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In addition to the violations, city staff said a patron headbutted a police officer. Businesses and operational hours will also change from 5 p.m. to 2 a.m. on Fridays and 6 p.m. to 2 a.m. on Saturdays to daily hours from 7 a.m. to 10 p.m. The move will transform into just a bar and restaurant. Operational hours will be from 7 a.m. to midnight, with staff leaving no later than 12:30 a.m. Changes to the late night hours were suggested by city staff, who said that calls for police service were most often made between midnight and 2 a.m.
“We compared (The Spot) to other restaurants, which is what they are, and they were significantly crochet ballet slippers higher for calls for service,” Campbell Police Capt, Joe Cefalu told the commission, “And we looked at just bars, and they were over double the calls.”, Rather than revoke the business’s conditional use permit, the commission agreed with staff’s recommendation to cap maximum capacity at 125 people and to no longer allow people on the patio area, The city recently discovered that part of the patio area was on public property, and as such the business did not have a permit for outdoor alcohol service..
“We were totally unaware of this,” said Aaron Crites, owner of The Spot, adding there have been city officials and staff on the patio area before, and the public property issue never came up. “Not to mention we were here at the planning commission only a short year ago, and there was no mentioning of it then, either. Again, communication with the business is very important.”. Crites responded to each of the violations during the meeting, saying that some of the overcapacity numbers were “exaggerated,” and that the conditions in his live entertainment permit were not being applied properly. He said the city was enforcing hours from a past live entertainment permit for a previous establishment.
“Within the last 10 weeks we have seen some unfair practices and assumptions that can truly be verified by us,” Crites said, This was the second such visit for ownership before the planning commission in a year, Last summer saw discussion over confusion and complaints from nearby residents when outdoor entertainment continued past 5 p.m, crochet ballet slippers on Sundays, A dance floor is no longer permitted at any time, and a full menu is required so that the business operates as a restaurant rather than a nightclub..
Special, so very special. The words of Radiohead’s “Creep” are a fitting description of Scott Bradlee’s Postmodern Jukebox. “PMJ”, as it is known to its legions of YouTube and Facebook fans, takes modern pop and rock songs and reimagines them in the styles of yesteryear — 1920s and ’30s New Orleans jazz, ’40s and ’50s doo-wop. Their torch-song rendition of Radiohead’s “Creep” has racked up over 28 million views on YouTube, and still counting. Arranger and pianist Bradlee posted the first Postmodern Jukebox video to YouTube in 2009 and now releases a new video every week, most of which are filmed casually in Bradlee’s living room. The touring group collects together different combinations of talented performers, some of whom are collected from the later stages of “American Idol” and many from Broadway. Casey Abrams is a talented performer who plays standup bass as well as singing (and generally entertaining the crowd, including jumping off the piano). His New Orleans style version of Sam Smith’s “I’m Not The Only One” takes a rather depressing slow song and turns it into an upbeat dance number. Abrams knows how to handle a bass, too.
The group was emcee’d at this show — Stanford’s Bing Concert Hall on Wednesday, Feb 15 — by Mario Jose, a Bay Area native and seasoned singer/songwriter and session vocalist, Jose is a big man with a big voice, and as well as introducing us to the other talented performers, he also sang the PMJ versions of Justin Timberlake’s “Cry Me A River” and Radiohead’s “Creep,” to which he did real justice, We were treated to a delectable threesome of female singers, Shocking redhead Dani Armstrong blew us away with her rendition of Sia’s “Chandelier” while Brielle Von Hugel gave us Selena Gomez’ “Same Old Love.” But Robyn Adele Anderson really wowed us with crochet ballet slippers a vintage ’20s version of “Call Me Maybe.” No maybe about it, I’m calling..
But PMJ is not restricted to just a bunch of singers. As is often the case on their YouTube videos, the singers were joined by a tap dancer. In this case the excellent Anissa Lee, from Los Angeles. On just a small patch of stage, Lee really added the cherry to an already well-frosted variety cake. She had her own little piece of the show, when she and drummer Martin Diller battled each other percussively. Difficult to say who won. And apparently Lee also created the costumes for the show. An artiste in more ways than one.
Although the singers and the dancer were front and center, the band itself had its own stars, Logan Evan Thomas took on the crochet ballet slippers jazz pianist mantle of creator Scott Bradlee and Chris Anderson did bass duty as well as musical direction, Martin Diller held the vintage rhythms together on drums while Bob Hamilton bolstered the rhythm section with his guitar and banjo work, But standouts in the back row were in the horn section, James Hall on trombone (tall and skinny, not unlike a vertical trombone) anchored some lively brass sections while his much shorter cohort, Chloe Feoranzo did excellent duty on saxophone and clarinet, Feoranzo can also sing, and gave us a sultry version of Radiohead’s “No Surprises,” and soloed on clarinet..