and Dish Dish Network, N etwork, aare re eexempt xempt from from having having to to County ccharge harge iit. t. C ounty and and city city negotiators negotiators worry Comcast w orry tthat hat C omcast will will try try to to minimize minimize orr get tthe he ffee ee o get out out from from under under it it aaltogether. ltogether. Andrew Andrew Johnson, Jo ohnson, vice vice president president of of Comcast, ccommunications ommunications ffor or C omcast, ssays ays tthat hat

isn’t sso. isn’t o. JJohnson ohnson ssays ays tthat, hat, “t “though hough w we’d e’d llike ike tto, o,� h is ccompany ompany d oesn’t h ave tthe he his doesn’t have power po wer tto o rreduce educe tthe he aamount mount ccharged harged aand nd write ccollected ollected ffor or ffranchise ranchise ffees. ees. ““We We jjust ust w rite And we’ll keep on writing tthe he ccheck. heck. A nd w e’ll k eep o nw riting tthat hat Johnson. do with ccheck, heck,� ssays ays Jo ohnson. ““What What tthey hey d ow ith up Santa iitt iiss u p tto o tthe he ccounty ounty aand nd ccity ity [of [of S anta Cruz]. C ruz].� Pat Pat Busch, Busch, the the county’s county’s chief chief negotiator negotiator with Comcast, disagrees. Hee aargues w ith C omcast, d isagrees. H rgues tthat hat part off tthe between eevery very p arrt o he ccontract ontract be tween tthe he Comcast up ccounty ounty and and C omcast iiss u p ffor or ggrabs, rabs, iincluding ncluding tthe he aamount mount iin n ffranchise ranchise ffees ees tthe he ccompany ompany charges charges and and ultimately ultimately fforks orks over CTV. Hee aand others o ver tto oC TV. H nd o thers ccontend ontend tthat hat Comcast doesn’t higher basic iiff C omcast d oesn’t gget et tthe he h igher b asic make rrates ates tthat hat they’re they’re aafter, fter, tthey hey ccould ould m ake up money byy rreducing u p tthat hat m oney b educing tthe he ffranchise ranchise with higher ffee ee aand nd rreplacing eplacing iitt w ith h igher rrates. aattes. “The “Th he point point is, is, the the franchise franchise agreement agreement Busch. iiss eexpired, xpired,� ssays ays B usch. ““The Th he ffunding unding provide CTV] no tthey hey p rovide [[to to C TV] iiss n o llonger onger We’re ccontractually ontractually gguaranteed. uaranteed. W e’re iin na period off ggreat uncertainty. pe riod o reat u ncertainty.� Busch Busch adds adds that that he he “doesn’t “doesn’t anticipate anticipate CTV]� but a sstop top iin n ffunding unding [[to to C TV V]� b ut tthat hat whatever w hatever aagreement greement iiss eeventually ventually hammered out will have h ammered o ut w ill ccertainly ertainly h ave aan n on eeffect fffect o n tthe he station. station. For Fo or local local producers prod ducers

THE BREAKDOWN 0<@B 0 <@B

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N THE TH HE ssouth outh end end of of Pacific Pacif ic A venue, inside inside tthe he long, long, Avenue, ccream-colored ream-colored hallways hallways aand nd clustered, clustered, video-screenvideo-screenaadorned dorned sstudio tudio rrooms ooms o ommunity off C Community T elevision o anta C ruz C ounty, yyou ou Television off S Santa Cruz County, ccould ould ccut ut tthe he ttension ension w ith a k nife. S ix with knife. Six m onths p ast tthe he d eadline, C raig Ju utson, months past deadline, Craig Jutson, tthe he sstudio’s tudio’s h appy-go-lucky iinterim nterim happy-go-lucky d irector, h asn’t be en ggiven iven aan n aannual nnual director, hasn’t been b udget yyet. et. IInstead nstead h e’s be en ggiven iven aaccess ccess budget he’s been tto o ffunds unds o naq uarrterly b asis aand nd iiss sstaring taring on quarterly basis aatt a ccut-off ut-off d ate o ov. 330 0u nless ccity ity date off N Nov. unless aand nd ccounty ounty lleaders eaders aapprove pprove aanother nother ffew ew m onths o inancing ffor or tthe he sshoestring hoestring months off ffinancing sstudio. tudio. Ju utson, aalong long w ith p roducers, Jutson, with producers, aactors, ctors, ccamera amera ttechnicians echnicians aand nd iinformed nformed ffans ans o TV, aare re aall ll h olding ttheir heir b reath, off C CTV, holding breath,

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waiting w aiting ffor or a ssign ign tto o eemerge merge ffrom rom tthe he cclosed-door losed-door n egotiations be tween tthe he ccity ity negotiations between aand nd ccounty ounty o anta C ruz aand nd C omcast off S Santa Cruz Comcast ffor or a ssense ense o hat m ay be tthe he ffate ate o off w what may off C hannel 2 5. Channel 25. “We’re all all hoping hoping things things will will work work “We’re o ut aand nd w e’ll k eep ggetting etting o ur ffunding, unding,� out we’ll keep our ssays ays Ju utson, a ccheery heery fformer ormer p roducer Jutson, producer aand nd ttechnology echnology whiz whiz w ho takes takes the the who ““interim� interim� iin nh is ttitle itle vvery ery sseriously. eriously. his ““It’s Itt’s a complicated complicated iissue. ssue. We We jjust ust d on’t don’t w ant tto o eend nd u p llike ike ssome ome other other ccities ities want up [[in in California] California] tthat hat h ave llost ost their their have ccommunity ommunity ttelevision elevision sstations. tations.� Ju utson’s assertion assertion that that “it’s “it’s Jutson’s a complicated complicated iissue� ssue� iiss a vvast ast u nderstatement. Th he d ecades-long understatement. The decades-long rrelationship elationship be tween S anta C ruz C ounty between Santa Cruz County

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ABC27= ;CA717/<A The jazz trio Organasm sets up to play during ‘Look Mom, I’m on TV.’

like Richard Dussell, who produces the music heavy variety show Look Mom, I’m on TV, trusting the cashstrapped city and county of Santa Cruz and a profitoriented cable company to keep doling out cash is an exercise in blind faith. “This is a scary time for community TV,� says the jovial producer, while helping set up microphones and cameras for local jazz trio Organasm to tape a live broadcast. “Comcast is a business. They’re going to do whatever makes more money. We would definitely lose a valuable public service if [CTV] is shut down.�

Off the Air Providing the backdrop to the entire negotiation process is the passage of the Digital Infrastructure and Video Competition Act of 2006. The act allows cable companies like Comcast to wiggle out of local franchise agreements with cities and counties in favor of partnering on a broader level with states. The law was sold to state legislators as a way of increasing competition and driving down prices. What it’s actually accomplished, however, is to eliminate the bargaining power of small municipalities,

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and, arguably, has led to the closure or significant downsizing of 70 community television studios around the state, including in San Francisco, Los Angeles and Richmond. Thanks to a temporary exemption from DIVCA carved out by former Assemblyman John Laird, however, the county of Santa Cruz will retain some form of local franchise for at least another four years. The question of how much of a fee Comcast customers will pay for that franchise is what’s at issue, Laird and others say. And since all but a few pennies out of every franchise fee dollar goes straight to CTV, fans of public access television should view a cut in franchise fees as exactly what it is: a cut in community television funding. In the meantime, viewers can still flip to Channel 25 and count on a steady stream of music videos, talk shows and comedy skits, all stamped with Santa Cruz’s unique brand of weirdness. But the question “for how long� is growing to a din, and unless negotiators loosen their tongues, it will be an ear-splitting clamor by the time an agreement is finalized. 0

SANTACRUZ.COM october 7-14, 2009

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Worlds Collide This year’s Pacific Rim Film Festival documents crashing cultural change throughout the Pacific hemisphere

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ANTA CRUZ, which so often seems like a strayed piece of Maui, was the natural spot for a film festival originally intended to honor the Islands. Over 21 years, the free Pacific Rim Film Festival has expanded to encompass much of the globe, but as this year’s offerings show, the Hawaiian links are still strong. Take the unmissable documentary >Obag ;W\Y( /VSOR ]T bVS ;OX]`Wbg (Cabrillo College’s Watsonville Center, Oct. 17, 6:30pm), which studies the life of the 12-term congresswoman from Paia, Maui—the first national lawmaker of color. Mink’s most lasting achievement was Title IX, for which all girl jocks must give honor. 6OeOWW( / D]WQS T]` A]dS`SWU\bg (Rio Theatre, Oct. 20, 3:30pm) is Catherine Bauknight’s analysis of the changes that could be made to preserve what’s left of Hawaii. The wrap-up benefit (and the only cover charge in the festival) is a work-inprogress screening of B]eO`R :WdW\U >]\] (Rio Theatre, Oct. 21, 7pm). Actor Jason Scott Lee (perhaps best known for his leading role in Dragon: The Bruce Lee Story) left Hollywood to move to the Big Island; there he lives off the grid except for a wind-powered water pump. Four thousand feet up in a cloud forest, Lee raises chickens, tends a taro patch and runs a small black box theater for live performance. So you can see the problem of Rick Bacigalupi’s documentary: who needs to explain choices like this? Sounds pretty damned smart to me. Lee does explain, though, between demonstrating how you can use poi as the original Hawaiians did, as a staple crop to keep one alive if eaten handful by mucky gray handful. The benefit includes a live performance by the Hula School of Santa Cruz. One of the best films of 2007 is showing at the Del Mar Theatre on Oct. 16 at 9:30pm and Oct. 19 at 1pm. C^ bVS GO\UbhS is an act of future-gazing—it gives a terrible sense of what these next decades will be like. Director Yung Chang, a master documentary maker from Canada, has as his subject the Three Gorges Dam project. Yung follows two young people, both employed in the tourist industry that plies the Yangtze before the banks are drowned. It’s not Yung’s purview to get into the potential hazards of the Three Gorges: its location in an earthquake zone, the rising silt, the decline in water quality upstream and downstream, the unexpected effect on local weather patterns. His specialty is the no-comment compare-and-contrast, with careful attention to the passing of time and the effect on the poor. An ex-farmer takes on the most dangerous quarrying I have ever seen, worse than the mining sequences in Powaqqatsi. He and his co-workers cling to the sides of cliffs barefoot, chipping the rock from under their feet as the real China drowns below them. The Korean import B`SSZSaa ;]c\bOW\ deserves to be classified in the category with the most superior films about childhood. Director Kim So Yong concentrates on the close-up shot, presenting children as spies behind the lines in the forbidding world of adults. Kim’s direction keeps the subjective focus on a kid’s life throughout this short but affecting movie; the music-free landscapes, creekscapes and skyscapes are watched for information, just as the sisters study the people around them. This year’s >/17471 @7; 47:; 43AB7D/: runs Oct. 16–21 at three locations in Santa Cruz and Watsonville (Del Mar Theatre, 1124 Pacific Ave., Santa Cruz; Rio Theatre, 1205 Soquel Ave., Santa Cruz; Cabrillo College Watsonville Center, 318 Union St., Watsonville). Watch these pages next week for a full schedule; www.pacrimfilmfestival.org. 4O[WZg 4W`[ ¨ #

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Family Firm Mark Tran’s ‘All About Dad’ looks at the dynamics of an immigrant family 0G AB3D3 >/:=>=:7

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OMETIMES, a filmmaker can be too right for his own good. When Mark Tran wrote the screenplay for All About Dad as a 19-year-old San Jose State University student, he drew on his experiences growing up in a large Vietnamese family in California. The central plot point was that the main character—loosely based on himself— wants to give up his boring biology classes and make movies, but his father comes from a generation unwilling to see filmmaking as anything but a frivolous distraction. Tran didn’t know back then that he would actually get to make his movie. But with the help of an SJSU professor who loved the script, he was able to get

use of some equipment and enough financing to start planning a shoot. When he did, he quickly discovered that he had been all too correct: because Vietnamese immigrants of that generation really do consider film an unthinkable profession, Tran couldn’t find anyone to play the father character. “In that older generation, no one pursues acting, because it’s all about survival,â€? says Tran. After four fruitless months of searching, he and his collaborators put up fliers around the South Bay advertising for the part and promising “no experience necessary.â€? “We were saying to ourselves, ‘This is so stupid; we’re not going to find ¨

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anybody,’� recalls Tran. “But we thought we had to be able to say we tried everything. And the only person who replied was perfect for the role.� That was Chi Pham, who brings a quiet storm to the character of Dad. As the title character who drives the action in this Viet-American family comedy, Dad requires a performance that is not entirely sympathetic, but not unsympathetic, either. Pham plays the proud patriarch who requires that everything be all about Dad, without losing sight of the fact that for Dad, everything is about the well-being of his family. It is a remarkable performance, especially for a nonprofessional, firsttime actor. Tran is now 24, and after completing All About Dad last year, he finally got to see how a mass audience would respond to his film when it was selected for Cinequest in San Jose earlier this year. The response was overwhelming, and Tran was amazed to see all the screenings sell out. “When I came to the theater, there was this huge long line,� he says. “I was really surprised. And really nervous.� He needn’t have been, as the premiere received a standing ovation, and All About Dad won the Audience Award for Best Feature. What the audience is connecting to is obvious: while the film’s focus on a Catholic Vietnamese family provides an interesting and unusual focal point for the film’s themes, at least for mainstream American audiences (for instance, an engaged couple must keep secret the fact that one of them is a Buddhist), the truth is that in the end they are quite universal. Overbearing dads? Underappreciated moms? Sibling rivalries? These are Vietnamese variations on a series of themes, and they are likely to hit home no matter what culture one grew up in. Tran has the directorial touch of a Wes Anderson with soul. Small, quirky details pop to the foreground and can take on an unexpected significance at any time: a tilting tree here, a bizarre action figure there and the occasional burst of fantasy. But there’s a refreshing lack of twee—these characters are not wacky or off-puttingly odd. They do some very funny things, and some strange things, but they are serious in intent. The way they act and speak feels authentic, and so do their problems. That is at least partially because Tran drew on the real communication problems he remembers from growing up. Both English and Vietnamese were spoken at home, but he spoke very little

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tvcvscbo!gsvtusbujpot!bt!xfmm!bt!effqfs! ejtbqqpjounfout!cfefwjm!Ebe/ Vietnamese, and his parents weren’t comfortable speaking English. “I can say anything I want in English, but they can’t understand,� he says. “They can say anything they want in Vietnamese and I won’t understand. We kind of talked like third-graders in our vocabulary.� The film is bilingual as well, although Tran was advised against subtitles at one point. “One of my producers said he hates films with subtitles, and that I should reconsider. But it didn’t seem right,� he says. For Tran and his cast and crew, most decisions like that had to made on instinct. He shot for 25 days in 2007, a first-time director working with an inexperienced crew and mostly nonprofessional actors. The performances he was able to draw from the cast are extraordinary, all things considered— there isn’t a weak link or a false note in the whole film. He admits it wasn’t always easy.

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“Everyone was pretty much green, and so we were discovering everything on our own,� he says.

The Real Dad Tran did base the character of Ty Do (played with infectious energy by David Huynh) on himself. He really was terrified to tell his family that he was planning to abandon his plans for a career in the parentally approved line of pharmacy to pursue filmmaking. But the biggest irony is that his own dad had a totally different perspective on his film career. “My dad was actually very, very supportive,� he says with a laugh. Still, he was nervous for his father to see the film, afraid he might not understand that the character is just that: a fictionalized character based loosely on him. But again, Dad surprised him. “I was very afraid my father would dislike it, but he loved it,� says Tran.

“He knows it’s not completely him. He sees it as a generational thing. He’s seen it twice, and he’s going to see it again. He’s very proud. And he wants all of his friends to see it.â€? The rest of his family is behind the film, as well. And they don’t have any reason to worry about Tran’s career—his work on All About Dad has earned him a job directing a Vietnamese gangster drama in Los Angeles with a sizable budget. But perhaps all along they saw the same passion in him that his character Ty has when he gets his first real camera in the film. “That’s the feeling I get when I working on films,â€? he says. “I’m so excited, my blood is boiling.â€? /:: /0=CB 2/2 (90 min.), written and directed by Mark Tran, screens Sunday, Oct. 18, at 7pm at the Del Mar Theatre. Mark Tran will appear in person. BVS /QQWRS\bOZ 2]Qc[S\bO`WO\a ¨ '

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The Accidental Documentarians Amid the wreckage of the 2004 tsunami, filmmaking was hardly a priority 0G 83AA71/ :CAA3<6=>

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LISON Thompson arrived in Sri Lanka after the 2004 Indian Ocean tsunami that killed an estimated 230,000 people as a nurse, not a filmmaker. She f lew with her boyfriend Oscar Gubernati to the capital city of Colombo hoping to dispense medicine and treat wounds. Making a documentary was not on the agenda. “Not at all. We were just going for two weeks,� she says. “We had a little tiny hand-held camera, I thought, ‘I’ll take it and I’ll take some pictures. I’ll come back and have a fundraiser and send the money back.’�

But when they drove through the destroyed village of Peraliya, which had only two buildings left standing, the trip took on a life of its own, eventually becoming Thompson’s documentary film The Third Wave. “In the beginning, we only had about five minutes, because we were working,â€? she says. “But then two months in, this Sri Lankan guy walked through with a camera.â€? They set him to work, along with anyone else who felt inclined to take the camera, while Thompson, Gubernati and the rest of their ragtag team of volunteers worked to treat the wounded, ¨

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>/1 @7; 47:; 43AB j /11723<B/: 2=1C;3<B/@7/<A rebuild the school and homes and feed the village. Thompson returned to her home in New York City after 14 months and decided to create a documentary. “I had all 250 hours of it, and I thought, ‘I gotta make this into a story,’� she says. “It was hard to relive. I was bawling or laughing my head off.� The resulting film is more of a historical document than it is a storydriven documentary, and it shows the initial destruction, rebuilding efforts, the slow return to a kind of normalcy and all the trouble that inevitably came along the way. Thompson and her crew had the added disadvantage of not speaking Singhalese, and only after the tapes were translated did she understand what was being said about her and her crew as they became embroiled in village infighting, jealousy and bureaucracy. In the end, however, Thompson says the Peraliya team’s success is a message about the importance of volunteerism. “It was very successful. When other villages had no homes built we were already up to 32. We just keep it simple: no bureaucracy, no politics,

everyone is welcome to join us,� she says. “[Larger organizations] would write 20 emails back to the main office to get permission to build a toilet. They should have smaller subgroups that could have permission to go straight ahead.� Actor and filmmaker Sean Penn certainly got the message, and in addition to putting his name on The Third Wave as “presenter,� he called Thompson up and asked her to join him for a cross-country volunteer trip in the United States that is now being made into the film Dirty Hands Caravan. “It’s a crazy adventure. It’s spoiled, unaware California kids on what was a party bus to start with. We ended up in New Orleans, and they’re just shocked that this is their country,� she says. “Their lives are changed forever. Twenty kids stayed behind. It’s a revolution, it’s being passed on—pay it forward.� B63 B67@2 E/D3 screens Friday, Oct. 16, at 7pm and Saturday, Oct. 17, at 4pm at the Del Mar Theatre. Alison Thompson and Oscar Gubernati appear at both screenings. The event is free. Go to www.pacrimfilm festival.org for more information.

Train to Nowhere UCSC grad Cary Fukunaga rides the rails in ambitious debut film ‘Sin Nombre’ 0G 1C@B7A 1/@B73@

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N researching his Sundance award–winning debut film Sin Nombre, director Cary Joji Fukunaga hopped a freight train with a handful of immigrants and trekked through Central America and Mexico on the illegal, much-traveled route to “el norte� and the United States. The huddled passengers, wet with rain and dodging tree branches and border patrol agents from the rooftops of the lumbering rail cars, provide the takeaway image from this majestically shot and finely acted Spanish language film. But the movie isn’t about immigration. It’s about two lives that come crashing into each other through shared tragedy and the quest for a better life. Honduran-born actor Edgar Flores plays Willie, or “El Casper,� a member

of the ultraviolent Mara Salvatrucha, or MS-13, gang, whose members tattoo their bodies and faces with a frightening veneer of black gothic letters, devil horns and teardrops. Willie has fallen out of favor with the leadership, and the charismatically malevolent Mara kingpin Lil’ Mago (Tenoch Huerta) has killed his girlfriend. On a train-robbing mission Willie rebels, slaying Mago when he attempts to rape a young woman, Sayra (Paulina Gaitan). Sayra is on her way from Honduras to New Jersey and a distant aunt in the company of her uncle and father. After being saved by Willie, she becomes passionately infatuated with the young man, and the movie unfolds as the two race ahead of vengeful gangsters toward a final ¨

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showdown at the crossing of the Rio Grande in El Paso. Fukunaga’s images of poverty-stricken Mexico with its verdant forests and bustling, trash-strewn streets is epic and vibrant. And his decision not to tell the social story implicit in the journey of the train-riding refugees is one that defines his film as a character portrait and not a societal critique—it also makes the movie exponentially easier to watch. Besides offering a glimpse into two different and remarkable lives, the film also makes its stand as a Hitchcockian suspense thriller. Whether by train, on foot, or, at one point, stowed away inside a car on a tractor-trailer, the heroes’ odyssey involves several whiteknuckle run-ins with gun-toting Maras as the marked-for-death Willie drags his naive waif into the world of death and retribution. Both principal actors give solid performances, with Gaitan’s adoring

Sayra only slightly implausible. As Willie, Flores’ few lines and emotionless expressions seem prudent for a young man numb to violence and with little left to live for. And a surprise talent emerges in Kristyan Ferrer, who plays the Mara’s adolescent new recruit “Smiley.â€? Baby-faced and with more than a hint of innocence and conscience to boot, Smiley shows his true colors by the end of the film and helps drive home one of the movie’s main themes, a trope in line with the fable of the Scorpion and the Frog. By the time the credits roll, the viewer has been scared, thrilled, disgusted, inspired, enlightened and entertained. Not a bad haul for a guy making his first film. A7< <=;0@3 screens on Sunday, Oct. 18, at 4pm at the Del Mar Theatre. Admission is free. For more info visit www.pacrimfilm festival.org. >]W ;O\ >]\RS`W\U ¨ #

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Poi Man Pondering 70 feet of fun!

‘Toward Living Pono’ examines the post-Hollywood, ultrasustainable life of actor Jason Scott Lee

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OR THOSE who know Jason Scott Lee for his butt-kicking role in Timecop, it would be hard to imagine him tilling land or burying fish heads to fertilize taro crops. But that’s how he spends a typical day since moving to Volcano Village on the Big Island of Hawaii to learn how to live the concept of pono. “Pono means righteousness,� Lee explains. “So living pono means living righteously.� That means living with and for nature: taking no more than you need, replenishing what you take and practicing respect and honor for the oceans and land. Toward Living Pono explores this ancient concept, a tradition that could become the cure for this troubled era of climate change, economic collapse and a decreasing capacity for self-sufficiency worldwide. Lee meets some confusion explaining why he left Hollywood to live off the grid. “They thought I would ruin my career. Some asked, ‘Why are you dropping out?’ I said, ‘From your perception, it looks like I’m dropping out. From my perception, I’m dropping in.’� With a laugh he admits: “I still have trouble explaining it to some people.� Lee catalogs how minimalist it is living pono: one solar panel with a battery, rainwater caught off the roof, no refrigerator, a traditional outhouse and only a small outboard motor on his fishing boat. “There’s no way we could overfish the oceans if we only took what we needed,� explains Lee’s friend and neighbor, identified only as Earl. “The proof is here: we go fishing all the time. We catch, and we feed a lot of people with just one fish—it’ll feed, what, six, seven people. For a couple of days,� he emphasizes. “Just say no to McDonald’s, Taco Bell, Jack in the Box,� Lee quips on a fishing expedition as he licks a nutritious wet-cement-like paste, called poi, from

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his fingers. Poi is made from the root of taro, a plant found throughout Polynesia, and is a traditional staple food that helps living pono. “It’s eaten with fish, or the leaf of the taro plant, or other things collected from the sea. Once you start eating poi, you eat healthier. A lot of things that go with poi are very natural flavors.� In the philosophy of the Hawaiian people, the land was the chief, served by mankind. “That’s the opposite of Western culture,� Lee explains. “You exploit the land, and by exploiting it, you become rich. And that benefits only those getting rich. Living pono benefits everybody.� It makes one wonder: will we learn to live pono and drop in, or will we trip and fall when it’s too late? B=E/@2 :7D7<5 >=<= screens Wednesday, Oct. 21, at 7pm at the Rio Theatre. Tickets are $15, available at Bookshop Santa Cruz, Logos and Records, Aloha Island Grill and brownpapertickets.com.

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Cabrillo o Colle College ge throws a comingcomingg throws out par rtty ffor or its o party long--aawaited long-awaited art ts facilit ty arts facility 0G B@/17 6C97:: 0 G B @ /1 7 6 C 9 7 : :

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OT THE HE approximately approximately 11,600 ,600 people who up p eople w ho ssnapped napped u p free free weekend’s ttickets ickets to to this this w eekend’s gala gala opening off Cabrillo’s o pening o Cabrillo’s new new Visual Visual and and Performing Performing Arts Arts Complex Complex in in a freakish freakish 56-minute 56-minute display display of of enthusiasm enthusiasm for for the the arts arts on on the the first first day day tickets tickets became became available: available: Congratulations. Congratulations. Your Your efforts efforts were were not not in in vain. vain. The The three three “soldâ€?-out “soldâ€?-out performances, performances, a mĂŠlange mĂŠlange of of music, music, theater theater and and dance, dance, will will be be staged staged in in a shiny shiny new new showpiece showpiece of of a venue, venue, the the Crocker Crocker Theater, Th heater, the the crown crown jewel jewel in in a glitteringly glitteringly modern modern complex complex 11 11 years years in in the the making. making. To To everybody everybody else: else: start start making making plans plans to to attend attend a slew slew of of VAPA VAPA shows shows this this fall fall and and set set the the GPS GPS for for Cabrillo Cabrillo on on Saturday Saturday for for six six free free hours hours of of workshops workshops and and snooping snooping through through a new new $68 $68 million million arts arts facility facility that that puts puts Cabrillo Cabrillo in in an an elite elite class class of of California California community community colleges. colleges. Make Make that that community community colleges colleges everywhere. everywhere. As As new new vice vice president president of of student student services services Dennis Dennis Bailey-Fougnier Bailey-Fo ougnier remarked remarked recently, recently, referring referring to to a previous previous employer, employer, “At “At Virginia Virginia Commonwealth Commonwealth University, University, I guarantee guarantee they they would would give give their their eyeteeth eyeteeth for for this this facility—and facility—and they they had had 6,000 6,000 arts arts students. students.â€? It’s It’s hard hard not not to to gush. gush. Built Built primarily primarily with with funds funds raised raised by by local local ballot ballot measures measures in in 1998 1998 and and 2004, 2004, the the complex complex consists consists of of five five buildings buildings clustered clustered across across Soquel Soquel Drive Drive from from the the old old Cabrillo Cabrillo Theatre. Theatre. Begun Th Begun a little little too too early early to to get get in in on on LEED LEED certification, certification, the the buildings buildings nevertheless nevertheless have have a distinctly distinctly modern, modern, smart smart feel, feel, with with lots lots of of glass, glass, light light and natural materials. In organization and natural materials. In organization and and

/@B03/B =4 1/0@7::= T /@B03/B =4 1/0@7::= The he ggleaming leaming n new ew V Visual isual aand nd Pe Performing r fforming A Arts rts C Complex omplex aatt C Cabrillo abrillo C College ollege Crocker Theater, Music Recital Hall, hhouses ouses the the sstate-of-the-art ta te - o f- t h e - a r t C ro c ke r T heater, rright, ight, aand nd a sseparate e p a r a te M usic R e c i ta l H all, aatt lleft. eft.

design, this design, this iiss m meant eant tto o be be a fully fully updated updated 21st-century with 2 1st--century ffacility acility w ith a long long life. life. That Th hat means means different different things things in in different different departments. well-lit 2-D d epartments. In n the the aairy, iry, w ell-lit 2 -D aart rt sstudios—where tudios—where eeven ven llow-tech ow-tech props props have llike ike drawing drawing horses horses h ave been been given given an an makeover—digital iingenious ngenious m akeover—d — igital facilities facilities are are never n ever far far away. away. The Th he digital digital photography photography sstudio, tudio, jjust ust aaround round tthe he ccorner orner ffrom rom tthe he with ttraditional raditional wet wet process process ccenter enter w ith its its darkrooms, houses more d arkrooms, h ouses m ore tthan han ttwo wo dozen dozen 22-inch monitors. printmaking 2 2-inch Apple Apple m onitors. The The p rintmaking besides having sstudio, tudio, b esides h aving complete complete ccapability apability ffor or both both silk silk and and intaglio intaglio processes, processes, is is next digital n ext door door to to a d igital lab. lab. “We “We know know ttraditional raditional media media and and digital digital media media are arree dean ccoming oming together, together,� ssays ays d ean of of visual visual aand nd performing Dan p erforming arts arts D an Martinez. Martinez. ““This Th his proximity meant p roximity iiss m eant to to aaid id tthat. hat.� In n the the 3-D 3-D studios, studios, high high tech tech has has other other meanings: m eanings: ffancy ancy kilns kilns for for ceramics, ceramics, tiny tiny sstate-of-the-art tate-o of-the-art ttorches orches ffor or metalworking, metalworking, eefficient fficient vventilation entilation ffor or the the welding welding room room one ((where, where, iin no ne of of Saturday Saturday aafternoon’s fternoon’s highlights, bee a 2 2pm pouring off h ighlights, tthere here will will b pm p ouring o 2,400-degree 2 ,400-degree bronze bronze into into a casting). casting). In n the the music music building, building, it it means means digital digital

rrecording ecording studios, studios, 15 15 soundproofed soundproofed p practice ractice sstudios tudios aand nd a 369-seat 369-seat Recital Recital Hall Hall described described byy theater design Pollack b theater d esign cconsultant onsultant Steve Steve P ollack Hee aass a “V-12 “V-12 engine engine iin n a Superbeetle. Superbeetle.� H off rrefers efers tto o the the Mighty Mighty Mouse Mouse combination combination o pitched aan n intimate, intimate, steeply steeply p itched performance performance modular sspace pace with with a large, large, m odular stage stage and and a highly h ighly adaptive adaptive acoustics acoustics system. system. This This hall hall will bee a rregular musical w ill b egular vvenue enue ffor or aany ny m usical vventure enture that that requires requires great great acoustics—jazz acoustics—jazz bands, Cabrillo’s b ands, C abrillo’s many many choruses, choruses, cclassical lassical rrecitals. ecitals. And And then then there’s there’s the the Crocker Crocker Theater, Theater, named Richard n amed ffor or benefactors benefactors R ichard and and Theresa Th heresa Crocker, who C rocker, w ho in in August August 2007 2007 announced announced a donation off $1 million d onation o $1 m illion to to the the new new project. project. IIt’s t’s sspectacular. pectacular. The The ttheater heater iitself, tself, aatt 5581 81 bigger sseats eats a ggood ood 20 20 percent percent b igger than than the the old old ttheater, heater, boasts boasts sstate-of-the-art tate-o of-the-art llighting ighting aand nd off ttrap rrigging igging setups, setups, a versatile versatile system system o rap doors beneath d oors and and rooms rooms b eneath the the stage, stage, vvents ents beneath nearly b eneath n early every every sseat eat in in the the house house aass a better b etter means means of of temperature temperature ccontrol ontrol aand nd off ccharming backstage a warren warren o harming b ackstage ffeatures eatures Equity llike ike “star “star rooms� rooms� for for E quity aactors, ctors, a full full makeup m akeup rroom oom aand nd a costume costume ccenter enter complete with complete w ith washer washer and and dryer dryer ffor or

cleaning aand cleaning nd d dyeing. yeing. T The he 1150-seat 50-seat B Black lack B ox Th heater sserves erves tthe he aage-old ge-old p urpose o Box Theater purpose off p roviding a p lace ffor or eexperimentation. xperimentation. A nd providing place And iin nan od tto o rreality eality ((and and u pdated ccode), ode), tthe he nod updated ttheater heater ffeatures eatures m ore sstalls talls iin n tthe he w omen’s more women’s rrooms ooms tthan han iin n tthe he m en’s. E ureka! men’s. Eureka! There’s a ssense Th ense aalmost lmost o mbarrassment There’s off eembarrassment aamong mong C abrillo o fficials o ver tthis his Cabrillo officials over ccomplex—after omplex—after aall, ll, iits ts llong-scheduled ong-scheduled u nveiling ccame ame aatt a ttime ime w hen tthe he ccollege ollege unveiling when h ad tto o ccut ut 1100 00 cclasses lasses iin no rder tto om ake had order make u p ffor or a $ illion ffunding unding sshortfall. hortfall. B ut up $33 m million But iit’s t’s m ixed iin nw ith a h ealthy d ose o ride, mixed with healthy dose off p pride, aand nd tthis his w eekend tthousands housands o eople aare re weekend off p people aabout bout tto o ffind ind o ut w hy. out why. THE VISUAL AND PERFORMING T HE V ISUAL A ND P ERFORMING ARTS COMPLEX OPEN HOUSE A RTS C OMPLEX O PEN H OUSE iiss Oct. Free. SSaturday, aturday, O ct. 110, 0, 110am–4pm. 0am–4pm. F ree. Visit www.cabrillovapa.com V isit w ww.cabrillovappa.com ffor or workshop performance w orkshop aand nd pe rformance sschedule. chedule. performances Friday, SSold-out old-out ggala ala pe rformances aare re F riday, Oct. 9,, SSaturday, Oct. 8pm O ct. 9 aturday, O ct. 110, 0, aatt 8 pm aand nd Oct. Crocker SSunday, unday, O ct. 111, 1, aatt 33pm pm aatt C roocker Theater, 6500 Dr., Aptos. T heater, 6 500 SSoquel ooquel D r., A ptos.

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Art of Science, Science of Art

A new show at the Sesnon Gallery explodes our notions of right brain–left brain divisions of creative labor 0G 16@7AB7</ E/B3@A

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ROVOCATIVE and richly improvisational, “Full Disclosure,� the new show at UCSC’s Sesnon Gallery, was the brain child of chemistry professor Scott Lokey and art professor Melissa Gwyn, who arrived at UCSC in the same year and became interested in each other’s work. What light could creative visualization shed on molecular spectroscopy? How is the beauty of a strand of DNA intrinsic to its meaning? And why—especially why—are failures, both in the studio and in the laboratory, productive of the next insight, a better paradigm, a clearer grasp? Those questions and more began popping up as Gwyn and Lokey looked at each other’s work, noticing the uncanny beauty of even the most mundane protein strands and observing how, by artistically reframing their experimental building blocks, scientists might be inclined to expand their assumptions. “Working on this show was both more intriguing and more complicated than usual,� admits Sesnon director Shelby Graham. “The science is going to end up looking like art and the art looking like science—it’s exciting.� As Graham sees it, “a failure in science can be much like a failure in art. Both make you see things differently.� Asked what might constitute “failure� in his field, Lokey responds that “failure can happen on multiple levels. It can be very mundane, like forgetting to label a sample.� Simple human error. But there are other kinds of failure in science, he notes, failures that are essential to scientific progress. And these, Lokey observes, can lead to important paradigm shifts, such as when the failure to show that velocity was an absolute led to the discovery of relativity and its transformative effect upon physics. Lokey found Gwyn’s paintings of molecular compounds, especially her “metaphorical approach� to them, intriguing. “They added a new layer

E@7B7<5 E@=<5A The collaboration between chemist Scott Lokey and art professor E.G. Crichton drew on notes from one of Lokey’s notebooks.

of meaning to my work, a sense of history and of personal history,� he says. “Science is used to staying within the objective. The idea of bringing in an aesthetic component was new to me.� Lokey helped Gwyn figure out how to visualize chemical structure. She in turn offered the chemist a new lens through which to observe and think about his field. A conversation was born that soon spread. Biochemist Dave Deamer’s photographs of protein structures, specifically nanopores, seemed a perfect cross-reference with Gwyn’s paintings. Land photographer Norman Locks began working with environmentalist Brian Petersen. Elliot Anderson of Digital Art/New Media began creative experiments in league with toxicologist Russ Flegal. Art professor Frank Galuszka’s large-scale paintings incorporate refractive shards of muscovite, a practice that prompted conversations with mathematician Ralph Abraham. As the installation artwork by E.G. Crichton demonstrates, many scientists had no idea how their “failures�

generated intriguing channels to inner awareness, or that broken test tubes and torn-up conclusions could yield interactive metaphors for their work as life—and art as work. “We started thinking about a larger dialogue,� says Lokey, Crichton’s collaborator, with a smile. “Something that would help scientists get outside their comfort zone.� Crichton worked with a roomful of chemists and “got them talking about their failures. Not just discussing the data, but the process itself, which includes failures, as fundamentally interesting.� Lokey admits the collaborative process was a curiosity at first, “but when people come to the show they might find it eye-opening.�

FULL DISCLOSURE is at the Mary Porter Sesnon Art Gallery, Porter College, UCSC through Nov. 21. Reception Wednesday, Oct. 7, 4:30–6:30pm, followed by a panel discussion with artists and scientists; http://arts.ucsc.edu/sesnon/.

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Entering Disleyland Terry Disley’s wild musical ride B9B9B9B9B

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OCK & ROLL fought a pitched battle for Terry Disley’s musical soul, but the pianist ended up forsaking the fast life to pursue his passion for jazz. As music director for Dave Stewart, who gained fame as Annie Lennox’s partner in the Eurythmics, Disley spent much of the 1990s as a studio secret agent, laying down tracks for a succession of pop stars, from Paul McCartney and Van Morrison to Brian Wilson and Bon Jovi. But Disley started his career as a highly touted jazz musician, and he found the lassitude and anonymity of the studio lifestyle dispiriting. By 1997 he was at the crossroads with the devil murmuring in his ear. Stewart wanted him to tour with a revamped version of the Eurythmics, while Bryan Ferry was looking to jump-start Roxy Music with Disley taking over Brian Eno’s original chair in the band. Instead of delving into the rock arena, he lit out for San Francisco, where he has gradually built a reputation as a gifted pianist with a knack for writing catchy tunes drawing on a range of popular styles. “I just gave everything up,� says Disley, 52, who makes his Kuumbwa debut on Thursday. “Dave Steward wanted me to revive the Eurythmics and Bryan Ferry wanted to tour with Roxy Music. He’s a great bloke who’s really into jazz. But I stubbornly did my thing and I’m still stubbornly doing it.� Disley’s recent album, West Coast Jazz Impressions, is his most rewarding yet from a jazz perspective. Instead of the R&B-inflected grooves of his previous CDs, he employs straight-ahead jazz swing, exploring a variety of buoyant moods and vibrantly shaded harmonies with a superlative cast, including veteran rhythm section team of drummer Jason Lewis and bassist Dan Feiszli and Berkeley-raised trumpeter Erik Jekabson. Guitarist Lorn Leber joins the Terry Disley Experience for Thursday’s show. “It’s well-designed, well-crafted music, and very fun to improvise on,� says Jekabson, a well traveled player who’s settled back in Berkeley after years of

>7/<= ;/< After years of toiling in anonymity in the studio behind big names, Terry Disley struck out on his own as a jazz pianist.

contributing to the New Orleans and Brooklyn scenes. “The music he writes really connects with the audience. They can grab a hold of it.� Born and raised in London, Disley displayed prodigious keyboard talent at a young age, and by 13 he was composing for his own electric/acoustic chamber ensemble. Interested in many styles of music, he’s written for wide array of settings, though he’s always returned to jazz. He cites Joe Sample’s funky keyboard work with the Jazz Crusaders as a formative influence, though he also soaked up the sounds of McCoy Tyner, Monty Alexander and Cedar Walton while playing opposite of them at London’s premier jazz club, Ronnie Scott’s. He gained invaluable experience and encouragement working at British bassist Peter Ind’s Tenor Clef club, backing traveling American jazz greats like Cecil Payne, Eddie Henderson, John Stubblefield and Urbie Green. “I had gotten into the jazz scene and abandoned it to do the pop tours,� Disley says. “Ind called me and it gave me a

chance to get back in. Eddie Henderson was full of praise. He said, ‘You just need to get exposure.’� Exposure was exactly what Disley got as a member of the popular British world jazz combo Acoustic Alchemy. He contributed to the band’s hit GRP albums and toured internationally, sharing stages with acts like the Yellowjackets and Grover Washington Jr. While he’s joined the revamped Alchemy for several tours in recent years, Disley is concentrating on his own music. “I just wrote a new tune yesterday in the middle of the night,� Disley says. “It’s got a Ray Charles feel to it and I’ll introduce it on Thursday. At the moment it’s called ‘The Kuumbwa Stomp.’� TERRY DISLEY EXPERIENCE plays Thursday, Oct. 8, at 7pm at Kuumbwa Jazz Center, 320-2 Cedar St., Santa Cruz. Tickets are $12/$15 at 831.427.2227 or www .kuumbwajazz.org.

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What What can c an Pilates Pilates Rehab Rehab do do for for YOU? YOU? FIND O FIND OUT UT N NOW! OW! E-mail Jenny y Murphy, MPT, to sche schedule edule your FREE 15-min. cons consultation: sultation: synergyjenn synergyjennypt@yahoo.com. nypt@yahoo.com.

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B63 7<23>3<23<B DAHR JAMAIL has contributed articles on the war in Iraq to The Nation, Al-Jazeera and the Guardian, but he is first and foremost an independent journalist. “I think it’s really the only way to go about it, and enables you to report accurately without censorship,� he says. “It definitely has been challenging.� Jamail spent nine months in Iraq reporting independently, but it wasn’t until his return home that he got the idea for his latest book, The Will to Resist: Soldiers Who Refuse to Fight in Iraq and Afghanistan. The book follows the stories of soldiers who have refused orders, gone AWOL or would not redeploy, sometimes as an act of resistance against the current conflicts. “Most of them started approaching me on my first book tour,� he says. “They came up to me, I started talking with them, and one led to another.� What Jamail discovered was a population of soldiers who felt betrayed or manipulated by the military, and that an increasing number of soldiers all over the country are going AWOL. Though dissent is increasing, he says, so far they are unconnected pockets of resistance. “It’s nothing compared to Vietnam,� he says. “At the same time, they are growing more interconnected.� Jamail also says with the U.S. government on the verge of a second surge in Afghanistan, the kinds of stories contained in the book are certain to become more common, as public support for the war erodes and more organizations seek to aid soldiers who wish to disobey their orders. “We are seeing victories. Ehren Watada, as of today, he is a free man,� says Jamail of the lieutenant whose courtmartial case was dropped in May. “ He won’t spend a day in Iraq or a day in jail.� (Jessica Lussenhop)

DAHR JAMAIL will give a lecture and answer questions on Wednesday, Oct. 14, at 7pm at Veterans Memorial Building, 846 Front St., Santa Cruz. Tickets are $10–$20. For more information call 831.423.1626.

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3B6<71 2/<13 43AB7D/: Santa Cruz Dance hosts the first annual Ethnic Dance Festival this Saturday featuring performances and workshops in numerous styles from around the globe, including Japanese butoh, Polynesian hula, Mexican folklorico and several more. Workshops are held from 11am to 3pm at the Arts Center (they’re $15 and fund the free event), and performances will be held from 3 to 7pm at Mission Plaza Park, with food booths the first hour. For complete list of workshops visit www. downtownsantacruz.com/dance/workshops.htm. Saturday, Oct. 10, 11am–7pm. Workshops $15. Arts Center, 1001 Center St., Santa Cruz, and Mission Plaza Park, corner of Mission and Emmet streets, Santa Cruz. GdhZ igZVi `^Yh id [jc hidg^Zh# Bdc! &&Vb# 8Ve^idaV 7dd` 8V[Z! &),* )&hi 6kZ! 8Ve^idaV! -(&#)+'#))&*# ESSYZg :]ab >]Sba AOZ]\ I]Z Adhi EdZih HVadc bZZih ZkZgn lZZ`0 _d^c ^c h]Vg^c\ ndjg dlc edZign dg edZbh Wn di]Zgh# HVi! '/(%eb# I]Z 7V\Zagn! ('% 8ZYVg Hi! HVciV 8gjo! -(&#)'.#-%).#

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IN MEMORIAM

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0/19 B= :/@/;73 SANTA CRUZ–based Pisces Moon Productions presents an influential and extremely telling epilogue to the original Laramie Project, which drew national attention to the reality and the brutality of gay- and lesbian-related hate crimes. The original production was created in 1998, after the infamous fatal beating of Matthew Shepard in Laramie, Wyo. A month after the murder, New York’s Tectonic Theater Project went there and interviewed the townspeople, later turning the interviews into a play that was eventually made into an HBO special. Last year, the theater group returned to Wyoming and reinterviewed the same community members—plus the murderers and Shepard’s mother. The resulting production focuses on the aftermath of the crime and the overall effect it had, and continues to have, on the community 10 years later. (Catherine Gildea)

THE LARAMIE PROJECT: TEN YEARS LATER is performed Monday, Oct. 12, at 8pm at the Music Center Recital Hall at UCSC. Tickets are $25 advance/$30 door, available at santacruztickets .com, the Civic box office or 831.459.2159. For more information, go to piscesmoon.org.

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Jazz Presenters since 1975

THURS. OCTOBER 8 • 7 PM

TERRY DISLEY EXPERIENCE A heady mix of be-bop, jazz, salsa, funk & world music - sure to get you on your feet! Concert only: $12/Adv $15/Door Jazz & Dinner: $24.60/Adv MON. OCTOBER 12 • 7 & 9 PM

REGINA CARTER’S “REVERSE THREADâ€? Retracing the roots of African music 7PM: $25/Adv $28/Door 9PM: $20/Adv $23/Door Sponsored by Staff of Life THURS. OCTOBER 15 • 7 PM

TAR BABY Exploratory band plays with reckless abandon! $20/Adv $23/Door 1/2 Price Night for Students At the door only with I.D. Made possible by David & Kate Hartzell and William & Cloy Codiga Family Foundation

MON. OCTOBER 19 • 7 & 9 PM

CEDAR WALTON QUARTET 7PM: $25/Adv $28/Door 9PM: $20/Adv $23/Door Sponsored by Affordable Plumbing & Draining, Inc.

U.S. DEBUT! THURS. OCTOBER 22 • 7 PM

THIRD MAN TRIO: HAN BENNINK, MICHAEL MOORE, WIL HOLSHOUSER

â€œâ€Śfrom crisp Ellingtonian swing into cacophonous group improvisation.â€?- New York Times $20/Adv $23/Door • FREE to KJ Members MON. OCTOBER 26 • 7 PM

MARCUS ROBERTS TRIO Roland Guerin - bass Jason Marsalis - drums $25/Adv $28/Door Sponsored by Dale O’Rourke

Pulse Productions & Kuumbwa Jazz Present: MON. NOVEMBER 9 @ THE RIO THEATRE

MILTON NASCIMENTO & THE JOBIM TRIO w/special guest Claudia AcuĂąa opening $50 Gold Circle, $35 General No Jazztix/Comps Tix at: Logos, Streetlight, pulseproductions.net, kuumbwajazz.org

ON SALE AT KUUMBWAJAZZ.ORG 11/3 11/5 11/12 11/16 11/19 11/30 12/7 12/8 12/14

TRIO 3: Oliver Lake, Reggie Workman, Andrew Cyrille JEAN LUC PONTY KAT PARRA CD Release Concert STEVE GADD & FRIENDS with Joey DeFrancesco, Ronnie Cuber, Paul Bollenback FRED HERSCH - Solo KIM NALLEY “The Heart of Lady Day� DAN HICKS & THE HOTLICKS “Holidaze in Hicksville� plus BOB DOROUGH’S BLUE CHRISTMAS ROY HARGROVE QUINTET CHARLIE HUNTER TRIO

Dinner served Mondays & Thursdays beginning at 6pm, serving premium wines & microbrewed beers. Snacks & desserts available all other nights. All age venue.

Advance tickets at Logos Books & Records and online at kuumbwajazz.org Tickets subject to service charge and 5% S.C. City Admission Tax.

KUUMBWA JAZZ

320-2 CEDAR ST • SANTA CRUZ KUUMBWAJAZZ.ORG

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When Jerry When Jeerry Garcia Garcia passed passed aaway, way, h hee lleft eft b ehind legions legions of of fans fans w ho h ad behind who had ccome ome to to ttreat reat Grateful Grateful Dead Dead concerts concerts aass more more o ribal celebration celebration than than off a ttribal m ere cconcert. oncert. M any have have attempted attempted mere Many tto o ffill ill the the vvoid, oid, including including members members of of tthe he fformerly ormerly G rateful tthemselves. hemselves. F or Grateful For ffans ans w ho vvalued alued tthe he band’s band’s legendary legendary who iimprovisations, mprovisations, h owever, there there are are however, ffew ew substitutes. substitutes. D ark Star Star Orchestra Orchestra is is Dark ggamely amely ttrying rying to to recapture recapture the the llightningightningiin-a-bottle n-a-bottle tthat hat w as the the G rateful Dead’s Dead’s was Grateful llive ive performances. performances. By By obsessively obsessively rereccreating reating sspecific pecific Grateful Grateful Dead Dead live live p erformances preserved preserved o n tape, tape, tthe he performances on b and iiss p roviding an an essential essential service service ffor or band providing tthose hose who who pine pine for for the the G rateful Dead’s Dead’s Grateful h eyday, aand nd for for those those too too young young to to catch catch heyday, tthe he p erformances the the ffirst irst time time tthrough. hrough. performances R io Theatre; Th heatre; $25; $25; 8pm. 8pm. (Paul (Paul M. M. Davis) Davis) Rio

He m He may ay have have amassed amassed mainstream mainstream ccredentials redentials as as part part of of Lenny Lenny K ravitz’s Kravitz’s eentourage, ntourage, but but sax-man sax-man Karl Karl Denson Denson h as ssince ince taken taken ccontrol ontrol o he creative creative has off tthe h elm with with a rrash ash o is o wn p rojects. helm off h his own projects. Th he G reyboy Allstars Allstars brought brought him him back back The Greyboy tto o his his jazz jazz roots roots and and tthe he Karl Karl D enson Denson T rio ttakes akes improvisational improvisational genius genius tto o Trio aanother nother llevel. evel. B ut it’s it’s Karl Kaarl D enson’s But Denson’s Ti iny Universe Universe tthat hat explodes explodes w ith Tiny with eelectric lectric ffunk, unk, jam-band jam-band sstyle, tyle, all all while while eembroidering mbroidering eeach ach song song w ith Denson’s Denson’s with m astery iin n jazz. jazz. Guitarist Guitarist Brian Brian Jordan, Jo ordan, mastery b assist Ron Ron JJohnson, ohnson, keyboardist keyboardist D avid bassist David V eith, trumpeter trumpeter Chris Chris L ittlefield aand nd Veith, Littlefield d rummer JJohn ohn Staten Staten have have reunited reunited to to drummer d eliver o ur funk funk ffix ix w ith 2009’s 2009’s B rother’s deliver our with Brother’s K eeper. M oe’s A lley; Th hursday: $ 20; 9 pm. Keeper. Moe’s Alley; Thursday: $20; 9pm. Fr riday: $22 $22 aadvance/$25 dvance/$25 door; door; 9:30pm. 9:30pm. Friday: ((Jaime Jaime N abrynski) Nabrynski)

San S an F Franciscan ranciscan gguitarist uitarist E Ezra zra F einberg ffollows ollows tthe he B roken S ocial Feinberg Broken Social S cene m ethod o and sstaffing taff ing b Scene method off b band byy m aintaining aan n eextensive xtensive network network o maintaining off ffriends, riends, ccolleagues olleagues aand nd aacquaintances cquaintances h and-picks ffor or w hatever vversion ersion o hee h hand-picks whatever off p sychedelic ssoundwashing oundwashing h nvisions psychedelic hee eenvisions ffor or a p articular ssong. ong. H is m ost well well particular His most k nown p roject, C itay, fformed ormed iin n2 004, known project, Citay, 2004, aand nd iits ts vvarious arious cconfigurations onf igurations h ave have d ropped ttwo wo ssolid olid aalbums lbums o ayered dropped off llayered iindie ndie ggoodness oodness b est h eard o nap air best heard on pair o xpensive headphones. headphones. T ouring, off eexpensive Touring, tthe he ggroup roup h as n oo ff icial m embership has no official membership o ther tthan han F einberg aand nd ffellow ellow B ay other Feinberg Bay A rea p rog rrock ock p ioneer Ti im G reen, Area prog pioneer Tim Green, b ut rrest est aassured ssured tthey’ll hey’ll ccome ome w ith a but with b aseball tteam’s eam’s w orth o ippies rready eady baseball worth off h hippies tto o ssqueeze queeze iinto nto tthe he C repe P lace d ining Crepe Place dining rroom oom aand nd u nleash h armonic h ell. unleash harmonic hell. C repe P lace; $ 8; 9 pm. ((Curtis Curtis C artier) Crepe Place; $8; 9pm. Cartier)

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aand nd eenvironment nvironment w hile tthe he rrest est o while off tthe he ggroup roup p iles o nm ore ssound ound tthan han piles on more aany ny ttrio rio sshould hould b apable o f. W ith bee ccapable of. With ttheir heir llatest atest rreggae-heavy eggae-heavy E PC alling EP Calling A rows o n ssale ale aatt tthe he m erch b ooth, Allll C Crows on merch booth, eexpect xpect a sstrong trong Ki ingston vvibe ibe aatt tthe he Kingston ggroup’s roup’s C atalyst sshow how aand nd p lenty o Catalyst plenty off sshaggy haggy h airdos tto o sswing wing iin n tthe he sstage tage hairdos llights. ights. C atalyst; $ 12 aadvance/$16 dvance/$16 d oor; Catalyst; $12 door; 9 pm. ((CC) CC) 9pm.

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1/0/@3B 1/0/@3B > = : 7 B 7 1= >=:7B71= Presented b Presented byy N New ew M Music usic W Works orks aand nd Lori Rivera, Cabaret llocal ocal vvocal ocal ssiren iren L ori R ivera, C abaret Politico politically P olitico iiss a p olitically ccharged harged multimedia m ultimedia performance performance that that merges m erges chamber chamber music, music, protest protest song, song, mayor vvaudeville audeville aand nd tthe he fformer ormer m ayor iinto nto own unique Drawing iits ts o wn u nique sstatement. tatement. D rawing Peter Maxwell Davies’ iinspiration nspiration ffrom rom P eter M axwell D avies’ Farewell F arewell ttoo SStromness, tromness, performed performed in in uranium mining 11980 980 to to protest protest u ranium m ining plans plans Politico iin n Orkney, Orkney, Scotland, Scotland, Cabaret Cabaret P olitico bears off art b ears witness witness tto o tthe he power power o art to to Ryan eeffect ffect social social cchange. hange. Featuring Featuring R yan Coonerty C oonerty and and actors actors Martin Martin Kachuck Kachuck whose aand nd Tom Tom Graves, Graves, w hose oratory oratory and and performances will dramatize p erformances w ill d ramatize tthe he political $23.50; p olitical narrative. narrative. Kuumbwa; Kuumbwa; $ 23.50; 8pm. 8 pm. (PMD) (PMD)

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A/<B/1@CH 1=; A / < B/ 1 @ C H 1 = ; ooctober c t o b e r 77-14, - 1 4 , 22009 0 0 9 1:C0 5@72 1:C0 5@72 2

1011 PACIFIC AVE. SANTA CRUZ 831-423-1336

Friday, October 9 • AGES 16+

Andre Nickatina

3"

plus

Ony Oz. & Hypnotic Vibrations

$26 Advance/ $29 Doors Drs. 8 p.m., Show 9 p.m.

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Friday, October 9 • AGES 21+ • In the Atrium

GREAT AMERICAN TAXI

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featuring Vince Herman of Leftover Salmon

/?C/ 0:3C / ?C/ 0:3C

$10 Adv./ $12 Dr. • Drs. 8:30 p.m., Show 9 p.m.

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16 Brother Ali/ Evidence (AGES 16+) 17 The Devil Makes Three (AGES 21+) 20 Matisyahu (AGES 16+) 21 UFO/ Zen Vendetta (AGES 21+) 22 Tech N9ne (AGES 16+) 24 The Flying Karamazov Brothers Tom Noddy TagAway Benefit (ALL AGES) Oct 30 Ozomatli (AGES 21+) Oct 31 Rebelution Halloween Costume Ball (AGES 16+) Nov 4 Immortal Technique (AGES 16+) Nov 6 Mickey Avalon (AGES 16+) Nov 7 Dropkick Murphys (AGES 16+) Nov 12 Julian & Stephen Marley (AGES 16+) Nov 14 Suicidal Tendencies (AGES 16+)

2 2/D3<>=@B @=/26=CA3 /D3<>=@B @=/26=CA3

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& &! "%$ "#$ ! "%$ "#$

EVWbS 1Z]cR E VWbS 1Z]cR

2O\O AQ`cUUa B`W] 2 O\O AQ`cUUa B`W]

$20 Adv./ $25 Drs. • Drs. 7:30 p.m., Show 8:30 p.m.

& &! " ! " ' ' ' $''" $''"

The Skaflaws

$12 Adv./ $16 Dr. • Drs. 8 p.m., Show 9 p.m. Sunday, October 11 • AGES 16+

& &! " ! " ! ! !!$ !!$

plus

& &! "#& ! "#&

Saturday, Oct. 10 • AGES 16+

&! " &! " # # &! &! %

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&! " & ! " $ ''! $ ''!

Unless otherwise noted, all shows are dance shows with limited seating. Tickets subject to city tax & service charge by phone 866-384-3060 & online

www.catalystclub.com

20% off!

(EALDĂŚ3TUDENT

4]ZY 4 ]ZY

Entire Month of Oct.

MorEPA 60 cap. always on sale! $29.95 reg. $35.45 MorDHA 60 cap. $23.95 reg. $29.95 NEW! VeganDHA 60 cap. - $24.95 reg. $29.95 PlusEPA 60 caps. $36.95 reg. $44.95 MorEPA chewable $31.99 reg. $39.99 MorEPA Junior 60 cap. $14.95 reg. $24.95 MorDHA Junior IQ 30 cap. $11.99 reg. $15.00 M PluShinzO Cardio 30 caps. $28.95 reg. $35.95 P Also :: MarinEPA 60 cap. $19.99 reg. $24.95 :: always on sale! :: ::

Held in the United Way Conference Room, Behind the NEW Way of Life

Thursday October 15th 7- 8:30 pm

FLU PANDEMICS: POTENT RESULTS FROM HOMEOPATHY with Classical Homeopaths, Maria Thomas CCH & Helena Hope Roberts CCH, CMT

4RAINĂŚ./7ĂŚFORĂŚANĂŚEXCITINGĂŚCAREERĂŚIN

MEDICAL ASSISTING 4RAINĂŚTOĂŚWORKĂŚINĂŚHOSPITALS ĂŚ DOCTORS ĂŚOFlĂŚCES ĂŚCLINICSĂŚANDĂŚMORE We also offer: MEDICAL INSURANCE BILLING & CODING MEDICAL OFFICE ADMINISTRATION PHARMACY TECHNOLOGY NEW! Program availability may vary by quarter ÂŽ

Get in. Get out. Get ahead.

sĂŚ,IFETIMEĂŚCAREERĂŚSERVICESĂŚASSISTANCEĂŚFORĂŚGRADUATES sĂŚ&INANCIALĂŚAIDĂŚFORĂŚTHOSEĂŚWHOĂŚQUALIFY sĂŚ$AYĂŚANDĂŚEVENINGĂŚCLASSES sĂŚ(ANDS ONĂŚTRAINING sĂŚ3MALLĂŚCLASSĂŚSIZES

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www.ChooseHeald.com

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october 7-14, 2009

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Film. Fi ilm lm.

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Keats’ K eats’ SStar tar TTurn urn A ccarefully arefu ully made ffilm iilm does d rrare are jjustice jus ti e tto tic o poe t try poetry 0G AB3>63< 93AA:3@ 0G A B 3 > 6 3 < 9 3 A A : 3 @

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TT THE HE E END ND o off Ja Jane ane C Campion’s ampion’s new movie, Bright n ew m ovie, B right SStar, tar, the the doomed-love off JJohn d oomed-love sstory tory o ohn Keats Fanny Brawne, K eats aand nd F anny B rawne, vvirtually irtually tthe he eentire ntire aaudience udience aatt tthe he sshow how until I aattended ttended rremained emained iin n ttheir heir sseats eats u ntil were over. This was tthe he cclosing losing ccredits redits w ere o ver. T his w as no doubt partly because people wanted n od oubt p artly b ecause p eople w anted names off tthe tto o ssee ee tthe he n ames o he ccast ast aand nd ccrew rew who’d made but w ho’d m ade ssuch uch a rravishing avishing ffilm; ilm; b ut more were byy m ore tthan han tthat, hat, tthey hey w ere ccaptivated aptivated b off B Ben Whishaw, who plays tthe he vvoice oice o en W hishaw, w ho p lays tthe he poet, Keats’ p oet, rreading eading K eats’ ssublime ublime ““Ode Ode tto oa Nightingale. It’s poem, 80 N ightingale.� It t’s a llongish ongish p oem, 8 0 llines, ines, Whishaw with aand nd W hishaw sspeaks peaks tthem hem w ith eexquisite xquisite precision perfect understatement. p recision aand nd p erfect u nderstatement. Where most overW here m ost aactors ctors ttypically ypically o verwhen poetry, Whishaw eemote mote w hen rreciting eciting p oetry, W hishaw presumably Campion) understands ((and and p resumably C ampion) u nderstands where tthat hat tthe he llanguage anguage iitself tself iiss w here tthe he power Keats’ poems. The p ower rresides esides iin nK eats’ p oems. T he words no orr w ords rrequire equire n o eembellishment mbellishment o melodramatic Throughout m elodramatic eemphasis. mphasis. T hroughout movie, when Fanny Cornish) tthe he m ovie, w hen F anny ((Abbie Abbie C ornish) Keats� parts off h his poems, aand nd ““Mr. Mr. K eats� rrecite ecite p arts o is p oems, nearly but iitt iiss aalways lways iin nan early fflat, lat, ssensitive ensitive b ut This llow-key ow-key ttone. one. T his eemotional motional rrestraint, estraint, off ccool objectivity, a ssense ense o ool o bjectivity, iiss aalso lso eevident vident Campion’s direction, iin nC ampion’s d irection, sso o tthat hat tthe he movie’s off tthe poet. m ovie’s sstyle tyle iimitates mitates tthat hat o he p oet. Campion’s detachment, her C ampion’s eengaged ngaged d etachment, h er quiet q uiet aattention ttention tto o tthe he ssounds ounds ((most most notably birdsong) off n otably b irdsong) aand nd vvisual isual ttextures extures o English tthe he E nglish ccountryside ountryside aand nd tto o tthe he ssubtle ubtle off h her ffeelings eelings o er cchaste haste yyoung oung llovers, overs, ccasts asts off K Keats’ You a sspell pell aakin kin tto o tthat hat o eats’ vverse. erse. Y ou want pay order w ant tto op ay cclose lose aattention ttention iin no rder tto o more deeply eenter nter iinto nto iitt m ore d eeply aand nd eexperience xperience off m meaning. But mostly iits ts llayers ayers o eaning. B ut m ostly yyou ou want w ant tto o llisten isten tto o iits ts ssounds ounds aand nd iimmerse mmerse Ass K Keats yyourself ourself iin n iits ts ssensuousness. ensuousness. A eats Fanny when her eexplains xplains tto oF anny w hen sshe he llaments aments h er difficulty understanding poetry, when d ifff iculty iin nu nderstanding poe tryy, w hen

B63 93/BA B= 63@ 63/@B B 63 93/BA B= 63@ 63/@B Jo John hn K Keats eats ((Ben Ben W Whishaw) hishaw) w woos o os F Fanny anny B Brawne rawne ((Abbie Abbie C Cornish) ornish) iin n cchaste haste fa fashion shion iin n ‘‘Bright Bright SStar.’ tar.’

diving iinto diving nto a llake ake o one’s ne’s p purpose urpose iiss n not ot tto o understand but “to u nderstand tthe he llake, ake, b ut “t o lluxuriate uxuriate iin n off w water. tthe he sensation sensation o ater.� Of Of course, course, Keats Keats wrote wrote in in the the early early may 119th 9th century, centuryy, sso o his his llanguage anguage m ay sstrike trike our bit obscure, o ur ccontemporary ontemporary eears ars aass a b it o bscure, places, hee rremains eeven ven precious precious iin np laces, but but h emains probably most eeven ven today today p robably the the m ost rrevered evered English poett next Shakespeare. The E nglish poe next tto oS hakespeare. T he which hee iiss h held byy sso aadoring doring eesteem steem iin nw hich h eld b o many m any rreaders eaders (and (and writers) writers) iiss ssurely urely due due death, off ttuberculosis, 25. iin n part part r to to his his d eath, o uberculosis, aatt 2 5. Hee w wrote most off h his poems— H rote m ost o is ggreatest reatest poe ms— Odes: iincluding ncluding tthe he ffive ive ggorgeous orgeous O des: tto oa Nightingale, Urn, N ightingale, tto o Psyche, Psyche, on on a Grecian Grecian U rn, on Autumn—in o n Melancholy Melancholy aand nd to to A utumn—in tthe he off a few months when hee w was 23. ccourse ourse o few m onths w hen h as 2 3. when most poets ((This This is is the the aage ge w hen m ost yyoung oung po oets MFA degrees.) ttoday oday are are working working on on ttheir heir M FA d egrees.) Keats’ Keats’ prolific prolific writings, writings, both both poetry poetry and and lletters, etters, reveal reveal tthe he artistic artistic and and philosophical philosophical ssensibility ensibility of of ssomeone omeone of of ffar ar ggreater reater eexperience. xperience. There There is is a sweetness sweetness and and ardor ardor iin n his his voice voice ccombined ombined with with a wisdom wisdom that’s that’s hard h ard to to fathom fathom in in ssuch uch a yyoung oung man. man. So So his Dean’s—is h is early early death—like, death—like, say, say, James Jaames D ean’s—is aall ll the the more more tragic tragic for for what what it it deprives deprives us us of of in in yet-to-be-created yet-to-be-created art. art. But But unlike unlike Dean, Dean,

who made who made jjust ust three three feature feature films films before before Porsche, ccrashing rashing his his P orsche, Keats Keats lleft eft a large, large, work rrich ich legacy legacy of of accomplished accomplished w ork that that ssubsequent ubsequent ggenerations enerations aare re sstill till relishing. relishing. We We love love Keats, Keats, I think, think, because because he he not not only uss b beautiful poems but o nly left left u eautiful p oems b ut llived ived died devotion aand nd d ied with with aabsolute bsolute d evotion to to tthe he Beautiful—an B eautiful—an aabstraction bstraction tthat hat aanimates nimates his observation h is close close o bservation and and rreinvention einvention of of natural world. Trained tthe he n atural (and (and human) human) w orld. T rained medicine, hee brings well iin nm edicine, h brings a sscientist’s cientist’s aass w ell hee ssees; aass a painter’s painter’s eye eye tto o what what h ees; his his eear ar iiss naturally musical, heart open his n aturally m usical, his his h eart iiss o pen aand nd h is working overtime. ffevered evered iimagination magination iiss w orking o vertime. It’s It’s understandable, understandable, then, then, that that he he would would Brawne, portrayed byy ffall all ffor or Fanny Fanny B rawne, p ortrayed b Cornish C ornish ((and and Campion) Campion) aass a ssmart, mart, bold, bold, witty, willful, high-spirited, burning w itty, w illful, h igh-spirited, b urning fflame lame off a ggirl. when o irl. (She (She was was 118 8w hen they they met.) met.) Neither here, N either John Jo ohn nor nor Fanny, Fanny, as as depicted depicted h ere, movie llooks ooks like like a m ovie star, star, but but their their keen keen iintelligence—and ntelligence—and their their soul soul attraction attraction and and passion—charges ccontained ontained p assion—charges ttheir heir rromance omance with w ith ttremendous remendous energy. energy. We We are are seduced seduced byy them other. b them as as tthey hey seduce seduce each each o ther. The The ffact act tthat hat their their desire desire is is never never consummated consummated makes more m akes iitt all all tthe he m ore moving. moving. Will Bright Will B right Star Star do do for for Keats Keats what what The The

Postman P ostman d did id ffor or P Pablo ablo N Neruda—take eruda—take aan n aalready lready famous famous poet poet and and make make h im him ““popular� po opular� at at another another order order o agnitude? off m magnitude? W ill moviegoing moviegoing A merican readers readers Will American d iscover there’s there’s m ore tto o the the art art o try discover more off poe poetry tthan han B illy C ollins aand nd G arrison Keillor Keillor Billy Collins Garrison h ave tto oo fffer? Will Will filmmakers f ilmmakers realize, realize, have offer? vvia ia C a m p i o n ’ s e x a m p l e , t h a t g r a tuitous Campion’s example, that gratuitous vviolence iolence aand nd sspecial pecial eeffects fffects are are nothing nothing ccompared ompared to to iintelligent ntelligent dialogue dialogue aand nd ssubtle ubtle nuances nuances of of thought thought and and feeling? feeling? Maybe not. not. But But even even Quentin Quentin Maybe T arantino, o n sseeing eeing C ampion’s m ovie aatt Tarantino, on Campion’s movie C annes, remarked: remarked: ““I’m I’m n ot rreally eally iinto nto Cannes, not p oetry. B ut tthe he m ovie m ade m hink poetry. But movie made mee tthink aabout bout taking taking a p oetry cclass. lass. O ne o he poetry One off tthe b est tthings hings tthat hat ccan an h appen ffrom rom a m ovie best happen movie aabout bout an an author author iiss tthat hat yyou ou aactually ctually w ant want tto o rread ead ttheir heir w ork.� I llook ook fforward orward tto o work. sseeing eeing Tarantino’s Tarantino’s llife ife o rthur R imbaud. off A Arthur Rimbaud.

B RIGHT SSTAR TAR ((PG; PG; 1127 27 m in.), BRIGHT min.), ddirected irected bbyy J ane C ampion aand nd Jane Campion sstarring tarring B en W hishaw aand nd A bbie Ben Whishaw Abbie C ornish, pplays lays aatt tthe he N ickeelod o eon. Cornish, Nickelodeon.

"" j 47:; october 7-14, 2009 A/<B/1@CH 1=; 47:;

Scare Tactics

‘Paranormal Activity’ is the most frightening film anyone will see this year 0G AB3D3 >/:=>=:7

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RITER-DIRECTOR Oren Peli’s Paranormal Activity has been labeled “the next Blair Witch Project�—meaning, essentially, horror’s new runaway phenomenon—and judging from the audience reactions at one of the first screenings in the country, that doesn’t seem far off. Santa Cruz was one of only 13 cities to which it was first released, and it’s been selling out its midnight screenings at the Del Mar (regular showings start this Friday). The reactions there reminded me of audiences at the pre-release screenings of Blair Witch, before hype, built-up expectations and misunderstandings about what that film actually was led to a huge backlash. Here’s the thing: people at Paranormal Activity were actually scared. They screamed. They were freaked out, and it was actually fun to hear people talking about how much the movie had gotten to them on the way out. Some giggled nervously, some tried to cover it up, some shook their heads as if they were trying to unsee it. For all the controversy over the changed-by-Steven-Spielberg climax, I have to say it freaked me out, too. Without spoiling anything, I’ll say that, personally, I wasn’t all that comfortable walking into the night knowing the implications of the ending. (Interestingly, the other two endings considered hit a very different— shall we say very final—note.) There are some very important differences between Paranormal Activity and Blair Witch Project that I think will help this movie in the long run. There are similarities, sure. Peli made this for $15,000, and the plot is about what you can expect anybody to get out of $15,000. It has a young couple, played by Katie Featherston and Micah Sloat using their real names (in what seems like an homage to Blair Witch), believing something unusual and disturbing is going on in their house. Micah buys a hand-held camera to try to capture it on film, recording day and night. This leads to the movie’s biggest flaw, also

4@756B <756B A young couple try to figure out what’s going on in their new house and learn more than they ever wanted to know in ‘Paranormal Activity.’

a weakness in Blair Witch, Cloverfield and almost any other movie that uses this device, what I call Why Am I Picking Up the Camera Right Now Syndrome. It pulls me out of the movie when I have to think, “Wait, would someone really go pick up the camera and film this if that was happening?� However, it also leads to lots of genuinely creepy footage, and Peli’s excellent sense of timing makes this certainly the scariest movie anyone will see this year. He actually made it in 2007, but it kicked around until Steven Spielberg saw it and supposedly was so scared he returned the DVD in a garbage bag, saying it was haunted. Now, Dreamworks and Paramount are putting it out, and it’s already made back its production cost more than a dozen times over. The biggest difference between this movie and Blair Witch is that Paranormal Activity delivers when it counts. Its title is as much a threat as a name, and while it may sometimes use it as cover to deliver some unexpected twists, it always lives up to it. PARANORMAL ACTIVITY (R; 99 min.), directed by Oren Peli and starring Katie Featherston and Micah Sloat, starts regular screenings Friday at the Del Mar Theatre.

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A/<B/1@CH 1=; october 7-14, 2009 47:;

47:;

Wheels on Fire

Drew Barrymore’s ‘Whip It’ shows what happens when girls collide 0G @716/@2 D=< 0CA/19

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HE LEAD CHARACTER in Drew Barrymore’s first feature film as a director, Whip It, is named “Bliss.� The movie is bliss, too. Ellen Page’s Bliss Cavendar lives in Bodeen, Texas. She’s a 17-year-old perennial on the local beauty-pageant circuit, pressured to enter by her mom, a finalist some years before. When not being gowned and styled, Bliss works as a server at the Oink Joint, a roadside cafe with a jumbo concrete pig on top of it. Bliss is meant for finer things. She doesn’t know what they are until she’s shopping for shoes at an Austin used-clothes boutique. In come three members of the Hurl Scouts, a local semilegal roller derby team. Unbeknownst to her parents, Bliss joins them. She adopts the name “Babe Ruthless� and takes warnings from the fragrantly weird coach, who calls himself “Razor� (Andrew Wilson): “There’s a lot more to roller derby than torn fishnets and a tough name.� Barrymore has rescued Page from the career-killing move of repeatedly playing the smartest person in the room; usually the way out from cold, brainy roles is to play a part with a lot of nudity, but Whip It offers a wilier strategy for Page. We get to see the speed and energy in Page’s tiny frame, since she’s playing an athlete, of sorts. Whip It’s retro side goes beyond the Devo title; Bliss and her best pal, Pash (Alia Shawkat, terrific), are fans of the Ramones; Bliss’ first meeting with a boyfriend-to-be occurs in an Austin lair full of vinyl LPs, and a first notice of a roller derby turns up on a Xeroxed f lier. It’s clear that there’s something autobiographical here about Barrymore’s own story as an actress made to glam up by producers, even while she preferred the punker, funkier side of life. Barrymore herself plays a klutzy member of the Scouts, a Calamity Jane turning up with a bloody nose, a whiplash collar or crutches. This actor-turned-director takes great pleasure in the democratic side of comedy and in the uniqueness of small towns. The acting is superior on down the line. As the parents, Marcia Gay Harden and Daniel Stern display a fond rapport, unobserved by Bliss. The camera steals up in a private moment. Despite her beautyqueen past, Mom is glimpsed propping her foot up on the kitchen counter, leaning back and having a smoke. Kristen Wiig shows serious dramatic heft as the motherly

@=::7<¸ /<2 BC;0:7<¸ Ellen Page plays a roller derby hopeful in ‘Whip It.’

member of the roller squad, and in a noteworthy comeback role, Juliette Lewis smolders away as the well-motivated villain on a rival team. A sports movie makes its own gravy. The rhythms are easy: parents object, then surrender; daughter rebels, then makes peace; problem of conf lict between big beauty contest and championship rally gets, of course, solved. The third act turns a little wooly. Barrymore could have cut across some of the plot loops to get this film where we know it’s going to go. Whip It’s movie’s message to the girls—“Put on some skates and be your own hero�—the kineticism of the rough-and-tumble rallies, and Barrymore and scriptwriter Shauna Cross’ wit, lets Page hold the screen like never before. This won’t earn the prestige of Juno, but it’s a far, far better movie. It has quirk without suck.

WHIP IT (PG-13; 111 min.), directed by Drew Barrymore, written by Shauna Cross, photographed by Robert D. Yeoman and starring Ellen Page, plays at the Riverfront Stadium Twin in Santa Cruz.

"$ j 47:; october 7-14, 2009 A/<B/1@CH 1=;

SHOWTIMES FOR FRIDAY OCT 9 – THURSDAY OCT 15 “One of the scariest movies of all time. – Bloody-Disgusting.com Nightmares are guaranteed!�

Film Capsules <3E 1/>A

(R)

Thurs 10/9 @ Midnight Starts Fri 10/9 Daily: (2:30), (4:50), 7:15, 9:30 plus Fri, Sat, Sun (12 noon) & Thurs,(R) Fri, Sat Midnight Advance Tickets On Sale Now!

“A populist call to arms! Moore’s fireball of a movie could change your life.� –Rolling Stone MICHAEL MOORE’S (R) Daily on 2 Screens: (1:45),

(3:30), (4:15), 6:00, 6:45, 8:30, 9:15 plus Sat, Sun (11:15am) & Fri, Sat, Sun (1:00) SPECIAL ENGAGEMENT STARTS FRI 10/9! “Daring, demented, gorgeous and bloody funny!� FROM THE DIRECTOR OF

–Entertainment Weekly

‘OLDBOY’

(R)

Fri 10/9 & Sat 10/10 @ 11:00pm Midnights @ The Del Mar Fun! Prizes! Fishnets!

The Rocky Horror Picture Show (R)

B63 0=GA /@3 0/19

(PG-13; 104 min.) Clive Owen plays a tough guy with a bunch of really kick-ass guns who . . . loses his wife and has to raise two sons on his own? Wait, he’s actually a normal guy with no guns coping with grief and fatherhood? I don’t get it. Hold on, let me check something—yeah, it’s definitely Clive Owen. OK, but then the sons get kidnapped, and Clive Owen has to go buy some kick-ass guns, right? No? Just the kid

raising then. For Clive Owen. Alrighty then. (Opens Fri at the Nick.) (SP) 1=C>:3A @3B@3/B

(PG-13; 114 min.) This ensemble comedy, the title of which is such a genuine masterpiece of high-concept that it renders further plot description completely pointless, stars Vince Vaughn, Jason Bateman, Jon Favreau, Kristen Bell and Kristin Davis. More importantly, as far as I’m concerned, it was directed by Peter Billingsley, better known to all of us as Ralphie

in A Christmas Story. He was one of those child stars I kept hearing was dead or working in porn. Congrats, Peter, for either avoiding both of those pitfalls, or being the most successful zombie porn star in Hollywood! (Opens Fri at 41st Ave, Santa Cruz 9, Scotts Valley and Green Valley.) (SP) 4:/;3 /<2 17B@=<

(Unrated; 130 min.) Double-crossy Danish film about two heroes of the resistance in World War II. Danish films have a bad rep in many circles, but this one is

making cinĂŠastes all over look up from their pastries and take notice. (Opens at the Nick.) (SP) 4@=; ;3F71= E7B6 :=D3 (PG-13; 97 min.)

Illegal migrant worker by day, hungry young boxer at night, a young upstart finds a mentor and trainer in a grumpy, crusty former star. If it sounds like Rocky with immigration issues, it doesn’t hurt that director Jimmy Nickerson was the fight coordinator for the first two Rocky films, as well as Raging Bull and Fight Club. (Opens Fri at Green Valley.) (SP)

Movie reviews by Steve Palopoli and Richard von Busack

6/@=:2 ;/C23

(1971) ) If you want to know what a uniquely strange and tragic talent director Hal Ashby was, read Peter Biskind’s Easy Riders, Raging Bulls. If you want to understand why it matters, see Harold and Maude. When they say, “They don’t make movies like that anymore,� they should be talking about this story of a 20-year-old habitual-near-suicide (Bud Cort) whose life goes from psychotic to sublime when he begins a relationship with a 79year-old woman (Ruth

Gordon). It would be even more accurate, however, to say they never made ’em like this, before or since. (Plays at Cinema 9 on Thu at 8pm.) >/@/<=@;/: /1B7D7BG (R; 99 min.)

See review, page 44. (Regular showings open Fri at Del Mar.) B63 @=19G 6=@@=@ >71BC@3 A6=E

(1975) The enduring popularity of this film with total freaks has long frightened the uninitiated into thinking Rocky Horror is more of a sick joke than a movie. But once you see it, you

with Live Cast Slugs in Fishnets!

Fri 10/9 & Sat 10/10 @ Midnight Next Week: A Clockwork Orange

SHOWTIMES

www.thenick.com

Showtimes are for Wednesday, October 7, through Wednesday, October 14, unless otherwise indicated. Programs and showtimes are subject to change without notice.

/>B=A 17<3;/A

A/<B/ 1@CH 17<3;/ '

BVS AS^bS[PS` 7aacS – (Opens Fri) 3:20; 6; 8:40; plus Sat-Sun 12:40. 1O^WbOZWa[( / :]dS Ab]`g – Fri-Wed 3:20; 6; 8:40; plus Sat-Sun 12:40. 0`WUVb AbO` – Wed-Thu 2:05; 4:30; 7; 9:20. ;g =\S O\R =\Zg – Wed-Thu 2; 4:20; 6:40. 7\UZ]c`W]ca 0OabS`Ra — Wed-Thu 8:50.

1]c^ZSa @Sb`SOb – (Opens Fri) 1:15; 2:05; 4; 4:45; 6:45; 7:30; 9:30; 10:15; plus

" AB /D3<C3 17<3;/A

Ac``]UObSa – Daily 1; 3:10; 5:25; 7:45; 10:10; Fri-Wed 12:50; 3:05; 5:20; 7:40; 10:05. 4O[S – Wed-Thu 1:30; 4:05; 6:50; 9:20; Fri-Wed 1:30; 4:15; 6:50; 9:15. >O\R]`c[ – Wed 2:30; 4:55; 7:25; 9:50; Thu 2:30; 4:55; 9:50. 1Z]cRg EWbV O 1VO\QS ]T ;SObPOZZa – Wed-Thu 2; 4:25; 6:45; 9; Fri-Wed

122 Rancho Del Mar Center, Aptos 831.688.6541 www.culvertheaters.com STARTS FRI 10/9! “Funny, touching and vital with a heartfelt, award-caliber performance by Clive Owen!� –Rolling Stone FROM THE DIRECTOR OF

THE

‘SHINE’

BOYS ARE BACK

–The Hollywood Reporter

1475 41st Ave., Capitola 831.479.3504 www.culvertheaters.com 1]c^ZSa @Sb`SOb – (Opens Fri) 11:55; 2:30; 5; 7:30; 9:55. H][PWSZO\R – Daily 11:40am; 1:40; 3:40; 5:40; 7:45; 9:45. Ac``]UObSa – Wed-Thu 11:15am; 1:20; 3:20; 5:20; 7:30; 9:45; Fri-Wed 11:30; 1:20; (NR)

FLAME & CITRON

3:30; 5:45; 8; 10. BVS 7\T]`[O\b – Wed-Thu 11:30am; 2; 4:30; 7; 9:30.

Daily: (3:40), 6:15, 8:50 plus Sat, Sun (1:00)

ENDS SOON!

FROM THE DIRECTOR OF ‘THE PIANO’

23: ;/@

1124 Pacific Ave., Santa Cruz 831.426.7500 www.thenick.com (PG) Daily: (2:00),

(4:30), 7:00, 9:25

plus Sat, Sun (11:30am)

ENDS SOON!

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THE

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6:00, 8:40 plus Sat, Sun (12:40) COMING SOON!

Fri-Sun 11:30am. H][PWSZO\R – Wed-Thu 1; 2:20; 3:15; 4:35; 5:30; 7; 7:50; 9:25; 10:15; Fri-Wed 1;

2:25; 3:15; 4:30; 5:30; 7; 7:50; 9:20; 10:05; plus Fri-Sun 12:10. BVS 7\dS\bW]\ ]T :gW\U – Wed-Thu 2:10; 4:40; 7:15; 9:45; Fri-Wed 2:10; 4:35;

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Sat-Sun 11:15am. BVS 7\T]`[O\b – Wed-Thu 1:30; 4:45; 7:10; 9:35. 8S\\WTS`¸a 0]Rg – Wed-Thu 9:30. :]dS 6O^^S\a – Wed-Thu 1:30; 4:30; 7.

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A/<B/1@CH 1=; october 7-14, 2009 47:;

B63 A3>B3;03@ 7AAC3 (PG-13; 90 min.)

Documentary about Anna Wintour preparing the fall fashion issue of Vogue. Just in case you thought Meryl Streep was kidding in The Devil Wears Prada. (Opens Fri at Aptos.) (SP) B67@AB (R; 133 min.)

Korean director Chanwook Park has been on a roll all the way through his Vengeance trilogy—Sympathy for Mr. Vengeance, Oldboy and Lady Vengeance. The man is a visual genius, an expert craftsman and a fascinating storyteller, and his movies are unique works of art shaped from the same core issues of power, revenge and the struggle of every human being not to fail miserably. It’ll be interesting to see how he applies them to this story of a priest turned into a vampire by a botched medical experiment. Bonus fun fact:“Cut,� Park’s segment in the Three Extremes anthology, was about a Korean director making a vampire film. (Opens Fri at Del Mar.) (SP)

@3D73EA 0@756B AB/@ (PG; 127

min.) See article, page 43. B63 0C@<7<5 >:/7<

(R; 119 min.) Sorry, action fans who can’t spell, there is definitely no airplane on fire in this movie. Instead, it’s a drama not unlike Crash, showing how seemingly unconnected lives (in different times, even) intersect. Charlize Theron and Kim Basinger star. (SP) 1/>7B/:7A;( / :=D3 AB=@G (R; 128 min.)

It’s been 20 years since

Michael Moore made Roger & Me, about the layoffs that devastated Flint, Mich. The only thing that has changed today is that Flint is worse, and its woes have spread throughout the United States. Moore makes a nationwide tour of today’s wreckage. He follows the collapse of the real estate market and sits with the victims of a family farm eviction in upstate New York. When Moore is at his best, it is not as defense lawyer but prosecutor. And what’s been worthwhile since 1989 is his tendency to sass back to corporate spokesmen instead of taking their statements at face value. (RvB) 27AB@71B ' (R; 112

min.) Movie about the cruel treatment of a race of aliens stranded on Earth. Humans and alien refugees live in close and uncomfortable proximity in Johannesburg in dystopian sci-fi thriller by Neill Blomkamp. Producer Peter Jackson’s hand is visible in the flawless animation of the bug creatures. (RvB) 3FB@/1B (R; 98 min.)

The new film from Mike Judge (Office Space and Idiocracy). 4/;3 (PG; 107 min.)

Remake of the 1980s movie about students at the New York Academy for the Performing Arts. # 2/GA =4 AC;;3@ (PG-13; 95

min.) Tom (Joseph Gordon-Levitt), a greeting-card writer, has his heart broken by a girl he knew for about two years. She was called Summer (Zooey Deschanel). As Tom recalls this tale in random-accessed moments, we begin to see the bigger picture. (500) Days of Summer is allegedly an antiromantic film, but the result is yet another alterna-date movie—a little brighter, a little more referential, than usual. The scenes don’t go on so long that they wear out their welcome. And yet it’s so full of negative space—places where jokes could have been planted, places where the characters could have been deepened. If only

director Marc Webb had spent as much time thinking how to fill in the blanks as he spent murmuring, “It’s going to be Annie Hall for our generation.� (RvB) B63 7<4=@;/<B (R;

108 min.) Matt Damon, with a tire around his gut and a ratty, chewedlooking blond mustache, plays Mark Whitacre, a vice president at Archer Daniels Midland Company. When he reports a case of industrial espionage, his superiors whistle up the FBI. Enter a pair of local agents. One is Special Agent Brian Shepard: Scott Bakula, whose solemn Lincolnesque profile rhymes with the busts of the Great Emancipator seen all over the Illinois locations. Mark confesses to Shepard that he knows a secret: ADM and its overseas rivals have been conspiring to fix prices. The FBI urges Mark to wear a wire to try to nail down the schemers. Inevitably, the executive’s own foot gets tangled in the trap he’s weaving. Soderbergh’s comic true-life thriller shows what was missing from Spielberg’s Catch Me If You Can and Michael Mann’s The Insider. It’s a small masterpiece of slyness—a lambent, seemingly effortless entertainment, a slice of cake that has a tarantula on it. (RvB) 7<5:=C@7=CA 0/AB3@2A (R;

160 min.) Quentin Tarantino’s Holocaust film is the shouldhave-been true story of Operation Kino, the plot to destroy Hitler’s Gang through their own love for cinema. Participants in the plot include sweetheart of the Reich Bridget von Hammersmark (Diana Kruger); a mysterious Parisian movie-theater owner known as Emmanuelle Mimieux (Melanie Laurent) and a drawling British film critic-turned-commando (Michael Fassbender). Opposing these flawed heroes is the smilingserpent Christoph Waltz as Hans “The Jew Hunter� Walda. The loose cannons running around are the Basterds themselves, a band

4=1CA 43/BC@3A

can understand why it’s inspired total insanity for three decades: it really does have everything. It’s as wide-eyed and charming as the sciencefiction double features it idolizes, but with all the kink those earlier films weren’t allowed to show. It also delivered a postmodern, satirical edge that would within a few years time become all the rage, in everything from Airplane to The Simpsons to Scream. (Plays at the Del Mar on Fri and Sat at midnight.) (SP)

of homicidal Jewish guerrillas indebted to their leader, Brad Pitt’s Aldo Raine, for 100 Nazi scalps. Yet this is a genuine art movie. Here in cinema form is an essay about Tarantino’s fascination with and distate for the war film. (RvB) B63 7<D3<B7=< =4 :G7<5 (PG-13; 100 min.)

Ricky Gervais, Jennifer Garner, Rob Lowe and Tina Fey inhabit a world where nobody lies, and then they do. 83<<743@¸A 0=2G (R; 102 min.) To those who thought Diablo Cody was the next Dorothy Parker: much of the dropped brand-names and oddly out of time sitcom references you love are all laid out and waiting for you. Director Karyn Kusama is a little intimidated by the prose and the subject matter. Anita (Amanda Seyfried) is a nerdly small-town girl whose best friend Jennifer (Megan Fox) can be kind of a bitch. One evening, Jennifer disappears and comes back in the early morning covered with blood and black bile. Nothing is spoken of this incident for a while, until weeks later a beefy football player is found eviscerated in the woods. Feminist? Well, yes, but mostly no. The two girls’ plight might have made us feel something if they weren’t so geekycool. Or if Megan Fox wasn’t suffused by her conviction that she’s the hottest number on the planet. (RvB) 8C:73 8C:7/ (PG-

13; 123 min.) Meryl Streep’s greatness—her facility with accents, her plasticity and that uncompromising quality every really lasting actress has to have—has been used to portray the limits of human suffering. In Julie & Julia, Streep gets to kick up her heels. She has such fun with the part of the cookbook writer Julia Child that she’s consistently intoxicating to watch. Childs’ distinctive voice— the whoop of surprise, the trill and warble when she talked—makes Streep’s part of the film enthralling. Half of this film is based on the

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hustled-into-print book version of a blog by Julie Powell about replicating all of Childs’ recipes. Amy Adams plays Julie, and she’s still a horror. Director Nora Ephron tries for frankness in her script by having Julie Powell call herself a bitch. That isn’t enough to rehab her. (RvB) :=D3 6/>>3<A

(PG-13; 109 min.) Aaron Eckhart plays a bestselling self-help author whose book helps people deal with grief ? But could it be that he hasn’t faced the tragedy in his own life? And that only the love of Jennifer Aniston can make him do that? Signs point to yes! (SP) ;G =<3 /<2 =<:G

(PG-13; 116 min.) Well-appointed but wearisomely chipper memoir in which RenÊe Zellweger plays a single mother of the 1950s, prone to serial monogamy and serial adventures. She’s separated from her husband (Kevin Bacon), a noted bandleader; meanwhile she haphazardly parents two children: the all but openly gay Robbie (Mark Rendall) and his stepbrother, and our narrator, George (Logan Lerman), a writer-to-be

dazzled by J.D. Salinger. The production design by Brian Morris, the music by Mark Isham and the photography by Marco Pontecorvo are all of a high quality. But scarcely a minute of My One and Only rings true. (RvB) ' (PG-13; 99 min.) The title character, voiced by Elijah Wood, is a doll-size creature with a zipper front and camera lenses for eyes. As he awakes, the Age of Man has just come to a noisy end. The only living creatures are these mysterious living dolls and their hunters: killer androids made of bones and servos. The creature 9 encounters some of his fellow creatures: 2, a wise old man; then comes the ninja girl 7 (voiced by Jennifer Connelly), a warrior with a seagull skull for a helmet. Most important somehow is a ponderous, self-important bishop (Christopher Plummer). The crew make their way through one hazard after another in this film designed for younger viewers. (RvB) >/<2=@C; (R; 108

min.) Twilight Zone-y scifi/horror flick has Dennis Quaid and Ben Foster as astronauts who wake up in darkness on their

ship and can’t remember what they’re supposed to be doing there. Here’s a hint, guys: Ever seen a Ridley Scott movie? (SP) AC@@=5/B3A (PG-13; 89 min.) In the near future, all human beings will be pale shut-ins, experiencing life through cybersimilacra. Late one night, the son of the man who made this technical breakthrough possible is murdered, fried by electrical surge after his avatar is killed by a strange new weapon. Investigating the crime is an FBI agent (Bruce Willis) and his partner (Radha Mitchell). They believe the crime is linked to a large reservation of Luddites, led by a charismatic leader called the Prophet (Ving Rhames). Based on a graphic novel, this routiner-than-routine mystery teaches us little, except that toupees won’t look much better in the future. Bad exposition (“This kid’s father is Lionel Canter— as in the inventor of surrogates, Lionel Canter!�) complements the seriously ugly color, which as usual might look better on Hi-Def TV. (RvB) B=G AB=@G ! 2 (G;

81/92 min.) Not actually a sequel to the Toy Story

films (one is coming in 2010), but a rerelease of the first two, packaged as a double-feature and shown in 3-D. (SP) E67> 7B (PG-13; 111 min.) See review, page 45. H=;073:/<2 (R; 88 min.) Under a plague of the living dead, the United States is in ruins, and the nervous college-age hero (Jesse Eisenberg) calls the dreadful landscape Zombieland. He joins three reluctant companions: a Twinkiesloving cowboy called Tallahassee (Woody Harrelson), a fast female loner named Wichita (Emma Stone) and her little sis, Little Rock (Abigail Breslin). They head to a place where they think the light at the end of the tunnel still shines: Disneyland, renamed “Pacific Playland.� There’s merit to the idea of a turkeyshoot zombie-killing finale amid colored lights and spinning rides, but the film doesn’t get more imaginative than anything seen in the previews. Under Ruben Fleischer’s bare-bones direction, Zombieland is slathered with narration. Harrelson is a fiercelooking party, but he doesn’t get Westernlyrical enough. (RvB)

48 |

october 7-14, 2009

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ttheir heir native native rregion. egion. Despite its its tendency tendency to to lapse lapse into into Despite 119th-century 9th-century lliterary iterary ttropes, ropes, the the voice voice of of tthe he b ook iiss aactually ctually pure pure G rahm. T he book Grahm. The rrelentless, elentless, if if b rilliant, p unning m ight brilliant, punning might sseparate eparate the the curious curious from from the the fan fan base, base, b ut iitt rremains emains cclear, lear, entertaining entertaining and and but o ccasionally intimate. intimate. The Th he eentire ntire p iece is is occasionally piece sshot hot tthrough hrough w ith Grahm’s Grahm’s p hilosophical with philosophical lleitmotif eitmotif o winemaking as as a llanguage anguage off winemaking eexpressing xpressing nothing nothing less less than than the the delicious delicious ccomplexity omplexity o ife iitself. tself. T he reader reader n eed off llife The need n ot b ie-hard Grahmaholic Grahmaholic to to eenjoy njoy not bee a d die-hard tthis his lloquacious oquacious rride, ide, though though iitt h elps. But But helps. ccertainly ertainly o ne n eeds tto o feel feel ccomfortable omfortable one needs aadrift drift iin n a ssea ea of of adjectivally adjectivally d riven driven aarcana rcana tto ob est sswallow wallow the the 310-page 310-page best eexercise xercise iin n llinguaphilia. inguaphilia. In the the engaging engaging first f irst chapter, chapter, Grahm Grahm In rreveals eveals tthe he k armic aaccidents ccidents (as (as opposed opposed karmic tto o sstrategic trategic p lanning) tthat hat rresulted esulted in in planning) tthe he u ltimately b ewildering p rofusion o ultimately bewildering profusion off llabels abels iincarcerated ncarcerated as as the the “Big “Big H ouse� House� sseries. eries. H ere’s aan n eexample xample o he ccandid andid Here’s off tthe

deconstruction. A deconstruction. After fter p playing laying aaround round w ith ssome ome o ld vines vines aand nd n ewfound with old newfound ggrowers, rowers, G rahm confesses confesses tthat hat h ound Grahm hee ffound h imself n ot w ith the the great great grapes grapes o himself not with off B urgundy—his o riginal ggrail—but rail—but w ith Burgundy—his original with ap assel of of mongrels. mongrels. F aced w ith tthe he passel Faced with p rospect of of selling selling little-known little-known IItalian talian prospect vvarietals arietals tto o an an audience audience sscreaming creaming ffor or cchardonnay, hardonnay, Grahm Grahm h it upon upon tthe he hit m elodious rrubric ubric ““Ca’ Ca’ d el solo. solo.â€? Iff tthe he melodious del C a’ d el Solo Solo series series was was a ““default default Ca’ del p rogramâ€? d esigned tto o absorb absorb eerrors rrors iin n programâ€? designed vviticultural iticultural jjudgment, udgment, nonetheless nonetheless a llucrative ucrative sstar tar w as b orn. IIndeed ndeed tthe he B ig was born. Big H ouse llabel—and, abel—and, it it has has tto o be be aadded, dded, House iits ts llow ow price price ttag—did ag—did as as much much to to m ake make G rahm a household household n ame as as did did h is Grahm name his R hĂ´nish fflagship lagship C igare V olant, w ith tthe he RhĂ´nish Cigare Volant, with o ld-timey flying f lying cigar cigar llabel. abel. old-timey Still, we we learn, learn, the the nagging nagging issue issue Still, o making a sserious erious wine wine kept kept tthe he off making llonghaired onghaired w inemaker aawake wake at at n ight. winemaker night. A llarge-scale arge-scale purge purge ensued. ensued. And And when when tthe he dust dust h ad ccleared, leared, Grahm Grahm h imself, a had himself,

newish aand newish nd d downsized ownsized ccrew, rew, p plus lus tthe he o riginal S oledad vvineyard ineyard rremained. emained. original Soledad W ith a b iodynamic b ee iin nh is b onnet, With biodynamic bee his bonnet, G rahm iinitiated nitiated a n ew ““sensitive sensitive Grahm new ccrystallizationâ€? rystallizationâ€? llabel abel tto o rreflect ef lect a n ew new sseriousness eriousness o urpose. In In G rahm’s N ew off p purpose. Grahm’s New W orld o rder, tthe he w ines m ade iin n tthe he 2 1st World order, wines made 21st ccentury, entury, o east m ost o hem ((we we orr aatt lleast most off tthem aare re d ealing w ith R andall G rahm, aafter fter dealing with Randall Grahm, aall), ll), w ould reflect ref lect iindigenous ndigenous tterroir erroir ((as as would o pposed tto oO ld W orld B urgundian aand nd opposed Old World Burgundian R hĂ´ne sstyles) tyles) aand nd w ould b ade ffrom rom RhĂ´ne would bee m made tthe he eestate state iin nS oledad ((except except ffor or tthose hose Soledad tthat hat w eren’t). weren’t). The bulk bulk of of this this elegant elegant book, book, The d edicated tto oG rahm’s llongtime ongtime dedicated Grahm’s ccollaborator, ollaborator, tthe he ssavant avant JJohn ohn L ocke, Locke, iiss p acked w ith tthe he iinimitable nimitable lliterary iterary packed with eexplorations, xplorations, h omages aand nd p arodies homages parodies o riginally p erpetrated aass n ewsletters aand nd originally perpetrated newsletters eessays. ssays. T hrough tthese hese ““word-picturesâ€? word-picturesâ€? Through G rahm h opes tto o iillustrate llustrate ““the the sstrange trange Grahm hopes ttruth ruth tthat hat w ine cconveys onveys tthrough hrough sscent cent wine 0 aand nd ttaste. aste.â€?

# j 27<3@¸A 5C723 october 7-14, 2009 A/<B/1@CH 1=;

Diner’s Guide

Our selective list of area restaurants includes those that have been favorably reviewed in print by Santa Cruz Weekly food critics and others that have been sampled but not reviewed in print. All visits by our writers are made anonymously, and all expenses are paid by Metro Santa Cruz. AG;0=:A ;/23 A7;>:3( + C\RS` + # + $ + O\R c^

Price Ranges based on average cost of dinner entree and salad, excluding alcoholic beverages

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$$ Aptos

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$$$ Aptos $$$ Aptos

$$ Aptos

207 Searidge Rd, 831.685.0610

8017 Soquel Dr, 831.688.1233 :/ 03::/ D7B/ 07AB@=

257 Center Ave, 831.685.8111 A3D3@7<=¸A 5@7::

7500 Old Dominion Ct, 831.688.8987

Indian. Authentic Indian dishes and specialties served in a comfortable dining room. Lunch buffet daily 11:30am-2:30pm; dinner daily 5pm to close. www.ambrosiaib.com American and specialty dishes from the British and Emerald Isles. Full bar. Children welcome. Happy hour Mon-Fri 2-6pm. Open daily 11am to 2am. Italian. Ambience reminiscent of a small trattoria in the streets of Italy, serving handmade lasagna, pasta dishes, gnocchi and fresh fish. Wed-Sun, Lunch 11am-2pm, Dinner 5-9pm. Continental California cuisine. Breakfast all week 6:30-11am, lunch all week 11am-2pm; dinner Fri-Sat 5-10pm, Sun-Thu 5-9pm. www.seacliffinn.com.

H/;33< ;327B3@@/<3/< Middle Eastern/Mediterranean. Fresh, fast, flavorful. Gourmet

7528 Soquel Dr, 831.688.4465

meat and vegetarian kebabs, gyros, falafel, healthy salads and Mediterranean flatbread pizzas. Beer and wine. Dine in or take out. Tue-Sun 11am-8pm.

1/>7B=:/ $ Capitola

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All day breakfast. Burgers, gyros, sandwiches and 45 flavors of Marianne’s and Polar Bear ice cream. Open 8am daily.

>/@/27A3 ACA67 Japanese. This pretty and welcoming sushi bar serves 200 Monterey Ave, 831.464.3328 superfresh fish in unusual but well-executed sushi combinations. Wed-Mon 11:30am-9pm.

California Continental. Swordfish and other seafood specials. Dinner Mon-Thu 5:30-9:30pm; Fri 5-10pm; Sat 4-10:30pm; Sun 4-9pm.

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Capitola

1750 Wharf Rd, 831.475.1511

AB=19B=< 0@7253 5@7::3 Mediterranean tapas. Innovative menu, full-service bar,

Capitola

231 Esplanade, 831.464.1933

international wine list and outdoor dining with terrific views in the heart of Capitola Village. Open daily.

$$$ Capitola

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203 Esplanade, 831.475.4900

California cuisine. Nightly specials include baby back ribs, prime rib, lobster and mahi mahi. Daily 7am-2am.

A/<B/ 1@CH

Free F ree C Community ommun mmun nity Lecture Lecture CAREERS IN HOLISTIC NUTRITION AND CULINARY ARTS

1/43 D7=:3BB3

104 Stockton Ave, 831.479.8888

with Susan A Arthur, rth hurr, B B.A., .A., N.C. Wed., W ed e ., October October 21, 6:30 PM - 8:00 PM Boost your immune system and warm your soul using the local, lo ocal, organic and seasonal foods Moth Mother her Nature provides us all year around. This Th lecture includes: t #BTJD HVJEFMJOFT GPS TUBZJOH IFBMUIZ t )PX UP TIPQ TFMFDU UIF GSFTIFTU local, organic seasonal foods t " HVJEF UP OVUSJFOU EFOTF GPPET UIBU supercharge your immune system t 3FDJQFT NFOVT GPS DPNGPSUJOH warming and delicious meals Bauman College, 3912 Portola Dr., Suite 10, Santa Cruz, CA

Call Today for a Free Catalog www.BaumanCollege.org

800-987-7530 8 0TToday www.BaumanCollege.org Call C all ll80 o0 for a Free Catalog 800-987-7530

$$ Santa Cruz

$$ Santa Cruz

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1116 Pacific Ave, 831. 426.7588

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110 Church St, 831.429.2000

$$ Santa Cruz

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Santa Cruz

2218 East Cliff Dr, 831.476.4560

$ Santa Cruz

460 Seventh Ave, 831.477.2908

1134 Soquel Ave, 831.429.6994

4/<2/<5= ;3F71/<

$$ Santa Cruz

67<2?C/@B3@

$$ Santa Cruz

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303 Soquel Ave, 831.426.7770

1102 Pacific Ave, 837.420.0135

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221 Cathcart St, 831.426.4852

Mexican/Seafood/American. Traditional Mexican favorites. Best fajitas, chicken mole, coconut prawns, blackened prime rib! Fresh seafood. Over 50 premium tequilas, daily happy hour w/ half-price appetizers. Sun-Thu 11am-10pm, Fri-Sat 11am-11pm. American, California-style. With a great bar scene, casually glamorous setting and attentive waitstaff. Full bar. Mon-Sat 11:30am-10pm, Sun 1-10pm. Crepes and more. Featuring the spinach crepe and Tunisian donut. Full bar. Mon-Thu 11am-midnight, Fri 11am-1am, Sat 10am-1am, Sun 10am-midnight. Seafood. Fresh seafood, shellfish, Midwestern aged beef, pasta specialties, abundant salad bar. Kids menu and nightly entertainment. Harbor and Bay views. Lunch and dinner daily. Mexican. Serving breakfast all day. Popular for our street tacos and handmade Salvadorian pupusas. Vegetarian options made w/ local fresh vegetables & organic tofu. Daily 9: 30am-9:30pm. Americana. Ribs, steaks and burgers are definitely the stars. Full bar. Lunch Mon-Sat 11:30am-2:30pm; dinner Sun-Thu 5:30-9:30pm, Fri-Sat 5:30-10pm. California/full-service bakery. Breakfast, lunch, dinner. “Best Eggs Benedict in Town.� Happy Hour Mon-Fri 5-6pm. Halfprice appetizers; wines by the glass. Daily 8am-9pm. ’60s Vegas meets ’50s Waikiki. Amazing dining experience in kitchy yet swanky tropical setting. Fresh fish, great steaks, vegetarian. Full-service tiki bar. Happy-hour tiki drinks. Aloha Fri, Sat lunch 11:30am-5pm. Dinner nightly 5pm-close.

j #

A/<B/1@CH 1=; october 7-14, 2009 27<3@¸A 5C723

$$ Santa Cruz $$ Santa Cruz

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516 Front St, 831.421.0706 8=6<<G¸A 6/@0=@A723

493 Lake Ave, 831.479.3430

$$$ :/ >=AB/ Santa Cruz 538 Seabright Ave, 831.457.2782 $$ Santa Cruz

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$$ Santa Cruz

>/17471 B6/7

Seafood/California. Fresh catch made your way! Plus many other wonderful menu items. Great view. Full bar. Happy hour Mon-Fri. Brunch Sat-Sun 10am-2pm. Open daily. Italian. La Posta serves Italian food made in the old style— simple and delicious. Wed-Thu 5-9pm, Fri-Sat 5-9:30pm and Sun 5-8pm.

Fine Mexican cuisine. Opening daily at noon. 49-B Municipal Wharf, 831.458.9393 1319 Pacific Ave, 831.420.1700

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Santa Cruz

555 Soquel Ave, 831.458.2321

$$ Santa Cruz

@=A73 ;11/<<¸A

1220 Pacific Ave, 831.426.9930

$$ Santa Cruz

105 Walnut Ave, 831.423.2020

$$ Santa Cruz

2415 Mission St, 831.423.9010

$$ Santa Cruz

Japanese Fusion. Sushi bar, sake bar, vegetarian, seafood, steak in fun atmosphere; kids play area; karaoke every night. Open seven days 5-10pm; Mon-Fri 11:30am-2:30pm.

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710 Front St, 831.427.4444

Thai. Individually prepared with the freshest ingredients, plus ambrosia bubble teas, shakes. Mon-Thu 11:30am-9:30pm, Fri 11:30am-10pm, Sat noon-10pm, Sun noon-9:30pm. Italian-American. Mouthwatering, generous portions, friendly service and the best patio in town. Full bar. Lunch Mon-Fri 11:30am, dinner nightly at 5pm. Irish pub and restaurant. Informal pub fare with reliable execution. Lunch and dinner all day, open Mon-Fri 11:30ammidnight, Sat-Sun 11:30am-1:30am. Wine bar with menu. Flawless plates of great character and flavor; sexy menu listings and wines to match. Lunch Wed-Sat noon2pm; dinner Mon-Thu 5-10pm, Fri-Sat 5-11pm, Sun 4-10pm; retail shop Mon 5pm-close, Tue-Sat noon-close, Sun 4pm-close. Pizza. Specializing in authentic Sicilian and square pizza. Homemade pasta, fresh sandwiches, soups, salads and more. Hot slices always ready. Sun-Thu 10am-9:30pm, Fri-Sat 10am-11pm. Pizza. Pizza, fresh salads, sandwiches, wings, desserts, beers on tap. Patio dining, sports on HDTV and free WiFi. Large groups and catering. Open and delivering Fri-Sat 11am-2am, Mon-Thu 11am-1am, Sun 11am-midnight.

A/< :=@3<H= D/::3G $$ Felton

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6205 Hwy 9, 831.335.1500

Organic Pizza. Everything organic: pizza, lasagna, soup, salad, beer and local wine. Always organic, local produce. Party room seats 32. Weeknights 4-9pm (closed Tue), Fri 4-10pm, Sat 1-10pm, Sun 1-9pm. See menu at www.redwoodpizza.com.

A1=BBA D/::3G $ 63/D3<:G 1/43 American. Serving breakfast and lunch daily. Large parties Scotts Valley 1210 Mt. Hermon Rd, 831.335.7311 welcome. Mon-Fri 6:30am-2:15pm, Sat-Sun 7am-2:45pm. $ 87/ B3::/¸A Scotts Valley 5600 #D Scotts Valley Dr, 831.438.5005

Cambodian. Fresh kebabs, seafood dishes, soups and noodle bowls with a unique Southeast Asian flair. Beer and wine available. Patio dining. Sun-Thu 11am-9pm, Fri-Sat 11am-10pm.

A=?C3: $$ Soquel

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4724 Soquel Dr, 831.477.1048

Mexican. Open for breakfast. We use no lard in our menu and make your food fresh daily. We are famous for our authentic ingredients such as traditional mole from Oaxaca. Lots of vegetarian options. Mon-Fri 9am-9pm, weekends 8am-9pm.

Get into the best bars, clubs and lounges! SantaCruzFB.com

# j /AB@=:=5G october 7-14, 2009 A/<B/1@CH 1=;

Astrology Free Will

1126 Soquel Ave. Santa Cruz, near the Crepe Place and Rio Theatre At your service everyday from 10-9 since 1978

By Rob Brezsny

Free Public Parking at Cayuga & Soquel O (831)429-9600

For the week of October 7

Be the Hero of Your Own Sacred Quest

/@73A (March 21–April 19): The poet Stephen MallarmĂŠ wrote the following in a letter to a friend: “I don’t know which of my internal climates I should explore in order to find you and meet you.â€? I love that passage. It alludes to one of the central facts about the nature of reality: The quality of your consciousness is crucial in determining whether you’ll be able to attract the resources that are essential to your dreams coming true. In order to get what you want, you have to work on yourself at least as hard as you work on the world around you. This is always true, of course, but it’s especially true for you now, Aries.

A1=@>7= (Oct. 23–Nov. 21): Amazingly enough,

B/C@CA (April 20–May 20): Is there anything in your life that you don’t really want but nevertheless find it hard to part with? A situation or experience that gives you a perverse sense of comfort because of its familiarity, even though it has a steep emotional cost and doesn’t serve your higher dreams? If so, the coming week will be an excellent time to change your relationship with it. You will make dramatic progress if you brainstorm about how you could break up the stagnant energy that keeps you entranced and entrapped.

A/57BB/@7CA (Nov. 22–Dec. 21): In 1968, Aleksandr Solzhenitsyn finished his book The Gulag Archipelago, a scorching indictment of the oppression that he and his countrymen suffered under the totalitarian regime of the Soviet Union. Banned for years, it was never formally published in his home country until 1989. Even after that, the new Russian government tried to control the teaching of history by suppressing texts like Solzhenitsyn’s. This year, all that changed. The Gulag Archipelago became required reading in Russian high schools. At last, the truth is officially available. (Maybe one day the equivalent will happen in the United States, with alternate histories by Howard Zinn and Noam Chomsky finding their way into the curriculum.) I celebrate this breakthrough as a symbol of the events that are about to unfold in your personal life: the long-lost truth finally revealed.

SPECIAL EVENT

Wed, Oct. 7 at 7 pm

Wed, Oct. 14 at 7 pm

Thu,Oct 22 & Sat,Oct 24

Belinda Farrell

William Whitecloud

One Fantastic Night One Amazing Day Seven Great Speakers

Activating Global Heart Benefiting Non-profit Activities for the Global Coherence Initiative and Gateways Books Featuring seven of the most compelling voices of our time

Gregg Braden

Chant Forgiveness, Enchantment and Sleepy Time Chant, CDs Ho'oponopono

and Reconnective Healing

Thur, Oct. 8 at 7 pm

Jennifer McDonell Contributing Author to Wake Up ... Live the Life You Love — The Big Picture ‌ The Quantum Science of Ultra-longevity, Health and Success.

Mon, Oct. 12 at 7pm

Marci Shimoff Leigh Wunce N.C. Howard Martin Medical Intuitive Dr. Deborah Rozman Astro Night The Rise of Dr. Rollin McCraty Rev. Wendy Craig Purcell Libra Speaks to How We Find Balance in our Lives. Nina Rothschild Utne Tickets available Tue, Oct. 13 at 7 pm at Gateways (10-9 daily) Carol L. Skolnick via phone or online Certified Facilitator of www.gatewaysbooks.com The Work Inquire Your Way to Peace: Unravelling Events held at First Congregational Church, 900 High Street, Santa Cruz

Stressful Stories with The Work of Byron Katie

The Magician's Way Introducing an allegorical novel about what it really takes to live a soul-inspired life.

Thu, Oct. 15 at 7 pm

Maetreyii Ma Nolan, Ph.D. President, Co-founder of Ananda Seva Mission

Kirtan led by her husband Wil Nolan, followed by teachings through Maetreyii Ma from the Grace of Baba Shrii Shrii Anandamurti.

Mon, Oct. 19 at 7 pm

Mejda Mukunda Das Kirtan Night Disciple of Sri Paramahansa Yogananda, performs kirtan, chants, mystic and sacred music. Floor Seating Available, Bring own cushion and mat.

Explore Gateways online www.gatewaysbooks.com

53;7<7 (May 21–June 20): One of my New Age friends says she has it on good authority that the Seven Lords of Time will reconvene in their Himalayan sanctuary on Dec. 21, 2012, and reinvent the nature of time, as they last did back in 3114 B.C.E. I have no idea if that’s true or not, but if it is, I say “hallelujah!� We would all benefit from some bigtime reinvention of time. But that happy event, even if it actually does come to pass, is still more than three years away. What to do in the meantime? Luckily, you Geminis now have major personal power to do some time reinvention of your own. To get the meditations rolling, ask yourself what three things you could do to stop fighting time and start loving it better.

1/<13@ (June 21–July 22): Soup is your metaphor for the week, Cancerian. Symbolically speaking, it’s the key to your personal power and a model for the approach you should take in everything you do. On the most basic level, you might want to eat some soup every day. That will make potent suggestions to your subconscious mind about how to mix lots of ingredients together so that their value and beauty as a totality are more than the sum of their parts. Not just in the kitchen, but in every area of your life, blend many little miscellaneous things into one big interesting thing. :3= (July 23–Aug. 22): Change your password. Take a different way home. Ask a question you’ve never asked. Dream up a new nickname for yourself. Choose a new lucky number. Change the way you tell the story about an important event in your past. Make it a little more difficult for people to have you pegged. Eat a type of food you’ve never tried. Do the research necessary to discover why one of your opinions may be wrong. Add a new step to your grooming ritual. Feel appreciation for a person whose charms you’ve become numb to. Surprise yourself at least once a day. D7@5= (Aug. 23–Sept. 22): One of the best modern Turkish poets was Seyfettin Bascillar, who worked as a meat inspector in New Jersey for many years before his death in 2002. Nobel Prize–winning poet Czeslaw Milosz lived in Berkeley, Calif., for over four decades while writing his books in Polish, his native tongue. Iceland’s great poet of the 20th century, Stephan G. Stephansson, lived in Canada most of his life but always wrote in Icelandic. These people remind me of what you’re going through: striving to do what comes natural and authentic in a situation very different from the place where you originally learned to be natural and authentic. The interesting fact of the matter is that this feeling of displacement could very well be the key to your success.

the good deeds you do in the next 21 days could alone qualify you for a permanent exemption from hell. It seems God has cooked up some imminent tests that will give you a chance to garner some ridiculously sublime karma. What’s that you say? You don’t believe in either God or hell? Well then, interpret the opportunity this way: The good deeds you perform in the coming three weeks could practically ensure that the sins you’ve committed thus far in your life will not stain the world or be passed on as IOUs to the next generation.

1/>@71=@< (Dec. 22–Jan. 19): John, a colleague of mine, is a skillful psychotherapist. His father is in a similar occupation, psychoanalysis. If you ask John whether his dad gave him a good understanding of the human psyche while he was growing up, John quotes the old maxim: “The shoemaker’s son has no shoes.â€? Is there any comparable theme in your own life, Capricorn? Some talent or knowledge or knack that should have been but was not a part of your inheritance; a natural gift you were somehow cheated out of in your early environment? If so, the coming weeks will be an excellent time to start recovering from your loss and getting the good stuff you have coming to you. /?C/@7CA (Jan. 20–Feb. 18): Let’s imagine that an independent filmmaker has been following you around, gathering footage for a movie based on the story of your life. This week he or she would face a dilemma. That’s because unexpected new subplots may arise, veering off in directions that seem to be far afield from the core themes. The acting of the central players won’t be bad or unskillful, but it might be out of character with what they’ve done before. And there could be anomalous intrusions that impinge on the main scenes, like a bug landing on your nose during an intense conversation. Yet I can’t help wondering if this chapter of the tale won’t be extra intriguing for just these reasons. >7A13A (Feb. 19–March 20): “Tenderness and rot / share a border,â€? writes the U.S. Poet Laureate Kay Ryan in one of her poems. “And rot is an / aggressive neighbor / whose iridescence / keeps creeping over.â€? Your job in the coming week, Pisces, is to reinforce that border—with a triple-thick wall, if necessary—so that the rot cannot possibly ooze over and infect tenderness. It is especially important right now that the sweet, deep intimacy you dole out and stimulate will not get corrupted by falseness or sentimentality. I urge you to stir up the smartest affection you have ever created. 6][Se]`Y( B] b`g bVS SfS`QWaSa O\R Sf^S`W[S\ba W\ ¡>`]\]WO BVS`O^g ¸ O\ SfQS`^b T`][ [g \Se P]]Y U] VS`S( Vbb^( bW\gc`Z Q][ '#gY\

:70@/ (Sept. 23–Oct. 22): The sun shines brighter on my new home. The old place had resemblances to a cave and was surrounded by tall trees. My new space is surrounded by a wide sky and drinks in the solar radiance from dawn to dusk. As you might expect, my 15 plants need to drink a lot more than they used to. The watering ritual at the old house used to come once a week, but now it’s every other day. According to my reading of the astrological omens, a comparable shift is occurring in your rhythm, Libra. Metaphorically speaking, more heat and light are coming your way.

Go to @3/:/AB@=:=5G 1=; to check out Rob Brezsny’s Expanded Weekly Audio Horoscopes and Daily Text Message Horoscopes. The audio horoscopes are also available by phone &%% &%! "&&& or 1.900.950.7700

S a n t a c r u z .co m october 7-14, 2009 C L ASS I F I E DS

CLASSIFIED INDEX ¡ ™ £ ¢ ∞ §

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Santa Cruz Weekly Classifieds 115 Cooper Street, Santa Cruz, CA 95060 Monday to Friday, 8.30am – 5pm Charge by phone, fax or email 24 hours a day ¬ 831.457.9000 PHONE

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g Employment

Jobs

Office Manager at Small Office on Westside with Dog; $15-17 per hour Must know Word and Excel Previous Management Experience Required KELLY SERVICES, 425-0653 e-mail: 1471@kellyservices.com *Never A Fee*

Food production in Watsonville Day and Swing Shifts Available *Must have an open schedule Fluent in English required Must have reliable transportation Temp-To-Hire $8.50/hr. KELLY SERVICES, 425-0653 e-mail: vermije@kellyservices.com *Never A Fee*

g Employers

Sufani’s Place of Bliss is offering Reiki 1,2 & 3 (Master) Certification class,’ she also offers meditation classes for beginners. Contact Sufani at 408-314-2139 Placeofbliss711@aol.com Visit www.sufani.webs.com

g

Learn Ritual & Ceremony

Lil Wayne, E-40, Snoop Dog, San Quinn

Create your own ceremonies to honor the seasons and other life events. Dynamic and experiential. Starts Sept. 19 and ongoing. For more information contact Carmella at 831.423.8879 or carmella@got.net

Must h ave prev. experience Mult-line phones Data Entry in Computer Must know MS Word/Excel KELLY SERVICES, 425-0653 e-mail: 1471@kellyservices.com *Never A Fee*

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$$$HELP WANTED$$$

Chapter 7 Bankruptcy

HEALTH CONSCIOUS COMPANY Looking for Like-Minded People! Great growing company looking for staff with the ability to grow w/ it. The Following Skills Desired: High ability to multi-task. High energy, fresh ideas and a passion for the health industry. Extremely detail oriented. Proficient in MS Office (Excel). AA or BA a Plus! Experience desired in: Customer Service. Project Management. Fast Paced Restaurant. Sales Experience and/or passion for sales. Looking for people seeking longevity in a Stable Growing Company! Send your resume today! KELLY SERVICES, 831-425-0653 e-mail: vermije@kellyservices.com *Never A Fee*

Activists Wanted through out Bay Area !! Help qualify California Initiatives. $15-$30 Hourly. Flexible hours. Please call 831-325-5314

Bands

Thug World Records explosive label features lil Wayne Snoop dog E-40 G-unit and more. Free Downloads, MP3s, RingTones, videos. www.thugworldrecords.com 408-561-1255

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Medical Receptionist

Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 www.easywork-greatpay.com (AAN CAN)

Music

Professional Services Legal Services

$1250 + Costs Robert M. Haight, Attorney 831/438-6610

gg Mind, Body, Spirit

Counseling & Therapy

Business Opportunities

Attention Readers Some ads in this section may require an initial investment or fee. Metro Newspapers encourages you to thoroughly investigate any advertiser’s claims before sending payment.

Income-Sensitive Sliding Scale

is a social responsibility. Psychotherapy for those who want or need it. Addiction, relationships, anxiety, depression. Chevalisa Bruzzone, MFT Trainee at the Process Therapy Institute. 831.247-6711, 408.358.9892 x410.

gg Classes & Instruction

Classes & Instruction

Psychic Workshops, Counseling & Healing

Guitar Lessons/Song Writing Develop your chord, soloing, and songwriting skills. Professional, relaxed, personalized instruction. All styles, ages and levels. Steven 831-278-1500.

g Services

Rock Band Network Training For more information, visit www.GameSoundCon.com.

Seeking Michael Jackson tribute band Artist Management Agency. Call (209) 823-1260 or (916) 753-7246.

To advertise

here

Family Services Miscellaneous

www.clairvoyancefoundation.co Your Personality m . Affordable, short dynamic Determines Your workshops.(408) 896-5811 Mary. Cupertino. Clairvoyance & Happiness Astral Projection. Series starts Know why? Call for your free 10/10, 10/22, 11/8. personality test. Clairvoyance Foundation LLC. Call 1-800-293-6463

Call 831.457.9000

Get into the best bars, clubs and lounges! SantaCruzFB.com

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C L ASS I F I E DS october 7-14, 2009 S a n t a c r u z .co m

Homes Home Renovation Specialist Affordable, reliable carpenters for home improvement. Frame, finish, doors, windows, decks, fences, tile, sheet rock and remodels. Lic#925849. Call Dave 831/332-6463

Notice To Readers California law requires that contractors taking jobs that total $500 or more (labor or materials) be licensed by the Contractors State License Board. State law also requires that contractors include their license number on all advertising. You can check the status of your licensed contractor at

g Real Estate Services Seminars

Real Estate Investing 101: A seminar for beginning investors presented by Terry Cavanagh, Realtor. This seminar is an introduction for folks who want to learn from an experienced investor tips & strategies for better real estate investing. FREE - seats are limited; call Tammi at

g Real Estate Rentals Shared Housing

ALL AREAS - RENTMATES.COM Browse hundreds of online listings with photos and maps. Find your roommate with a click of the mouse! Visit: www.Rentmates.com. (AAN CAN)

Notice All real estate advertised in Metro Newspapers is subject to the State and Federal Fair Housing Act, which makes it illegal to advertise any pref-

erence, limitation, or discrimination based on race, color, religion, sex, handicap, family status (the presence of children), or national origin, or the intention to make any such preference, limitation, or discrimination. State and locate laws forbid discrimination in the sale, rental, or advertising of real estate. We will not knowingly accept any advertising for real estate which is in violation of the law. All persons are hereby informed that all dwellings advertised are available on an equal opportunity basis to the best of our knowledge.

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g Homes

ALL AREAS - HOUSES FOR RENT Browse thousands of rental listings with photos and maps. Advertise your rental home for FREE! Visit: http://www.RealRentals.com (AAN CAN) Class: Rent/Lease

Willow Glen— Single Home For Rent! BEDROOMS: 3 + Loft, BATH: 2 1/2 Home in very good shape—extremely clean and bright. Easy access to public transportation, freeways 85 and 87, shopping mall nearby. $1,400. 626/390-1654

Apartment/Cottage

Monterey Furnished room for rent. $350 a week, microwave, refrigerator, own entrance, bathroom, 831/655-5640

g Real Estate Sales Condos/Townhouses

AN EXPERIENCED

Capitola

TEAM

The best of easy ocean front living in this unit right on the water in Capitola. Steps to Rio Del Mar beach & a short stroll to Capitola Village, this low maintenance unit in a peaceful setting is perfect for those wanting nothing between them and the Monterey Bay. This single unit is offered as a tenant in common share in building being upgraded to delight ocean lovers. Great opportunity for the savvy buyer. MLS#80932540. Call Terry 831.345.2053 Pacific Sun Properties.

for buying, selling and managing property in Santa Cruz County

Pacific Sun Properties

Carmel Valley Beauty and privacy can be yours with this Carmel Valley cabin on over 13 acres with incredible views over the bay, ocean and mountains near Tassajara springs. Rare opportunity to own this special retreat property bordering the Ventana wilderness. Listed at $395,000. Visit tassajara-ridge-retreat.com. Terry at Pacific Sun Properties 831/345-2053

g Homes

Sonoma 1 +/- acre, 3 bedroom/2 bath home is clean and ready for updating or expansion, pool, hot tub, outdoor brick pizza oven and built-in barbecue. www.lovallvalleycourt.com Terri D’Amico, Frank Howard Allen Realtors 707-939-2013 lic #01312749

Spectacular in Santa Cruz One-of-a-kind artist`s masterpiece. Stained glass and skylights throughout, detailed layered landscaping and two artists studios. 3 BR, 2 BA in convenient location $799,000. MLS #80944152. Call Terry Cavanagh at Pacific Sun Properties 831.345.2053. visit www.114sutphen.com

g Land

Get into the best bars, clubs and lounges!

734 Chestnut Street Santa Cruz, CA 95060 831.471.2424 831.471.0888 Fax www.pacificsunproperties.com

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Contractors

345-9640 to reserve your space. Wednesday, Oct. 14 79pm. Pacific Sun Properties, 734 Chestnut St., Santa Cruz.

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www.cslb.ca.gov or 1-800-321CSLB (2752). Unlicensed contractors taking jobs that total less than $500 must state in their advertisements that they are not licensed by the Contractors State License Board.

Live in the of Santa Cruz Only $107,500 • • • • • • •

One bedroom Large lot Small pets ok Walk everywhere Located in El Rio Mobile Home Park Income restrictions - call for details. Excellent owner financing available Judy Ziegler GRI, CRS, SRES ph: 831-429-8080 cell: 831-334-0257 www.cornucopia.com

S a n t a c r u z .co m october 7-14, 2009 C L ASS I F I E DS

Wheels

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Retail Locations: Santa Cruz—Pacific Ave 1531 Pacific Ave. (Near the Bookshop Santa Cruz) Phone: (831) 426-4070

Get into the best bars, clubs and lounges!

Gilroy—Gilroy Premium Outlets 681 Leavesley Rd., Suite C290 (Near DC Shoes) Phone: (408) 848-6800 Palo Alto—University Ave 170 University Ave. (Near Caltrain station) Phone: (650) 328-4900 Burlingame—Downtown 1320 Burlingame Ave. (Between Primrose & Park Rds) Phone: (650) 558-8171

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SantaCruzFB.com Seriously Ill? Need MMJ?

Your Personality Determines Your Happiness Know why? Call for your free personality test. Call 1800-293-6463

Medicann Med. Marijuana Evaluations Lic. MD 866-632-6627 Free I.D. card 24/7 verification. Doctor/patient confidentiality. Discount for MediCal, MediCare and veterans.

Touch of Color to Your Ads

WAMM is NOW accepting applications for membership into our collective. Looking for members who can donate generously. Serving Santa Cruz for 16 years! Your application does not ensure membership. wamm.org, 831425-0580. peace

Ask your Santa Cruz Weekly salesperson about adding color to your ads to make them stand out! For advertising information call 831-457-9000.

Guitar Lessons/Song Writing

Browse through the Santa Cruz Weekly each month! Get seen today. To advertise call 408-200-1300.

Develop your chord, soloing, and songwriting skills. Professional, relaxed, personalized instruction. All styles, ages and levels. Steven 831-278-1500.

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85,000 People Tell A Friend You Saw it in the Santa Cruz Weekly!

twitter.com/santacruzweekly

TO ADVERTISE IN THE SANTA CRUZ WEEKLY CALL 831.457.9000

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