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Message in a Ballot p7 | 25-Year-Old Bananas p21 | Waters at Pino Alto p41

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Contents. P OSTS

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CURRENTS

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COVER STORY A&E

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p21

S TA G E , A R T & EVENTS

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B E AT S C A P E CLUB GRID FILM

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EPICURE

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ASTR OLOGY

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CLASSIFIEDS

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ON THE COVER Illustration by Stacie Willoughby

115 Cooper St, Santa Cruz, CA 95060 831.457.9000 (phone) 831.457.5828 (fax) 831.457.8500 (classified) SCW@santacruz.com Santa Cruz Weekly, incorporating Metro Santa Cruz, is available free of charge, limited to one copy per reader. Additional copies of the current issue of Santa Cruz Weekly may be purchased for $1, payable at the Santa Cruz Weekly office in advance. Santa Cruz Weekly may be distributed only by Santa Cruz Weekly’s authorized distributors. No person may, without permission of Metro Publishing, Inc., take more than one copy of each Santa Cruz Weekly issue. Subscriptions: $65/six months, $125/one year. Entire contents Š 2010 Metro Publishing, Inc. All rights reserved. Reproduction in any form prohibited without publisher’s written permission. Unsolicited material should be accompanied by a stamped, self-addressed envelope; Santa Cruz Weekly is not responsible for the return of such submissions.

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Posts. P o ts. os t Messages M eessaggees &

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(traci@santtacruzw a eeekly.com) (traci@santacruzweekly.com) STA AFF WRITERS WR RITERS STAFF B3AA/ ABC/@B B3AA/ ABC/@B (ttessa e @santtaacruzweeekly.com m)) (tessa@santacruzweekly.com) @716/@2 D=< 0C CA/19 @716/@2 D=< 0CA/19 (richarrd@santtaacruzweeekly.com m)) (richard@santacruzweekly.com) CONTRIBUTING EDITOR E EDIT OR CONTRIBUTING 16@7AB7</ E/B3@A 16@7AB7</ E/B3@A POETR RY EDITOR EDITOR POETRY @=03@B AE/@2 @=03@B AE/@2 EDITORIAL INTERN IN NTERN EDITORIAL 9/B3 8/1=0A=< 9/B3 8/1=0A=< CONTRIB BUTORS CONTRIBUTORS @=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 1/B 8=6<A=< /<2@3E 57:03@B 1/B 8=6<A=< AB3>63< 93AA:3@ 83AA71/ :G=<A AB3>63< 93AA:3@ 83AA71/ :G=<A

Send letters letteerrs to to Santa Santa Cruz Weekly, Weeeklyy, let letters@santacruz.com teerrss@san 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 inaccuracies phone number number or email address. address. Submissions Subm missions mayy be be edited editteed for for or length, length clarity le leng cllaritt y or or factual factual ac a inac a curacies racies known know nown to to us. uss.

53B =44 B63 53B =44 B63 1/@ B@7> 1 /@ B@7> AS S AS SOMEONE OMEONE w who ho ccares ares a llot ot aabout b out tthe he w orld’s cclimate, limate, I have havve taken taken the the time time to to world’s re ad tthe he City’s City’s Climate Climate A ction P lan. I’ve I’ve read Action Plan. b een impressed impressed b the p ragmatic ggoals oals of of been byy the pragmatic tthe he plan, plan, in in p ar ticular the the commitment commitment to to particular rreduce educe lo cal automobile autom mobile trips b ercent. local byy 30 p percent. W ithout re aching tthis his commitment, commitment, we we Without reaching w ill n ot meet meet o ur goals goals fo ducing global global will not our forr re reducing w arming ggasses, asses, aass automobiles automobiles aare re the the warming single lar gest source source of these emissions largest emissions.. As someone someone who who cares cares about about our our local lo cal As ve rsion o emocracy, I am am concerned concerned tthat hat version off d democracy, the climate action plan p will b ed bee ignor ignored b afff and d ccollect ollect dust alongside g byy the cit cityy st staff tthe he M a s t e r T r a n s p o r ta t i o n S u r ve y . O ne Master Transportation Survey. One ob vious test is ar ou und the goal g of rreducing educingg obvious around

automobile trips b byy 30 p percent ercent e b byy 2020. C urrentlyy, Public W orks St o aff ar af Currently, Works Staff aree pr projecting ojecting an incr ease in automobile tr rips b increase trips byy 2020, and ar ng rroads oads and aree planning on widenin widening b uilding p arking ggarages arages tto o ssupport upp ort tthis his building parking iincrease. ncrease. A instein p ut iit, t, ““one one ccannot annot Ass E Einstein put simult aneously pr event and d pr epare ffor or o simultaneously prevent prepare w ar.�� war.� One way way to to determine determine whether whether tthe he p lan One plan iiss fo al o ot iiss tto o llook ook fo or sspecifics p ecif ics iin n forr re real orr n not for it that lo gically ffollow ollow fr o om its goals or logically from goals.. F For eexample, xample, iiff w re re ally ggoing oing tto o re duce wee aare really reduce aautomobile utomobile ttrips rips b 0p ercent, tthere here iiss byy 330 percent, absolutely no need to widen nH ighway 1 Highway o ver tthe he S an Lo renzo River River as as w ill h avve over San Lorenzo wee w will have ef ffeectively no automobile ccongestion. o ongestion. effectively W hat d o es tthe he p lan ssay ay aabout b out tthis his p roposal What does plan proposal w idening p ro oject? If If we we h avvee 330 0p erccent widening project? have percent fe wer ccars ars tto op ark, sshouldn’t houldn’t tthe he p lan d enote fewer park, plan denote that we will not b p g bee buildingg a parking

garage o garage on nw what hat iiss ccurrently urrently tthe he F Farmers armers Market? Does plan forr ccompletion M arket? D oes tthe he p lan ccall all fo ompletion off tthe highest priority projects o he h ighest p riority p rojects iin n tthe he ccity’s ity’s bicycle plan, none off w which prohibitively b icycle p lan, n one o hich aare re p rohibitively but off w which take political eexpensive, xp ensive, b ut aall ll o hich ta ke p olitical Will allocate sources, will. W i we allo ill cate rrevenue evenue sour cess, such aass tthe he Traffic Traf f ic Impact Impact Fees Fees charged charged to to new new developments d de velop l pments based b d on the h climate li pl or plan public projections. the pub blic works pr ojections. What What remains remains to to be b e sseen een aabout b out tthe he Climate Action Plan whether will C limate A ction P lan iiss w hether iitt w ill determine cityy p policy bee a well me meaning determi ine cit olicy or b eaning public p ublic re rrelations lations eeffort. ffo f r t. As As the the plan plan is is at at the the draft stage, either way. draf f t st a , it ccould age ould still easily go eith her w ay. Inasmuch readers Inasm much as Santa Santta Cruz Weekly Weekly e read ders care care about about climate climate cchange, hange, I want want to to encourage encourage you you to to get get involved involved with with the the Climate Climatee Action Action Plan. Plan Bring Bring your your hope, hop e, your your skepticism resolve. skepticism and and your your re solve. It It will will take taake all all three three to to make make this this plan plan a meaningful meaningful document. documeent. Micaah Posner, Micah Poosnerr, People Power P eop e ple P ow o er

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B@336C553@A @C:3 B@3 336C553@A @C:3 C II’M ’M WRITING WRITING to to thank thank the the voters voters o off Santa Santa t Cruz C ruz County. Count o y. While the Proposition Proposition 21 statewide st atewid de results results are are deeply disappointing, disapp oin nting, we have have much to be be proud proud of here here locally. locallyy. The Santa 211 vo vote was The S anta Cruz Cruz County County Yes Yes on on 2 te w as 67.68 percent—the California, 67 7..6 8 p e cent—the highest in C er aliffor ornia, 25.68 percent higher aand nd 2 5.6 8 p ercent h igher tthan han tthe he sstatewide taatewide result! Local voters re sult! Lo L cal vo ters cclearly learly ccherish herish ttheir heir sstate tate parks beaches willing p arks aand nd b eaches aand nd aare re w illing tto o iinvest nvest helping thrive. in helpi ing them thriv e. Our Our sincere sincere thank thank you you tto o eeveryone veryone iin n tthe he who worked hard over ccommunity ommunity w ho w orked sso oh ard o ver tthis his past year Save Save p ast ye ar tto oS avve Our Our State State Parks Parks aand nd S ave Our Lifeguards! months O ur L ife f guards! In In the the weeks weeks and and m onths wee aatt Friends Santa State tto o ccome, ome, w Friends of of S anta Cruz Cruz S tate Parks our rolled up focus P arks will will keep keep o ur sleeves sleeves ro lled u p to to fo cus that profound prof ofo ound local lo cal support supp ort on helping helpiing our bee tthe best llocal o cal state staate parks parks continue continue tto ob he very veery b est matter iin n California—no Califo f rnia—no m atter tthe he challenges! challenges! help, IIff you’d you’d like like tto oh elp, please please vvisit isit us us aatt www.ThatsMyPark.org www .ThatsMyP h ark.org or call call 831.429.1840. 831.429 9.1840. Bonnyy Hawley Hawleey Executive Executive Director, Directorr, Friends of Santa Santta Cruz State Sttaatte Parks

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Currents. <= ;=@3 4C<<G 0CA7<3AA Voters want lawmakers to stop monkeying around. (Photo from June 2010 primary.)

Decoding the Election Voters sent a scrambled message to Sacramento last week. Or did they? 0G 83AA71/ :G=<A

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HILE the GOP won the House and key state posts in the rest of the union last Tuesday, California saw its own Tea Party takeover of sorts— albeit one with a Left Coast bent. Democrats swept the statewide offices, with Jerry Brown handily defeating Republican Meg Whitman, and Gavin Newsom, a “liberal San Francisco Democrat� (that’s “Satan� to Central Valleyites), winning a tight race against sitting Lt. Gov. Abel Maldonado, a moderate Republican who made a name for himself by

voting against his party—twice—to break the budget impasse. Voters also supported Proposition 25, which will allow legislators to pass a budget with a simple majority. The new law goes a considerable way toward weakening the Republican minority’s grip on the state’s budget process. It could almost be read as a vote of confidence in the Democrats. But—and here comes Tea time— voters also said no to new taxes and took away some key tools that lawmakers have traditionally used to balance the state’s spending plan. They

said no to repealing corporate tax breaks (Proposition 24) and imposed a supermajority vote to pass new fees and taxes (Proposition 26). They also banned the state from borrowing money from local governments to fix budget gaps (Proposition 22), and they defeated Proposition 21, the $18 vehicle fee to pay for state parks. Additionally, voters f lashed their environmental bona fides by shooting down Proposition 23, the attempt to suspend California’s landmark anti-global warming legislation, and showed the limits of their famed tolerance by voting against Proposition 19, which would have legalized pot. Former Santa Cruz Assemblyman John Laird says voters sent mixed messages to Sacramento, some of which are positive and some simply confusing—or, perhaps, confused. “I felt very good about the overwhelming defeat of Prop. 23 and the strong passage of Prop. 25,� Laird says. “Voters said, ‘Even in the worst economic times we stand by our environmental concerns,’ and they finally felt that gridlock is unacceptable and it was time to include California with the other 47 states that have majority rule. “But they sent a slightly contradictory message because they passed 26 and defeated 24, which said, ‘We’ll take away some of the tools for some of the ways you can do this [pass a budget].’� Is it a sign of schizophrenia? “Nope,� says Santa Cruz County Tax Collector Fred Keeley, also a former state assemblyman. The Nov. 2 vote wasn’t so much about taxing less as it was about legislating more, Keeley says. “That doesn’t mean I agree, but I think there was a coherence to what voters did,� he says. “They said, ‘We want tight fiscal controls: yes on twothirds vote for fees, no on [the vehicle license fee] increase.’ They also said: ‘We want the Legislature and governor to do their jobs—majority vote budget, move ahead with greenhouse gas reductions, no to legalizing pot.’ Overall, I think there is a rational reasoning in the proposition outcomes.

Virtually none of them were close. Voters seem to want to not see much more spending, a clean environment, and for the electeds to do their jobs.�

Parks and Wreck How serious are voters about no new taxes? Consider the outcome of Proposition 21, which had its origins as a solution proposed by Laird in 2008 to fix chronic shortages in parks funding. In 2009, when Gov. Schwarzenegger proposed closing 80 percent of the state’s parks to save money, an outcry went up. “Look what happened when the governor tried to close parks— voters came unhinged,� Keeley says. Schwarzenegger made most of the cuts elsewhere. And yet voters rejected Prop. 21, which would have provided funding for state parks by tacking an additional $18 onto vehicle registration fees paid by California motorists. Pundits and analysts see a couple of explanations for this vote. “They didn’t say, ‘We’re not going to pay for parks’—that’s not what they said,� Keeley says. “They said, ‘This is not the time to ask us to start micromanaging the budget.’� UC–Santa Cruz professor of politics Daniel Wirls says the vote follows the national trend: rejection of anything seen as a tax increase. It’s also in line with another love of Californians: their cars. “You attach anything to people’s cars and they get very testy about it—as much as people love furry little animals, they don’t want to pay a tax on it,� Wirls says. Park closures may happen in 2011, parks officials said late last week, also telling reporters that they’ll take a look at higher entrance fees and other funding options. “I don’t know what the next step is for state parks,� says Laird. The vehicle fee for parks polled statewide at 73 percent in 2008, but could not be enacted because of the state’s twothirds budget requirement, which is why it was put on the November 3'

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1 C @ @ 3 < B A 1 % ballot. Now it’s back to the drawing board. “I worked with a bunch of people and we looked at a lot of different alternatives while I was in Sacramento,� Laird says. “Now it’s going back and pulling out those alternatives to see if one will work. I’m really disappointed, although it carried by two to one in Santa Cruz County.�

‘As much as people love furry little animals, they don’t want to pay a tax on it’ —UCSC PROFESSOR DANIEL WIRLS Statewide, voters rejected Prop. 21 by 58 percent to 42 percent, but local voters went against the tide, supporting it 67-33. Similarly, Californians as a whole signaled their preference for the two-thirds vote requirement for taxes and fees (Prop. 26) by voting 53-47, but Santa Cruzans defeated it 63-37. Santa Cruzans were less enthusiastic than other Californians about repealing $2 billion in corporate tax breaks (local support for Prop. 24 was 54 percent, compared to statewide support at 59 percent). They were also more moderate about prohibiting state lawmakers from taking local funds to balance the budget (Prop. 22 garnered 56 percent locally and 61 percent statewide). “People in Santa Cruz County have a different feeling about trying to solve problems,� Laird says. “They stepped up.� This may also explain why, in the midst of a national rejection of new taxes, Santa Cruz said yes to Measure H, which will increase the city’s utility users tax by 1.5 percent to help fund police and public safety. For Laird, Santa Cruz County’s behavior at the ballot box is an encouraging sign in a day that brought lots of troubling news. “Everybody says the red tidal wave stopped at the Sierras,� he says. “I’m beginning to wonder if it stopped at the coastal range.� 0

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The psychedelic poster art of Stacie Willoughby

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OU NEED TO GO to shows where you don’t know the band,� Stacie Willoughby says over tea on a rainy Santa Cruz day. As I think about the meaning of her words, she sits back, takes a sip of her peach tea and adds, “It’s good for you.� It’s the advice of a woman who understands the importance of creativity, a woman who, through her poster art, has almost single-handedly created the visual identity for a thriving live-music community. If you’ve been in or around the Bay Area psych/rock/ neofolk/noise music scene anytime in the last decade, you have almost certainly encountered Willoughby’s work. In a time of minimal, computer-generated fliers, her posters stand apart as hand-drawn, wildly detailed and imaginative treasures.

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While Willoughby’s work is often compared to that of psychedelic poster artists of the 1960s and ’70s, such as Stanley Mouse and Victor Moscoso, it contains aspects of many different visual and cultural movements including the anything-can-happen world of surrealism, the curves and perspectives of Art Nouveau, the storytelling and other-worldliness of mythology, the spirit-imbued nature of animism and the inner-becomes-outer world of mysticism. Her images are perhaps best described as a subconscious reflection of everything that Willoughby has experienced: life, death, memory, love, suffering, creation and joy, all swirling around the same space. “People automatically compare my stuff to the ’60s,� she says. “But if you look at it, I think it’s really different. It’s just that there’s no language for poster art.�

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qpqvmbuf!XjmmpvhiczĂ–t!gboubtujdbm!bsujtujd!vojwfstf/ Willoughby has produced a steady stream of posters for shows ranging from small, last-minute house shows to huge, multiday festivals in the forest and everything in-between. The scope of her portfolio is mind-boggling; page after page of posters, announcing performances by some of the most interesting and cred-heavy artists around, including Will Oldham, Fleet Foxes, Stephen Malkmus, Bert Jansch, Sleepy Sun, Mudhoney, Black Francis and Animal Collective; and that’s just scratching the surface. Willoughby is, quite literally, identifying, furthering and documenting an era of music. And she’s doing it all by hand from her bedroom, one show at a time. “I sit in my chair with a board on my lap and just have at it,â€? she says of her technique. She used to pencil, ink and then color her posters, but rarely does so anymore, and when asked how much in advance she plans out her drawings, she responds, “Not at all.â€? Willoughby is in the enviable position of being able to let her creativity and vision guide the image. “I’ve been really lucky,â€? she says, “because I don’t generally get assigned images. I usually just start.â€? In fact, having a pre-conceived notion of what an image needs to be takes her out of her comfort zone. “When I have something that I know it has to end up as, it’s terrifying,â€? she says, “because I don’t know what it’s going to end up as.â€? When Willoughby, 27, started designing fliers and posters for shows in 2003, it was because there was an obvious need. “My first posters were for house shows in Santa Cruz,â€? she says, “because we didn’t have any way to get the word out. The Internet wasn’t that important yet, and people would just scrawl the name of bands on paper.â€? But Willoughby saw that posters could be great vehicles for spreading the word. “I like to draw,â€? she says, “and I was interested in conveying the information in the most eye-catching

way possible.� So she started making posters for local bands like Residual Echoes, Loyal Sons and Daughters, Frog Eyes and Comets on Fire, and the more she made, the more in-demand her talents became. “People wanted me to do it and I wanted to do it and I got to be a part of something that was fun,� she says. She adds, reminiscing about the DIY freedom of the house shows, “It was all about making a situation that you could exhibit your art without other people OK-ing it.�

Drawing Boom Meanwhile, down in Big Sur, a music lover named Britt Govea had started putting on shows under the name (((folkYEAH!))) and needed a poster artist. When Willoughby, who had developed a reputation for creating engaging and eerily beautiful drawings, met Govea in 2006, a new chapter in her poster-making story began. “I just lucked out,â€? she says. “It was a situation of being in the right place at the right time.â€? Govea was quietly promoting shows and creating a community around indie, freak-folk and psychedelic rock music, and he started calling on Willoughby to provide the posters for his events. Govea is quick to send praise Willoughby’s way. “Her work is always fresh,â€? he says. “It has wonderful elements of the macabre and both the usual and unusual . . . and [has] given the (((folkYEAH!))) series a unique and progressive visual distinction.â€? He explains that every poster she has ever done for him is like a birthday or Christmas present. “I open an email attachment from her and this bold, wondrous glimpse into her ultravivid world is revealed to me,â€? he says. Then he adds, “Blessed I am to have her work attached to these shows.â€? ¨ %

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Music & the Muse A conversation with poster artist Stacie Willoughby

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STACIE WILLOUGHBY: There’s something about combining the two that takes everything a step up. That’s true whether there are visuals happening at the same time as the music, or whether there are visuals lauding the music beforehand, or whether there’s music happening while the art is being made . . . they just work well together. I like having the event be the de facto meaning of the poster. It really takes the pressure and the seriousness off of what the art means. And if people are looking at the art and they understand inherently that it’s an advertisement for an awesome event, then that’ll be the thing on their mind, and any other meaning they pick up from it will be sorta sneakier and secondary. And y’know, I like shows, I like live music, and live music goes off best when everyone’s, y’know, ready for it. I’m just really into making things exciting . . . I want my posters to be the best possible kind of foreplay.

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I’ve always drawn. Since my hands could clasp an implement. I’d like to think I’ve gotten more skilled over time, and I know I still have an eternity to go in that department. I’ve gotten much more willing to let myself draw whatever I feel like, even if it’s gonna be kind of uncomfortable for someone. I started making advertisements because it needed doing, and it’s pretty much the best job in the world. For me, I mean.

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I like posters because you can do

them anywhere, you can take them with you outside, you just need a hard surface on your lap. I hang out in my room and do them and listen to records. I have a drawing table but I only use it about half the time, maybe, and I haven’t had it that long. I have this board I put in my lap, I just sorta work that way. I like playing with materials, but I guess pencils and pens are my favorite. Markers are cool too, but I’ve been playing with a lot of mixed media lately. Anything that can mark the surface and is even remotely controllable.

I get an idea, and then it needs something, and then I put it there, and I keep doing that till it’s finished BVS QVO`OQbS`a bVOb aV]e c^ W\ g]c` e]`Y bS\R b] PS ]\S ]T O YW\R ]bVS` e]`ZRZg bg^Sa EVS`S R] bVSg Q][S T`][- 2] g]c ^ZO\ bVS[ ]cb W\ ORdO\QS ]` R] bVSg [O\WTSab a^]\bO\S]caZg Oa bVSg¸`S PSW\U Q`SObSR-

I don’t know, I don’t think about it. I make something that looks right as I go along. I get an idea, and then it needs something, and then I put it there, and I keep doing that till it’s finished. I’m sure that everything’s psychological. People always see the posters and they’re like, “Hey! It’s a girl with a spiderweb on her!â€? And it seems silly because you’d think I’d be aware of what the poster is of, right? But actually I don’t see half the stuff other people see in there, ¨ &

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What began as a trickle of shows turned into a stream, and as (((folkYEAH!))) grew, so did the connection between Willoughby’s art and great shows. A Willoughby poster can be spotted across the room and will most certainly catch the eye of any music lover in the know, as Govea has presented an incomparable parade of amazing, somewhat under-the-radar artists and created a community around the music that he loves. As Willoughby says, “Britt wanted to create an environment that he wanted to be in.� Willoughby’s posters provided the invitation to join this emerging scene and the spirit of creativity and independence that it represented, and as (((folkYEAH!))) was gaining momentum and attention, so too were Willoughby and her posters. Over the years, she has provided most of the visual element of (((folkYEAH!))). The more recognizable Willoughby’s art became, the more jobs she was offered, and what started with fliers for local shows has gone worldwide. “I mostly work in the San Francisco–to–Los Angeles region,� she says, “but I’ve done art for English bands, Ukrainian bands, French bands, Japanese bands, Australian fashion designers—it’s definitely reaching across an ocean and connecting to other people.� She’s also officially made it off the street and onto the gallery wall. This month Willoughby’s work shows at the Candystore Collective in San Francisco in an exhibit that runs through Dec. 2; that day a second show titled “Archaic

Revival,� with Willoughby and rock poster artists Alan Forbes and David D’Andrea, opens at the Space Gallery on Polk Street, also in San Francisco. And on Feb. 4 here in Santa Cruz, Idle Hands on Pacific Avenue mounts a Willoughby show that’s yet to be titled. As for the wave of handmade posters that have emerged in the wake of Willoughby’s success? “I’m always stoked when someone is making an artistic rock poster,� she says. “Things used to be made by hand; you could feel that a person made [a] sign and I just don’t feel that from all the signs and advertisements that I see.� Willoughby, whose art has promoted and celebrated bands from around the world and helped weave a community of music lovers together, sees posters as an essential element of live music. And at this point, her own posters lend a great deal of credibility to artists and act as beacons for shows that are worth checking out, even if you don’t know the band. “Posters generate excitement and give visuals to a sound,� she says, “which is always exponential in its return.�

NOTES FROM BELOW—THE POSTERS OF STACIE WILLOUGHBY shows through Thursday, Dec. 2, at the Candystore Collective, 3153 16th St., San Francisco; 415.887.7637. Her work is also on Facebook. A version of this article first appeared on IsGreaterThan.net.

Five BraNches UNIVERSITY Graduate School of Traditional Chinese Medicine 200 7th Avenue, Santa Cruz, (831) 476-9424 3031 Tisch Way, San Jose, (408) 260-0208

www.fivebranches.edu

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so it’s cool for me. The thing never feels fully apparent till someone else tells me what they see. >]abS` O`b VOa acQV O `WQV VWab]`g /`S bVS`S ^O`bWQcZO` O`bWaba ]` []dS[S\ba bVOb VOdS RW`SQbZg W\a^W`SR g]c` e]`Y-

Yeah. Tons. Pretty much everything I’ve ever seen. That’s how I feel about it. I didn’t study anyone, I just have a really photographic memory and I file everything away and let it blend. 6Wab]`WQOZZg ^]abS` O`bWaba O`S `SQ]`R YSS^S`a R]Qc[S\bW\U SdS`gbVW\U T`][ O`b O\R [caWQ []dS[S\ba b] eO`a O\R ^]ZWbWQOZ c^VSOdOZa BVSW` ^]abS`a O`S Y\]e\ Pg OZZ gSb dS`g TSe Y\]e bVS O`bWab PSVW\R bVS e]`Y EVg Wa bVWa O\R V]e QO\ eS ^Og ^]abS` O`bWaba bVS `Sa^SQb bVSg RSaS`dS-

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Of course. I’m always looking for good projects. This interview first appeared in 2009 on houseofcat.net.

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I don’t know. You either care or you don’t, it’s not a big deal. If a poster strikes me, I always try to find out who did it. Posters are advertisements, so people’s minds go to what’s on the poster instead of who made it, first. And then if the art is really striking, they might want to know who made the poster, and that’s a compliment to the artist. But I think it’s cool that people know of the posters and don’t necessarily know who I am or my name or my face. It helps me to see more realistic reactions to them, unlike when you’re at an art show and everyone’s kinda pussyfooting around, feeling like they have to have an opinion even if they don’t feel anything. Posters are like guerrillas, they’re out all over the street and half the time you don’t even realize you’re being infiltrated. That’s true of shitty ads too, unfortunately. But I just like making the thing, I like altering the landscape a little tiny bit in my own way. I mean, everything I have to say is in there. But I believe in communication, so that’s why I answer these questions sometimes, but there’s really no need: it’s all in the posters.

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Bananas Jubilee The Banana Slug String Band celebrates 25 years of nerdtastic, eco-minded kids’ music 0G 9/B3 8/1=0A=<

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UITARIST “Airy� Larry Graff estimates the Banana Slug String Band has played to more than a million pairs of ears across the United States and the Caribbean. The ears hover at three feet and have an 8pm bedtime, but for nigh on 25 years the unbridled enthusiasm of children has been radiating out of the cafeterias and auditoriums that serve as Banana Slug String Band venues like a heat wave. The group formed in 1985 when outdoor education instructors “Solar� Steve Van Zandt, “Airy� Larry Graff, Doug “Dirt� Greenfield and “Marine� Mark Nolan decided to take their act on the road, wrapping their fare of environmental awareness in catchy lyrics and unique arrangements. The result is a band that can make storm drains interesting. Themes of heartbreak and sorrow pale in comparison to Solar Steve’s lyrics (it doesn’t get much more eternal than the water cycle). And while their lyrics may be for kids, the music is definitely written by rockers-turnedparents tired of looping “Itsy Bitsy Spider� in the minivan; the title track on the band’s 2010 release Only One Ocean sounds like it belongs on a Guns n’ Roses album. “Kids, if you give them something authentic—like you’re not dumbing them down, you’re offering them some real music with real participation about a real topic that they really care about—will know it,� says Greenfield, who could be the cleanshaven twin of Jeff “The Dude� Bridges in The Big Lebowski. “In, like, a second they know it, and they’re with you. And kids with

>33: B63 03/B The Banana Slug String Band’s latest release is a collection of marine-conservation-themed songs set to rock & roll, reggae and island rhythms.

you? That’s why we can do this for 25 years—their energy is so rejuvenative.� Opening guitar riffs aside, the minivan still lurks in the background. Touring with a children’s band is an ordeal bereft of the standard rock band mayhem. “We call it the milk and cookies circuit,� says Greenfield. “Our shows are like 9am,� adds Graff, revealing that more than musical tastes change with kids on the scene. Laughs Greenfield, “Our showtimes are for the early nappers or the late nappers. You can choose your kid’s nap.� The latest in a string of 11 albums, Only One Ocean was commissioned by the National Oceanic and Atmospheric Administration and two other ocean education nonprofits. “Standing On My Head� sings the praises of barnacles (“My cirri bring my food to mouth/ like little feathered hands�) and “Ocean Flow� regales with verses like “The midAtlantic ridge is the longest mountain range/ it’s all volcanic so it’s constantly in change.� Better than a textbook and twice as memorable. Keeping Graff and Greenfield musically limber is recent membership in Slugs N’ Roses, the Grateful Dead cover band appropriating their nights for an audience with an attention span longer than five minutes.

“What I’ve noticed is that Deadheads are like big children,� Greenfield says, leaning back with a smile. “Both want to be inspired by the music to go to places that are enjoyable, to dance, to participate and to revel in a loving space.� The new album is filled with reggae, aloha jams, rock and some mad slackkey guitar riffs. They’re passing the classics of Harry Belafonte and Soul Train down the line, and the wave of fervor refreshes itself with every cohort of new toddlers coming of age. “We love what we’re doing in a deep, passionate way,� Graff says. “We love singing about the earth and the magic of it, inspiring people to take care of it, we love children and inspiring them, we love parents and educators, and we love each other. It’s a lovefest.�

B63 0/</</ A:C5 AB@7<5 0/<2 #bV /<<7D3@A/@G Saturday, 11am and 1pm Kuumbwa Jazz Center, 320 Cedar St., Santa Cruz Adults $13 advance/$15 door; kids $8 advance/$10 door (under 2 years free) www.bananaslugstringband.com

j AB/53 /@B 3D3<BA november 10-17, 2010 A/<B/1@CH 1=; :7AB G=C@ :=1/: 3D3<B 7< B63 1/:3<2/@ Email it to calendar@santacruz.com, fax it to 831.457.5828, or drop it by our office. Events need to be received a week prior to publication and placement cannot be guaranteed.

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¡0/5 7B¸ In the film that took top honors at Monterey’s BLUE Ocean Film Festival, everyman Jeb Berrier makes a pledge to stop using plastics—before he fully realizes just how pervasive the chemical compound really is. Berrier will be present at the screening to discuss the impact plastic has on our health, wallets and ecosystem; Save Our Shores will be on hand with information about banning single-use plastic bags in Santa Cruz County. Wednesday, Nov. 17, 7pm. Tickets $5 in advance/$7 at the door. Del Mar Theatre, 1124 Pacific Ave., Santa Cruz.

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november 10-17, 2010

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Women in Business Women in Business

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november 10-17, 2010 SANTACRUZ.COM

Women in Business Women in Business

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Women in Business Women in Business

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november 10-17, 2010 SANTACRUZ.COM

Women in Business 7XUQ \RXU SDVVLRQ IRU 7X UUQ Q \\RXU SDVVLR RXU SDVVLRQ I Q IIRU R RU QXWULWLRQ LQWR \RXU FDUHHU QX WULWLRQ LQWR \\R WULWLRQ LQWR \ \RX R RX XU FDUHHU XU FDU HHU Certificate C ertificate pprograms: rograms: N Nutrition utrition Consultant Consultant and and Natural Natural Chef Chef Community C ommunity education education pprograms rograms also also available available Maria Treuge, Bauman College class of ‘09, announces the opening of her new Nutrition Consultant office at 526 Soquel Avenue, Suite A in Santa Cruz. Website: ColorofNutrition.net Email: maria@colorofnutrition.net Phone: 831-239-4126 Berkeley,, CA y Penngrove, Berkeley Penngrove, CA C y Santa Cruz, CA y Boulder, Boulder, CO y Distance Learning

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;7<=@7BG @3>=@B SILENCE is not what Michele Norris is known for. Quite the opposite, in fact—listeners of NPR’s All Things Considered will recognize the smooth timbre of the host’s voice before she even finishes her introductory “and I’m Michele Norris.� Silence, though, is the topic the famous voice will address when she appears at Bookshop Santa Cruz on Sunday to read from and sign copies of her newest book, The Grace of Silence. Norris began writing the book as an exploration of the ways the national conversation about race began to change preceding the election of President Obama. She says she wanted to put an ear to the discussion in a less conventional way. “I thought I would do that by trying to listen to private conversation,� Norris said, speaking about the book on NPR, “but as I began to listen to these hidden conversations, I also began to listen to hidden conversations in my own family.� A social history of race became a memoir when Norris discovered secrets that had been kept from her growing up— things like the fact that her grandmother once made a living giving pancake demonstrations to Midwestern housewives dressed as Aunt Jemima, or the fact that her father was shot by a white police officer in Birmingham shortly after returning home from World War II. Her own personal revelations form the basis of Norris’ inquiry into the ways that we talk—and the ways we do not talk—about race in America. (Tessa Stuart)

MICHELE NORRIS reads from her book ‘The Grace of Silence’ on Sunday, Nov. 14, at 7pm at Bookshop Santa Cruz, 1520 Pacific Ave., Santa Cruz. Free. 831.423.0900.

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6C;/<A /<2 </BC@3 THE EXPRESSIONS are inscrutable. Wide-set eyes cast down or to the side; lids lowered like shades against intrusion; lips relaxed, sometimes slightly open: the ashen clay figures of 16/@:3<3 2=7@=< @37<6/@B look inward and take the viewer with them. Like the white-painted characters in Butoh theater, their expressions are communicated by the whole highly stylized form and given power by eloquent naturalistic details. In “Fragile Strength,� a two-person exhibit that opened Nov. 4 at 1/0@7::= 5/::3@G, Reinhart and glass artist 1/AA/<2@/ AB@/C07<5 each address disturbing contemporary issues using quiet voices, delicate media and technical mastery. In her artist statement, Reinhart refers to her mixed heritage (her mother is Japanese, her father Cajun) as the source of her inspiration. Whatever the source, her work has a spare, refined aesthetic and a cheeky earthiness. At the gallery entrance, Arbor Tritus beckons. From chest to crown a haunting 2-foot bust of a woman stretches up through a trunklike elongated neck that holds a long oval face topped by a wild craggy nest of branches. From out of the pursed mouth another branch emerges. In front of her chest, a scarily naturalistic hand with a string wrapped around one finger is positioned, palm toward face. Meanwhile, a bird leans out of the nest of twigs at the crown. The overall form is exaggerated, but the details—the wood, the bird, the heavy-lidded eyes within dark bruise-colored sockets, a suggestion of corporeal essence in the folds and creases of skin under a thick shiny layer of white on top—look like thick theatrical greasepaint. The overlayer is called terra sigillata, a thin mixture of porcelain clay painted over the unfired coarser clay below to provide a shiny but not entirely opaque surface. In this case, the unearthly white “skin� is made even more intriguing by revealing the warmer clay below—where the gestural strokes of the sculptor are still in evidence. The whole represents the Greek myth of Daphne, who spurned the love of Apollo and all men and turned into a laurel tree. This view of nature and humans co-being is a theme repeated in many of Reinhart’s 17 pieces in the show. Cruel Cut is a wall-mounted sculpture, a stylized, androgynous and elongated head, mouth open as if to breathe, the gleaming sigillata surface of the face framed by the pink skin of delicate ears. The top of the head sprouts tree roots—a clear-cut forest. Cassandra Straubing’s glass pieces have a similar dichotomy, representing utilitarian buckets, needles and other implements out of luminous, thick-walled cast glass sandblasted to a dazzling finish. The luscious exhibition runs through Dec. 10. Read more of The Exhibitionist at www.kusp.org. (Maureen Davidson) B63 3F6707B7=<7AB 7A 4C<232 7< >/@B 0G / 5@/<B 4@=; B63 1C:BC@/: 1=C<17: =4 A/<B/ 1@CH 1=C<BG

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Jazz Presenters since 1975

WED. NOVEMBER 10 • 7 PM • FREE MASTER CLASS SERIES

PAUL CONTOS: WHAT JAZZ STUDENTS SHOULD KNOW

Attendees are encouraged to bring instruments & have 2-min. audition THURS. NOVEMBER 11 • 7 PM

PAMELA ROSE PRESENTS WILD WOMEN OF SONG

Celebrating the lives, times & music of women songwriters of the classic jazz & blues era $12/Adv $15/Door Jazz & Dinner: $24.60/Adv MON. NOVEMBER 15 • 7 & 9 PM

NNENNA FREELON

“...very hip music...� –Aretha Franklin $23/Adv $26/Door Sponsored by Soif Wine Bar & Merchants

WED. NOVEMBER 17 • 7 PM “...the new voice of Brazil.â€? –NPR

LUISA MAITA

$20/Adv $23/Door FREE to Kuumbwa Jazz members! THURS. NOVEMBER 18 • 7 PM

NEW ALMADEN TRIO CD Release “Slice of Summer� $12/Adv $15/Door Jazz & Dinner: $24.60/Adv

MON. NOVEMBER 22 • 7:30 PM @ Cabrillo College Crocker Theatre

RAY BROWN & THE GREAT BIG BAND $20/General $15/Students No Jazztix or Comps Tickets: 831-479-6331

MON. NOVEMBER 29 • 7 PM

KIM NALLEY

Sponsored by Barry Swenson Builder

THURS. DECEMBER 2 • 7 PM

HOT CLUB OF SAN FRANCISCO

“Cool Yule� Holidaze Gypsy Jazz style! $20/Adv $23/Door

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“...sexy sense of swing� –DownBeat $22/Adv $25/Door

E/<BA B63 93GA B= B63 17BG Santa Cruz fave Erin McKeown comes bearing a tribute song to our surfside burg.

MON. DECEMBER 6 • 7 & 9 PM

THE BAD PLUS

Breaking down the walls of jazz! $22/Adv $25/Door 9 PM: 1/2 Price Night for Students. Tickets at the door with valid I.D. THURS. DECEMBER 9 • 7 PM

ALLISON MILLER’S BOOM TIC BOOM Rising Star Drummer! $20/Adv $23/Door

FRI. DEC. 10 • 8 PM @ THE RIO THEATRE Groundbreaking musical & spiritual experience!

JOHN McLAUGHLIN & THE 4TH DIMENSION $40/Gold Circle, $30/General Sponsored by Fitz Fresh

SUN. DEC. 12 • 7:30 PM @ THE RIO THEATRE Kings of Western Swing!

ASLEEP AT THE WHEEL $35/Gold Circle, $25/General Sponsored by Gayle’s Bakery & Rosticceria

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.

320-2 Cedar St • Sa nta C r u z 427-2227

kuumbwajazz.org

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With a stylistic comfort zone nestled snugly between George Gershwin, Joni Mitchell and Norah Jones, Norwegian singer/songwriter and composer Caroline Waters is one of those rare artists who have the ability to transform pain and heartache into strength and a love of life that resonates throughout their music. Graced with a clear and tender voice, the multi-instrumentalist is part sultry jazz club diva, part international minstrel and part idealistic folkster. Her latest release is a tribute to some of the artists who have influenced her, including Leonard Cohen, Suzanne Vega, Jennifer Warnes and more. Don Quixote’s; $10; 7:30pm. (Cat Johnson)

A must-see double bill for fans of eclectic twang, Emmitt-Nershi Band and Hot Buttered Rum both serve up 90-minute sets at this Moe’s Alley appearance. The Emmitt-Nershi Band boasts members of Leftover Salmon and the String Cheese Incident and specializes in newgrass testimonials and intricate fingerpicking. Hot Buttered Rum’s bluegrass throwdowns are as festive as the syrupy concoction from which the band takes its name. With equal measures of crowd-pleasing verve and virtuosity, Hot Buttered Rum’s amalgam of bluegrass, blues, rock, jazz and oldtime folk satisfies both the music wonks and partiers pulling off a jug of firewater. Moe’s Alley; $17 adv/$20 door; 8:30pm. (Paul M. Davis)

One of the most compellingly idiosyncratic singer/songwriters working today, Erin McKeown is equally comfortable integrating folk, jazz, swing and even electronic flourishes into her ruminations. She’s long been a local favorite, and on her latest album Hundreds of Lions, McKeown pays tribute to our hometown with “Santa Cruz,� singing “between the tide and the cigarettes/ all the cups we cannot sip/ between our legs across our lips� in an obliquely accurate portrayal of the place we call home. Hundreds of Lions is an assured work all around, demonstrating an iconoclastic writer working at the heights of her powers. Crepe Place; $10 adv/$12 door; 9pm. (PMD)

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H7=< 7 Oakland’s Zion I have been holding it down for underground hip-hop heads for over a decade now, and they show no sign of flagging. Amplive and MC Zumbi climbed to the top of the pile during the height of the backpacker era, back when it seemed like every Bay Area resident with a Korg was starting an underground hip-hop group. The duo’s blend of naturalistic beats and limber wordplay set them apart from the pack, and their use of live instrumentation was a welcome contrast to the minimalism of their peers. In the years since, Zion I have merged the underground and the mainstream, a feat they handle without breaking a sweat. Catalyst; $15 adv/$19 door; 9pm. (PMD)

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Taking her cue from the jazz and blues women of legend—from Billie Holiday and Sarah Vaughan to Dinah Washington, Bessie Smith and Patsy Cline—Lavay Smith has been bringing the swing to the party for over 20 years. Formed in 1989, Smith and her all-star band, the Red Hot Skillet Lickers, are a

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welcome throwback to the styles and songmaking of the 1930s, ’40s and ’50s, with their clever lyrics, spot-on musicianship and magnetic frontwoman singing irresistibly danceable tunes in pinup-girl-next-door style. Catalyst; $14 adv/$19 door; 9pm. (CJ)

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4C<9 43AB If you didn’t notice the funk invading Santa Cruz, it’s been piggy-backing on rock and lurking in the pockets of jazz like lint. Minus the bellbottoms, the funk revival is setting up shop at the first annual Funk Fest 2010, featuring Extra Large, Joint Chiefs and Funkranomicon, a trio that hold about six genres between them. Exotic percussion is Extra Large’s contribution to the groove, and the Joint Chiefs are winning hearts with a mix of acid-jazz and R&B, leaving Funkranomicon frontman Joe Neto to promise classic covers by the likes of James Brown and Parliament. If “Dance� was a genre the funkfest would own it, and this go-round is leaving out nothing but the disco. Don Quixote’s; $10; 8pm. (Kate Jacobson)

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pegged as an imitator, but a dozen records and six Grammy nominations show that even though threefourths of her songs are covers, first impressions can’t tell you everything. On Freelon’s watch, songs so familiar as to be overplayed are arranged into something sparkling. Numbers like Westside Story’s “I Feel Pretty� and Ray Noble’s “The Very Thought of You� have never been so jazzy, and singing along to classics is a mystery again. Kuumbwa; $23 adv/$26 door; 9pm. (KJ)

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Motion Sickness Panic, CGI, Denzel Washington and more panic in ‘Unstoppable’ 0G @716/@2 D=< 0CA/19

O

NLY DIRECTOR Tony Scott would het up a runaway-train movie, a subject het up enough on its own. In Unstoppable, an old dog (Denzel Washington) and a young pup (Chris Pine) race a single engine to catch up with an unmanned train heading for catastrophe. The dialogue by Mark Bomback is like action-movie catechism. Q: How much is the train worth? A: “$100 million!� Q: How much does it weigh? A: “Ten million pounds!� Q: What’s is the nature of its cargo? A: “Molten phenol! Very toxic, highly combustible!� Q: To what can it be likened? “A missile the size of the Chrysler building!� At 70 miles an hour, the train heads to a precarious S-curve over some gas tanks. News helicopters buzz around the runaway train, providing an action-movie Greek chorus. Computer animation shows us what will happen when the trains meet—done in the now-beloved Taiwanese-newscast style. Scott crowds the location changes with captions, including my new alltime favorite: “Zinc Plant, Southern Pennsylvania.� Pennsylvania in the full Amazonian green-hell of summer would be a perfect background for a hellbound train, but this is forlorn, waning fall: the digital dyeing, as always in cyan and orange, makes Washington’s features disappear in the duotone murk. Are they bringing back the days of two-strip Technicolor? The whites are completely shot because of this technique; in twoshots, the trains speed past a cemetery full of baby-blue tombstones.

<3@D3 E@3197<5 Chris Pine, left, and Denzel Washington try to avert the train wreck that is ‘Unstoppable.’

Computer animation allows the bad train to do things real trains can’t ordinarily do: dance sideways on the rails like the circus train in Dumbo, for instance. This method impedes the free enjoyment of the heavy-machinery porn, something Scott usually does very well. Instead of lingering over the big, heavy greasy surfaces to get the men in the audience’s irises dilated, Scott uses camerawork that seems pulled from World War II combat footage. He’s a promiscuous refocusser. As the boss lady in the control tower, Rosario Dawson arrives bearing a stack of donut boxes—the delectable carrying the delicious. She utters some line like, “I brought a box of donuts for the kids.� The lens shifts to emphasize this instant. Crisis!: Will there be enough donuts for everyone? In the rooms where the experts look at the maps and telephone each other, Scott repeats one shot a hundred times, panning the camera as it is dollied, to induce appropriate thematic motion sickness. Every Scott film is heavy on the exclamation points, but this one is as

worn out as America’s rail infrastructure. As per Andrey Konchalovskiy’s Runaway Train (1985), such a speeding monster ought to have a philosophical purpose, something more interesting, that is, than bringing together two diametrically opposed railway workers together and making them learn to appreciate their families. Hell, you could do that on a scenic pufferbelly ride. Q: How does Washington’s character manifest his negligent parenting? A: First, by forgetting one daughter’s birthday. Second, by letting both daughters waitress at Hooters. (Scott had to get the skin in there somehow.) Isn’t this train—a glowering locomotive bearing the numbers “777�— a symbol of something? Ecocatastrophe? Corporate malfeasanceby a thinly veiled version of freight-hauling company CSX? There was more of that kind of allusion to the demolishing of Amerca’s railways in Jonathan Franzen’s The Corrections. There’s a plot point about layoffs, and we’re supposed to think of the head executive in the film (Kevin Dunn) as an idiot who only cares about profit, although he does engineer a pretty

entertaining rescue, yo-yoing a former Marine (“Just back from Afghanistan!�) from a helicopter onto the deck. The moment compares favorably with the finale, as seen in the previews: a hero “actually running on top of the train cars!� exclaims a newscaster, as if this hadn’t been a feat performed sometime before in the history of cinema. The audience gets calmer as the editing gets more furious, and Unstoppable never goes over the top, where it belongs. Like Scott, Washington is there to repeat things. His particular gift in an action movie is to Gertrude Stein it: “There’s only one rule, and one rule only,� he tells young pup Pine. He should be telling us what happens to those who break that one rule, whatever that rule was: “And he was found in the wreck with his hand upon the throttle, scalded to death by the steam, poor boy.� C<AB=>>/0:3 (R; 111 min.), directed by Tony Scott and starring Denzel Washington and Rosario Dawson, opens Friday.

j !%

A/<B/1@CH 1=; november 10-17, 2010 47:;

47:;

Grumpy Old Men Once again, the authorities conspire against genius hacker Lisbeth Salander 0G @716/@2 D=< 0CA/19

T

HE GLOWING harbor views and countryscapes of The Girl Who Played With Fire are replaced in its sequel with a televisionistic series of close-ups of baleful Swedes frowning at each other over tables or sitting fidgeting at press conferences. The Girl Who Kicked the Hornet’s Nest is of course Death BjĂśrk 2000, better known as punkette guerrilla Lisbeth Salander (Noomi Rapace). As she slowly, slowly heals from the multiple gunshot wounds she acquired at the end of the last movie, she’s the object of lively interest by the police. They plan to charge her for the attempted murder of her father. He survived her hatchet attack in the last film; putty-faced from bad burn makeup, he delivers the film’s moment of peak defiance: “Fools! Idiots! I will destroy you!â€? Meanwhile, the survivors of the government cabal who secretly imported Salander’s evil Soviet father into Sweden plan to silence the troublesome girl. They are mostly old and in a bad temper. Our hero Mikael (Michael Nyqvist) of Millennium magazine wants to elict Lisbeth’s side of the story. But his coeditor Erika (Lena Endre) is menaced by anonymous emails and a brick through the window, Disappointingly, this makes Erika less inclined to take on an editorial crusade instead of stiffening her willpower. It’s disappointing for a couple of reasons. Firstly, in the previous movies she didn’t look underequipped with willpower. Secondly, they were only two emails. We should also note that Lisbeth’s halfGerman stepbrother (Georgi Staykov) is firmly in the still-lurking-about category. And he is still completely impervious to pain, just like Robert Carlyle in the 007

B63 03AB 2343<A3 Annika Giannini (Annika Hallin, left) works the system while Lisbeth Salander (Noomi Rapace) mounts a good offense in ‘The Girl Who Kicked the Hornet’s Nest.’

film The World Is Not Enough. Lisbeth is also menaced by yet another smirking civil servant: her former shrink Dr. Peter Teleborian (Anders Ahlbom), who wants to get her back into his asylum. A movie with a villain shouting, “Fools! Idiots! I will destroy you!� has already made some kind of a break with realism. The break is not mended by a summing up of Salander’s personal history: “It’s like a classic Greek tragedy!� Yes, very much like Sophocles with a borrowed James Bond villain crashing around—a peroxide blonde like Robert Shaw’s Red Grant, yet. So one wonders why the film pedantically insists on the realistic aftereffects of some gunshot wounds. Bad as these wounds would be in real life, they are perhaps a little overdone for the purposes of a thriller. Too much of the movie is spent watching Salander in physical therapy, slowly starting to regain her zest for living under the supervision of a handsome kindly physician. It’s not until the end of the movie that she’s back to her old self, a walking tackle box worth of piercings, dressed like Cher during her brief Mohican era and wearing the ornery, put-upon expression that has brought worldwide fame. Just as deserving of a put-upon expression, though he doesn’t have one:

Niklas Falk as the prime minister’s man in charge of the investigation. He looks so full of serious conviction—a falcon version of that eagle, Max von Sydow—that one wants to see him take the movie over and shove the conspirators back in the old folk’s home where they belonged. Despite how wide-awake Falk looks, the investigations in the movie aren’t masterpieces of deduction. There are obvious traps sprung, villains attacking at precisely the kind of place to get them arrested in public (clearly to make it look like something’s happening in between the scenes of Scandinavians shuffling papers). The enervation of The Girl Who Kicked the Hornet’s Nest is really indescribable. It ends the trilogy not with a bang but with a thud. It makes a long 2-1/2-hour journey from hospital bed to very unmoving last goodbye; the two leads (punkette avenger and dog-faced journalist) practically turn to the camera and say, “We’re done here.â€? B63 57@: E6= 971932 B63 6=@<3B¸A <3AB (R; 148 min.), directed by Daniel Afredson and starring Noomi Rapace, Mikael Nyqvist and Lena Endre, opens Friday.

!& j 47:; november 10-17, 2010 A/<B/1@CH 1=;

Film Capsules

SHOWTIMES FOR FRIDAY NOV 12 – THURSDAY NOV 18 STARTS FRIDAY 11/12! “A terrifically entertaining movie!� –N.Y. Times “Watts and Penn are superb!� –N.Y. Post

Naomi Watts

FROM THE DIRECTOR OF

Sean Penn

FAIR GAME Daily:

<3E 1/>A

‘THE BOURNE IDENTITY’

0/5 7B (Unrated; 79

(PG-13)

(2:00), (4:30), 7:00, 9:20 & Fri-Sun (11:30am)

Robert De Niro Edward Norton Milla Jovovich (R) Daily:

(2:40), (5:00), 7:20*, 9:30** & Fri-Sun (12:30) *No 7:20 Show Wed 11/17 ** No 9:30 Show Thurs 11/18

(R)

Daily: (3:10), (5:10), 7:10, 9:10, Fri-Sun (1:10), Fri, Sat Night 11:10pm

Diane Lane John Malkovich (PG)

Fri, Sat, Sun (11:00am) “Startlingly original & haunting!� –Austin Chronicle

(R)

Fri & Sat Night 11:30pm

DESTROY ALL MOVIES THE COMPLETE GUIDE TO PUNKS ON FILM Book Signing with special screening of

Class of 1984

037<5 8=6< ;/:9=D716 (1999)

A dark comedy about a hapless puppeteerturned- corporate fileclerk who discovers a portal into the mind of actor John Malkovich. (Shows Thu 8pm at Santa Cruz 9.) B63 0@7253 =D3@ B63 @7D3@ 9E/7

(1957) The classic World War II film about a group of British soldiers

(R)

Thurs 11/18 @ 9:45pm

Midnights @ The Del Mar

min.) A documentary film crew follows everyman Jeb as he explores the impact of plastic on the global environment and looks for simple solutions to reduce his footprint. (Plays Wed Nov 17 7pm at Del Mar.)

forced to help build a railway bridge while held as prisoners of war by the Japanese. (Plays Sat and Sun 11am at Aptos.) 1==: 7B (PG; 88 min.) An answer to An Inconvenient Truth from Danish statistician and The Skeptical Environmentalist author Bjorn Lomborg. The film discusses the broader context of the debate on climate change, dispels myths and calls for a reordering of priorities. (Opens Fri at the Nick.) 2=< >/A?C/:3

(Unrated; 165 min.) In this week’s presentation of “The Met: Live in HD,� Don Pasquale by Donizetti, Anna Netrebko plays penniless Norina, whose marriage to her love, Ernesto, has been forbidden by

his uncle, don Pasquale (John Del Carlo). Norina, Ernesto and don Pasquale’s physician devise a scheme to convince him to allow the couple to wed. (Plays Sat 10am Santa Cruz 9.) 32E/@2 A17AA=@6/<2A (1990)

A young Frankenstein of a foundling (Johnny Depp) with garden shears for hands finds his way in a bland suburb, with the help of a kindly Avon Lady. A bit awfully wistful, though Depp is mesmerizingly strange, and the waltz Danny Elfman wrote for the soundtrack worms its way into you. On the whole, full of appeal to the odd child in us all. (RvB) 4/7@ 5/;3 (PG-

13; 108 min.) The true story of Valerie

Plame, an undercover CIA operative until she was outed in the Washington Post because her husband, a former U.S. ambassador, publicly questioned the Bush administration’s interpretation of intelligence about Iraq. Naomi Watts plays Plame; Sean Penn portrays her husband, Joe Wilson. (Opens Fri at Del Mar.) B63 57@: E6= 971932 B63 6=@<3BA¸ <3AB (R;

148 min.) See review, page 37. (Opens Fri at the Nick.) :3A ;7A3@/0:3A( B63 #B6 /<<7D3@A/@G

(Unrated) The legendary musical celebrates its 25th anniversary with an extravaganza at London’s 02 Arena. Featuring

Movie reviews by Traci Hukill, Kate Jacobson, Tessa Stuart and Richard von Busack

performances by current and original cast members—including Alfie Boe as Jean Valjean, Nick Jonas as Marius and Katie Hall as Cosette. (Plays Wed Nov 17 7:30pm at Santa Cruz 9) ;=<AB3@A (R;

C<AB=>>/0:3 (R; 111

min.) See review, page 36. (Opens Fri at Santa Cruz 9, Scotts Valley and Green Valley.)

@3D73EA 1=<D71B7=< (R; 107

94 min.) A couple backpacking through Central American discover a monster unwittingly released when a NASA probe crash-landed in the area years earlier. (Plays Fri and Sat 11:30pm at Del Mar.)

min.) Hilary Swank stars in a biopic about Betty Ann Waters, a single working mother who put herself through law school in order to appeal a murder charge brought against her brother Kenneth, played by Sam Rockwell.

A9G:7<3 (PG-13; 92

2C3 2/B3 (R;

min.) A group of friends fight for their lives during an alien attack on Los Angeles. Starring Eric Balfour, Donald Faison and Scottie Thompson. (Opens Fri at Santa Cruz 9.)

100 min.) A highstrung father-to-be (Robert Downey Jr.) is forced hitch a ride cross-country with a sloppy slacker (Zack Galifianakis) in order to make it to his wife’s

Tickets $6.50

Fun! Prizes! Hugs!

Edward Scissorhands (PG-13) Fri 11/12 & Sat 11/13 @ Midnight Next Week: The Shining

Online Ticketing Available @

SHOWTIMES

Showtimes are for Wednesday, Nov. 10, through Wednesday, Nov. 17, unless otherwise indicated. Programs and showtimes are subject to change without notice.

www.thenick.com />B=A 17<3;/A

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

;]`\W\U 5Z]`g — Daily 2:40; 4:50; 7; 9:10 plus Sat-Sun 12:30pm. @SR — Daily 2:10; 4:30; 6:50; 9:10. ASQ`SbO`WOb — Wed-Thu 1:30; 4; 6:30; 9. BVS 0`WRUS =dS` bVS @WdS` 9eOW — Sat-Sun 11am.

C\ab]^^OPZS — (Opens Fri) 2:25; 4:50; 7:25; 9:55 plus Fri-Sun noon. AYgZW\S — (Opens Fri) 2:35; 5:05; 7:35; 10:05 plus Fri-Sun 12:15pm. 2cS 2ObS — Wed-Thu 2; 2:35; 4:30; 5; 7; 7:30; 9:25; 9:55; Fri-Wed 2:45; 5:15; 7:45;

122 Rancho Del Mar Center, Aptos 831.688.6541 www.thenick.com

STARTS FRIDAY 11/12! “A WHO breathtaking THE climax that THE is positively soul satisfying!�

GIRL KICKED HORNET’S NEST (3:20), 6:20, 9:20 & Fri-Sun (12:20)

–Hollywood Reporter

Daily:

" AB /D3<C3 17<3;/

1475 41st Ave., Capitola 831.479.3504 www.cineluxtheatres.com 2cS 2ObS — Daily 12:15; 2:30; 4:55; 7:20; 9:45. 6S`SOTbS` — Daily 1; 4; 7; 9:45. ;SUO[W\R ! 2 — Daily 11:20; 1:45; 4:10; 6:45; 9.

(R)

STARTS FRIDAY 11/12! “Enlightening, eye-opening, brain-nourishing stuff!�

(PG)

–Los Angeles Times

Daily: (4:50), 6:50 &

“A masterpiece of investigative nonfiction moviemaking!� –Boston Globe

4OW` 5O[S — (Opens Fri)2; 4:30; 7; 9:20 plus Fri-Sun 11:30am. >O`O\]`[OZ /QbWdWbg — Wed-Thu 2; 4; 6; 8; 10Fri-Wed 3:10; 5:10; 7:10; 9:10

INSIDE JOB(PG-13)

Daily: (2:20), (4:40), 7:00, 9:30 &

Hilary Swank

Fri-Sun (12:10)

Sam Rockwell

Melissa Leo

CONVICTION (R)

Daily: (2:10),

Minnie Driver

(4:20), 6:40, 9:10 & Fri-Sun (12 noon)

FINAL WEEK! (R)

Daily: (2:40), 9:00

23: ;/@

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

Fri-Sun (12:40)

( ) = Bargain Shows Before 5:30pm

plus Fri-Sat 11:10pm and Fri-Sun 1:10pm. ASQ`SbO`WOb — Wed-Thu 2:10; 6:45 plus Fri-Sun 11am. Ab]\S — Wed-Thu 2:20; 4:30; 7; 9:30; Fri-Wed 2:40; 5; 7:20; 9:30 plus Fri-Sun 12:30pm. (No 7:20 Wed 11/17) G]c EWZZ ;SSb O BOZZ 2O`Y Ab`O\US` — Wed-Thu 4:40; 9:15. ;]\abS`a — Fri-Sat 11:30pm. 3ReO`R AQWaa]`VO\Ra —Fri-Sat midnight. 0OU 7b — Wed 11/17, 7pm.

<7193:=23=< Rachel McAdams Harrison Ford Dianne Keton

Morning Glory

(PG-13) Daily: (2:40), (4:50), 7:00, 9:10 &

Helen Mirren Bruce Willis CLASSICS

ON THE BIG SCREEN

Tickets $6

The Bridge On The River Kwai (PG) Sat 11/13 & Sun 11/14 @ 11:00am

Next Week: How To Marry A Millionaire Children under 5 admitted only on Mondays & Weekend Matinees

A1=BBA D/::3G 17<3;/

226 Mt. Hermon Rd., Scotts Valley 831.438.3260 www.cineluxtheatres.com AYgZW\S — (Opens Fri) 2:30; 4:55; 7:10; 9:20 plus Fri-Sun 11:55am. C\ab]^^OPZS — (Opens Fri) 3; 5:20; 7:40; 10 plus Fri-Sun 12:45pm. 2cS 2ObS — Daily 2:45; 5:10; 7:30; 9:45 plus Fri-Sun 12:30pm. 6S`SOTbS` — Wed-Thu 1:45; 4:30; 7:15; 10. ;SUO[W\R ! 2 — 2; 4:20; 6:45; 9 plus Fri-Sun 11:40am. ;]`\W\U 5Z]`g — 2; 4:30; 7; 9:30 plus Fri-Sun 11:30am. >O`O\]`[OZ /QbWdWbg — Wed-Thu 1:20; 3:30; 5:45; 8; 10:10; Fri-Wed 1:15; 3:20;

5:30; 7:45; 9:55 plus Fri-Sun 11:10am. @SR — Wed-Thu 2:10; 4:40; 7:10; 9:40; Fri-Wed 2:15; 4:45; 7:15; 9:40 plus Fri-Sun 11:45.

1]]Z 7b — (Opens Fri) 4:50; 6:50 plus Fri-Sun 12:40pm. BVS 5W`Z EV] 9WQYSR bVS 6]`\Sb¸a <Sab — (Opens Fri) 3:20; 6:20; 9:20

5@33< D/::3G 17<3;/ &

(PG-13)

Daily: (2:10), (4:30), 6:50, 9:10

9:45; 10:15 plus Fri-Sun 12:20pm. 8OQYOaa ! 2 — Wed-Thu 2:45; 5:15; 7:50; 10:10; Fri-Wed 1; 3:15; 5:30; 7:50; 10:20. ;SUO[W\R ! 2 — Daily 2:15; 4:45; 7:15; 9:40 plus Fri-Sun 11:50am. ;SUO[W\R 2 — Daily 1:50; 4:15; 6:45; 9:10 plus Fri-Sun 11:30am. 6S`SOTbS` — Wed-Thu 1; 3:55; 6:50; 9:45; Fri-Wed 1:05; 4; 6:50. @SR — Wed-Thu 2:20; 4:55; 7:40; 10:15; Fri-Wed 1:45; 4:25; 7; 9:30. AOe D77 ! 2 — Wed-Thu 1:05; 3:15; 5:30; 8; 10:20. BVS A]QWOZ <Sbe]`Y — Daily 1:15; 4:10; 10; plus Fri-Tue 7:05 (No 1:15 Sat) 0SW\U 8]V\ ;OZY]dWQV — Thu 8pm. :Sa ;WaS`OPZSa( BVS #bV /\\WdS`aO`g — Wed 11/17 7:30pm. 2]\ >Oa_cOZS — Sat 10am.

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

plus Fri-Sun 12:20pm. 1]\dWQbW]\ — Daily 4:20; 6:40; 9:10 plus Fri-Wed 2:10 and Sat-Sun noon. 3\bS` bVS D]WR — Wed-Thu 5:50; 8:50. 7\aWRS 8]P — Wed-Thu 4:10; 7; 9:20; Fri-Wed 2:20; 4:40; 7;9:30 plus Fri-Sun 12:10. <]eVS`S 0]g — Wed-Thu 4:30; 6:50; 9; Fri-Wed 2:40; 9. EOWbW\U T]` Ac^S`[O\ — Wed-Thu 3:50.

Sat, Sun (12:30)

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

@7D3@4@=<B AB/27C; BE7<

155 S. River St, Santa Cruz 800.326.3264 x1701 www.regmovies.com ;]`\W\U 5Z]`g — Daily 4;7; 9:30 plus Thu-Sun 1:15pm. 4]` 1]Z]`SR 5W`Za — Thu-Sun12:45; 6:45; 9:45.

1125 S. Green Valley Rd, Watsonville 831.761.8200 www.greenvalleycinema.com C\ab]^^OPZS — (Opens Fri) 1:05; 3:15; 5:20; 7:30; 9:35 plus Sat-Sun 11am. AYgZW\S — (Opens Fri) 1:05; 3;05; 5:10; 7:15; 9:20 plus Sat-Sun 11am. 2cS 2ObS — Daily 1:05; 3:15; 5:20; 7:30; 9:35 plus Sat-Sun 11am. 4]` 1]Z]`SR 5W`Za — Daily 1:30; 4:20; 7; 9:30 plus Sat-Sun 11 am. 6S`SOTbS` — Wed-Thu 1:30; 4:15; 7:05; 9:30. 8OQYOaa 2 — Wed-Thu 1:25; 3:30; 5:30; 7:30; 9:35. ;SUO[W\R ! 2 — Daily 1:05; 3:05; 5:05; 7:05; 9:0; plus Sat-Sun 11:05am. ;SUO[W\R 2 — Daily 1:20; 3:20; 5:20; 7:20; 9:20 plus Sat-Sun 11:20am. ;]`\W\U 5Z]`g — Daily 1:30; 4:30; 7; 9:25 plus Sat-Sun 11:15am. >O`O\]`[OZ /QbWdWbg — Daily 1:30; 3:30; 5:30; 7:30; 9:35 plus Sat-Sun 11:15am. @SR — Wed-Thu 1:25; 4:30; 7; 9:25.

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A/<B/1@CH 1=; november 10-17, 2010 47:;

3<B3@ B63 D=72

(Unrated; 160 min.) A French psychedelic melodrama set in Japan. After police kill a teen drug-dealer, he returns as a ghost to watch over his sister. Directed by Gaspar NoĂŠ. 4=@ 1=:=@32 57@:A

(R; 120 min.) Tyler Perry’s adaptation of the 1975 stage play For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf. Each member of the ensemble (including Janet Jackson, Thandie Newton, Whoopie Goldberg and Kerry Washington) grapples with a different heavy issue like unplanned pregnancy, infidelity or abuse. 63@3/4B3@ (PG-13; 129 min.) The opening of this dull, morose and oatmeal-colored drama is a flawlessly animated tsunami. Swept into the tide and clonked by an automobile, Parisian journalist Marie LeLay (CÊcile De France) is rescued just as she has a vision of human beings standing around a glowing plaza. She has seen the Hereafter itself; so has San Francisco psychic Matt Damon. Meanwhile a pair of twins in London, separated by death, try to reconnect. Bland and slow, the film seems as if it will never get started, and the afterworld is neither sinister nor inspirational. (RvB) 7<A723 8=0 (PG-13; 120

min.) More nauseating than Jackass: it’s a whirlwind tour through the economic rubble of 30 years of deregulation of banks and financial institutions. Charles Ferguson’s enraging documentary discovers that the famous revolving door turns 360 degrees; grossly overpaid gamblers from Goldman Sachs and elsewhere are returned to government offices they left for Wall Street. Some of these spoilsmen go to formerly honorable Ivy League institutions, there to legitimize the kind of fiscal policies that made them superrich. Few have regrets, but some have

anger at being asked impertinent questions about ethics by a lowly submillionaire with a camera. Inside Job records a nonpartisan disgrace. One of the prime disappointments of the Obama administration is the way he found work for the familiar rogues from the Meltdown of ’08. Ferguson asks great questions. Don’t expect a lot of great answers about how a glorified Ponzi scheme left most of America either overworked or unemployed, heavily in debt and a few millimeters away from homelessness. (RvB) 8/19/AA 7< ! 2 (R;

93 min.) Undeniably visceral entertainment, and sometimes hilarious. This corner’s motto is, as always, “It’s not what you laugh at that makes you a moron, it’s what you cry at.� One of the stuntmen taunting an ornery ram with blasts from a sousaphone is carrying on the frontier humor tradition of Mark Twain’s “His Grandfather’s Old Ram.� The difference is that the ram in the Twain tale is left frozen in space, while this furious sheep attacks about a dozen times. The tormenter’s yelp to the beast as he gets severely butted— “Why?�—is easily the most hilarious thing in the movie. Genial but horrible ringleader Johnny Knoxville is to a rodeo clown what a wealthy rock star is to a Delta blues picker: someone getting rich from a rich tradition. So, Jackass may only just seem like the end of Western civilization; some of the slapstick horrors here are truelife versions of favorites from Keystone comedies: the guy in the gorilla suit, the dog that goes straight for the seat of the pants, the irritable donkey. Some of the tortures are a little too close to the Roman Empire’s method of handling dissidents, and a couple of the bits here are serious lunchavulsers. The 3-D helps one get most of the popular bodily fluids right in the face, if that’s your idea of fun. (RvB)

93< @35/<

bedside in time for the birth of his first child.

;35/;7<2 (PG; 96 min.) An animated film featuring Will Ferrell and Brad Pitt as a pair of aliens who take different paths after their arrival on Earth. Outcast knowit-all Megamind (Ferrell) becomes a supervillain while brawny MetroMan (Pitt) wins fame and glory defending the city from Megamind’s plots. Also showcasing the vocal talents of Tina Fey, Jonah Hill and David Cross. ;=@<7<5 5:=@G

(PG-13; 102 min.) An ambitious young television producer (Rachel McAdams) is brought in to revive the ratings of a failing morning show but ends up refereeing spats between the show’s aging anchors (played by Harrison Ford and Diane Keaton) instead. <=E63@3 0=G (R; 98

min.) Disappointing film about John Lennon’s 16th year in suburban Liverpool. John (Aaron Johnson) has a cozy life with his chummy uncle and his Aunt Mimi (Kristin-Scott Thomas). When the former dies, Mimi becomes severe and cold. That’s when John’s estranged mother, Julia (Anne-Marie Duff), reappears. The young mother, a flirt and a primper, introduces John to Elvis and other rock & rollers and gives him his first lesson on a banjo. Headmasters try to cane the wickedness out of Lennon, but he becomes a truant anyway, boosting 45 rpm records from the stores. Meanwhile Lennon starts a skiffle band and meets the small, fragile and not-quite-weanedlooking Paul McCartney (Thomas Sangster) for the beginning of a conflict-laden friendship. Nowhere Boy is more like a version of Hamlet in which the young prince has a stern aunt instead of an uncle—he’s torn apart. The film has neither the music of Liverpool speech nor the Beatles’ music itself. Inevitably, Lennon’s therapy session in musical form, “Mother,� is the wrap-up. The movie agrees with him, shaking a finger at pretty, disorderly Julia. (RvB)

>:/;3 5/;3 !Obpnj!Xbuut!tubst!jo!Ă•Gbjs!Hbnf-Ă–!b!cjpqjd!bcpvu!gpsnfs!DJB!bhfou!Wbmfsjf!Qmbnf-!! xiptf!effq.dpwfs!tubuvt!xbt!mfblfe!up!uif!qsftt!cz!b!Cvti!benjojtusbujpo!pgĂ&#x;djbm<!pqfojoh!Gsjebz/ >/@/<=@;/: /1B7D7BG (R; 91 min.)

A family realizes that ignorance is bliss after they set up a surveillance system to monitor a series of “break-ins.� The “found footage� from the camera is all that remains of their misadventures, but it’s presumed that by the time the game is up, Charles Manson probably would’ve made a better house guest. @32 (PG-13; 111 min.) Bruce Willis is a retired black-ops CIA agent at loose ends until a hightech assassin comes to pick him off, at which point he assembles his old team and gets the brass at Langley all in a tizzy. With Morgan Freeman, Helen Mirren, Richard Dreyfuss, MaryLouise Parker and Karl Urban. A/E D77 ! 2 (R; 90 min.) In what the studio has promised will be “The Final Chapter� of the Saw series, the survivors of Jigsaw’s traps and psychological games join in a therapy group led by a one-time Jigsaw victim-turned-selfhelp-guru. A31@3B/@7/B (PG; 116 minutes) Today’s riddle: When is a horse a bum

steer? I was ready to believe that Seabiscuit ended the Depression. You have to give a good film some slack. I was alive in 1973, the year Secretariat won the Triple Crown. I don’t recall his victory healing our divisions over the Vietnam War, though director Randall Wallace coaxes us to believe it’s true. Secretariat is inbred—the offspring of too many similar sports films. It’s relentlessly thick—custard-thick— and cheap-looking, too, and its story is as fishy as 3-day-old salmon; it tries to make an underhorse out of a very blueblooded steed. Diane Lane, ordinarily a fine actress, gets no help from the script which seems to be trying to make her an anti-heroine. Lane plays thoroughbred breeder Penny Chenery. Ultimately, Secretariat is more fundraising pitch than racetrack action. (RvB) B63 A=17/: <3BE=@9 (PG-13;

120 min.) Fiendishly clever and funny movie about the creation of an Internet monster. As Facebook founder Mark Zuckerberg, Jesse Eisenberg gives

a master class on recessive acting: he’s beady eyed and covert, with the occasional pit-viper-like sway of a truculent, lowered forehead. The film shuttles between the present-day deposition of the now arrogantly rich Zuckerberg, as he’s sued by a quartet of burned partners (among them his former best friend Eduardo, played by Andrew Garfield). In flashback, we see his own history—a Jewish student at WASP-ridden Harvard, a social reject whose grudge-hacking was his entry into fame. Later, Zuckerberg meets the founder of Napster, Sean Parker—played by Justin Timberlake, excellent as a happy wastrel. Aaron Sorkin’s wild, witty script hands out punishment that goes beyond the financial penalties: this is a comedy in the Balzac sense, a balancing act; the mockery and the disgust for greed matches the essential lightness of the situation. It’s only Facebook, after all. (RvB) E/7B7<5 4=@ AC>3@;/< (PG; 102

min.) The vast problems of the U.S. public school system distilled into a

quick documentary. Davis Guggenheim (An Inconvenient Truth) follows five young students as they try to get into private schools. (One is eighth-grader Emily of Redwood City, whose parents are concerned that she’ll be pushed onto a noncollege track.) It’s Guggenheim’s contention that school funding has doubled while test scores continue to descend. Yet this documentary has the kind of ideology even Meg Whitman can wrap herself around: you can watch it and come to the conclusion that privatization and union-busting is the answer—the same answer we’ve been given since the 1980s. This may not have been Guggenheim’s intention. But as always in this passionate-intensity style documentary, there’s the possibility of deliberate misreading, thanks to the lethal combo of stridency and slipperiness. (RvB) G=C E7:: ;33B / B/:: 2/@9 AB@/<53@ (R; 98

min.) Terminally awkward London-set comedy drama. The title transforms a fortune

teller’s prediction into a sentence of doom, as per the line in Allen’s Cassandra’s Dream: “The only ship sure to come in has black sails.â€? Here is Allen’s customary theme: given the certainty of death and the absence of God, how to conduct oneself ? Better than these characters. Helena (Gemma Jones) and her husband, Alfie (Anthony Hopkins), have split, due to his terror of dying. He’s taken consolation with a ÂŁ500 a night prostitute named Charmaine (the wonderful Lucy Punch). She’s seeing a psychic and drinking a bit, though Allen doesn’t understand what this boozing might entail as either comedy or drama; alcohol is not his thing. Meanwhile, the couple’s daughter (Naomi Watts) is struggling with her own career as her husband, Roy (Josh Brolin), wrestles with his unpublishable novel. Roy has his own obsession with a girl across the courtyard (Frida Pinto, almost audibly pleading for direction). Punch is the salt of this movie, a leggy comedian who makes even the minor dumb blonde jokes sail. (RvB)

40 |

november 10-17, 2010 SANTACRUZ.COM

Wine shop Tasting

Pacific Ave.

Museum of Art and History

Abbot Square

Cooper Street

Annie Glass

Gifts Accessories

Front Street

Downtown Santa Cruz on Abbott Square off Cooper Street (Near Annie Glass).

831-426-VINO (8466) www.vinocruz.com

j "

A/<B/1@CH 1=; november 10-17, 2010 3>71C@3

Epicure. Educated Palates 167> A163C3@

Cabrillo culinary program instructor Mike Wille turns a midterm exam into a wine dinner with high marks 0G 16@7AB7</ E/B3@A

U

TTERLY calm and collected, chef Mike Wille introduced a series of winemakers to assembled diners out on the back lawn of the Sesnon House a few weeks ago. Gathered at long tables draped in white linen, the guests were about to embark on a five-course culinary journey accompanied by wines from the viticulturists of Surf City Vintners. And every bite was the handiwork of student chefs. Dinner hit its stride, accompanied by some very smooth live jazz music, as poised young students served, cleared, poured and grinned proudly at the impressive effect their beautifully produced plates had on their gourmet audience. From open-face ravioli of braised rabbit paired with a Quinta Cruz Touriga to beef carpaccio and MJA Vineyards Cabernet Sauvignon, through an ambitious fish course, a grilled chicken and Silver Mountain pinot noir entree and finally into a multilayered creamy dessert matched with an unusual late-harvest zinfandel by Michael Sones, the meal showcased the handiwork of 17 advanced students in this celebrated food service program. “After the success of last year’s ‘Dare to Pair’ wine and food match,� recalls Wille, “we knew we wanted to do something again with Surf City Vintners.� But in

E67A932 /E/G Student Kitami Blakey and instructor Mike Wille hit the sauce in the Pino Alto kitchen at Cabrillo College.

a departure from the program’s usual timetable, in which students taste a selection of wines beforehand and then create a harmonizing menu, Wille changed the plan. “We came up with the Italian theme and the menu a week beforehand, and then tried to arrange for wines that would work,â€? he explains. The six winemakers, it turns out, all wanted to supply red wines. “We had to do quite a bit of shuffling,â€? Wille laughs. “Another challenge was that the gewĂźrztraminer supplied by Pelican Ranch was crisp and dry, not fruity, and hence it wouldn’t go with the dish originally proposed.â€? More changes were required in the menu and in the sauces—all of which contained juices of the matching wine grapes. “The students have to be ready

for sudden changes, just as they would in the restaurant world,â€? Wille says. “On game day we may have to make sudden switches.â€? The single-seating, banquet-style wine dinner marked a departure from the program’s evening dinner service at PiĂąo Alto Restaurant. Here the public can make reservations, come in and order a la carte items just as in any professional dining room. “With this event it was all plates served at one time, get them all out at one time and make sure that dessert was ready to serve before 8:30,â€? the culinary instructor explains. The wine dinner was essentially a hands-on midterm exam that Wille has resolved to fine-tune until it’s perfect. Trained at the Culinary Institute of America, Wille admits that being an instructor at a community college wasn’t

his original plan. And it isn’t easy. “This is my third year in the program, and what we do—making these courses accessible for everyone—we do on a very small budget,� he says. Culinary schools can cost upward of $30,000 a year. Cabrillo’s program costs $26 a unit. Yet Wille admits that “working here has huge rewards. When students light up over some wonderful cooking success—it’s phenomenal.� Last week’s dinner provided plenty of those glowing reactions.

>7<= /:B= 27<7<5 @==;

Sesnon House, Cabrillo College 6500 Soquel Dr., Aptos; 831.479.6524 Tuesday–Thursday, 5:30–8:30pm

" j 27<3@¸A 5C723 november 10-17, 2010 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

/>B=A $$ Aptos

/;0@=A7/ 7<27/ 07AB@=

$$ Aptos

0@7B/<<7/ /@;A

$$$ Aptos $$$ 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=:/

>/@/27A3 ACA67

Capitola

200 Monterey Ave, 831.464.3328

Japanese. This pretty and welcoming sushi bar serves 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.

A6/2=E0@==9

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

H3:2/¸A

203 Esplanade, 831.475.4900

California cuisine. Nightly specials include prime rib and lobster. Daily 7am-2am.

A/<B/ 1@CH $$ Santa Cruz

$ Santa Cruz

$$ Santa Cruz

/1/>C:1=

1116 Pacific Ave, 831. 426.7588

16/@:73 6=<5 9=<5

1141 Soquel Ave, 831. 426.5664

1:=C2A

110 Church St, 831.429.2000

$$ Santa Cruz

B63 1@3>3 >:/13

1@=E¸A <3AB

Santa Cruz

2218 East Cliff Dr, 831.476.4560

$$ Santa Cruz

67<2?C/@B3@

$$ Santa Cruz

6=44;/<¸A

1134 Soquel Ave, 831.429.6994

303 Soquel Ave, 831.426.7770

1102 Pacific Ave, 837.420.0135

6C:/¸A 7A:/<2 5@7::

Santa Cruz

221 Cathcart St, 831.426.4852

$$ Santa Cruz

7 :=D3 ACA67

516 Front St, 831.421.0706

Mexican. A local favorite since 1967! Full bar, patio dining, colorful dĂŠcor and friendly service. Top-shelf margaritas, over 50 tequilas, skirt steak asada, chicken fajitas, tequila prawn fettuccini, coconut prawns, even eggs benedict on the weekends! California organic meets Southeast Asian street food. Organic noodle and rice bowls, vegan menu, fish and meat options, Vietnamese-style sandwiches, eat-in or to-go. Consistent winner “Best Cheap Eats.â€? Open daily 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. 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.â€? 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. 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.

j "!

A/<B/1@CH 1=; november 10-17, 2010 27<3@¸A 5C723 $$ Santa Cruz

8=6<<G¸A 6/@0=@A723

493 Lake Ave, 831.479.3430

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.

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

Italian. La Posta serves Italian food made in the old style— simple and delicious. Tue-Thu 5:30-9:30pm. Fri and Sat 5:30-10pm. Sundays 5-8pm. Closed on Mondays.

$$ Santa Cruz

Fine Mexican cuisine. Opening daily at noon.

=:7B/A

49B Municipal Wharf, 831.458.9393

$$ Santa Cruz

>/17471 B6/7

$$ Santa Cruz

>=7<B 16=> 6=CA3

1319 Pacific Ave, 831.420.1700

Portola Dr, 831.476.2733

@7AB=@/<B3 7B/:7/<=

Santa Cruz

555 Soquel Ave, 831.458.2321

@=G/: B/8 1C7A7<3

Santa Cruz

270 Soquel Ave, 831.427.2400

$$ Santa Cruz

@=A73 ;11/<<¸A

$$ Santa Cruz $$$ Santa Cruz

$$ Santa Cruz

1220 Pacific Ave, 831.426.9930 A=74

105 Walnut Ave, 831.423.2020 AB/5</@= 0@=A

59 Municipal Wharf 831.423.2180 E==2AB=19¸A >7HH/

710 Front St, 831.427.4444

Thai. The only Thai restaurant in downtown Santa Cruz . Delicious menu is only further complemented by authentic, Thai tea, shakes and smoothies. Modern dining setting offers warm and inviting atmosphere to relax. American/ Steakhouse. Casual neighborhood restaurant near Pleasure Point, offering wide selection of American cuisine, featuring prime steaks, chops, seafood and pasta, in classic steakhouse setting. Open 7 days a week, breakfast served Sunday. Italian-American. Mouthwatering, generous portions, friendly service and the best patio in town. Full bar. Lunch. Indian. World-famous curries, vegetarian and nonvegetarian dishes. Authentic Indian food at affordable prices. $8.95 lunch buffet Mon-Thu 11:30am -2:30pm, Fri-Sun 11am-3pm. 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; wines to match. Dinner Sun-Thu 5-10pm FriSat 5-11pm. Wine shop Sun/Mon 5-10pm, Tue-Sat noon-close. Seafood. Offering largest selection of fresh seafood, with wide variety of pastas, salads, steaks, and a children’s menu. Upper deck lounge offers view of Monterey Bay, Steamer Lane and the Boardwalk. Casual family style dining every day from 11am. 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 $ 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 560D Scotts Valley Dr,

Cambodian. Fresh kebabs, seafood dishes, soups and noodle bowls with a unique Southeast Asian flair. Beer and wine

$$$ Felton

Italian. Authentic Italian cuisine nestled among redwoods, in a friendly atmosphere off Hwy. 9. Chef Sebastian Nobile uses seasonal, local, organic ingredients whenever possible by utilizing a wide variety of quality Central Coast ingredients.

=/9 B@33 @7AB=@/<B3

5447 Hwy. 9, 831.335.5551

"" j /AB@=:=5G november 10-17, 2010 A/<B/1@CH 1=;

Free Will

Astrology

By Rob Brezsny

For the week of November 10 /@73A (March 21–April 19): Where I live, 35 percent of all high school students confess (or brag) that they have engaged in binge drinking, which is defined as imbibing five or more alcoholic drinks in a two-hour period. According to my reading of the omens, your inner teenager may soon be longing to f lirt with that kind of intense and total release. Can I talk him or her out of it? As much as I sympathize with the younger you’s need to escape the numbing effects of the daily grind, I’m asking the adult you to step in and assert your authority. Try to find a more constructive approach to liberation.

A1=@>7= (Oct. 23–Nov. 21): “I cannot seem to

B/C@CA (April 20–May 20): Why did feathered dinosaurs evolve wings? Paleontologists in Britain have a new theory: It added to their sexual allure. The head researcher at the University of Manchester speculated that “maybe they ran around with their arms outstretched to show off how pretty their feathers were.� Eventually those forearms became wings that came in handy for f lying. In other words, the power of f light did not originate from the urge to f ly but rather from the urge to be attractive. Oddly enough, Taurus, this approach to understanding evolution would be useful for you to meditate on in the coming weeks. According to my reading of the astrological omens, you could develop some interesting new capacities as you work to enhance your appeal to people who matter.

A/57BB/@7CA (Nov. 22–Dec. 21): “Democracy is the worst form of government except for all those others that have been tried,� said Winston Churchill. He was defending his favorite political system, asserting that its imperfections are superior to the f laws of monarchy, plutocracy, anarchy, theocracy, and the rest. I invite you to use a similar gauge as you evaluate the belief system that’s at the center of your life. Does it sometimes lead you astray, cause you to see things that aren’t really there, and fill you with confusion—but in ways that are more life-enhancing than any other belief system you know of ? Or is your belief system actually kind of toxic? Should you consider replacing it with another set of organizing principles? If it’s the latter, now would be a good time to begin making a change.

53;7<7 (May 21–June 20): On the subject of being divided, novelist Iris Murdoch wrote the following: “He led a double life. Did that make him a liar? He did not feel a liar. He was a man of two truths.� Whether you deserve the generosity of that interpretation still remains to be seen, Gemini. It is possible that your version of doubleness will be rooted in deceit or delusion rather than sincere and honest duality. Of course I’m rooting for the latter. Please do all you can to ensure that you’re being authentic, not manipulative.

1/<13@ (June 21–July 22): My friend Ariel’s

Santa Cruz Veterinary Hospital Serving you with thorough and compassionate care for more than 45 years

Should your pet see a board-certiďŹ ed surgeon? On-site CT Scan, Laparoscopic Spay, Arthroscopy, Thoracoscopy, Cruciate repair (TPLO), Trauma/Fracture repair, 24 hour On-site Intensive Care for post surgical recovery & pain management, Access to your pet’s surgeon for any questions during recovery period

6-year-old daughter Juno doesn’t understand why anyone would build streets that run in a straight line. Isn’t it more fun if the highways and byways are crooked and curvy? Shouldn’t people want to get to where they’re going by veering this way and that, relishing the playful twists and turns? That’s where the best action is, says Juno, and I agree: in the tweak, in the twirl, in the winding way—not in the beeline route that leaves no room for improvisation. That’s especially true for you right now, my fellow Cancerian.

:3= (July 23–Aug. 22): Would you be delighted if I arranged to get an offshore oil-drilling rig named after you? Probably not. Would you celebrate if you won a prestigious all-expenses-paid vacation to the hottest war zones in Afghanistan? I doubt it. So don’t accept dubious honors and gifts like those, Leo. Be clear that you’re not interested in ego strokes that are irrelevant to your long-term dreams. If you hope to get the prize you’re aiming for, you will have to say a definitive no to supposedly good things that you don’t really want. D7@5= (Aug. 23–Sept. 22): The nature of the game is changing. Do you know which game I’m referring to? I mean the one that everyone’s playing but no one’s acknowledging they’re playing. The rules of the game had held steady for quite some time, but recently they began to shift. Now even the game’s rewards are in the process of metamorphosing. My advice? You don’t necessarily need to splash a big dose of raw candor all over the place, but I do recommend that you at least tell yourself the truth about what’s going on. :70@/ (Sept. 23–Oct. 22): My Facebook friend

Our specialists’ promise: Your pet will receive the most complete, safe, compassionate and individual care. For more information about board certiďŹ ed specialists, contact your regular veterinarian and visit our website

Robert Goldberg has come up with terms for you Libras that puts a more positive spin on your reputation as a fence-sitter. He suggests “fence dancer� or “fence warrior.� You don’t always deserve to be bestowed with those honorable titles, of course. Sometimes you really do molder there in your intermediate position, paralyzed by indecision and unable to do what’s in the best interests of anyone, including yourself. But on other occasions—like now—you have the power to use your in-between status dynamically, coordinating the opposing interests to work as a whole that’s greater than the sum of the parts.

feel alive unless I am alert,� wrote author Charles Bowden, “and I cannot feel alert unless I push past the point where I have control.� Yikes! That’s a pretty extreme approach. But I suggest that you consider trying it out in the coming week. If you hope to seize even one of the multiple opportunities that are swirling in your vicinity, you will need both supreme focus and a loosey-goosey willingness to respond to novelty. So don’t tense up and blank out and try to wrestle the mysterious f lows into submission. Use your sixth sense to find the groove, and relax into it.

1/>@71=@< (Dec. 22–Jan. 19): Connie Post, my beloved former editor at the Dayton Daily News, sent me a haiku-like poem that I’d like you to ponder: “November trees / which are living? / which are dead?� I’m hoping this will put you in the mood to mull over an even bigger question, namely: What parts of your own life are withering and what parts are thriving? In my astrological opinion, it’s very important that you know the difference, and act accordingly.

/?C/@7CA (Jan. 20–Feb. 18): Numerologists say the number 10 signifies completion, wholeness, totality. It could rightly serve as your lucky number in the coming weeks—a symbol of your power to draw long-term processes to a climax on your own terms. But you might also want to consider using 11 as your emblem of good mojo. That number denotes the drive to surpass the success you’ve earned before—to transcend easy triumphs and conventional wisdom so as to reach for a more challenging conquest. Either way, Aquarius, I think you’ll be f lying high for the foreseeable future, so there’s no need to worry about which way you should go. If you do choose 11, the risks will be somewhat greater and the rewards more interesting. >7A13A (Feb. 19–March 20): In Moby Dick, Herman Melville suggested that ideally a person should be a “patriot to heaven.� Poet Gary Snyder wrote, “I pledge allegiance to the soil / one ecosystem / in diversity / under the sun / with joyful interpenetration for all.� Seminal environmentalist Edward Abbey said, “My loyalties will not be bound by national borders . . . or limited in the spiritual dimension by one language or culture. I pledge my allegiance to the damned human race, and my everlasting love to the green hills of Earth, and my intimations of glory to the singing stars, to the very end of space and time.� I recommend you experiment with this perspective in the coming weeks, Pisces. You don’t have to tone down your love for your tribe or country. Just see if you can expand your sense of belonging . . . extend the borders of your comfort zone . . . and feel at home everywhere you go.

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