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It’s been nearly seven years since Stow, a former paramedic, was severely beaten following a Giants-Dodgers game March 31, 2011, in Los Angeles. He talked to the club about his experiences and the Bryan Stow Foundation, which brings an anti-bullying message to schools. You can find out more about the foundation’s work at www.bryanstowfoundation.org. SPINNING AND WINNING: Uproar Brewing Co. in downtown San Jose is launching a new “Sunday Vinyl” series this weekend, with downtown promoter Fil Maresca as its first “celebrity DJ” playing music from 5 to 8 p.m.
Maresca says he’s digging out his collection breaking pointe shoes of 1980s New Wave, Modern Rock and Brit Pop, with a few funky surprises thrown in and some 12” extended dance mix singles, “I have a bunch of them from my days as a DJ in 1980s San Francisco before moving to S.J, to open the Oasis in 1987,” Maresca said, And, from a suggestion by Santa Clara County Poet Laureate Mighty Mike McGee, Maresca will have ’80s music bingo cards so you can play along as you listen to the Talking Heads and A Flock of Seagulls..
TALKING IMMIGRATION: In support of the exhibition “Traveling Stitches: Quilts Made at the Day Worker Center of Mountain View,” the Los Altos History Museum has put together its own tapestry of community leaders for a panel discussion on immigration issues Thursday. Related ArticlesSan Jose dive bar with a bad reputation reinventing itselfNew role for former Santa Clara County Supervisor Ken YeagerCity Lights’ ‘Eurydice’: A bilingual production with a twistReaders’ ideas for changing Burnett Middle School nameEggs-citing news for San Jose City Hall’s resident falconsThe 7 p.m. panel at the Los Altos Youth Center on San Antonio Road features San Jose State professor Margo McBane, Mountain View-Whisman School District Superintendent Ayinde Rudolph, Los Altos Mayor Jean Mordo, DACA representative Angelica Esquivel of De Anza Valley College, immigration attorney Mary Dutcher and William Lambert, board president of the Day Worker Center of Mountain View.
By Ann Hornaday, (c) 2018, The Washington Post, In “Foxtrot,” an intriguing jewel box of a film, Israeli writer-director Samuel Maoz creates an elegant allegory of self-examination and the unmaking of breaking pointe shoes myth, employing symbolism, theatricality and misdirection to question some of the most reassuring stories his home country tells itself, With a fluent mix of irony and sincerity, Maoz interrogates – gently, but with unwavering insistence – the rituals of a country mired in the moral contradictions of occupation and its own defensive crouch, As the title suggests, the movie’s characters are caught up in a dance only partially of their own making, doomed to repeat steps they didn’t choose and that get them precisely nowhere..
As “Foxtrot” opens, a prosperous Tel Aviv architect named Michael Feldman (Lior Ashkenazi) and his wife, Daphna (Sarah Adler), are visited by two soldiers who tell them their son Jonathan has been killed. For the next several minutes, we bear intimate witness as Michael numbly answers questions and submits to the ministrations of his visitors, who express a notable interest in his water intake. At first Michael listens quietly as the soldiers explain the nuts and bolts of the funeral, a piece of regimented stagecraft more rooted in formulaic hagiography than genuine remembrance. In time, his glazed confusion gives way to anger when he realizes that no one can tell him precisely where, how and why his son died.
Relayed in a series of quiet, intensely focused scenes that seemingly play out in real time, this initial sequence – step one? – gives “Foxtrot” firm grounding both in realism and stylized metaphor, It quickly becomes clear that Maoz, who favors occasional but pointedly Godlike overhead shots, isn’t afraid to give his themes added visual oomph in terms of design and framing, From the boxlike structure of the Feldmans’ prosperous apartment breaking pointe shoes to the motif of nesting boxes that repeats from hallway to floor tile to the art on the walls, his characters are unmistakably trapped, whether within past guilt or reflexive notions of nationalism and honor..
These ideas come to a head in “Foxtrot’s” next section, where we meet the young Jonathan Feldman in the days leading up to the announcement of his death. Assigned to a desolate outpost kitted out with antique computers and decades’ worth of cigarette butts, Jonathan (Yonatan Shiray) and his fellow soldiers while away the time playing first-person shooter games, telling stories and inspecting the cars of Palestinian travelers cautiously encountering yet another irritating – or potentially deadly – checkpoint.
It’s during this sequence that “Foxtrot” engages in alternately amusing and sobering flights of absurdism, whether in the form of an impromptu pas de deux with a machine gun, the sight of a camel making its languorous way under a bobbing guardrail or the faded painting on the side of the abandoned ice cream truck that serves as the soldiers’ home base, its decaying mural of a smiling blond woman a frayed index of compromised values on a much larger scale, (Members of the Israeli government breaking pointe shoes have criticized “Foxtrot” for its unfavorable depiction of the Israeli military and its treatment of Arab citizens.) This is a part of the world, Maoz tells us, where a fleeting moment of exquisite connection can, with the wrong timing, give way to similarly brief but far more senseless carnage..