GARDEN FAIRE GUIDE

While UC schools go begging, university investors plow public money into for-profit diploma mills. Peter Byrne investigates. p11

Schoolhouse Stock

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P O S T S p4

C U R R E N T S p7

C O V E R S T O R Y p11

A & E p20

S T A G E , A R T &

E V E N T S p21

B E A T S C A P E p24

C L U B G R I D p26

F I L M p31

A S T R O L O G Y p37

C L A S S I F I E D S p38

Contents.june 23-30, 2010

EDITOR

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STAFF WRITERS

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june 23-30, 2010

Posts.Messages &

Send letters to Santa Cruz Weekly, letters@santacruz.com or to Attn: Letters, 115 Cooper St., Santa Cruz, 95060. Include city and phone number or email address. Submissions may be edited for length, clarity or factual inaccuracies known to us.

I WAS DEEPLY saddened by the recent vandalizing of private businesses in downtown Santa Cruz (my hometown). I was impressed and excited to see the publication online in Santa Cruz Weekly titled “Anarchists Aren’t Evil” (Bullhorn, May 5). I think it’s wonderful to differentiate between people who use violence and destruction as a way of rebelling against authority (or whatever their individual motives were), and people who accept anarchy due to a consistent application of the non-aggression principle (NAP) in their lives. These anarchists/voluntaryists, of whom I’m one, simply extrapolate the NAP, and apply it to society. The looters and vandals are not anarchists. Their actions reveal their position is not based on rational principles. I thought the

article pointed out, at least in some ways, that these people are not to be used as fodder to fuel blanket assumptions and fears about the validity of the conclusion of anarchy.

I’m no psychological expert, but there’s some pretty obvious indicators, even to a layperson, that what these people did was not acting on anarchic principles— they’re simply acting out, instead of dealing with the personal reasons as to why, and from whom, they learned, accepted, and acted upon the idea that using violence can solve problems.

Thank you for the good work.Crystal Olson, Carmel

QUOTING [from “Pension Tension,” Currents, June 16]: “The only real way to cut them down is for the employees to contribute more.”

Nonsense, here’s what’s needed: 1) Roll back the increase from 2 percent to 3 percent applied retroactively to years of service earned before the change in the pension formula. This was clearly a theft of taxpayer money. 2) Roll back the 3 percent to 2 percent for all future years of service for all current workers . . . as we simply cannot afford it.

Or go broke . . . run out of funds in the not too distant future . . . and watch safety worker retirees wail “but we were promised.”

Tough Love, posted on news.santacruz.com

TOUGH LOVE, you’re spot on. One additional comment is that retired workers lived through the “golden era” in California where housing prices were affordable. That is, before separation from the gold standard enable monetary debt explosion = unsustainably rising prices and salaries.

For example, my uncle was a PE teacher in Santa Cruz and was able to buy a duplex, triplex and a house in Santa Cruz on his teacher’s salary and pension (purchased them back in the ’70s and ’80s). The purchases were before the inflationary boom in the U.S. The inflationary theft of future generations was not his fault, but he certainly benefited from a system that paid its bills from the wealth of future generations. His generation “spent” on a generational credit card, exceeded their limit, and they are now asking for the far less endowed lenders (young people) to scrimp from their apartments to pay a fat retirement debt. Tisk tisk.

Oracle, posted on news.santacruz.com

THERE IS NO comparison between social security and public sector pensions. “Safety” employees who make $100K in their final year of working, will, on average (assume 30 years on the job), [collect] over seven times what someone will collect under social security based on 40 years work and a similar salary history.

Most importantly, social security can be rendered solvent via incremental increases to the amount withheld, the cap and the age of eligibility. . . . Anyone who compares the financial challenges facing social security, which are quite manageable, to those facing public sector pensions, is either ignorant of the facts or engaging in propaganda.

Beancounter, posted on news.santacruz.com

Methyl Iodide—Unsafe At Any Speed

THE DECISION of the California Department of Pesticide Regulation (DPR) to support the registration of the pesticide methyl iodide is irresponsible because its proposed mitigations will not avert potentially

devastating health and environmental impacts. The proposed registration is misplaced in light of compelling evidence presented by the external scientific peer review committee commissioned by DPR. Once methyl iodide is approved, there will be no turning back from its dangerous and potentially lethal effects.

Methyl Iodide, the proposed replacement chemical for the ozone-depleting chemical methyl bromide, is a known carcinogen, a neurotoxin and a thyroid toxicant that can disrupt fetal development and cause miscarriages. It is used to create cancer cells for scientific research and is a groundwater contaminant.

While DPR’s Notice of Proposed Regulation boasts that the proposed restrictions on the use of methyl iodide are tougher than those adopted by the federal Environmental Protection Agency (EPA), DPR’s acceptable exposure limits are 100 times higher than the exposure limits recommended by DPR’s own toxicologists. To protect public health and safety, field applications require the covering of treated areas with tarpaulin. The practice of tarping fields is not foolproof. Winds, vehicles, animals, and people can damage the tarps, allowing gas to vent and exposing workers, neighboring schools and hospitals.

One of the most troubling aspects of the proposed registration of methyl iodide is the gap that exists between the practice of real world applications and the expectation voiced by the manufacturer that as long as label warnings and use restrictions are followed, there will be no problems. In my experience representing victims of unintended pesticide exposures, it is the real world conditions of weather, human error and insufficient testing that have resulted in human tragedies. The risks of application in rural areas include potential long-term health consequences of a chronic nature such as respiratory, neurological and systemic illnesses.

As a representative of agricultural and urban areas, I am keenly aware of the balancing test that must be applied. I believe that in the short term, the State of California should commit to further review of the synergistic impacts of methyl iodide and chloropicrin, the potential impacts of raising the permissible exposure limits by a factor of over 100 and the short- and long-term impacts on water and air resources.

At the end of June, DPR will be completing its review of the application to register methyl iodide as an alternative to methyl bromide. Based upon the findings of the independent scientific peer review committee, the conclusions of the National Academy of Sciences (which includes six Nobel Laureates) and testimony presented before the Legislature, I am convinced that methyl iodide should not be registered for use in California.

It is unconscionable for DPR to proceed with the registration of methyl iodide when its own scientists have presented unequivocal evidence of extreme risk and insufficient data collection. The California Department of Pesticide Regulation has an immense responsibility to prioritize the health interest of the public and should reconsider its provisional decision to register methyl iodide. To do anything less would be arrogant and irresponsible.

The public comment period on the registration of methyl iodide has been extended until June 29. Should you have comments, please send them to: mei_comments@CDPR.ca.gov.

ASSEMBLYMEMBER BILL MONNING represents the 27th Assembly District. You can reach him through his website: www.assembly.ca.gov/monning.

june 23-30, 2010

T H E B U L L H O R N

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june 23-30, 2010

Pirate Radio Walks The PlankFCC forces Free Radio Santa Cruz to find new home for transmitter

phrases like “Is this freedom?” and “Who laughs last?” Above an old Dell computer is a printed, single-sided piece of white paper with a banner reading “FRSC Transmitter Evicted!”

It’s not the first time the anonymous DJs and staff of Free Radio Santa Cruz have been told they’ll need to find a new home for the station’s transmission antenna. As an unlicensed (and therefore illegal) “pirate radio” station, FRSC all but expects that, every few years, pressure from the Federal Communications Commission

will spook either the tenants or the landlord of whatever property the big four-pronged transmitter is resident at for the moment, and the station will have to find a new set of hosts willing to defy the federal government.

“Basically, we got a call saying the landlord had received a notice from the FCC saying a illegal transmitter was found and that he would be fined if he didn’t get rid of it,” explains Uncle Dennis, a veteran FRSC DJ and the current host of From the Cream to the Dregs. “This is a typical tactic they use to deal with unlicensed broadcasters.”

It’s not a particularly successful tactic from the FCC’s perspective. In the 15 years since FRSC broadcast its first show from the bedroom of local activist Kim Argula, the transmitter, studio equipment or both have been forced to move seven times, according to station co-founder Skidmark Bob. The migrations usually follow several FCC letters similar to the one sent by San Francisco district director Thomas Van Stavern to the landlord of the midtown Victorian where the transmitter is now. And yet, except for a month-long hiatus following a 2004 raid in which U.S. Department of Justice agents confiscated all the equipment in the studio, the station has managed to keep broadcasting nearly uninterrupted. The staff has also learned to keep its studio gear in one location and its transmitter in another, so if DOJ agents show up again at the signal source, they’ll find only an antenna, not a costly soundboard and microphone system.

Rrrr Is for Renegade

At the FCC, pirate radio stations are dealt with regularly, although full-scale raids like the 2004 incident are rare. An FCC spokesman says the agency’s process for investigating illegal stations is clearly defined and includes several steps of letters and waiting periods before any fines or forfeitures can be enforced.

“The general way this plays out is that if we receive a tip from any source, we will look into it,” he says,

IN A SECRET broadcasting studio somewhere in Santa Cruz, a ponytailed 62-year-old DJ is speaking crisply into a large,

spongy microphone. “That was ‘Heart Full of Soul’ by the Yardbirds, 1965, and before that ‘Indifference’ by Moby Grape,” he says. “I’m Uncle Dennis right here at Free Radio Santa Cruz, 101.1 FM and triple-w dot freak radio dot org.”

Around him, the walls are covered in faded layers of posters and scribbled graffiti featuring images of the Brown Berets and Mumia Abu-Jamal and

DJ Uncle Dennis reads the news for Free Radio Santa Cruzlisteners from an undisclosed location in town.

“We have equipment that inspects how the spectrum is used. The equipment we have will lead us pretty clearly to the spot where the frequencies are emanating from. At that point we begin sending letters.”

Currents.

One man who knows the routine of fighting the FCC better than perhaps any is Stephen Dunifer. The founder of Free Radio Berkeley and the man sometimes described as the “Godfather of Pirate Radio,” Dunifer was part of two landmark court cases in 1995 and 1997 in which U.S. District Court Judge Claudia Wilken found that fines levied by the FCC against him for broadcasting without a license were unconstitutional. Since then, Dunifer has sold DIY radio kits and continued to broadcast at FRB. Besides vehemently denouncing the FCC’s action against FRSC he offers some advice to the unlicensed broadcasters in Santa Cruz and anyone who might be willing to mount an illegal transmitter in the backyard.

“You need to understand that the FCC is full of shit,” he says. “They will target the landlords with letters, but a landlord is not criminally or civilly responsible for their tenants. They just need to find a landlord who is willing to tell the FCC to kiss their Bill of Rights.”

The staff has learned to keep its studio gear in one location and its transmitter in another, so if DOJ agents show up again at the signal source, they’ll find only an antenna, not a soundboard

Whale FailFrom her boat in Moss Landing,

has seen several in Monterey Bay this month. But sightings of the majestic animal so late in the migration season are not normal—nor is anything else about this year.

“There are not as many large groups of whales coming through the Monterey Bay, and we are seeing a lot of smaller, skinnier animals,” says Graham, who serves as West Coast director at the

. The gray whale routinely migrates

12,000 miles a year—southward to breed in the warm lagoons of Baja California and northward to feed in Arctic waters. The 6,000-mile northern migration typically ends in May, says Graham, with the mothers and calves bringing up the rear. Although gray whales are a welcome presence in the bay, their June occupation is a break from their ancient migration path and suggests the species is struggling to survive.

“We are still seeing a lot of animals in the area feeding on krill,” says Graham. “For them to stop their migration for krill is a sign of starvation.”

A newly released report on gray whale breeding areas is backing up with numbers what Graham and others have observed anecdotally. of the Universidad Autonoma de Baja California has made annual boat surveys of cow-calf pairs and individual gray whales in Baja California since 1978. His new report shows the sharpest decline in the region’s gray whale population in 15 years.

Laguna Ojo de Liebre, historically the most abundant breeding ground for gray whales, saw only 183 mother-calf pairs this year, a steep decline from the 800-plus pairs reported in 2004–2006. Laguna San Ignacio has also seen a sharp drop, from its peak of 137 mother-calf pairs in 1984 to only 20 documented in 2010.

The Baja report comes as the meets

this week in Morocco. One item on the agenda: whether to allow Russian whalers to continue killing 140 gray whales a year. The U.S. and other traditionally nonwhaling nations have decided to support limited whaling in an attempt to gain broader concessions. It is unclear if Dr. Urban’s report will be enough to reverse their support of the quota extension.

Maria Grusauskas

Picking PoisonThe Beatles dreamed of “Strawberry Fields Forever” as a place of refuge and escape. Strawberries have symbolized purity for years. But a new chemical proposed for

systemic fumigation of strawberry fields has put the fruit in a different kind of spotlight. Strawberries have become a point of contention between anti-pesticide advocacy groups, who disapprove of the use of as a fumigant, and the state

, which maintains that it is mostly harmless.

Most scientists agree that widespread application of methyl iodide to strawberry fields poses a risk to the health of field workers and nearby residents. Methyl iodide is listed as a carcinogen in California’s Safe Drinking Water and Toxic Enforcement Act of 1986 (Proposition 65), which catalogs chemicals known to harm human health. In fact, cancer researchers use methyl iodide on lab animals when they need to induce cancer-cell production. More toxic than methyl bromide—which is the currently favored fumigant—methyl iodide can cause thyroid cancer and birth defects. It can disrupt thyroid hormones, metabolic processes and immune response. A known neurotoxin, it can slowly erode cognitive abilities.

The DPR asked its consulting scientists to run risk-management tests on methyl iodide. The DPR then employed a committee to check its own scientists’ work. The

agreed with the DPR scientists: methyl iodide is unsafe due to the tight restrictions necessary to control its use. The review committee advised slightly stricter regulations than the DPR suggestions, but the difference was not substantial. Both the DPR scientists and the review committee recommended barring registration of methyl iodide. But the DPR ignored both its own scientists and the committee it hired and moved ahead with the registration process.

The DPR is accepting public comment on registering methyl iodide until June 29. Send comments to

Caroline Osborn

june 23-30, 2010

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Billion Dollar

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A YEAR AGO, Richard C. Blum, then the chairman of the Regents of the University of California, spoke at the Milken Institute’s Global Conference 2009, held at the Beverly Hilton in Los Angeles.

The corporate confab was hosted by Michael Milken, the “junk bond king” who went to prison in the aftermath of the savings and loan fiasco in the 1980s. Milken, who is barred from securities trading for life by federal regulators, has since recreated himself as a proponent of investing in for-profit educational corporations, an industry that regularly comes under government and media scrutiny in response

to allegations of fraud made by dissatisfied students.At the conference, Blum, who is the husband of U.S.

Sen. Dianne Feinstein and a professional Wall Street speculator, sat on a panel called “The New University and Its Role in the Economy,” alongside the presidents of the Massachusetts Institute of Technology and Arizona State University. The panel focused on how universities can best serve the corporate jones for tech-savvy employees by recruiting smart freshmen with scientific talent. One panel member urged treating universities as “laboratories of business ideas and products.”

june 23-30, 2010

The University of California invests $53 million in two diploma mills controlled by a regent

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As someone who oversees investment policy decisions for the University of California’s $63 billion portfolio, and as the largest shareholder in two for-profit corporate-run universities (in which UC invests), Blum had a unique perspective to share at the conference. He advised public universities to attract business-oriented students with clever advertisements as vocational schools do.

“It’s like anything else,” he said. “It’s how you market it.”

for-profit universities, Career Education Corporation and ITT Educational Services Inc. The San Francisco–based firm’s combined holdings in the two chain schools is currently $923 million. As Blum’s ownership stake enlarged, UC investment managers shadowed him, ultimately investing $53 million of public funds into the two educational corporations.

The Regents’ conflict-of-interest policy requires them to “avoid the potential for and the appearance of conflicts of interest with respect to the selection of individual investments . . . public officials shall not make, participate in making, or influence a governmental decision in which the official has a conflict of interest.” And the California Political Reform Act of 1974 provides civil and criminal penalties for officials who ignore conflicts of interest—as UC makes clear in ethics training presentations specifically created for university officials. The Board of Regents, however, is self-policing and tolerates situations that cause others concern.

John M. Simpson of Consumer Watchdog, a nonprofit education and advocacy organization based in Santa Monica, comments: “It is hugely inappropriate for the University of California to invest in for-profit colleges when it should be promoting public education. And something stinks when university investments end up in companies largely controlled by a regent. To the average fellow on the street, this would seem to be a conflict of interest. It is up to Mr. Blum and the UC treasurer to explain how it could not be a conflict of interest.”

Disaster Capitalism Due to serial tuition hikes by the UC Regents, their gutting of many classes and educational programs, and the imposition of a 15 percent reduction of in-state admissions to the university, the gateway to higher learning in California has seriously narrowed. As a UC regent, Blum voted in favor of all of these measures—and such actions have indirectly benefited his corporate colleges. But his schools are not the only ones profiting from the financial disaster that besets many public universities.

On March 13, 2010, The New York Times summed up the situation, reporting that many chain schools, including ITT Educational Services and Career Education Corporation, “have exploited the recession as a lucrative

Marketing strategy aside, Blum has taken on two seemingly disparate roles—one as an advocate for a nonprofit university, and the other as an owner of two for-profit educational corporations. However, as a regent, Blum has taken actions that, intentionally or not, have enhanced the value of his vocational schools. Are his loyalties conflicted?

For several years, Blum’s firm, Blum Capital Partners, has been the dominant shareholder in two of the nation’s largest

‘It is hugely inappropriate for the University of California to invest in for-profit colleges when it should be promoting public education. And something stinks when university investments end up in companies largely controlled by a regent.’

—JOHN SIMPSON, CONSUMER WATCHDOG

june 23-30, 2010

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recruiting device while tapping a larger pool of federal aid . . . selling young people on dreams of middle-class wages while setting them up for default on untenable debts, low-wage work and a struggle to avoid poverty.” The Times noted that for-profit schools are directly benefiting from cuts in education, especially in California where state-funded universities and community colleges have been “forced to cut classes just when demand is greatest.”

Indeed, ITT Educational Services recently reported to its shareholders that due in large part to “higher unemployment rates among unskilled workers,” company revenue increased by $300 million, to $1.3 billion (double its take in 2005). Responding to a recession-induced increase in demand for vocational training, ITT increased its tuition by 5 percent; 70 percent of ITT’s revenue comes from federal tuition aid programs. And ITT’s profits rocketed in tandem with new enrollments even as UC and other public universities were turning away students for lack of programs.

Nationwide, vocational school students are paying billions of dollars in tuition to stockholder-owned education corporations, primarily using federal grants and loans guaranteed by taxpayers.

In the U.S., the dominant vocational education corporations are the University of Phoenix, Corinthian Colleges, Strayer University, Kaplan (owned by the Washington Post Company), Career Education Corporation and ITT Educational Services. Collectively, these companies operate hundreds of schools and teach hundreds of thousands of students, most of them eligible for public and private financial aid. The chains offer training for such technical professions as radiological technician, beautician, automotive mechanic, medical billing clerk, web designer and massage therapist. But they also offer degrees in engineering, computer science and business. Increasingly, they are promoting online education, which limits their operational costs, even though virtual courses are often not suitable for teaching nursing, cooking or car repair. As a result of delivering substandard education, some for-profit schools suffer from accreditation problems, according to recent news reports.

On a fairly regular basis, government regulators—including the U.S. Department of Justice—have accused chain schools of preying upon low-income individuals and active military

june 23-30, 2010

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service members. Typically, state and federal agencies report, chain school recruiters load students down with high-interest rate loan packages that, on average, amount to $30,000. As a result, fewer than 70 percent of enrollees graduate. Such a high dropout rate requires the corporations to continuously wage television, radio, Internet and print media marketing campaigns aimed at enticing students who want to better themselves—and who are, not incidentally, eligible for state-guaranteed loans.

Unfortunately, those who do graduate with two-year associates degrees often find out that the curriculum did not prepare them for the technical requirements of the jobs they seek. And often, government reports note, when they do find work, their wages do not match the inflated salaries promised by school recruiters. When dropouts and underpaid graduates default on their student loans, the taxpayers remain on the hook.

Profits of DoomBlum’s investment bank entered the for-profit education business in 1987, when he purchased a large block of shares in National Education Corporation, an Irvine-based vocational school that specialized in awarding mail-order diplomas. He joined the company’s board of directors, sitting alongside former U.S. Sen. Barry Goldwater and David C. Jones, a former chairman of the Joint Chiefs of Staff.

Two years later, according to a report in the Los Angeles Times, Blum got in hot water when angry shareholders filed a lawsuit contending that “the company issued rosy financial statements while Blum and other directors were selling their shares.” The shareholders claimed in court documents that Blum sold $2.7 million worth of shares at about $24 per share after he learned, a day before the public announcement, that the company president planned to resign. When the share price bottomed out at $3.50 a share after the announcement, Blum reinvested in the troubled company, booking a profit.

A new president was hired in 1994 to reform the school and bring it into the age of computerized learning. By 1995, Blum had gained control of 11.5 percent of National Education Corporation stock after combining his firm’s holdings with that of a nonprofit investment fund, Commonfund, for which Blum worked as an investment advisor. (Commonfund manages investments for more than

1,400 universities, including UC.) In 1997, Harcourt, the textbook publisher, bought National Education Corporation for about $750 million, or $21 a share. Blum and his private partners profited handsomely.

After he became a regent in 2002, Blum greatly increased his investment in for-profit education. In June 2005, Blum Capital Partners bought 5 percent of the stock, worth $24 million, in Lincoln Education Services Corp., a $300 million operation with 32 campuses. Blum also acquired large blocks of shares in ITT Educational Services and Career Education Corporation. These two purchases followed dips in the companies’ stock prices brought about by allegations of corrupt practices made against them by government agencies.

In the case of ITT Educational Services, federal and state regulators investigated the company in 2004 after shareholders and students alleged that it falsified student attendance, grades and job placement records in order to keep federal financial aid f lowing. When the news broke, the price of ITT shares halved.

Blum Capital Partners pounced, purchasing reams of devalued ITT stock. It soon owned the largest block of stock in the company, achieving a 10 percent ownership stake in 2006. Not long afterwards, the investigations were closed, with no findings of wrongdoing. By May 2010, ITT’s revenue exceeded $1.3 billion, and Blum Capital Partners’ stake was valued at $415 million.

Similarly, Blum Capital Partners bought shares of Career Education Corporation, a $1.8 billion operation that serves 90,000 students, following a corruption controversy. In 2004, Career Education Corporation was investigated by multiple federal agencies after whistleblower lawsuits alleged that the school had allowed failing students to remain enrolled in order to keep its pipeline to federal grants and loans tapped. In 2005, after 60 Minutes televised an unfavorable story about the chain school, the value of its stock dropped by more than half. Blum Capital Partners bought in for $33 million. By May 2010, its stake had grown to $508 million, making Blum’s firm by far the largest and most powerful shareholder of the chain school. A partner with Blum Capital Partners, Greg L. Jackson, sits on the board of Career Education Corporation.

UC is an investor in both educational corporations.

Even as Blum was buying stock in

june 23-30, 2010

Career Education and ITT Educational Services, UC financial records show that the university’s investment managers were actively buying and selling these same stocks—to the tune of $53 million. The university was not just holding onto these stocks to accrue value over time (as a prudent manager would do), it was day trading them in large amounts, as much as $2 million a trade, thereby affecting the daily price of these stocks. Did the fact that these two companies were largely owned by a regent—a Wall Street speculator who sat on the university’s investment committee—not pose at least the appearance of a conflict?

Not to UC officials. When UC Treasurer Marie Berggren was questioned about the propriety of UC investing in Blum’s for-profit college chains, her spokesman, Steve Montiel, replied by email, “The Treasurer’s Office doesn’t track Regents’ holdings in making decisions about security selections, though Regents’ holdings are disclosed as a matter of policy.”

In other words, the treasurer does not review the Regents’ financial disclosure statements, which are public records, for potential conflicts. Of course, UC’s investments are also public records available to the Regents, so a regent could easily avoid conflicts, should he or she choose to do so, by not taking controlling positions in companies in which the university invests.

Blum did not respond to repeated requests for comment. But UC spokeswoman Lynn Tierney called on his behalf, saying that the university recruits its students from the intellectual elite of applicants. Only those with very high grade averages and SAT scores get in, she said. Therefore, “UC is not losing students to Blum’s vocational schools, and there is no conflict of interest,” she said.

The bottom line is that UC is investing tens of millions of public dollars in two for-profit school chains largely controlled by a regent and Wall Street arbitrager who sits on UC’s investment committee. Shown the documentation used to support this story Noah Stern, president of Associated Students at the University of California, says, “Student trust in the Regents was already shaky. In light of this revelation of investment abuse, we need a structural overhaul of the university governance system.”

This story is part of a ongoing series of

investigative stories sponsored by Spot.us and

six Bay Area newsweeklies: ‘UC Regents: An

Elite Club That Runs a Vast University.’

june 23-30, 2010

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card. “In terms of the material, there’s not really a protocol,” says Flemons. “Mostly it’s just taking songs that we like and making them fit within the group setting.”

For the Carolina Chocolate Drops, playing traditional music is a dynamic process they’re happy to be a part of as they ride the current roots music revival wave that Flemons says is due, in part, to the “perception of simplicity” that folk music provides. “Like with punk or rock & roll, you don’t have to be the most accomplished musician to start playing it,” he says, “but you can get really good at it.” Then he adds, “And of course, some people just like the sound.”

The Carolina Chocolate Drops, however, are definitely selling records. Their latest release, Genuine Negro Jig, has been raking in the raves and has roots music enthusiasts taking another look at the string bands of old. The album is rich with traditional soul, evident in tunes like “Cornbread and Butterbeans” and “Your Baby Ain’t Sweet Like Mine,” and also illuminates the more introspective side of roots music with the hauntingly beautiful instrumental tune “Snowden’s Jig.

Committed as they are to preserving the string band tradition, however, the Chocolate Drops, who are all three singers and multi-instrumentalists, make a point of not simply re-enacting the past. They’ve taken the string band style of old and given it a giant heave-ho into the 21st century, introducing elements that are entirely grounded in modern-day life—most notably a cover version of Blu Cantrell’s song “Hit ’em Up Style,” in which a woman gets back at her cheating man by charging up his Neiman Marcus

from the road, en route to New Orleans. “A lot of music has been based on string band and blues and spiritual music, but string band music has kind of been swept into the background.”

Buried though it may be, black string band music plays an important role in the history of American music. Born of the marriage between the European violin and the banjo, with its roots in African gourd instruments, string bands emerged when slaves were made to learn the folk songs and jigs slave owners wanted to hear. The resulting music is a hybrid of styles and songs that grew out of the dire days of slavery and laid the groundwork for country music, bluegrass and the blues.

Unlike the musical genres that they inspired, however, string bands themselves were seldom recorded, primarily because it was assumed there was no market for them. “Black string music has never been a commercially viable music,” says Flemons. “There was no notion that rural people or black people would even buy records.”

Old-Time Revival

The Carolina Chocolate Drops pour the sugar on this Friday at Kuumbwa.

Black string band the Carolina

Chocolate Drops are bursting into

roots music’sbig tent

I N 2005, three young musicians with a fascination for African American folk music attended the Black Banjo Gathering in North

Carolina, drawn in part by the promise of seeing fiddler Joe Thompson in action. Then in his mid-80s, Thompson figured among the last remaining links to the originators of the long-dormant black string band tradition. Having picked up the fiddle in the 1920s, at the peak of string band popularity, Thompson had spent the better part of a century learning and playing foot-stomping rhythms, short and scratchy fiddle licks and plucky banjo lines in a just-about-any-instrument-will-do down-home style.

Inspired by Thompson and his wealth of musical knowledge, the three—Dom Flemons, Rhiannon Giddens and Justin Robinson—started traveling to Thompson’s house for his weekly jam sessions, where he was teaching black string band technique and songs. When the trio decided to form a band, it was to honor Thompson and bring him and his music back into the spotlight. The name they took, the Carolina Chocolate Drops, is a tip of the hat to the Tennessee Chocolate Drops, a string band that was popular in the 1930s, but which has since, like most other black string bands, been largely forgotten.

“Black string band music is something you find between the lines,” Flemons says

THE CAROLINA CHOCOLATE DROPS play Friday, June 25, at 7:30pm at the Kuumbwa Jazz Center, 320-2 Cedar St., Santa Cruz. Tickets are $20 advance/$23 door, available at Logos Books and Records and www.kuumbwajazz.org.

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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.

june 23-30, 2010

Vecchione, a nationally praised poet, appears in her solo stage play A Woman’s Life in Pieces. Tracing the thoughts and life of Calla Lily, an irrepressible artist, it’s a warm, deep comedy that fills up the soul. Friday, June 25, and Saturday, June 26, at 7:30pm, and Sunday, June 27, at 2pm at the Actors’ Theatre, 1001 Center St., Santa Cruz. Tickets $20 at the door or in advance at Bookshop Santa Cruz.

It doesn’t get much surfier than sauntering around the wood-paneled surf wagons of the ’20s through the ’50s. Some 200 of the unique vehicles will perch proudly along the wharf basking in ogling and awe. Music, memorabilia, drawings and a free valet service for bike riders round out the day. Saturday, June 26, 10am–4pm. Free. Santa Cruz City Wharf.

june 23-30, 2010

june 23-30, 2010

ONSTAGE

What are society’s limits? What is acceptable, what is not, and why? These are questions posed by Mountain Community Theater’s production of Edward Albee’s The Goat, or Who is Sylvia?, which provoked both laughter and groans of disgust from its audience when it opened last Friday.

The story concerns Martin, a successful architect who is happily married and seems to have no problems at home, besides a mild disapproval of his son’s homosexuality. However, following a common theme in Albee’s plays, all is not well with Martin’s marriage. To the utter revulsion of his wife, Stevie, his son Billy and his best friend Ross, Martin has fallen in love with a goat.

While showing the devastation wrought by Martin’s actions, the play also exposes prejudices latent in supposedly liberal-minded characters, an aspect underscored by MCT’s set design for the family’s living room. The modern furniture, the esoteric art hanging on the walls, the wooden phallic figure resting in the bookcase—it all suggests the up-to-date, middle class and liberal attitude which will be put to the test by goat-loving Martin.

MCT has assembled a fine cast for this play, including Jeff Swan as Ross and Michael Wiggins as Billy. Tara McMilin does a splendid job as Stevie—her rage at playing second fiddle to a farm animal is overpowering, and the first dish she breaks on the f loor is a shocker. John Robinson’s Martin is comparatively f lat, though he manages to convey enough anguish and despair to make the performance worthwhile. It’s difficult to imagine the character played any other way; after all, it is the reactions of the other characters to Martin that create the drama. The back-and-forth between Robinson and the others is initially gripping, and though it grows tiresome during the second act, the fault lies with the repetitive dialogue of Albee’s play, not with the actors.

The Goat, or Who is Sylvia? is going to be a tough sell. Its subject matter makes it completely unsuitable for children and likely off-putting for most adults. Even so, it is the perfect play for a left-leaning town like Santa Cruz, because it will challenge even the most liberal, open-minded audience to examine its beliefs. (Sean Conwell)

THE GOAT, OR WHO IS SYLVIA? runs Fridays–Sundays at 8pm through July 3, with additional performance Thursday, July 1, at 8pm, at the Broadway Playhouse, 526 Broadway, Santa Cruz. Tickets $14–$17 at mctshows.org.

Abstract Rude’s most enduring characteristic is how intentionally out of time he is. Though he came up in the underground hip-hop era that valued abstraction and headiness over rocking parties, Abstract Rude has always been more of a traditionalist, taking things back to hip-hop’s rudiments. It’s an approach that has kept him relevant for much longer than his peers. While many underground hip-hop stalwarts have torn up their fiery independent manifestos in favor of overt pop moves, Abstract Rude has held it down with his gritty yet enlightening hip-hop. His latest mix tape, Steel Makin’ Trax: The Export, is as direct and uncompromising as anything he’s released to date. Moe’s Alley; $9 adv/$12 door; 9pm. (Paul M. Davis)

Austin’s Carrie Rodriguez burst out in 2002 as something of a prodigy, and it’s startling how much she has achieved in a relatively short amount of time. Since her career-making appearance on Chip Taylor’s Let’s Leave This Town, the fiddle-playing vocalist has released four critically acclaimed albums and become the toast of the alt-country/Americana circuit. On her latest, Love and Circumstance, Rodriguez pays tribute to the artists that inspired her precocious talent. She brings her irrepressible voice and confidence to songs by M. Ward, Richard Thompson, Hank Williams, Merle Haggard and others, inhabiting their songs with as much assurance as she does her own. Don Quixote’s; $10; 7:30pm. (PMD)

More cowbell! OK, now that we got that out of the way, we’d like to remind everyone that before Will Ferrell made a beer-bellied mockery of the band, Blue Öyster Cult was one of the most fanatically loved hard rock acts in America—and frankly, still is. Between tracks like “Burnin’ for You,” “Astronomy,” “Godzilla” and “Cities on Flame with Rock and Roll,” BOC has been a staple of classic rock radio for more than 40 years. With this kind of musical résumé, folks might expect to pay 50 or 60 bucks to see a live rendition of “(Don’t Fear) the Reaper,” but at the Beach Boardwalk, Friday night shows are always on the house. Beach Boardwalk; free; 6:30 and 8:30pm. (Curtis Cartier)

june 23-30, 2010

Abstract Rude at Moe’s Alley this Thursday

IndependentlyProduced Events

J a z z P r e s e n t e r s s i n c e 1 9 7 5

320-2 Cedar St • Santa Cruz4 2 7 - 2 2 2 7

kuumbwajazz.org

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 & Recordsand online at kuumbwajazz.org.

Tickets subject to service charge and5% S.C. City Admissions Tax.

FRI. JUNE 25 • 7:30 PMCAROLINACHOCOLATE DROPSOld time string-band mixingthe traditional with the new!$20/Adv $23/Door

MON. JUNE 28 • 7 PMPAULA WEST QUARTET“Hard swing with wit & allure.”–NY Times$25/Adv $28/Door • No Jazztix/CompsSponsored by The Ten Sharps

FRI. JULY 2 • 8 PMAn eclectic brand of Americana!AN EVENING WITHSHELBY LYNNE$25/Adv $28/DoorNo Jazztix/Comps

MON. JULY 12 • 7 PMPLENA LIBRETorch bearers of PuertoRico’s Plena, Bomba &Beyond!$22/Adv $25/DoorSponsored by Plazita Medical Clinic

THURS. JULY 15 • 7 & 9 PMOTTMAR LIEBERT &LUNA NEGRANew CD “Petals on the Path”$27/Adv $30/DoorNo Jazztix/CompsSponsored by William & Cloy Codiga Family Foundation

MON. JULY 19 • 7 PMRising Star Pianist!GERALD CLAYTON TRIO$20/Adv $23/Door1/2 PRICE NIGHT FORSTUDENTS. AT THE DOOR ONLY.

THURS. JULY 22 • 7 & 9 PMOne of the world’s leadingjazz guitarists!LEE RITENOUR/DAVEGRUSIN ALL-STARSMelvin Davis - bassSonny Emory - drums$32/Adv $35/Door • No Jazztix/CompsSponsored by The Print Gallery

MON. JULY 26 • 7 PMSEXTO SENTIDO“The most important vocal jazzwork in Cuba in the past threedecades.” –ChuchoValdez$22/Adv $25/DoorSponsored by Radiology Medical Group

SAT. JUNE 26 • 8 PM • $27Hawaii’s hottest group!

Tickets: brownpapertickets.comMore info: 423-5491 or hapa.com

7/29 Curtis Brothers8/2 John Pizzarelli8/5 The Le Boeuf Brothers8/9 Taylor Eigsti Quartet8/16 Toumani Diabate8/23 Christian Scott8/26 Lenny White’s Anomaly featuring

Jimmy Herring8/30 Claudia Villela Group

june 23-30, 2010

It’s rare for a punk band to tout its “diverse” sounds: even over three decades in, punk rock remains a pretty straightforward affair, despite the side-routes into reggae taken by the likes of the Clash, Bad Brains and Sublime. Authority Zero not only indulges in two-step reggae beats but also introduces elements of traditional Spanish and Portuguese music. Even given this stylistic breadth, Authority Zero delivers the goods, banging heads while they move bodies with music that is alternately pummeling, precise and rhythmically complex. Catalyst; $10 adv/$12 door; 8pm. (PMD)

Parisian freak folk duo CocoRosie have never suffered from a lack of originality. The infantile vocal stylings of Bianca Casady, a.k.a. Coco, are as adorable as they are obnoxious. Added to the dark and bass-heavy laptop beats and toylike keys and xylophones that the two sisters favor and you’ve got the tangy flavor of an “acquired taste.” For this reason the group is both admired and vilified by the fringe hip-hop, electronica and folk scene that upholds it. Yet many of those who steer clear of CocoRosie’s albums could show up at a concert and expect to see a wholly different sound often featuring live rappers, full bands and surprise guests. Rio Theatre; $15 adv/$18 door; 8pm. (CC)

April Fishes. A bending accordion adds somber shades of tango to a mosaic of Gypsy swing, French chanson and Indian ragas, while a trumpet pierces the off-kilter mix, adding just enough shimmer to keep the fiesta surging. Moe’s Alley; $10 adv/$13 door, 9pm. (Maria Grusauskas)

Formerly Lodge-A-Palooza, the newly titled “Mountain Palooza” is a continuation of the annual festival of local bands that has taken place since 2007. This year’s show will feature the hard rock outfits Honest Mistake, Who’s Holdin’ and The Devil Himself, all of whom have been with the event since its beginning. Also making return appearances are the Green Day-influenced My Stupid Brother and 3UpFront, a skate punk band. Mountain Palooza will feature one newcomer, the ska band Take One, which includes former members of the reggae band DubScene. Don Quixote’s; $10; 7:30pm. (Sean Conwell)

JULY 1 AT CREPE PLACE

JULY 2 AT KUUMBWA

JULY 3 AT MOE’S ALLEY

JULY 7 AT DON QUIXOTE’S

JULY 8 AT CATALYST

JULY 10 AT FERNWOOD RESORT

JULY 23 AT RIO THEATRE

AUG. 13 AT CATALYST

Say fans to Blue Öyster Cult: We’re burning, we’re burning, we’re burning for you.

Although she was born in the musically fertile Bay Area, Rupa’s multifaceted musical abilities were nourished by a nomadic childhood spent in India and France. Singing mostly in French and Spanish, her sensual voice blends exquisitely with the raucous melodies of the

About 30 years ago, Barry Flanagan (originally of New Jersey) met Keli’i Kaneali’i (a native Hawaiian) and thus was formed Hapa (a name meaning “ethnically mixed”), one of history’s most successful Hawaiian pop groups. After gaining a local following with their Hawaiian harmonies tinged with American style folk-rock, in 1993 their debut LP won multiple awards and launched the duo into popularity outside the islands. They followed with Christmas tunes, rock songs (including a cover of U2’s “In the Name of Love”) and even an album of surf music. Recently, Hapa has returned to the style of their earlier days; lush, traditional music with a modern sensibility. Kuumbwa; $27; 8pm. (Sean Conwell)

june 23-30, 2010

1011 PACIFIC AVE.SANTA CRUZ

831-423-1336

Tickets subject to city tax & service charge by phone 866-384-3060 & online

www.catalystclub.com

AGES 16+

MOB FIGAZFeat, The Jacka & Huslah

plus Strong Arm Steadyalso Sincere with Nima Fadavi

Tix for July 11 will be honored on this date or return to place of purchase for a refund.

Love Life Music Atrium (Ages 21+) The Holdup Atrium (Ages 16+) The China Cats Atrium (Ages 21+) On the Spot Trio Atrium (Ages 21+) Authority Zero Atrium (Ages 16+) Noise Clinic Atrium (Ages 21+)

The Builder/ Vibrant Eyeris Atrium (Ages 21+) The Naysayers Atrium (Ages 21+)Done Beginner Atrium (Ages 21+)Wolf Parade/ The Moools (Ages 16+)Reverend Horton Heat (Ages 21+)Smash Mouth (Ages 16+)Eek A Mouse (Ages 16+)Xavier Rudd (Ages 16+)Ted Nugent (Ages 21+)Bad Brains (Ages 16+)The Hold Steady (Ages 16+)Willie Nelson & Family (Ages 21+)

Easy Star All-Stars (Ages 16+)

AGES 16+

ANDRE NICKATINABizzy Bone

(from Bone Thugs-N-Harmony)

Glasses MaloneT.Mills • Dot Dot Curve

june 23-30, 2010

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George BensonNikki YanofskyJohn Pizzarel l iMartha Wainwright Sings PiafChick Corea The Bi l l Fr isel l Trio

John Scofield & the Piety Street BandTomasz Stanko QuintetStanley Clarke Band Feat HiromiBuck 65Kid Koala presents Slew Meshel l Ndegeocel lo

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june 23-30, 2010

Film.

never be forgotten for her performance as the sylvan Laura Palmer on Twin

Peaks. How to put this? She’ll always be a beautiful woman, but she’s aged noticeably. Lee—a forest spirit seen in winter—really complements Granik’s theme of ruin in these dark woods; her presence is of those feats of iconic casting that makes you gasp a little.

The subject matter of Winter’s Bone might have come from John Sayles—the writing is sympathetic and low-key as in a Sayles picture—but Granik seems more watchful in her choice of nonpro actors than Sayles was, framing them smartly, giving them more room. And no sense—as in Sayles—of a script that has it all down in print, or of the doubly underscored emphasis on the goodness of the working-person’s heart.

Winter’s Bone stays mysterious, even as it strays close to documentary. The most talked-about scene—the skinning and cleaning of a squirrel for dinner—is one of the most immaterial. This can’t

A young girl makes a

dangerous odyssey in

‘Winter’s Bone’ by Debra Granik

T HE MELODRAMA-FREE indie movie Winter’s Bone is like a Little Red Riding Hood story in which there’s

nothing but wolves. The film is about how the outlaw culture in the Ozarks hasn’t changed much from the days of Jesse James 135 years ago: sprawling clans still evade the law and deal out their own kind of justice. The only difference is that the business of moonshining has evolved into speed-cooking.

Adapted from Daniel Woodrell’s novel, Debra Granik’s spare, gripping film concerns 17-year-old Ree Dolly (a tough and thoroughly believable Jennifer Lawrence) and her search for a father who has vanished. Before he skipped bail on a meth-making charge, father Jessup signed over his house and woods to the bail bondsmen. Ree had planned to join the Army and use the signing bonus to help the rest of her family—two young children and a mother incapacitated by depression. Instead, the girl has to hunt up a father who doesn’t want to be found and try to get the truth from distant relatives who know much more than they’re saying. Ree is sometimes helped and sometimes hindered by her young Uncle Teardrop (John Hawkes).

Ree must beat her way through the stonewalling of her violent relations (a typical greeting: “What brings you here? Somebody died?”). Ree resolves

to get to the one closest to the center of the labyrinth: a bear-size granddad, played by the nonpro actor Ronnie Hall. This ill-tempered bruiser is named Thump, without any unnecessary explanation.

Granik, who made Down to the Bone with Vera Farmiga, films in the half-frozen hills near Springfield, Mo.—a forbidding landscape of bare trees, blue wood smoke and mobile home compounds guarded by chained-up pit bulls, of truck headlights that burst in suddenly on the rural roads and of a Stygian swamp where the mystery ends.

But one doesn’t get a sense of watching a city director glomming onto the squalor. When Granik cuts to a folk jam session led by singer/folklorist Maredith Sisco, the film practically glows from the goodness of the music. At this gathering, we see a familiar face.

One of the people Ree interrogates in her journey is April (Sheryl Lee), the ex-girlfriend of a cousin. Lee will

Looking for Jesse

Jennifer Lawrence plays Ozarks girl Ree in ‘Winter’s Bone.’

be the first squirrel the Dolly family has eaten. And the scene of Ree giving shooting lessons to her little brother just before he bags that squirrel also seems false: most kids in the deep woods shoot at an early age.

Nevertheless, the film’s fineness lies in the little details: the no-comment tour of Ree’s high school, the ROTC practicing in the gym and a solidly improvised scene of an Army recruiter lowering an applicant’s expectations. Even joining the military might not be a way out of these woods. Lawrence’s own fierceness gives this survival story the kind of immediacy that the summer’s action movies can only grope at.

WINTER’S BONE (R; 100 min.), directed by Debra Granik and starring Jennifer Lawrence, John Hawkes and Sheryl Lee, opens Friday at the Nickelodeon.

Sebastian Mlynarski

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

Call for Wed-Thu showtimes.

— (Opens Wed) 2; 4:20; 6:40; 9; plus Sat-Sun 11:40am.— Fri-Wed 6:20; 8; 9:30. — Fri-Wed 1:10; 3:45. — Sat-Sun 11am.

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

Call for Wed-Thu showtimes.

— (Opens Fri) 11:55; 2:20; 4:45; 7:30; 10. — (Opens Tue midnight) Wed Jun 30 11; 1:45; 4:40; 7:30; 10:15. — Tue 7:15.

— Fri-Wed 11; 1:30; 4:15; 6:45; 9:20. — Fri-Wed 12:30; 3:45; 7; 10.

— Wed Jun 30 10am.

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

Call for Wed-Thu showtimes.

— (Opens Fri) 2:50; 4:50; 6:50; 8:50; plus Sat-Sun 12:50pm.— (Opens Weds Jun 30) midnight.

— Fri-Wed 2:20; 4:40; 7:10; 9:20. —Fri-Wed 4:30; 7; 9:30.

— Fri-Sat midnight.

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

Call for Wed-Thu showtimes.

— (Opens Fri) 2:30; 4:40; 7; 9:10; plus Sat-Sun 12:10pm. — Fri-Wed 2:15; 4:30; 6:50; 9:20; plus Sat-Sun 12pm.

— Fri-Wed 2:40.—Fri-Wed 4:50; 7:10; 9:30; plus Sat-Sun 12:20.

— Fri-Wed 5:10; 7:20; 9:40; plus Sat-Sun 12:50pm.— Fri-Wed 2:40.

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

Call for Wed-Thu showtimes.

— (Opens Fri) 12:15; 1:15; 2:40; 4; 5:05; 7; 7:40; 9:25; 10:10.

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

Call for Wed-Thu showtimes.

— (Opens Tue midnight) Call for Weds Jun 30 showtimes.— Tue 6:30pm.

) — Fri-Wed 11; 1:40; 4:20; 7; 9:40.— Fri-Wed 11:30; 2:10; 4:50; 7:30; 10:05.

— Fri-Tue 11:15; 1:20; 3:25; 10:15; plus Fri-Mon 5:30; 7:55. — Fri-Wed 11:15; 1:50; 4:30; 7:10; 9:45.

— Fri-Wed 12:15; 3:20; 6:30; 9:35. — Fri-Wed 11:10; 1:50; 4:35; 7:15; plus Fri-Mon 10.

—Fri-Tue 11:50; 2:25; 5:05; 7:45; plus Fri-Mon 10:20. — Fri-Tue 11:15; 4; 6:45; plus Fri-Mon 9:25.

— Fri-Wed 12:30; 6:50. — Fri-Wed 3:35; 9:55. — Wed Jun 23 6:30pm.

r — Thu 7:30pm. — Thu 8pm.

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

Call for Wed-Thu showtimes.

— (Opens Fri) 11:10; 1:45; 4:30; 7:10; 9:30.— (Opens Tue midnight) Wed Jun 30 11; 1; 1:45; 4; 4:45; 7; 7:45;

9:45; 10:30. — Fri-Tue 12:45; 5:30; 10:15. — Fri-Wed 11; 1:30; 4:10; 6:45; 9:15.

— Fri-Wed 11:20; 2; 4:40; 7:20; 10. — Fri-Tue 3; 7:45.

— Fri-Tue 11:30; 2:10; 4:45; 7:30; 10:10. — Fri-Wed 12:30; 3:45; 7; 9:55.

— Wed Jun 30 10am.

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

Call for Wed-Thu showtimes.

(Opens Wed Jun 30) 1:30; 1:50; 4:30; 4:45; 7; 7:25; 9:30; 10. (Plus Tue Jun 23 midnight).

— Tue 7pm.— (Opens Fri) 1:30; 4:30; 7:10; 9:25; plus Sat-Sun 11am.

— Fri-Wed 1:15; 4; 7; 9:15; plus Sat-Sun 11am.— Fri-Wed 1:30; 4:15; 7:15; 9:30; plus Sat-Sun 11:15am.

— Fri-Wed 1:15; 3:15; 5:15; 7:15; 9:15; plus Sat-Sun 11:15am. — Fri-Wed 1:30; 4:30; 7; 9:30; plus Sat-Sun 11:05.

— Fri-Wed 1:35; 4:15; 7; 9:30; plus Sat-Sun 11am.— Fri-Tue 1:30; 4:30; 7; 9:20; plus Sat-Sun 11:05am.

— Fri-Tue 1:10; 3:15; 5:20; 7:30; 9:35; plus Sat-Sun 11am.

SHOWT IME S Showtimes are for Wednesday, June 23, through Wednesday, June 30, unless otherwise

indicated. Programs and showtimes are subject to change without notice.

(1941) Orson Welles produced, directed, co-wrote and starred in what is widely considered the greatest film ever made. Interviews with old friends and associates reveal the rise and fall of Charles Foster Kane (a character largely based on newspaper magnate William Randolph Hearst) as a reporter tries to find the meaning behind the tycoon’s dying word: “rosebud.” (Plays Thu at 8pm at Santa Cruz 9.)

(PG-13; 102 min.) Five friends who played basketball together in junior high (Adam Sandler, Chris Rock, Rob Schneider, David Spade and Kevin James) reunite after the death of their old coach. Deciding that adulthood shouldn’t prevent them from having fun like when they were kids, the group spends a rather immature 4th of July weekend together. (Opens Fri at 41st Ave, Riverfront, Scotts Valley and Green Valley.)

(Unrated; 90 min.) Two American girls are on a road trip through Europe when their car breaks in a German forest. They are captured by a mad scientist and locked in a basement with a Japanese man. The scientist plans to surgically connect the three of them, thus forming “the human centipede.” (Plays Fri-Sat midnight at Del Mar.)

(PG-13; 130 min.) When a woman meets a secret

agent on a blind date, she suddenly finds herself in the middle of a worldwide caper, pursued by other agents and not knowing if she can trust her new friend. Cameron Diaz and Tom Cruise star in this action comedy. (Opens Wed Jun 23 at Aptos.)

(PG; 110 min.) M. Night Shyamalan’s latest chronicles one young avatar’s efforts to end a century-long war begun when Fire Nation declared war on Water,

Earth and Air nations. (Opens Wed Jun 30 at Del Mar.)

(R; 90 min.) Michael Douglas plays Ben Kalman, formerly the owner of a successful car dealership. He is a master salesman, but his ethical lapses have ruined his personal relationships and his business. Ben has a chance to make things right by escorting his girlfriend’s daughter to a college interview, but due to his usual indiscretions, things are soon falling apart. (Opens Fri at Del Mar.)

(2008) A mouse, a rat and a girl walk into a castle. With the voices of Matthew Broderick, Dustin Hoffman and Emma Watson. (Plays Wed Jun 30 at 41st Ave.)

(1958) King of Shadows Orson Welles’ full realization of the power of the film noir: the violence, the twisted sexuality, the strange timeliness and the implicit political protest all brought into one last great play. The scene is the Mexican border during 24 hours

Movie reviews by Sean Conwell,

Traci Hukill, Steve Palopoli,

Richard von Busack and Christina Waters

june 23-30, 2010

Film CapsulesSHOWTIMES FOR FRIDAY JUNE 25 – WEDNESDAY JUNE 30

Online Ticketing Available @www.thenick.com

( ) = Bargain Shows Before 5:30pm

Children under 5 admitted only onMondays & Weekend Matinees

CLASSICS Tickets $6ON THE BIG SCREEN

Touch of Evil (PG-13)

Sat 6/26 & Sun 6/27 @ 11:00amNext Week: Mr. Smith Goes to Washington

(PG-13)

Midnights @ The Del Mar Tickets $6.50Fun! Prizes! Medically Accurate!

The Human Centipede (NR)

Fri 6/25 & Sat 6/26 @ Midnight

STARTS FRI 6/25!

Daily: (4:50), 7:10, 9:30 & Sat, Sun (12:20)

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

Daily: 6:20, 8:00, 9:30

Daily: (2:40)(R)

“Triumphant performances.” –Rolling StoneMichael Douglas Susan Sarandon Danny DeVito

Daily: (2:50), (4:50), 6:50, 8:50 & Sat, Sun (12:50)

(PG)Daily: (2:40)

“Irish fairy tale magic!” –NPRCOLIN FARRELL IN A NEIL JORDAN FILM

Daily: (2:15), (4:30), 6:50, 9:20 & Sat, Sun (12 noon)

Andy Garcia Juliana Margulies

Josh BrolinJohn Malkovich

Megan Fox

Russell Crowe Cate Blanchett

Daily: (1:10), (3:45)

(PG-

13)

(PG-

13)

(PG-13)

STARTS FRIDAY 6/25!

“Magical! Visually dazzling.” –Box OfficeFROM THE DIRECTOR OF ‘AMELIE’

Daily: (2:20), (4:40), 7:10, 9:20(R)

(R)

STARTS THURS 7/1 W/ ADVANCE MIDNIGHT SHOW 6/30!

On TwoScreens!

On The BigScreen in 3D!

Also inStadium

Seating 2D!DOLBY DIGITALWRITTEN AND DIRECTED BY M. NIGHT SHYAMALAN

Advance Tickets On Sale Now!

GRAND JURY PRIZE WINNER– SUNDANCE FILM FESTIVAL “Stunning!” –Edge

Daily: (2:30), (4:40), 7:00, 9:10 & Sat, Sun (12:10)(R)

ENDS

SOON!

(PG-

13)

Daily: (5:10), 7:20, 9:40 & Sat, Sun (12:50)

Exit Throughthe Gift Shop(R)

“Exhilarating! More fun than art was ever supposed to be.”–Entertainment Weekly

ENDS SOON!

ENDS SOON!

ENDS SOON!

(PG)

(PG)

STARTSTHURS8/1! Advance

Tickets OnSale Now!

(PG-

13)

ENDS WED 6/30!

Tom Cruise Cameron Diaz

FROM THEDIRECTOR OF‘3:10 TO YUMA’ & ‘WALK THE LINE’

Daily: (2:00), (4:20), 6:40, 9:00 & Sat, Sun (11:40) (PG-13)

ENDS WED 6/30!

as Capt. Hank Quinlan goes on his rounds: Welles plays him, the grossest, most corrupt policeman in all of film noir. He’s unshaven and unbathed; he has circular scars around his eyes as if the pennies had already been pressed into them. He’s been on the wagon for 12 years; this is the day he will fall off. Passing through town is the important Mexican anti-drug agent Miguel “Mike” Vargas (Heston—miscast in brownface of course, but way too much is made out of that). After witnessing the car-bombing of a bigwig, Vargas decides to interrupt his honeymoon with his new American bride, Susan (Janet Leigh). Mistake: Susan is kidnapped in retaliation for some earlier arrests Vargas made. The kidnappers are a drug-running family called the Grandis, led by Akim Tamiroff as Uncle Joe, a hideo-comic pipsqueak with a wandering toupee. Welles delights in the artificiality of his film, from masquerading himself as a buffalo-size cop to disguising the skid-row of Venice Beach as a Latin Baghdad. Marlene Dietrich’s special brand of artifice lights the movie. She plays Tanya, an ex-lover of Quinlan’s, a typical man-eater, broken down 30 years later. Touch of Evil is hardly just a touch of evil—it’s a veritable storm of different sorts of evils: violence, prejudice, ignorance and poverty, fixed in black-and-white. The film’s moral authority is summed up with an unforgettable image of a man trying to wash the blood off his hands in an open sewer: the Styx-like river that divides Mexico and the United States. (Plays Sat-Sun at 11am at Aptos) (RvB)

(PG-13; 124 min.) In the third Twilight film, Bella (Kristen Stewart) must choose once and for all between vampire Edward (Robert Pattinson) and werewolf Jacob (Taylor Lautner). As if that weren’t enough, Bella is targeted by a vindictive vampire enemy, and Seattle is

plagued by a string of mysterious killings. (Opens Tue midnight at 41st Ave, Santa Cruz 9, Scotts Valley, and Wed Jun 30 at Green Valley,)

(1971) Oompah-loompah-doopity-doo, I have another puzzle for you: what is it about those little freaks that scares the hell out of everyone? The smug self-righteousness? The sinister rejection of all fashion sense that is decent and good? The vague notion that the manufacture of candy should not be put in the hands of orange-skinned, blue-haired trolls? All of the above, my friends. All of the above. (Plays Wed Jun 30 at 11am at Scotts Valley) (SP)

(R; 100 min.) See review, page 43. (Opens Fri at Nickelodeon.)

(Unrated) Four of metal’s monsters are touring Europe together on the Sonisphere Festival; tonight the fest offers up a delayed broadcast from its June 22 show in Sofia, Bulgaria.

(PG-13; 108 min.) Many movies are called “The Little Film That Could”—Raymond De Felitta’s film deserves the name; the tale has tallness as well as heart. It concerns a tangle of confusion hitting the Rizzos, a suburban family that doesn’t realize how extended it is. Andy Garcia excels as Vince, a prison guard from a hidden waterside enclave in the Bronx. On the job, Vince encounters his own son Tony (Steven Strait) from a long-ago affair in Jersey and he decides to bring Tony home to do some day-labor without telling his wife his true identity. But Vince has another secret: he’s been taking acting classes in Manhattan, without informing his hostile, lynx-eyed wife, Joyce (Julianne Margulies, never better). The rest of the family

have secrets of their own: son Vince Jr. (Ezra Miller) is a chubby-chaser with eyes for the 400-pound woman next door, and daughter Vivian (Dominik Garcia-Lorido) has been moonlighting as a stripper. The tangle of lies is resolved nicely. City Island has fine waterscapes; Emily Mortimer is very soulful as the acting partner with whom Vince shares a deepening friendship; the ageless Alan Arkin has six very good scenes as a weary acting teacher who has seen generations of Brando imitators come and go. Provoking a family feud at a dinner table, or gazing at a BBW porn site as if it were the Holy Grail, Miller is also outstanding. (RvB)

(R; 87 min.) A highlight of film in 2010. The documentary’s actual subject isn’t street art per se, or even the career of the director, the elusive graffitist Banksy. Instead, director Banksy narrates a true-life parable about the career of a boutique owner named Thierry Guetta. Guetta is a friendly, mutton-chopped (and slightly mutton-headed) L.A. boutique owner whose video documentation of a covert scene led to his becoming a celebrity artist named “Mr. Brainwash.” Banksy’s art has soul as well as easily accessible political content. He takes on well-guarded subjects of oppression, from the British pound note to the Israeli security wall. Exit Through the Gift Shop is about anonymous craftsmanship eclipsed by the sun-gun of self-publicity, of illegal attacks on consensus reality, elbowed aside by fraudulence and hucksterism on a Dali-level scale. Inevitably, hype, pandering and foolishness replaced the artist’s sacred tools of silence, exile and cunning. (RvB)

(PG-13; 125 min.) Struck by heavy-metal poisoning from his atomic pacemaker, Tony Stark (a roguish Robert Downey Jr.) is besieged by enemies: a Russian ex-con with

access to his technology (Mickey Rourke), a glad-handing competitor (Sam Rockwell) and last but not least the U.S. government. Despite a middle section that vamps for time, Jon Favreau is successful in making this an invigorating meld of screwball comedy and robot-fighting action; Scarlett Johansson is most decorative as the agent known elsewhere as Black Widow, and Gwyneth Paltrow shows a nimbleness previously unseen (she has to act fast to get up to Downey’s speed). Broad, playful, well-cut and economically done, this movie isn’t just the first of the summer blockbusters—it’s the model for how they all should work. (RvB)

(PG-13; 81 min.) The disfigured Western antihero from DC Comics arrives on the big screen in a film that combines gunslinging action with supernatural events. Starring Josh Brolin as Hex, Megan Fox as a saloon girl and John Malkovich as archvillain Quentin Turnbull, whom Hex is hired to hunt down.

(PG-13; 100 min.) Ashton Kucher and Katherine Heigl star in this comedic action film about a government spook who settles into a happy suburban marriage. Things seem to be going fine, until he and his wife learn they are being targeted for assassination. As their neighborhood becomes a danger zone where everyone is suspect, the couple must uncover their enemies while maintaining the appearance of an average family.

(R; 105 min.) Jean-Pierre Jeunet (Amélie, The City of Lost Children) directs the story of Bazil (Danny Boon), orphaned by a bomb and later wounded in a drive-by shooting. After his release from the hospital, Bazil creates a whimsical underground home where he and his friends plot revenge against the arms dealers who have caused him so much grief.

(PG-13; 111 min.) This saltwater fairy tale by Neil Jordan (The Crying Game, Breakfast on Pluto) glistens with beautiful images, none more gorgeous than the opening shot of a solitary fisherman (Colin Farrell) gliding through the Irish coastal fog and drawing up his net to find it contains not only fish but a woman as well. The sight of the lovely Ondine (Alicja Bachleda) curled up a la Klimt in a bed of silver fish is utterly primal. The fisherman brings her back to life and the neo-fairy-tale mystery quickens. Jordan’s smart script acquires sharp edges, both in its bone-dry humor and in its refusal to cave in to the sweetness of the story. When a villain shows up, the ensuing crisis is both rough and surprising, but the ending is pure fairy tales. (CW)

(PG-13; 116 min.) Jake Gyllenhaal and Gemma Arterton are rival royals who join forces to stop an evil ruler (Ben Kingsley) bent on destroying the world by unleashing a massive sandstorm. Set in medieval Persia, based on the video game.

(PG; 130 min.) The true story of a Hawaiian princess (played by Q’Orianka Kilcher) and her struggle to maintain her nation’s freedom in the late 19th Century. After a childhood in Hawaii, Kaiulani is sent to Victorian England for her education. However, when she learns that an American-backed coup d’état has occurred in her homeland, she sets out to convince the United States to restore her kingdom.

(PG-13; 130 min.) Robin Hood looks like three long movies spliced into one unwieldy feature. This prequel concerns Robin’s involvement in the end of the crusades, the civil war and the little-known French invasion of England in the early 1200s. “Robin Longstride” (Russell Crowe) decamps from Richard the Lionheart’s army and goes into the countryside to pose as a dead knight; the father-in-law of the deceased (Max von Sydow) decides to do a Martin Guerre on this imposter, as does the widow Marian (Cate Blanchett in a wig nearly as tall as she is). This has to be the least-sylvan Robin Hood ever made.

Crowe looks less like a fox and more like a logy, depressed pit bull as the film tries to chug around him with more montages of burning villages and more meetings of angry Plantagenets. (RvB)

(Unrated; 175 min.) Straight from the Metropolitan Opera House in New York comes a performance of Gounod’s Shakespearean adaptation, with soprano Anna Netrebko as Juliette, tenor Roberto Alagna as Romeo and the great Placido Domingo taking a break from singing to occupy the conductor’s podium—all in high definition.

(R; 127 min.) Elegant but staid murder mystery nibbles around the edges of the Dirty War. It’s the “Forget it, Jacobo, it’s Argentinatown” view: the search for justice evaporating in 1974 Buenos Aires, with present-day sequences to frame a reopened investigator. It’s leavened by a fine Mulder and Scully anti-romance between an attractive female criminal investigator for the government, Irene (Soledad

Villamil), and her attractively crumbling, Mastroiannish male assistant, Benjamin (Ricardo Darín). Director Juan Jose Campanella is a regular director of House M.D. The film is as restless and jokey as a cop procedural show; every scene is on the mark, but there aren’t enough counterpoints to the assured flow of the story. The slick, vengeance-is-mine punch line isn’t very impressive either, though it’s probably why the Academy preferred this to the far better White Ribbon, where the fascist culprits got away. Saying that, though, would be assuming the voters didn’t have eyes for Villamil, an assured 40ish beauty whose performance is the secret in this movie’s success; her covert smile is the film’s signature piece. It won the Oscar for best foreign film. (RvB)

(G; 108 min.) With Andy off to college, Woody, Buzz and the rest of the toys are dumped at a daycare center where the little monsters in residence are free to torment them. Escape ensues. With the voices of Tom Hanks, Tim Allen, Joan Cusack and Don Rickles, among many more.

june 23-30, 2010

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.

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

$$ Indian. Authentic Indian dishes and specialties served in a Aptos 207 Searidge Rd, 831.685.0610 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. Aptos 8017 Soquel Dr, 831.688.1233 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 Aptos 257 Center Ave, 831.685.8111 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, Aptos 7500 Old Dominion Ct, lunch all week 11am-2pm; dinner Fri-Sat 5-10pm, Sun-Thu 831.688.8987 5-9pm. www.seacliffinn.com.

$$ Middle Eastern/Mediterranean. Fresh, fast, flavorful. Gourmet Aptos 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.

$ All day breakfast. Burgers, gyros, sandwiches and 45 flavors of Capitola 104 Stockton Ave, 831.479.8888 Marianne’s and Polar Bear ice cream. Open 8am daily.

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

California Continental. Swordfish and other seafood specials. Capitola 1750 Wharf Rd, 831.475.1511 Dinner Mon-Thu 5:30-9:30pm; Fri 5-10pm; Sat 4-10:30pm; Sun 4-9pm.

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.

$$$ California cuisine. Nightly specials include prime rib and Capitola 203 Esplanade, 831.475.4900 lobster. Daily 7am-2am.

Diner’s Guidejune 23-30, 2010

$$ Mexican/Seafood/American. Traditional Mexican favorites. Best Santa Cruz 1116 Pacific Ave, 831. 426.7588 fajitas, chicken mole, coconut prawns, blackened prime rib! Fresh seafood. Over 50 premium tequilas, daily happy hour w/ half-price appetizers. Sun-Thu 11am-10pm, Fri-Sat 11am-11pm.

$ California organic meets Southeast Asian street food. Organic Santa Cruz 1141 Soquel Ave, 831. 426.5664 noodle & rice bowls, vegan menu, fish & meat options, Vietnamese-style sandwiches, eat-in or to-go. Consistent winner “Best Cheap Eats.” Open daily 11am-11pm.

$$ American, California-style. With a great bar scene, casually Santa Cruz 110 Church St, 831.429.2000 glamorous setting and attentive waitstaff. Full bar. Mon-Sat 11:30am-10pm, Sun 1-10pm.

$$ Crepes and more. Featuring the spinach crepe and Tunisian Santa Cruz 1134 Soquel Ave, 831.429.6994 donut. Full bar. Mon-Thu 11am-midnight, Fri 11am-1am, Sat 10am-1am, Sun 10am-midnight.

Seafood. Fresh seafood, shellfish, Midwestern aged beef, pasta Santa Cruz 2218 East Cliff Dr, 831.476.4560 specialties, abundant salad bar. Kids menu and nightly entertainment. Harbor and Bay views. Lunch and dinner daily.

$ Mexican. Serving breakfast all day. Popular for our street tacos Santa Cruz 460 Seventh Ave, 831.477.2908 and handmade Salvadoran pupusas. Vegetarian options made w/ local fresh vegetables & organic tofu. Daily 9: 30am-9:30pm.

$$ Americana. Ribs, steaks and burgers are definitely the stars. Santa Cruz 303 Soquel Ave, 831.426.7770 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 Santa Cruz 1102 Pacific Ave, 837.420.0135 Eggs Benedict in Town.” Happy Hour Mon-Fri 5-6pm. Half- price appetizers; wines by the glass. Daily 8am-9pm.

’60s Vegas meets ’50s Waikiki. Amazing dining experience in Santa Cruz 221 Cathcart St, 831.426.4852 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 Santa Cruz 516 Front St, 831.421.0706 in fun atmosphere; kids play area; karaoke every night. Open seven days 5-10pm; Mon-Fri 11:30am-2:30pm.

$$ Seafood/California. Fresh catch made your way! Plus many Santa Cruz 493 Lake Ave, 831.479.3430 other wonderful menu items. Great view. Full bar. Happy hour Mon-Fri. Brunch Sat-Sun 10am-2pm. Open daily.

$$$ Italian. La Posta serves Italian food made in the old style— Santa Cruz 538 Seabright Ave, 831.457.2782 simple and delicious. Wed-Thu 5-9pm, Fri-Sat 5-9:30pm and Sun 5-8pm.

$$ Fine Mexican cuisine. Opening daily at noon. Santa Cruz 49B Municipal Wharf, 831.458.9393

$$ Thai. Individually prepared with the freshest ingredients, Santa Cruz 1319 Pacific Ave, 831.420.1700 plus ambrosia bubble teas, shakes. Mon-Thu 11:30am-9:30pm, Fri 11:30am-10pm, Sat noon-10pm, Sun noon-9:30pm.

Italian-American. Mouthwatering, generous portions, Santa Cruz 555 Soquel Ave, 831.458.2321 friendly service and the best patio in town. Full bar. Lunch

Indian. World-famous Indian curries, vegetarian and non- Santa Cruz 270 Soquel Ave, 831.427.2400 vegetarian 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 Santa Cruz 1220 Pacific Ave, 831.426.9930 execution. Lunch and dinner all day, open Mon-Fri 11:30am- midnight, Sat-Sun 11:30am-1:30am.

$$ Wine bar with menu. Flawless plates of great character and flavor; Santa Cruz 105 Walnut Ave, 831.423.2020 sexy menu listings and wines to match. Lunch Wed-Sat noon- 2pm; dinner Mon-Thu 5-10pm, Fri-Sat 5-11pm, Sun 4-10pm; retail shop Mon 5pm-close, Tue-Sat noon-close, Sun 4pm-close.

$$ Pizza. Specializing in authentic Sicilian and square pizza. Santa Cruz 2415 Mission St, 831.423.9010 Homemade pasta, fresh sandwiches, soups, salads and more. Hot slices always ready. Sun-Thu 10am-9:30pm, Fri-Sat 10am-11pm.

$$ Pizza. Pizza, fresh salads, sandwiches, wings, desserts, beers on Santa Cruz 710 Front St, 831.427.4444 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.

$ 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.

$ Cambodian. Fresh kebabs, seafood dishes, soups and noodle Scotts Valley 5600 #D Scotts Valley Dr, bowls with a unique Southeast Asian flair. Beer and wine 831.438.5005 available. Patio dining. Sun-Thu 11am-9pm, Fri-Sat 11am-10pm.

june 23-30, 2010

36 | june 23-30, 2010 SANTACRUZ.COM

Call us about Weekly Specials! (831) 662-7120

Weekly SpecialsVisit SanderlingsRestaurant.com

for all the Weekly Specials! Wine shop

Tasting

Gifts

Accessories

Downtown Santa Cruz

on Abbott Square off Cooper Street

(Near Annie Glass).831-426-VINO (8466) www.vinocruz.com

Pacific Ave.

Cooper Street

Front Street

AbbotSquare

AnnieGlass

Museum of Art and History

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June 261:30—4:30 pm

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WOMEN’SSelf-Defense Class

(March 21–April 19): A few years ago, a group of artists built a giant bunny out of pink wool on an Italian mountainside. The 200-foot-long effigy will remain there until 2025. There’s a disturbing aspect to this seemingly goofy artifact, however: It has a wound in its side where its guts are spilling out. That’s why I don’t recommend that you travel there and commune with it. According to my reading of the astrological omens, you would definitely benefit from crawling into a fetal position and sucking your thumb while lying in the comfy embrace of a humongous mommy substitute. But you shouldn’t tolerate any tricks or jokes that might limit your ability to sink into total peace and relaxation.

(April 20–May 20): In 1998, I spent three weeks reading The Psychoanalysis of Fire and The Poetics of Reverie, two books by French philosopher Gaston Bachelard. His teachings were so evocative that I filled up two 120-page journals with my notes. To this day, I still refer to them, continuing to draw fresh inspiration from ideas I wasn’t ripe enough to fully understand when I first encountered them. You’re entering a phase of your astrological cycle when a similar event could happen for you, Taurus: a supercharged educational opportunity that will fuel you for a long time.

(May 21–June 20): Congrats, Gemini! You have not only weathered your recent phase of relentless novelty; you’ve thrived on the adjustments it demanded of you. I am hereby awarding you with the rare and prestigious title of Change-Lover, which I only bestow upon one of the signs of the zodiac every four years or so. So what’s next on the schedule? The shock of the new will soon subside, giving you a chance to more fully integrate the fresh approaches you’ve been adopting. I suggest you relax your hyper-vigilance and slip into a slower, smoother, more reflective groove.

(June 21–July 22): Here are the low-paying jobs I’ve done that I wasn’t very good at: tapping sap from maple trees in Vermont; driving a taxi in North Carolina; toiling as an amusement park ride operator in New Jersey; being a guinea pig for medical experiments in California; digging ditches in South Carolina; and picking olives from trees in the south of France. Do I feel like a failure for being such a mediocre worker and making so little money? No, because although it took me a while, I finally found jobs I was good at, and have been thriving ever since. Why would I judge myself harshly for having trouble doing things that weren’t in sync with my soul’s code? Please apply this line of thinking to yourself.

( July 23–Aug. 22): Each year, Playboy magazine publishes a list of the best colleges to go to if you prefer partying to studying. In its recent rankings, a top spot went to the University of Wisconsin, which was dubbed “the best beer-drinking school in the country.” As a counterpoint to this helpful information, HuffingtonPost.com offered a compendium of the best anti-party schools. Brigham Young got favorable mention since it has a policy forbidding students from drinking, smoking, and having sex. The University of Chicago was also highly regarded, being “the place where fun goes to die.” For the next three weeks, Leo, I recommend that you opt for environments that resemble the latter more than the former. It’s time for you to get way down to business, cull the activities that distract you from your main purpose, and cultivate a hell of a lot of gravitas.

(Aug. 23–Sept. 22): You’re entering a phase of your long-term cycle when cultivating abundance is an especially smart thing to do. To take maximum advantage, I suggest that you be both extra generous and extra receptive to generosity. Bestow more blessings than usual and put yourself in prime positions to gather in more blessings than usual. I realize that the second half of this assignment might be a challenge. You Virgos often feel more comfortable giving than receiving. But in this case, I must insist that you attend to both equally. The giving part won’t work quite right unless the receiving part is in full bloom.

(Sept. 23–Oct. 22): What have you lost in recent months, Libra? This week begins a phase when will you have the potential to not exactly recover it, but rather to re-create it on a higher level. Maybe a dream that seemed to unravel was

simply undergoing a reconfiguration, and now you’re primed to give it a new and better form of expression. Maybe a relationship that went astray was merely dying so it could get resurrected, with more honesty and f lexibility this time around.

(Oct. 23–Nov. 21): I’m guessing that you’ve been ushered into a frontier that affords you no recognizable power spot. It probably feels uncomfortable, like you’ve lost the inside track. And now along comes some wise guy—me—who advises you in his little horoscope column that you are exactly where you need to be. He says that this wandering outside the magic circle is pregnant with possibilities that could help you make better use of the magic circle when you get back inside at a later date. I hope you will heed this wise guy and, at least for the moment, resist the temptation to force yourself back into the heart of the action.

(Nov. 22–Dec. 21): There used to be a tradition in Sweden that young women could dream of the person they would ultimately wed if they put seven kinds of f lowers beneath their pillows on Midsummer’s Eve. That’s crazy nonsense, of course. Right? Probably. Although I must note that two nights ago I placed a gladiolus, hydrangea, lilac, orchid, snapdragon, tulip, and rose under my pillow, and subsequently dreamed of being visited by the lily-crowned Goddess of Intimacy, who asked me to convey a message to you Sagittarians. She said that if you even just imagine slipping seven f lowers under your pillow, you will have a dream about what you should do in order to help your love life evolve to the next stage of its highest potential.

(Dec. 22–Jan. 19): Have you ripened into such a knowledgeable, sophisticated person that you’re hard to surprise? Do you draw conclusions about each new experience by comparing it to what has happened to you in the past? I hope not. I hope you’re ready to be a wide-eyed, open-armed, wild-hearted explorer. I hope you will invite life to blow your mind. In the days to come, your strongest stance will be that of an innocent virgin who anticipates an interesting future. Blessings you can’t imagine will visit you if you’ll excuse yourself from outdated expectations and irrelevant complications.

( Jan. 20–Feb. 18): The notorious Wicked Bible was published in 1631. That wasn’t its original name. It was supposed to be as holy as every Bible. But it contained an error that slipped by the proofreaders’ notice: In the book of Exodus, where the Ten Commandments were listed, the word “not” was excluded from one commandment. What remained, an insult to pious eyes, was “Thou shall commit adultery.” Most of these books were later burned, and the publisher was punished. Be on the lookout for a comparable f lap, Aquarius: a small omission that could change the meaning of everything. Ideally, you’ll spot the error and fix it before it spawns a brouhaha.

(Feb. 19–March 20): The plant known as the squirting cucumber has an unusual talent: When the fruit is ripe, it opens up and spits out a rapid—fire stream of seeds that travels a great distance. In the coming weeks, Pisces, you’ll have resemblances to this aggressive fructifier. It’ll be prime time to be proactive about spreading your influence and offering your special gifts. The world is begging you to share your creative spirit, preferably with rapid-fire spurts that travel a great distance.

june 23-30, 2010

For the week of June 23

AstrologyFree WillBy Rob Brezsny

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