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J U LLYY 1 - 77,, 2 0 0 9 · V O L . 2 5 , N O . 1 8 · S A N J O S E , C A · F R E E

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silicon valley’s weekly newspaper

X

[02]

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y HOME OF FAST, FRIENDLY, COURTEOUS SERVICE.®

Starting June 26, 2009 buy Windows® Vista Home Premium, Business, Ultimate or any Desktop/Notebook with Pre-Installed Windows® Vista Home Premium, Business or Ultimate and Get a Free* Copy of Windows® 7 after Release Date.

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29

IMAGECLASS D1120 BLACK & WHITE LASER MULTIFUNCTION COPIER

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• 720P Pixel Resolution • Touch Of Color Design • 15,000:1 Dynamic Contrast Ratio • Fast 8ms Response Time #5861113

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SHOP ONLINE at www.FRYS.com "Advertised prices valid only in metropolitan circulation area of newspaper in which this advertisement appears.

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299

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CAMPBELL 600 E. Hamilton Ave. (408) 364-3700 • FAX (408) 364-3718 CONCORD 1695 Willow Pass Road (925) 852-0300 • FAX (925) 852-0318 FREMONT 43800 Osgood Road (510) 252-5300 • FAX (510) 252-5318 PALO ALTO 340 Portage Ave. (650) 496-6000 • FAX (650) 496-6018 SAN JOSE 550 E. Brokaw Road (408) 487-1000 • FAX (408) 487-1018 SUNNYVALE 1077 E. Arques Ave. (408) 617-1300 • FAX (408) 617-1318

34

$

99

After All Rebate

59

VIDEO GAME #5892233/#5892243

STORE HOURS: M-F 8-9, Sat 9-9, Sun 9-7 Prices Good Wednesday, July 1, 2009 thru Thursday, July 2, 2009 Prices subject to change after Thursday, July 2, 2009 Limit Rights Reserved. Not Responsible for Typographical Errors. No Sales to Dealers or Resellers. Rebates Subject to Manufacturer's

Fry's Electronics, American Express® Cards, MasterCard, Visa Card, and Discover Network Card, Accepted at All Fry's Locations

Specifications. Designated trademarks and brands are the property of their respective owners. Sales tax to be calculated and paid on the in-store price for all rebate products.Actual memory capacity stated above may be less. Total accessible memory capacity may vary depending on operating environment and/or method of calculating units of memory (i.e., megabytes or gigabytes). Portions of hard drives may be reserved for the recovery partition or used by pre-loaded software.

2GB FREE ONLINE BACKUP

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WITH HEAT

Limit 2 Per Customer

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• 5 Deep Kneading Shiatsu - State-Of-The-Art, Rotating Shiatsu Relieves The Tightest Knots • 5 Soothing Heat - For A More Penetrating, Deep-Relieving Massage • 5 Targeted Massage - Works Where You Need It: Neck, Back, Shoulders And More • 5 Ultra Plush And Comfortable Soft Pillow Wrapped In Luxurious Fabric Conforms To Your Body • 5 Convenient Integrated Control Choose Massage Or Massage And Heat Combined

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19" HDTV

74

EACH

SIMPLEDRIVE USB 2.0 HARD DRIVE Limit 1 Per Customer

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87

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$

10499

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Have us Install Your In-Home Wireless Network We Can Also Set Up and Configure Parental Control Set Up Includes One PC and Security

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JULY 1-7, 2009

[03]

HOME OF FAST, FRIENDLY, COURTEOUS SERVICE.®

Starting June 26, 2009 buy Windows® Vista Home Premium, Business, Ultimate or any Desktop/Notebook with Pre-Installed Windows® Vista Home Premium, Business or Ultimate and Get a Free* Copy of Windows® 7 after Release Date.

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9 77

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FIGHT NIGHT

GAMES

XBOX 360/PLAYSTATION 3

ROUND 4

VARIOUS ARTISTS #5950914

M E T R O S I L I C O N VA L L E Y

TRANSFORMERS: REVENGE OF THE FALLEN

CONDUIT

EACH

1577

99

$

EACH

42

$

1577

99

$

EACH

1677

DVD MOVIE

DVD MOVIE

DVD MOVIE

#5920464

#5920434

#5914514

#5919764

2477

$

2477

$

2577

5 GIFT

$

CARD

$

2377

SEASON

5

#5942904

$

BLU-RAY MOVIE

BLU-RAY MOVIE

BLU-RAY MOVIE

DVD MOVIE

#5920444

#5914494

#5919964

#5923054

STORE HOURS: M-F 8-9, Sat 9-9, Sun 9-7 Prices Good Wed., July 1, 2009 thru Thurs., July 2, 2009 Prices subject to change after Thurs., July 2, 2009 Limit Rights Reserved. Not Responsible for Typographical Errors. No Sales to Dealers or Resellers. Rebates Subject to Manufacturer's Specifications. Designated trademarks and brands are the property of their respective owners. Sales tax to be calculated and paid on the instore price for all rebate products.Actual memory capacity stated above may be less. Total accessible memory capacity may vary depending on operating environment and/or method of calculating units of memory (i.e., megabytes or gigabytes). Portions of hard drives may be reserved for the recovery partition or used by pre-loaded software.

#5908574

PSP

$

SEASON

3

3177

#5920454

EACH

$

1977

DVD MOVIE

2 6 74

2 5 74

24 99

BLU-RAY MOVIE

CAMPBELL 600 E. Hamilton Ave. (408) 364-3700 • FAX (408) 364-3718 CONCORD 1695 Willow Pass Road (925) 852-0300 • FAX (925) 852-0318 FREMONT 43800 Osgood Road (510) 252-5300 • FAX (510) 252-5318 PALO ALTO 340 Portage Ave. (650) 496-6000 • FAX (650) 496-6018 SAN JOSE 550 E. Brokaw Road (408) 487-1000 • FAX (408) 487-1018 SUNNYVALE 1077 E. Arques Ave. (408) 617-1300 • FAX (408) 617-1318

$

$

$

74 #5931934/#5931954

#5932794

3 4 74

$

1677

DVD MOVIE

$

Wii

#5931794

24

99

$

49

$

EACH

#5931844/#5931864/#5931874

3 4 74

$

74

#5927394

MAC/PC DVD-ROM

$

$

PSP

Wii

#5908604

$

#5909614

42

$

2 5 74

43

59

74

#5886123

$

#5932924/ #5932934#5932984

3 4 99

Wii

#5927414/#5927424

#5872503

Wii/PLAYSTATION 3/XBOX 360

#5892243/#5892233

$

Wii/PLAYSTATION 3/XBOX 360

XBOX 360/PLAYSTATION 3

59

74

EACH

EACH

EACH

$

$

89

#5886463/ #5887213#5887313

#5917954/#5917974

XBOX 360/PLAYSTATION 3

52 99

$

XBOX 360/PLAYSTATION 3

#5825913/#5825903

AVAILABLE TOMORROW

BY NOON

59

$

AVAILABLE TOMORROW

BY NOON

DVD MOVIE

#5920224

$

SEASON

1

1899

1977

DVD MOVIE

#5942914

THE COMPLETE LOW PRICE GUARANTEE “We Will Match Any Competitive Price.” * Before making a purchase from Fry’s, if you see a lower, in-stock, in-store price at a local competitor, Fry’s will be happy to match the competition’s price.

“30 Day Low Price Guarantee.” If within 30 days of purchasing an item from Fry’s you see a lower in-stock price at a local competitor with a low price guarantee, Fry’s will cheerfully refund 110% of the amount of the competitor's low price guarantee. Or, if within 30 days of purchase, a local Fry's, or a local competitor without a low price guarantee has a lower price, Fry's will refund 100% of the difference. NOTE: All comparisons are based on price, excluding any applicable sales tax. Low price guarantee for notebook computers, microprocessors, memory, CD and DVD recorders, camcorders, digital cameras, and air conditioners is within 15 days from purchase date. To apply for Fry's low price guarantee, simply bring in your original cash register receipt and verifiable proof of a current lower price. *All comparisons are based on in-store tagged prices at the time of request, excluding sales tax. Offer good on all fresh-boxed products of the same exact model in stock at a local competitor. We reserve the right to limit this offer to one of each model. Offer does not apply to wireless phones and pagers that require a service agreement. Offer does not apply when price includes bonus or free offers or one-of-a-kind or limited-quantity offers. NOTE: Does not apply to expired ads. Fry’s ads are valid for only stores listed in the ad.

Celeron, Celeron Inside, Centrino, Core Inside, Intel, Intel Core, Intel Inside, Intel SpeedStep, Intel Viiv, Intel Xeon, Itanium, Itanium Inside, Pentium, Pentium Inside, the Centrino logo, the Intel logo and the Intel Inside logo are trademarks or registered trademarks of Intel Corporation or its subsidiaries in the United States and other countries.

[04] CONTENTS

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

Silicon Valley’s Weekly Newspaper

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Californiaâ&#x20AC;&#x2122;s Deep Faults_11

Phil Trounstine and Jerry Roberts on exactly what makes the state ungovernable

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Arts

Surreal Visions_43

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A locally owned company

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M E T R O S I L I C O N VA L L E Y

JULY 1-7, 2009

[05]

[06] LETTERS

JULY 1-7, 2008 M E T R O S I L I C O N VA L L E Y

BY TOM TOMORROW oil, including myself, sits in a place of simultaneous fear and hope.

Itâ&#x20AC;&#x2122;s going to take all of us to manage the transition to a postcarbon world, so please donâ&#x20AC;&#x2122;t draw false lines in the sand.

Asher Miller, Executive Director, Post Carbon Institute, Sebastopol

Bank Shot Playing pool at the Cinebar was always an adventure when I lived in San Jose back in the â&#x20AC;&#x2122;90s (â&#x20AC;&#x153;Inside the Feltway,â&#x20AC;? Club Scene, June 17). One night, my wife, Carrie, and I beat the â&#x20AC;&#x153;top dogsâ&#x20AC;? of the table in front of a packed house. Bartender Ace fed us drinks and set up a table with chairs near the pool table for us to sit atâ&#x20AC;&#x201D;royal treatment!

Andy Nystrom Seattle

Miner Notes

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5

â&#x20AC;&#x2DC;Dreamersâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;Doomersâ&#x20AC;&#x2122; I was disappointed to see that Metro would perpetuate the tired claim that thereâ&#x20AC;&#x2122;s a rift between peak oil believers. The article falsely presents a conďŹ&#x201A;ict between Transitionists and those the author calls â&#x20AC;&#x153;Post Carbonistasâ&#x20AC;? (â&#x20AC;&#x153;Bike to the Future,â&#x20AC;? Cover Story, June 24).

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I ďŹ nd it particularly disturbing that the article makes no mention of the fact that the Post Carbon Institute and the Transition Network have a very close and productive relationship. In fact, the PCI seed-funded Transition U.S., the national support organization here in the United States. I and Richard Heinberg, PCI Senior Fellow, both sit on the board of TUS. Rob Hopkins,

founder of the Transition movement, is also a Post Carbon Fellow.

This false dichotomyâ&#x20AC;&#x201D;between â&#x20AC;&#x153;doomersâ&#x20AC;? and â&#x20AC;&#x153;dreamersâ&#x20AC;?â&#x20AC;&#x201D;is dangerous because itâ&#x20AC;&#x2122;s not fair to your readers or others just discovering peak oil to think that they must somehow pick a side. There are no sides because everyone I know in the broad community who is aware of peak

Nice article (â&#x20AC;&#x153;End of the Trail,â&#x20AC;?

MetroNews, June 24) that covers most of the important details, except this: Miners that worked in all of the mining operations at clear creek over the last century without respiratory protection were either immune to the â&#x20AC;&#x153;white deathâ&#x20AC;? that the EPA claims

is killing us, or the EPAâ&#x20AC;&#x2122;s test results are false. Common sense says that we are not in danger riding at Clear Creek.

Tom Keith Redwood City

Ghost Writer Thank you for printing this piece. We (dirtbikers) donâ&#x20AC;&#x2122;t usually get a lot of press coverage. We are thought of as rogues, thugs and miscreants who terrorize the landscape.

We are not. We are mostly families with kids and grandkids who ride together, and a lot of us do a lot of volunteer work to keep our riding areas open and maintained. I have over 200 volunteer hours last year at Metcalf Park in San Jose as a trail watch volunteer ďŹ xing trails and patching up bodies. My club, Ghostriders Motorcycle Club (www.ghostriders mc.org) is a nonproďŹ t which has donated thousands of dollars to many local non-motorcycle-related organizations in the area just because we could. Please continue to pursue this issue at Clear Creek, cuz we want to go to our â&#x20AC;&#x153;home away from home.â&#x20AC;?

Barry â&#x20AC;&#x2DC;Meatâ&#x20AC;&#x2122; Newman San Jose

J!Tbxzpv Holier Rollers I hope youâ&#x20AC;&#x2122;re pleased with yourselves, you holier-than-thou bicyclists. There you were by the thousand, riding east on St. James at 10pm Friday night. It was just one big party, and because there were mobs of you, no reason to observe the rules of the road or a little common courtesy. Would it have killed any of you to yield to the pedestrian at First Street who patiently waited to cross with the trafďŹ c signal? Apparently, it was too much work to actually stop to let the harmless pedestrian pass, so he had to dodge and weave his way to the other side of the street.

Oh, I guess that you were making some sort of political statement, but trying to run down pedestrians is not the way to make friends and inďŹ&#x201A;uence people, or win sympathy for the bike cause. Next time, try yielding to pedestrians in the crosswalk, assholes!

SEND US your anonymous rants, raves, gripes and diatribes about your co-workers, bosses, enemies or any badly behaving citizen who rankles your ireâ&#x20AC;&#x201D;or about citizens you admire. Send to: I SAW YOU, Metro, 550 S. First St., San Jose, 95113, or via email to isawyou@metronews.com.

Gpmmpx!Nfusp!po!Uxjuufs!bu!uxjuufs/dpn0nfuspofxtqbqfs/!!Bddftt!boe!cfdpnf!b!gbo!pg!NfuspĂ&#x2013;t!Gbdfcppl!qbhf!wjb!pvs!tipsudvu!VSM-!NfuspGC/dpn/!

M E T R O S I L I C O N VA L L E Y

JULY 1-7, 2009

[07]

Courses Starting mid-July

[08] SILICON ALLEYS

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

Tjmjdpo SiliconValley Knowledge You Put to Work

Spend Your Summer Wisely At UCSC Extension in Silicon Valley, we can make this the summer that put your career on a new trajectory! All courses are held at our Cupertino facility, 10420 Bubb Road.

Q

Business and Management Law and Human Resource Management, 5283-093 Role of the Project Manager, 0306-149 Sustainable Business, 22412-001 Content Management, 6117-012 Managing Projects at Young Companies, 0338-021 Learning Theories and Styles, 3967-032 Managing the Development of New Products, 3196-035

Q

Engineering and Technology Developing Applications for Android Phone, 21956-002 Python for Programmers, 3064-023 Server Virtualization, 22409-001 MS Access I, II, III, 5320-037 Computational Intelligence, 19951-007 Ruby, Introduction, 21341-011

Q

Biosciences Immunology, Principles, 2257-019 Viruses, Vaccines and Gene Therapy, 6974-009 Clinical Research: The Study Site Perspective, 18994-005 Bioscience Product Marketing, 1654-015 Intellectual Property Essentials for the Life Science Industry, 1942-014

Q

Education Autism: Intervention and Treatment, 6613-003 TEFL 1: Language Structure, 20028-005

For full listings and to enroll, go to

ucsc-extension.edu/tm

GARY SINGH

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Lucky Seven

J

UST IN TIME for July, the seventh month, along comes a book by San Jose’s own David Eastis, titled 7: The Magical, Mystical and Popular Number Seven. Aside from providing a grandiose taxonomy of all things related to that lucky number, the book claims that San Jose is the “City of 7” because it was founded in 1777, contains seven letters and has seven sister cities—and both the San Jose Police Department and the Santa Clara County Sheriffs’ badges have seven points. He mentions that in 2007 Cisco Systems, headquartered in San Jose, was the 77th largest company in the United States according to Forbes magazine, and that same year, San Jose was seventh on Coldwell Banker’s list of most expensive U.S. housing markets.

For kicks, or maybe not, Eastis adds that seven San Jose Sharks players have worn the number seven jersey and that the stone arch above the entrance to the Superior Court Building has two sets of seven designs. He also includes San Jose’s Seven Trees Neighborhood, the Seven Restaurant at 754 The Alameda (the seventh block, he says), the Seven Bamboo karaoke bar in Japantown and the seven-story building at 777 N. First St. I think he may be onto something.

The San Jose–related material starts on page 196, but before that we get meticulous lists of sports figures who wore the number seven; cities, colleges and surnames containing seven letters; and explorations of how the number seven manifests itself in various cultural, religious and mystical contexts.

Eastis, who says he was born seven months after conception, calls himself a “septophile,” meaning a devotee of the number seven and all things related to that numeral. I originally hooked up with Eastis in 2003 when he was head of the Silicon Valley Slow Food Convivium. I was writing a cover story on the group and joined them at a decadent feast in Menlo Park. Now, he and his wife live near Sacramento, and he is the chief fundraiser for the UC-Davis department of internal medicine.

“For as long as I can remember, seven has been my favorite number,” he explains. “But it took on far greater, more compelling meaning for me when I realized that seven held special meaning for many other people, has strong sacred symbolism in many religions, is prevalent in many aspects of nature and is embraced by numerous luminary figures in literature, in the entertainment industry, in politics and other realms.”

Fortunately or unfortunately, the book is not a conspiratorial screed filled with apocalyptic numerology or anything remotely similar. Instead, Eastis takes a more populist approach. He includes song lyrics, movie titles, pop-culture references and Eastis adds that seven San even an entire chapter (the seventh one) on the marketing Jose Sharks players have panache of the number seven, worn the number seven as in 7-Eleven, 7-Up, Jack jersey and that the stone Daniel’s Old No. 7 Brand, the 7Layer Burrito at Taco Bell and arch above the entrance to Seagram’s 7 whisky. the Superior Court Building Of course, we can go on has two sets of seven designs and on, and Eastis does—the Seven Dwarfs, the seven chakras, the seven notes of the musical octave, the Seven Seas, the seven lucky Japanese gods, the colors of the rainbow, the pillars of wisdom, the continents, the samurai, the Wonders of the World, the seas and how 007 James Bond was briefly renamed 7777 in You Only Live Twice.

Since I love this stuff, I’ll add more: Carl Jung’s Septem Sermones ad Mortuos (Seven Sermons to the Dead) supposedly laid the foundation for most of his subsequent creative work, and Albert Pike’s Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry reminds us that there were Seven Heliadae, Seven Titans, Seven Corybantes, Seven Cabiri and Seven Karfesters who sired a new race on the summit of M. Albordi.

But I digress. In any event, Eastis concludes by stating that seven is also a powerful symbol for peace and that 7 percent of the profits from this book will go to seven different charities. He also responded to my last email by writing entirely in sentences of seven words each. The book can ordered at www.sev7ven.com.

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Seven years of college, down the drain: SiliconAlleys@metronews.com

M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 MASHUP

best of the local web A roundup of news, commentary and opinion from around the valley.

Opinions expressed do not necessarily reflect Metro’s editorial views.

Where Am I? Feeling . . . strange. Am I . . . in heaven?

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THE REAL DEAL !Bgufs!Tufwf!

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Jon Rubinstein Will Get New Liver, Too Just heard this from Katie. Palm, which has reinvented itself with a business model that basically involves doing whatever Apple does, only two years later, announced today that its CEO, Jon Rubinstein, is planning to receive a liver transplant. No official date—they just say it will THE BIONIC CEO !Kvehjoh! gspn!sfdfou!qsftt!sfqpsut-! happen sometime in the next 12 to 18 months.

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Palm says Rubinstein’s liver will have features Uif!Wjtjpobsz/ that my liver lacks, though they won’t say what those features are. Meanwhile Roger McNamee has been posting Facebook updates saying he has seen a working prototype of Ruby’s liver and it totally blows my liver away. Just like the Pre blows away the iPhone, right? —STEVE, FAKESTEVE@BLOGSPOT.COM

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MASHUP JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 NEWS

â&#x20AC;&#x153;The Heat That Refreshes.â&#x20AC;?

Santa Clara Valley, California

[11]

July 1-7, 2009 that have made California impossible to govern.

Proposition 13: The ďŹ scal effect

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In the wake of another budget debacle, a look back at how California became ungovernable

By Jerry Roberts and Phil Trounstine FEW hours after California voters approved his Proposition 13 tax-cut measure on June 6, 1978, a bibulous and exultant Howard Jarvis dropped his pants for the beneďŹ t of a few reporters gathered in his suite at the L.A. Biltmore.

A reporter had asked Jarvis why he was limping, so his ostensible reason was to show a large, ugly bruise, which heâ&#x20AC;&#x2122;d suffered in a fall a few days before, on his ample, boxer-clad behind.

The surprise gesture, however, also afforded the earthy and profane Jarvis a chance to display

his contempt for the press and, by extension, the political class that had mocked him and opposed his cherished measure.

Thirty years later, the ghost of Jarvis and his legacy initiative still aims antipathy, scorn and disdain at Californiaâ&#x20AC;&#x2122;s government and its leaders.

Proposition 13 was the ďŹ rst, and most far-reaching, in a cascade of political decisions over the last three decades that have shaped the thoroughly dysfunctional structure of governance in the state.

Simply put, California today is ungovernable.

$723 Amount per month a

$694 Amount that family will

low-income family of three in a high-cost county is eligible to receive from CalWORKS

receive following this yearâ&#x20AC;&#x2122;s cuts

A

As state and local officials struggle to weather a ďŹ scal crisis that threatens to drive California into insolvency, they wield power with the damaged machinery of a patchwork government system that lacks accountability, encourages stalemate and drifts but cannot be steered.

In this system, elected leaders carry responsibility, but not authority, for far-reaching policies about public revenues and resources. Thatâ&#x20AC;&#x2122;s not governanceâ&#x20AC;&#x201D; itâ&#x20AC;&#x2122;s reactive management of a deeply ďŹ&#x201A;awed status quo.

Here is a look at six key factors

$694

Amount that family was eligible to receive in 1989

of Proposition 13 itself is only part of the damage the initiative did to California. Even worse have been the methods Capitol politicians devised to try to lessen the measureâ&#x20AC;&#x2122;s ďŹ nancial impact.

After Proposition 13 passed, then-Gov. Jerry Brown and the Democrat-dominated Legislature realignedâ&#x20AC;&#x201D;â&#x20AC;&#x153;tangledâ&#x20AC;? would be more accurateâ&#x20AC;&#x201D;the relationship between state and local governments by effectively shifting control of remaining property tax revenue to Sacramento.

In a crisis atmosphere, they radically transformed Californiaâ&#x20AC;&#x2122;s political landscape, taking power and responsibility for health, welfare, schools and other local services away from city councils, boards of supervisors and school boards, thereby establishing todayâ&#x20AC;&#x2122;s chaotic maze of overlapping jurisdiction, which deďŹ es efforts at accountability.

Budget initiatives: Proposition 13 also ushered in an era of ballotbox budgeting, as ďŹ scal initiatives became a favored special-interest tool to take control of public fund expenditures.

A series of post-13 initiativesâ&#x20AC;&#x201D; including measures creating the lottery, ďŹ nancing public schools by mathematical formula and earmarking revenues for special programs, from mental health to medical careâ&#x20AC;&#x201D;established an exquisitely complex state budget calculus that has hamstrung the rational operations of government.

Gerrymandering: The once-

a-decade process of redrawing political maps based on the census has created an increasingly partisan and polarized Capitol atmosphere.

Reapportionment has become essentially an incumbent protection effort, as lawmakers craft districts for themselves that are either safely Democratic &'

$.98 Price of a gallon of gas in 1989

[12]

NEWS JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

&&

or safely Republican. In this way, the crucial contests are party primaries, not the general elections. Because primaries draw the most partisan voters, the most conservative Republicans and the most liberal Democrats tend to win. The dynamic locks in ideological polarization.

Term limits: Despite the claims of backers, the 1990 term-limits initiative did not get rid of career politicians—it simply changed the arc of their careers. Instead of spending decades in the same Assembly or Senate district seat, legislators now begin to position themselves for the next office—or job as a lobbyist—as soon as they arrive in Sacramento.

The up-or-out system rewards shortterm, self-interested political thinking more than long-term policymaking in the public interest. Term limits also make lobbyists, not the Legislature, the repository of Capitol policy expertise; that lobbyists happen to be useful in raising campaign cash adds an overlay of soft corruption to the process.

Boom-or-bust taxation: Since Prop. 13, state government has become increasingly dependent on volatile sources of revenue—the sales, corporation and progressive personal income taxes—that generate annual shifts in tax collections corresponding closely to the business cycle.

When economic times are good, as during the dotcom and housing bubbles, money pours in and there’s little political incentive for long-term financial planning.

The two-thirds vote: California is one of

only three states requiring a two-thirds

the

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legislative vote to pass a budget, one of 16 requiring a two-thirds vote to raise taxes— and the only state to require both.

The budget requirement has been in the Constitution since the New Deal; the tax restriction began with Proposition 13. In the polarized atmosphere of Sacramento, the two-thirds rules effectively hand a veto to the minority party.

In the next few weeks, a blue-ribbon commission is set to recommend sweeping changes in the tax system to stabilize revenue collections. Voters last fall approved Proposition 11, which takes away the Legislature’s power to draw its their own districts in favor of an independent commission.

Next year, as they elect a new governor, Californians also will vote on a system of “open primary” elections aimed at aiding moderates, and they also will probably decide on one or more initiatives to dump the two-thirds budget vote requirement.

California Forward, a bipartisan good government group financed by major foundations, is crafting proposals to conform government systems and processes to modern management methods. And the business-oriented Bay Area Council is pushing initiatives for a state constitutional convention, the first since 1879, to wipe the slate clean and build a new, rational structure for state government.

“The seriousness of the problem has reached a crescendo,” said Jim Wunderman, CEO of the Bay Area Council. “The public is making a statement, loud and clear, that they expect action.” M News Editor Eric Johnson: eric@metronews.com

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M E T R O S I L I C O N VA L L E Y

JULY 1-7, 2009

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[14] COVER STORY

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

PERSEVERANCE!!Gjmnnblfs!Bmfkboesp!Bebnt!!

;Za^eZ 7j^igV\d

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M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 COVER STORY

[15]

FILM CRUSADE

SAN JOSE ’ S ALEJANDRO ADAMS AND OTHER LOCAL INDEPENDENT DIRECTORS LEARN THE HARD WAY THAT MAKING A MOVIE IS JUST THE BEGINNING

B

ECOME an indie filmmaker! Earn big money! No experience necessary!

That seductive promise inherent in the rise of digital film and home-editing technology may be at an end. Blockbusters elbow out the offerings of small-budget filmmakers, who try to get a word in edgewise past this week’s cinematic event.

It is a paradox that, even as theatrical features become easier and cheaper to make, the movies proliferate so quickly that it is harder and harder to find an audience for them. Intense competition for bigmoney movies results in the release each week of as many as a dozen little films no one’s heard of, with minimal budgets for promotion and just one week to make it or break it—mostly in the name of garnering blurbs for the DVD release. And those are the films that have distributors.

Just ask San Jose filmmaker Alejandro Adams about how many obstacles an indie film must surmount. Adams earned praise from Variety for his 2008 film Around the Bay. The trade paper’s Dennis Harvey

BY RICHARD VON BUSACK

has called Adams “an arresting talent.”

Well-regarded indie-film blogger Karina Longworth and The New York Times’ Phillip Lopate (and I, for what it’s worth) added to the positive press for Around the Bay, an impressionist tale of a Los Gatos businessman and the estranged daughter he hires to work as a nanny for his son, her half-brother.

Despite the ink and some well-received local screenings, including Cinequest, Around the Bay continues to bounce around the film-festival circuit without a distributor. Not so long ago, the Woodstock Film Festival sent Adams a typical “Thanks, but no thanks” letter.

“Again,” Adams tells me, ruefully. “We’re talking about a festival known to program scrappy low-budget fare. The festival made its name on DV [digital video] features with no light and bad sound. The rejection letter had a hand-written message in the margin: ‘Too bad we didn’t have room for this—the actors were good.’”

16

[16] COVER STORY

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

ALEJANDRO ADAMS 15

IN SEARCH OF A FATHER FIGURE !Opbi!)Dpoops!Nbtfmmj*!jo!ÕBspvoe!uif!CbzÖ!!

ßoet!ju!ibse!up!dpoofdu!xjui!ijt!pwfsxpslfe!gbuifs/

Adams’ second Silicon Valley–based film, Canary (2009), also turned out to be too strange for the alleged cutting edge. Canary is far less narrative-driven than Around the Bay even. This dystopic, near-future story of organ harvesting was made with no blood, no gore and no sci-fi gadgets.

Adams concentrates on one strange cog in the wheel: a dark, solitary girl (Carla Pauli) who works for the biotech concern Canary International, capturing unwilling donors and recycling their guts. She connects the film’s disparate parts: a focus group, an office full of chit-chatters and a few half-deranged individuals who have intuited what’s really going on.

Triple Threat What I’ve always loved about the Silicon Valley is that local artists never dress themselves up in the ’tudes that make San Francisco such an ego-fest. The valley’s plainness and practicality kill peacocks fast.

Perhaps the most talented and ambitious avant-garde filmmaker who has ever lived this area, Adams is a family man, Mr. Mom-ing it, editing his films on a laptop at various local cafes. He is married to Marya Murphy—a Twitter personality in her own right.

Adams is a creative writer who moved into the realm of film. As he works,

Adams opens up his process, pushing hard, experimenting and working on budgets that couldn’t even really purchase shoestrings.

“In Canary,” Adams notes, “I was expressing nothing more than a notion, allowing the camera to articulate an idea that I hadn’t allowed myself to fully formulate. I guess that’s the ultimate form of organic or intuitive cinema, and I’m not sure to what degree it can be sustained in the context of an ostensibly narrative film. [I was] turning dreams into cinema, basically, as Wim Wenders dealt with in Until the End of the World.”

And now Adams is editing his third film, Babnik, while working on two new films simultaneously.

“I get stuck in editing,” Adams confesses, “and as in the case of my three previous longer films, I get locked in an in-depth process where communicating with human beings is not required. My films are heavily improvised, and it takes a long time to edit them. Doing two new films side by side is logistically simple; while there’s no overlap of the cast, the crews are identical.

There’s no dramatic correlation—but one of the films is very emotionally difficult.”

His two new films are titled Child of God and Amity. Adams is in the middle of his hectic side-by-side filmmaking marathon 19

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JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 COVER STORY

even as I talk to him. Before he began making these films, Adams promised, “Child of God will offend anyone who isn’t offended by Babnik and Amity.”

Adams is shooting the two films locally on weekends. “Child of God, the film I’m making on Saturdays, is not so emotional,” he explains. “The Sunday film, Amity, is very much so. I should have scheduled the heavy one on Saturday and the lighter one on Sunday.”

Despite the ink and some well-received local screenings, including Cinequest, ‘Around the Bay’ continues to bounce around the film-festival circuit without a distributor In Amity, the title character, a young girl, is about to graduate from high school.

Her very estranged father, an Air Force officer, turns up unannounced on her doorstep with the surprise present of a limo. Amity wants no part of him. So the limo’s driver (a former military man himself) and the officer head off together for a self-destructive evening. The potential for trouble in a night out for these two charged-up men accounts for the film’s heaviness.

Adams notes, “Amity’s father is based on my father—the irascible Air Force guy who’s as charming and magnetic as he is dangerous. It would have been hard enough to face the film had my father not died three days before we started shooting.

And, no, I wasn’t expecting it.”

Adams’ Sunday film, Child of God, is “very unusual for me, it has the kind of broad ideas that aren’t my cup of tea.

I’m using the red-state, blue-state power struggle between a church and a variety show that’s renting their building. It’ll be the culture war in miniature; I’m still not sure how I’m going to be handle that in terms in tone—of comedy or drama.”

Hipster Backlash After the crunch time of getting these

three films into viewable shape, Adams proposes a concentrated attack on the film-festival circuit in time for the fall submission deadlines: “I want them to all come out of the hopper at the same time.”

Meanwhile, Adams is watching his earlier films as they slowly rise in the world. This spring, Canary screened at the “Migrating Forms” program at the Anthology Film Archives in New York City. In July, Canary will play at Fantasia, a Montreal film festival dedicated to science fiction and fantasy; “lots of European press there,” Adams notes hopefully.

AFI in Los Angeles has agreed to look at Canary without an entrance fee. And there’s a possibility that one of the key magazines about independent film will list Adams as one of the 25 directors to watch in 2009.

“Clearly, the brand is growing, regardless of how few times the film is screening,” Adams says. “Now there’s a backlash. I’m hearing the word ‘hipster’ used about me, probably because some very powerful people in the indie film community are giving me recognition.”

Adams is a regular presence on Twitter, quick to reply to the critics and fans and to comment on the various feuds in the cinema world. There he can be found discussing the beyond-indie scene with intelligence or live-blogging a recent cable TV screening of The Magnificent Andersons.

I griped that it was abominable to be thumbing away when you should be watching the movie. Adams countered that he knew the film well. Certainly, the track of comments he and others left was intelligent, ranging from close looks at the compositions, the underuse of Agnes Moorhead and the strangely good performance by the usually mediocre Tim Holt in Orson Welles’ second masterpiece.

Adams is and has been a provocative writer on the rise and fall of “mumblecore”—an indie rebellion that, like all indie rebellions, was co-opted fast.

Making ‘Babnik’ Last winter in Sunnyvale, I watched Adams at work directing a scene for Babnik. I was there for 2 1/2 hours, and mostly what I saw were people crossing the room. I sat on a spiral staircase behind the reflectors and the boom mikes. The improvised studio was quiet enough to hear the droning of a B-52 wheeling overhead from Ames/NASA. The scene involved girls auditioning for a modeling agency (maybe legitimate, maybe not), doing the pony walk for a slightly sinister group of Russians. One girl posed, sitting, smiling prettily, on the edge of a three-legged stool. Behind me in the break room, an older woman, a chaperone 20

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[20] COVER STORY

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

ALEJANDRO ADAMS 19

PEDDLING THE MERCHANDISE!!Uif!Svttjbot!bvejujpo!b!npefm!!

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for one of the female players, lounged in a conical chair. (“Only one minor in this picture,” Adams says later. “I would have liked to have had more. It’s more creepy that way.”)

The scene was completely unexplicit but completely insinuating. A model entered, wearing high heels, rolling her shoulders in her tight, low-cut ultramarine dress; a Russian emigrant, Misha, newly in the sex trade looking her over, pantomimed to her how to thrust out her hip and ordered: “Tip your head. I want to see your eyes.”

Adams told Michael Umansky, the actor playing Misha: “You need to manhandle her more . . . harder, faster, whirlwind.

Touchy-touchy. Be brutal. Make this clear to anyone watching that this is a kind of sexual manipulation.”

Alejandro padded around on rubber sandals in a jersey and shorts. He took care of business, cutting the air conditioning because of sound leakages. He instructed some Russian extras in the background to talk to each other so the sound would percolate in from off-camera.

Directing is a matter of directing traffic as much as directing performances. “Your walk is a little campy, give me something more natural”—this was Adams’ note to one of the Russians’ security officers, who sported, for the part, a peroxided blond

pompadour. Or pimpadour if you will.

Adams’ work was efficient. He did not expend an enormous amount of time on retakes or reverse angles but insisted on constant momentum, both in the foreground and in the back of the frame.

He was working from a script outline.

Earlier, Adams had sent me a page describing the day’s work. It was more suggestion than script, explaining “the elaborate but practical-minded flattery” going on in the scenes. Misha, the director of Russian Models Ventures, would be sweet-talking the girls, repeating the sales pitch he uses to sell them worthless vitamin supplements and beauty products.

Later, watching a rough cut of Babnik, it struck me that Adams’ particular angle was the work-a-day world. Babnik is a film about the bad jobs of immigrants, bad for the sellers, worse for the sold.

The theme strikes me as consistent.

Adams explores the solitude of a workingstiff repo-woman in Canary. The father in Around the Bay is at the breaking point from overwork in the field of venture capitalism. Adams might suspect such an analysis overemphasizes plot, when he believes that his form is more important than his content. It’s easier to write 23

M E T R O S I L I C O N VA L L E Y

JULY 1-7, 2009

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M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 COVER STORY

ALEJANDRO ADAMS 20 about plots than about Adams’ intense yet allusive focus, his intelligent sound design, his probing yet cooled-down use of inflammatory material and the pensive quiet force he lets loose in the actors.

Kill the Auteur How does a filmmaker facing a series of artistic challenges change gears and learn to sell himself ? Most recently, Adams held an online round table at his website BraintrustDV.com. The essays at BraintrustDV are both hopeful and ridden with informed pessimism. A disclaimer: I’m a full-time critic, and I haven’t heard of some of these films, either, which of course has nothing to do with their merit.

Perhaps the most talented and ambitious avantgarde filmmaker who has ever lived this area, Adams is a family man, Mr. Mom-ing it, editing his films on a laptop at various local cafes Some comments: Reid Gershbein (of Here. My Explosion . . .): “I would rather have 1,000 people see my film for free than have 2 people pay me $15 for a DVD.” Noah Harlan, producer of The Vanishing Point and Plum Rain: “I believe that a performance without an audience is masturbation.”

Clive Davies-Frayne, co-director of No Place: “The bottom line though is it’s all just people shouting for attention to a world that hates being shouted at. There is an answer. Mutual-marketing or tribal marketing.”

Tony Comstock of the erotica/ documentary series Finding the Right Fit: “With all the hype around Sundance, Tribeca, Berlin, whatever, it’s hard to accept that there isn’t any money in it.”

Finally, Angelo Bell of The Broken Hearts Club weighs in: “Kill the Auteur. Long Live the Entrepreneur.”

Where will these new entrepreneurs

sell their films? The lineup at Tribeca this year was half what it was in 2008. The San Francisco International Film Festival runs at the same time as Tribeca—it’s ruinous that the festivals overlap, given the limited number of filmmakers and cinéastes in the world. Moreover, SFIFF folded its South Bay wing of the fest from three days, once upon a time, to no days at all this year.

James Stern of Endgame Entertainment opened his conference keynote speech at the L.A. Film Festival this year with the numbers: there were nearly 10,000 films submitted to Sundance this year, of which 218 were screened, of which three were distributed.

Sundance isn’t the only game in town.

Moviemaker.com lists the 25 festivals worth the entry fee: two within 300 miles of us are Morgan Hill’s Poppy Jasper Film Festival in November and the Napa Sonoma Wine Country Festival. Still, Poppy Jasper’s “Art in 30 minutes or less” motto is going to keep feature filmmakers out.

Of course, Cinequest in San Jose continues to be an outlet for international talents and a chance for indie filmmakers to get the attention due them. At Cinequest 2005, former Mountain View filmmaker James Ricardo played his film Sunnyvale. He retitled it Opie Gets Laid and found a small DVD distributor.

Ricardo writes in: “There are all kinds of distribution these days, and I respect them all. But I guess I wanted to go with the more traditional distribution route and not just Internet only. Plus a distribution deal with a major distributor adds more street cred to your film, I feel. Maybe it’s just me but I love seeing those studio logos on DVDs and movie posters.

“I still think at the end of the day people want to watch feature films on a big screen TV or on the movie screen, not on a PDA or a computer. It isn’t the same experience otherwise. And it’s not really fair to the filmmaker’s vision either.”

Former Santa Cruzan Tamara Maloney, producer of the Los Angeles–made indie film A Quiet Little Marriage, says an indie film needs “a long tail of distribution. How do you market and get your film out there, for the longest period of time to the most amount of people? The Internet is opening up uncharted territory—but we still don’t know how its trajectory is going—how it will make money, how we’ll get people to see this kind of material and how to see it at home.”

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[24] COVER STORY

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

ALEJANDRO ADAMS 23 his film. He had worked as a volunteer at Cinequest but didn’t get his film accepted.

He had just finished History of Solitude, an intriguing 32-minute film he made at the renowned Polish film school at Lodz, the school of Polanski and Kieslowski.

Szymanowski had a film playing at 2009’s San Francisco International Film Festival Narrative Short in competition for the Golden Gate Award, but he didn’t have the money to get from Poland to San Francisco to screen it. Any suggestions?

I hear from him again later. Somehow he got to San Francisco, and I make a quick pass by the festival to pick up a screener.

Adams is a regular presence on Twitter, quick to reply to the critics and fans and to comment on the various feuds in the cinema world The IMBd description, used word for word in the festival’s catalog: “The ache of a relationship slowly disintegrating is honestly and vividly captured in this road movie with no clear destination.” While I’m certainly ready for that, my experience is that there’ll be others who will just roll their eyes; who wants to see aching, who wants to see destination-free filmmaking?

He tells me that I will be able to recognize him because he has the starvingartist look. Maybe not, since there’s a lot of it going around these days.

Szymanowski tells me, “The whole festival process is in itself a big hassle, because after you’re done with a film, and it’s all edited and mixed and ready to be screened, you kind of imagine that people will just gather around and see it. But then you realize you have to actively send it out and get press on it and do marketing and continue to do so, until finally someone sees something worthy in the film. Because you know that the film is good but it’s a matter of finding the festival that agrees with you. That takes time. . . . I continue to send the film out to festivals, but eventually I’d like to put it online and focus solely on the next projects.”

This determination is essential.

Filmmakers have to demand attention.

Still, I’m getting my own bitter on listening to these stories: the rare successes, the plentiful defeats. People ask why critics get hardened. Maybe it’s because we have

to do a bit of bulldozing to try to make some room for talents who need it.

I can remember when an old-time film critic published an article about his experience of watching five films in one day, and how that seemed like wretched excess. I’m sure there are dozens of bloggers who do this every day, every week.

There are people I know who are on the film-festival circuit almost full time, and their source of income is an utter mystery to me. They’re not getting rich from the money they’re making at blogs.

Perhaps they live in their van? Around us are the growing pains of new ways to show alternative film: what we have now is a system that burns out and indebts talent.

New film societies create new fests, occasionally with celebrities responsible, such as Tilda Swinton’s Anti–Film Festival in Nairn, Scotland. It’s made to be a Scottish answer to Telluride (held at an aerie in the Colorado Rockies; it might be harder to get there than to the Scottish Highlands). The particularly remote Midnight Sun Film Festival in Sodankylä, Finland, this month brought John Boorman and Samira Makhmalbaf to the caribou-haunted tundra.

If viewing context is all, seeing films so far from the centers of opinion, like New York or L.A., must offer a fresh perspective. On the one hand, this is cinema appreciation free from status seeking. On the other hand, it’s like Versailles with theaters: so very far from the crowd, celebrities can re-create the experience of group movie watching without having their shirtsleeves tugged by the wrong people.

Meanwhile, festival selection committees and what’s left of the film watching press—in the ether or on paper—all have something in common. That is: a stack of DVDs next to the television, slippery and tottering. Small as they are, each one is as heavy as a manhole cover when it comes time to pop it into the player. If you have a mate, they moan like the burn victims they are at the suggestion of spending an evening taking a chance on a raw indie film talent. And in the for-us, by-us indie film milieu, the actual open floodgates have meant that the “universal language” aspect of film maybe on its way out.

I fear that a collaborative art made for an audience of all kinds fades into the hermetic quality of the poorly attended poetry reading and hoot night at the Gilded Turkey Pub. I’m haunted by Tony Comstock’s comments on BraintrustDV. The New York director of Finding the Right Fit profiles a series of different couples, not traditional beauties (one couple is maybe in their 60s); Comstock’s focus in these serious and tender documentaries is explicit lovemaking.

My point is that when you have a director complaining he can’t get an audience to watch people fuck, the scene is glutted and in trouble. M

M E T R O S I L I C O N VA L L E Y

JULY 1-7, 2009

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[28] EVENTS

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M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 STYLE

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Jean Scene

T

HE DAYS of ’90s grunge have made their comeback in the form of faded, torn, used and abused denim. Though the look made small appearances throughout 2008, “distressed” or “destroyed” denim is all over the summer 2009 runways.

This slightly rebellious garment gives off an “I don’t care that I have holes in my pants” attitude, with a vintage twist. Whether boyfriend, skinny, pencil or bootcut, all jeans styles have become victims of slashing and thrashing.

While some designers like 76AB6>C and H>LN 9:C>B stay true to the idea of shredding bottoms into ribbons, other designer brands put a modest and conservative twist to this trend with strategically placed rips and wear.

6< 69G>6CD <DA9H8=B>:9’s ex-boyfriend crop jean gives a comfortable yet stylish look that has been seen on celebrities like Eva Longoria Parker and Gwyneth Paltrow.

A similar distressed and cuffed style comes from ?D:ÉH ?:6CH in its cropped ex-lover boyfriend jean. Nicole Richie and Nicky Hilton, sister to Paris, have been spotted in ?:I 7N ?D=C :H=6N6’s thrashed look. This particular jean is dark in wash, skinny in style, and sports seven different slashes on the front.

The current jeans craze isn’t only for women. A:K>ÉH offers a variety of men’s jeans in destructed washes with different hues, while B:@ 9:C>B’s Amsterdam gray straight jean gives a laid-back and casual vibe without trying too hard.

For those fashion-forward individuals with dwindled bank accounts, similar styles can be found at Hollister Co. or Abercrombie & Fitch for both sexes. Eco-friendly creative types can take scissors, sandpaper or razors to recycled jeans and transform them into newly chic bottoms.

Like any fashion breakthrough, this look can be taken in two directions: flattering and just wrong. Because these bottoms are so busy, the most important thing to remember when putting together ensembles is simplicity. Ripped shirts, crazy shoes or bold patterns take away from the main piece. A white tee with flip-flops gives a casual feel; a solid-color top, ankle boots and a fitted blazer provide a cleaner look. Though 2009’s version of destroyed denim is more modest than what many are used to, it still manages to keep its edge.

Andrea Muniz

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[29]

[30]

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 MENU

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A Kiss of Haggis ;Za^eZ 7j^igV\d

Martins West Pub in Redwood City brings a California spin to the Scottish savory treat

By Stett Holbrook

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OUâ&#x20AC;&#x2122;VE GOT to love a restaurant that has the sense of humor and temerity to serve haggis on a stick. Haggis, in case you donâ&#x20AC;&#x2122;t know, is a beloved Scottish dish made from, among other things, sheep organs and oatmeal boiled inside the animalâ&#x20AC;&#x2122;s lungs. Haggis is also a funny word to say that sounds to me like what it is: haggis.

Redwood Cityâ&#x20AC;&#x2122;s Martins West Pub, a 2-month-old Scottishinspired â&#x20AC;&#x153;gastropub,â&#x20AC;? serves the intimidating dish in an approachable format: battered and fried on the end of stick. As offensive as the dish sounds, itâ&#x20AC;&#x2122;s quite good here. In America, haggis is generally made in artiďŹ cial casings like sausage, so itâ&#x20AC;&#x2122;s really pretty tame. Itâ&#x20AC;&#x2122;s just a rich, savory sausage made with lamb heart, kidney, sweetbreads and little regular old lamb meat.

Smeared with a bit of the restaurantâ&#x20AC;&#x2122;s excellent grainy mustard, itâ&#x20AC;&#x2122; s a corndoglike snack thatâ&#x20AC;&#x2122;s perfect with a round of beers.

OK, haggis may be best after a few rounds of beers but itâ&#x20AC;&#x2122;s really quite good. The batter is light and nongreasy and reveals a meaty, pâtĂŠlike interior that isnâ&#x20AC;&#x2122;t nearly as intimidating as you might think.

The haggis on a stick ($4) forms part of a small plates and bar snack menu that is the strength of the new restaurant. Itâ&#x20AC;&#x2122;s when the kitchen ventures into bigger dishes that things go awry.

Martins West Pub gets its name from Martin Irons, owner of the original Martins restaurant in Edinburgh, Scotland. Irons was a childhood family friend of general manager Moira Beveridge. Martins West serves what might be called California-Scottish pub food, classics of Scotlandâ&#x20AC;&#x2122;s pubs freshened up with seasonal ingredients sourced from local farms and purveyors.

The restaurant occupies the historic Alhambra building, a brick-walled space that gives the place a lived-in feel that only comes with age.

The Alhambra opened in 1896 as a saloon. Wyatt Earp reportedly hung out at the bar to watch his wife sing in the adjoining theater upstairs. The 25-foot-long bar is made of redwood staves from an 80,000-gallon water tank. The wooden columns running down the center of the restaurant give it a solid but old-timey vibe. The new owners have a done a great job brining the space back to life. Its airy space lets the solid bones of the place shine through.

Chef Michael Dotson reportedly traveled to the pubs of Scotland to better understand the roots of the food he set out to adapt. Scotch eggs are another classic that get a lift here. Instead of chicken eggs, the bar bite is made with boiled quail eggs dipped in a thick coating of breadcrumbs and pork sausage and then fried. It sounds heavy and dense, but itâ&#x20AC;&#x2122;s not. The little yolks are still runny.

Pasties ($5), small meat and vegetable pies beloved by pub-goers looking for a quick bite, are good, too. On my visit they were ďŹ lled with corn and goat cheese.

Dotson is particularly adept at charcuterie. The DrambuieďŹ&#x201A;avored pork pâtĂŠ ($7) arrives in a little glass crock with more of that great mustard, thin croutons and house-made pickled vegetables. Itâ&#x20AC;&#x2122;s heart-stoppingly rich and good. I also loved the rabbit rillettes and chicken-leek terrine (both $7). The terrine, like the rillettes, is also served in a glass container and layered with delicious chicken fat.

Scooped out onto a crouton and followed with a glass of an acidic, fat-cutting wine like sauvignon blanc, itâ&#x20AC;&#x2122;s a winner.

Not all the small dishes succeed.

I was excited to see beef marrow

($8) on the menu, but the dish was a disappointment. Two stout beef bones are split vertically to reveal the rich and ďŹ&#x201A;avorful fatty goodness within. But the shower of buttery breadcrumbs served on top dominated the ďŹ&#x201A;avor of the delicacy underneath. The butter-soaked croutons served with the marrow only made things worse.

The spiced pork belly ($10) delivered the fatty goodness of the pork framed by the aromatic lift of spices like coriander and allspice, but I found myself removing the dense, cakelike bacon-and-scallion-ďŹ&#x201A;avored soda bread served underneath.

But several of the entrees really let me down. The zucchini-crowdie agnolotti ($16) was an abomination of medicinal ďŹ&#x201A;avors and gummy, coarse pasta. Iâ&#x20AC;&#x2122;m guessing the pasta tubes were house-made. Thatâ&#x20AC;&#x2122;s usually a good thing, but here the pasta looked and tasted crude and amateurish. Crowdie is a Scottish cream cheese, but there was little creaminess in little evidence here.

Inside, the pasta was supposed to be ďŹ lled with sherry-roasted spring onions and sweet corn, but all I tasted was an aggressive bitterness.

The grilled lamb T-bone ($28) with herbed haggis (yay, haggis!) ('

[32] DINING GUIDE

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

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was descent and well cooked but otherwise unremarkable. The tandoori-roasted halibut ($23) seemed far aďŹ eld from the Scottish theme, but it was fresh and light and quite good with the creamy corn pudding and fava bean ragout served with it.

From the lunch menu, the soft-shell crab sandwich special ($16) sounded like a winner, but the modest Chesapeake Bay crustacean disappeared within the hulking bun. Way too much bread for so little crab. Either downsize the bread or upsize the crab.

Service is friendly and well meaning but still green. For a menu thatâ&#x20AC;&#x2122;s sure to elicit many questions, thatâ&#x20AC;&#x2122;s not good. When my order of three different charcuterie plates arrived, it took the server several tries to tell me what was what. On another visit, I asked what the haggis was made of, and I expected an interesting tale about how sheep lung is prohibited in the United States and how the restaurant adapted the Scottish dish to America, but instead all the server said was that it was made with â&#x20AC;&#x153;innards.â&#x20AC;? Quite the sales pitch.

The cocktail menu, however, is another of the restaurantâ&#x20AC;&#x2122;s strengths. The mixology trend of handcrafted cocktails built from house-made mixers and fresh ingredients has yet to take root in Silicon Valley, but Martins West is an oasis of expertly made, seasonally inspired cocktails that draw on the classics as well as on the new.

You would have difficulty ďŹ nding a Sazerac at most Silicon Valley bars, let alone one that serves the infamous preProhibition cocktail with its signature ingredient: absinthe. (Most are made with Pernod, a close-but-no-cigar approximation of the infamous liquor). The pubâ&#x20AC;&#x2122;s version ($9) is the real thing. For a modern spin on a classic, check out the refreshing rhubarb mojito ($9). Made with housemade rhubarb syrup, fresh rhubarb, lemon verbena, Seltzer Sister seltzer water and hand-crushed ice, the drink is a gulpable work of art.

The bar also serves a number of ďŹ ne beers and ales from the United States and the British Isles, such as Scotlandâ&#x20AC;&#x2122;s hopsharpened Belhaven Twisted Thistle ($8).

Desserts (all $8) are a mixed bag. I loved the dense, chewy creaminess of the â&#x20AC;&#x153;Mars bar,â&#x20AC;? a deconstructed version of the candy bar made with a milk chocolate and dulce de leche custard, but the chunk of nougat served with it was so hard that I feared Iâ&#x20AC;&#x2122;d snap off a tooth. The Devonshire cream tartlet was refreshing and rich, but the crust was coarse and dense and lacked the requisite buttery lightless. The sticky toffee pudding is more of a moist cake than pudding to me, but napped with a velvety toffee sauce and scoop of brown butter ice cream it was hard to ďŹ nd fault.

Now if they could ďŹ nd a way to work haggis into dessert Iâ&#x20AC;&#x2122;d be really impressed. M

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M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 DINING GUIDE

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[33]

[34] DINING GUIDE

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

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Chicken and Egg Questions

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AST NIGHT, I attended a lovely catered dinner party for 12 people. I was, no surprise, the only vegan, and the hosts went out of their way to make sure I was accommodated, from the hors dâ&#x20AC;&#x2122;oeuvres to the dessert. It was a wonderful meal.

One of the guests quizzed me about my veganism there at the table, right after everyone but me had been served their meat course. (This happens a lot, actually.)

Mostly he wanted to know why no dairy, why no eggsâ&#x20AC;&#x201D;and even when I had gently explained about factory farming and the death and suffering associated with it, he wanted to know what I would do if I knew, knew, that the eggs or dairy came from a farm where that cruelty did not occur.

I countered that I didnâ&#x20AC;&#x2122;t think most of us could really know, and further, that most of us did not have the luxury of access to such products, if they indeed existed.

It was far simpler to avoid the choice. I also wouldnâ&#x20AC;&#x2122;t deny that veganism is rarely purely a personal choice but rather a personal choice that purposely makes a political statementâ&#x20AC;&#x201D;about accessibility, environmentalism, health, animal cruelty, etc.

His ďŹ nal question was, what if you raised the chickens yourselfâ&#x20AC;&#x201D;would you eat their eggs?

My initial response was that if I raised the chickens and treated them as well as I have treated the cats and other pets that have been in my life, and if they laid eggs, because thatâ&#x20AC;&#x2122;s just what chickens do, then maybe, yes, I would.

Of course, then I started parsing out the whole fertilized vs. unfertilized thing, and thinking about how morbid it would be to raise and love pets and then eat their potential babies. And then I realized that I didnâ&#x20AC;&#x2122;t really know much about chickens and eggs, and I started wondering if a chicken laying an unfertilized egg was like a woman having her period. It kind of went downhill from thereâ&#x20AC;&#x201D;if it can go downhill from there. (And no, I didnâ&#x20AC;&#x2122;t bring up that last point at a lovely catered dinner party, in case you were wondering exactly how uncouth I can be.)

I think I am going to be like a White House press secretary and beg off dealing with hypotheticals. Bottom line: In this life, under these circumstances, being vegan checks all the ethical boxes I want to check. No detective work required.

Elisa Camahort

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[35]

[36] DINING GUIDE

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 DINING GUIDE

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Ask the Sommelier HE PLUMED HORSE in Saratoga has long had one of the country’s deepest wine lists. When new owners opened the restaurant after a $9 million remodel in 2007, they committed to adding even more selections to the already prodigious cellar. With a wine list thicker than the phone books for some small towns, it takes an expert to guide you through the sea pricey juice. That’s what H:I= HJI=:GA>C does.

He’s Plumed Horse’s newly named head sommelier.

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METRO: Why did you decide to pursue a career in wine?

SETH SUTHERLIN: I have always had a love for wine, but it was several years ago shortly after doing a stage in a couple of Washington wineries and making my first Oregon pinot (a disaster) that I was absolutely hooked and wanted to pursue it as a career.

What makes the wine list at the Plumed Horse special?

The Plumed Horse list is one of the largest cellars in the country with over 2,100 unique selections. But it is the restaurant’s commitment to the local wineries and winemakers that makes it special.

What wine or wines are you passionate about right now?

In this economy I believe in giving back to the community of that surrounds us, that’s why my focus is on locally produced and grown wines. The Santa Cruz Mountains also represents some of the top wineries in the county with the likes of Kathryn Kennedy, Ridge and Mount Eden.

What are some of the best wine values now?

There is a lot of value out there right now especially as there is a glut of wine coming on the market. I still like looking for the lesser-known varietals like roussanne, grenache blanc and mouvedre.

What is your go-to wine for every day, casual drinking?

My go-to wine right now is a white blend from South Coast Winery in Temecula called “GVR,” a blend of grenache blanc, viognier and roussanne. It evokes the flavors and freshness of spring and summer.

Stett Holbrook (sholbrook@metronews.com)

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[37]

[38] DINING GUIDE

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

All You Can Eat

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B.B.Q. & Chinese Buffet Mon-Fri Lunch $7.35 Dinner $9.35 Sat-Sun $9.35 All day Fresh Meats â&#x20AC;˘ Vegetables â&#x20AC;˘ Seafood President Restaurant 408.978.7188 â&#x20AC;˘ 1190 Hillsdale Ave, SJ

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[39]

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The Tubes

New Wave Prom

Coathangers

The Venue 4 New York Ave, Los Gatos 408.395.5553 Wed – 6pm; $15

Music in the Park Plaza de Cesar Chavez, Market Street and Park Avenue, San Jose Thu – 5:30pm; free

Blank Club 44 S. Almaden Ave, San Jose 408.29.BLANK Fri – 9pm; $5

Nickel City 1711 Branham Ln, San Jose 408.448.3323 Fri – 7pm; $12

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City Rocks

Matsuri

The Unit Breed

Kat Parra

Courthouse Square Broadway and Hamilton, Redwood City www.redwoodcity.org Fri â&#x20AC;&#x201C; 6-8pm; free

WORKS/San Jose 451 S. First St, San Jose 408.286.6800 Sat â&#x20AC;&#x201C; 8pm; $5

Mission Ale House 97 E. Santa Clara St, San Jose 408.292.4058 Sun â&#x20AC;&#x201C; 9pm; $5

Consuelo Mexican Bistro 377 Santana Row, San Jose www.sanjosejazz.org Tue â&#x20AC;&#x201C; 6:30-8:30pm; free

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[42]

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 ARTS

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[43]

METROGUIDE

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Cartoon surrealist Todd Schorr rifles through the catalog of American pop imagery with old-master skill

By Michael S. Gant

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VERY AGE gets the gods and devils it deserves.

The pantheistic ancient Greeks and Romans populated their pantheon with lightning-bolt-wielding Zeus and dog-walking Artemis. The Christian Middle Ages quaked before pits of hell full of fallen angels and demons based on the seven deadly sins. In the jumbled-up mythos of L.A. artist Todd Schorr, now generously displayed at the San Jose Museum of Art, lateperiod capitalists pay homage to consumerist icons like Speedy Alka Seltzer, Elsie the Cow and the Jolly Green Giant. The whole prep-walk of modern advertising spokesgods make an appearance in Schorr’s mammoth The Hydra of Madison Avenue (2001, acrylic on canvas).

The major deities—Bob’s Big Boy, Mr. Softee, even the firebreathing god of PSAs: Smokey the Bear—rise on the multiple necks of a rampaging dinosaur (possibly Gertie of early animation fame). A multitude of lesser supernaturals surround them: the White Rock fairy, the Kool-Aid pitcher, Chiquita banana, Reddy Kilowatt, Mr. Clean, even the triumvirate of the Pep Boys. They cascade through a

Boschean landscape, merrily headed for some apocalyptic collapse of buying power.

The dazzling range of Schorr’s pop-culture references is matched by his exceptional ability to bring classic painting techniques and tropes to bear on our love/hate relationship with the avatars of kitsch. In the upper-right corner of The Hydra, for instance, we see a heavy purple curtain being pulled aside to reveal the scene as a jaunty Mr. Peanut directs our attention to the spectacle, a common frame-within-a-frame device. His Parade of the Damned (2006) is explicitly based on a monumental Bruegel painting.

Schorr, a baby boomer born in 1954, omnivorously collects pop imagery, from ad logos and pulp magazine covers to Saturdaymatinee stills and the Rat Fink of Ed “Big Daddy” Ed Roth. Vintage Mad Magazine artists loom large as well, especially the grotesque, teethbaring, pockmarked heads of Basil Wolverton. At times, the frenzied activity of Schorr’s larger canvases recalls the epic two-page spreads of underground ’60s cartoonist S. Clay Wilson. King Kong, an early indelible cinematic memory, figures prominently in several paintings.

The most astounding of these is Ape Worship (2008), a wall-filling tribute to a youngster’s fascination with the tragic ape. The prone kid in the foreground absorbed in an old TV set broadcasting Kong is Schorr himself. The whole of the Kong legend unfolds as cartoon, carnival banner, magic show and jungle diorama. The illusionist details are neatly contrasted to the fabulous subject matter. In many grandiose 19th-century landscapes, a tiny figure of an artist’s artwork can be seen in the foreground; this time, it’s an ape skeleton in a red cap holding a palette: Kong regarding his own creation myth. Schorr has even fashioned a massive frame complete with shields and chains. “Look at Kong, the Eighth Wonder of the World,” to quote Carl Denham.

Schorr shows off all his painterly skills in Five O’Clock Shadows in Disney-Dali Land (1996), which depicts an imagined meeting of two great image makers. Walt with Mickey Mouse ears stares into the eyes of a giant melting Salvador Dali, his worm body supported by rickety wooden crutches. Walt looks lighter on his toy-spring feet, but the Sal’s mustache is bigger. Call it a draw.

The painting is Schorr’s acceptance

of the label so often given to him of “pop surrealist.”

Picking out Schorr’s pictorial influences is fun, like taking a graduate-level trivia course. After a while, however, such visual overload, so glossily perfect in execution, can be wearying. I found myself drawn to some anomalous works on view. A couple of exquisite, jeweltoned miniatures focus tightly on a malevolent Halloween pumpkin head beast. Under Autumn’s Tentacled Spell (2008–09), for instance, has the impact of a Redon.

Perhaps most interesting of all is a large banner from the 1940s by circus artist Fred Johnson used to entice carnival-goers to ogle the Turtle Boy, a sideshow attraction with no hands or feet. This magnificent example of a lost genre is meant to illustrate one of Schorr’s many sources. Curiously, Johnson’s Turtle Boy, crawling through a swamp, turns to regard us with a completely sympathetic, utterly human gaze. Not once in all of Schorr’s paintings do we encounter such empathy.

TODD SCHORR: AMERICAN SURREAL runs through Sept. 13 at the San Jose Museum of Art, 110 S. First St., San Jose. (408.271.6840)

[44] STAGE/ART/LIT

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

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Bard Under The Radar

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Remembering Greg Hall, 1946–2009 HEN SOMEONE close to you dies, it’s always strange, even if they were old and in poor health, and you knew it was coming. When the deceased is a longtime friend, an exact contemporary and a peer in your shared obscure line of work, someone you spoke with over the phone the day before and who was no drunker than usual and otherwise in good health as far as you knew—when he is suddenly found dead in his San Jose cottage, apparently of a heart attack, at 62, your grief and disbelief are of a different order of magnitude.

Greg Hall, at one time one of the most prodigiously gifted poets in this area, unexpectedly left this world last Tuesday, June 23. He had phoned me Monday, and we’d spoken for maybe a half hour about everything and nothing—that is, mostly about poetry in one manifestation or another, about the small miracle that we and a few friends were still doing it after all this time, about the curious consolation it is to devote one’s life to such a marginal yet essential mode of creation.

In the 1970s, Hall was a star, alternately inspiring and exasperating fellow poets with his brilliant imagination, his gentleness, his humility and his wit. I was certainly one who wondered, in the competitive way of poets, how I might ever write poems so brimming with reality and a seemingly effortless way of making the wildest connections and juxtapositions—as in “Juan Marichal’s left foot sinks over the Golden Gate,” an image of the high-kicking delivery of the great Giants pitcher as an event as cosmic as the setting sun—seem completely natural and inevitable.

Working in those days on a series of manual portable typewriters, later on one computer or another, Hall went through periods of self-doubt or spiritual conversion often enough to discard writings that he no longer believed in, and surely threw away more excellent original poems than most poets write in a lifetime. He was not attached to the material world, his own works included. He was constantly recycling his books and music, living in tiny cottages in Santa Cruz or spare apartments in San Jose or Campbell, working in hospitals or nursing homes as an orderly, a technician, an administrator, and on his own time constantly reading a vast range of books—poetry, history, philosophy, fiction, biography—and writing, writing, writing.

He was one of those rare poets not only totally authentic in his devotion to the art but, even rarer, utterly indifferent to public recognition. He had no ambition to publish.

In 40 years he put out just two small collections from small presses (Flame People from Santa Cruz’s Green Horse Press and Inamorata from Tollbooth Press in Redwood City) and hardly ever appeared in magazines (exceptions include Silicon Valley’s Montserrat Review and my own Redwood Coast Review and Alcatraz). His only ambition was to serve his muses: poetry, music, art, alcohol and cigarettes.

That he lived as long as he did under the circumstances is an accomplishment in itself.

That he lived uncorrupted by the culture of publishing yet generously and successfully shared his work with a diverse circle of friends and colleagues, and that the work itself sustained over four decades, through all its changes and variations, a uniquely integral expression of his mystery-smitten spirit, is even more worthy of admiration.

Poetry has lost one of its truest souls, and hardly anyone will ever know.

W

L^aY 8VgY There is another me A mystery me Watching myself live and die —Greg Hall San Jose poet Greg Hall will be remembered in a memorial Sunday, July 19, at 6pm at WORKS/San Jose Gallery, 451 S. First St., San Jose.

Stephen Kessler

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Rose, White and Blue Parade holds up July Fourth tradition in San Jose

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ITH THE cancellation of the America Festival and downtown ďŹ reworks display, South Bay residents need only to look a few miles west to the Rose, White and Blue Parade for their Americana ďŹ x, where decorated ďŹ&#x201A;oats, antique automobiles and marching units will parade down The Alameda this Saturday. Wanting to pay homage to the Fiesta de Las Rosas Parade, which was an Alameda tradition from 1896 to 1969, this family-friendly parade combines themes of independence and roses as a way to remember and honor the rich history of the San Jose neighborhood. â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s always been a parade on the Alameda,â&#x20AC;? says Larry Clark, one of the organizers of the event. â&#x20AC;&#x153;This parade has a combination of being a hometown parade and the 10th largest city in the country.â&#x20AC;?

A crowd of about 3,000 people came out to watch last yearâ&#x20AC;&#x2122;s parade, which marked the celebrationâ&#x20AC;&#x2122;s debut. This year, Clark predicts a crowd of 6,000 people will gather to cheer on some 90 groups that are participating in the parade. The themes of the ďŹ&#x201A;oats remain under tight lip, but last year, residents from Cleveland Avenue took home the grand prize as they sang and danced down the street in the Drew Careyâ&#x20AC;&#x201C;themed ďŹ&#x201A;oat, â&#x20AC;&#x153;Cleveland Rocks.â&#x20AC;?

Unsure of how the local community would receive the event, Clark said that immediately following last yearâ&#x20AC;&#x2122;s parade, people wanted to know if it was going to come back again. â&#x20AC;&#x153;We didnâ&#x20AC;&#x2122;t get any negative feedback,â&#x20AC;? Clark says. â&#x20AC;&#x153;Now, the tradition is that the neighbors are calling me to make sure the route is going by their house.â&#x20AC;?

Catapulting off last yearâ&#x20AC;&#x2122;s success, this Fourth of July celebration will feature a festival at the end of the parade route, which will include a kidsâ&#x20AC;&#x2122; area with carnival games, food vendors, musical acts, rose displays and prizes plus a historic tour of The Alameda in an antique bus. The musical acts start at 11am with rock & rollers Off the Record.

Also appearing are DJ Eruvey, and Mucho AxĂŠ.

Despite the economic downturn, canceling the parade never crossed any of the organizersâ&#x20AC;&#x2122; minds. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re kind of a low budget thing to begin with,â&#x20AC;? Clark says. â&#x20AC;&#x153;This parade is mainly fueled by volunteers.â&#x20AC;? The parade aims to bring together residents, local businesses and school organizations and encourage them to participate in any way possible, whether itâ&#x20AC;&#x2122;s walking in the parade or volunteering at the festival. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s not a parade just to watch, itâ&#x20AC;&#x2122;s a parade to be in,â&#x20AC;? Clark says. The parade route starts at West San Carlos Street and Shasta Avenue and ends at the intersection of Hanchett Avenue and The Alameda, a total of 1.4 miles. The festivities begin at 10am and last until 3pm.

Andrea Frainier

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M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 FILM

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Robot Turkey

The new ‘Transformers’ and a Cagney Classic show the two sides of movie patriotism on the Fourth

By Richard von Busack

S

HOULD ANYONE be reviewing Transformers: Revenge of the Fallen as if it were a movie? I’m not sure it is one; they’re showing it on a screen, they’re selling tickets to it, but it’s post-cinema. It is in essence a series of advertisements for GM, Hasbro and the U.S. Army, but the connective tissue has broken down somewhere. The only unposed minute is the shot of two dogs coupling. And even they were computer animated.

As after any other bluntinstrument trauma, it took a little recovery time to comprehend what just happened. One faces the options of surrendering to Transformers 2 as if it were a piece of Dada or Surrealist art—as critic Charlie Jane Anders suggests in a witty Internet provocation. Or one can put up a fight and get slammed with personally insulting emails, as some of my colleagues have.

Anders is funny, but her piece made me feel worse. Under the wit is the implication that the crowd is right because they’re a crowd—that Shia LaBeouf is “actually a fine actor.” Evidence? That Transformers 2 is, in that verdigris-covered simile, like ___ on LSD and steroids (in this case the word in the blank is “Terry Gilliam”). And ultimately it was “actually quite funny.”

I laughed a couple of times; the attack on the Parisians was so low.

The unfunny side of Transformers 2 is its subtext about a civilian government losing its nerve. Obama quivers in his bunker. The military stands in the gap, under the banner of Optimus Prime, while subprime robots Step and Fetchit, excuse please, Skids and Mudflap, wait for their instructions from their racial superiors. The CIA (in the form of ex-agent John Turturro) and the Army override the weak and piping government. Sam Witwicky leaves his hoity-toity college and gets his war on in the Middle East. There, our little brown brothers are glad to see us. Why shouldn’t they be?

At last, we can explain to them how the pyramids got there.

The contradictions of a Michael Bay film are numerous; he wants your head to explode, not your mind to wrap around anything. You’ve heard it all at this point: it has to be stupid, it won’t work if it’s not stupid; it’s stupid to expect it to not be stupid. Yet some have tried to sound Transformer 2’s depths. All sympathy for the teachers of one person writing at a certain website who defended the mythic quality of the Transformers 2 in exactly these words: “It has a very deep plot that basically always came back to the good guys trying to stop the bad guys.”

Bay’s trick is an orgasmic love of military hardware countered by a hatred of the politicians who buy it. It takes a romantic—not to say

simple-minded—mentality to be simultaneously pro-military and anti-government. It’s like saying, “I love my fist, but I hate my hand.”

Bay has worked this angle hard, so expect a brewing blog attack on critics, who are anti-American or at least anti–American entertainment.

What can you expect from the liberal elite as opposed to the sonsof-the-soil Paramount execs pushing this vast mechanical dog’s egg?

The odd part is that Transfomers 2 mirrors the old style in patriotic movies, with Bay loving the flags and uniforms as much as any crowdrouser of Hollywood’s studio era.

Older versions are quainter but more heart-felt, less self-conscious.

Michael Curtiz’s Yankee Doodle Dandy (1942) is the Stanford Theatre’s beloved traditional July 4 offering: a movie that honors middle-American values without insulting the hell out of the intelligence of middle Americans.

Shot during the winter of 1941–42, the movie notes the storm clouds over the nation with an exterior shot of the Capitol in a downpour. The film’s inner story unfolds in shifting scenes from World War I to World War II. The progression acknowledges the bad nerves and doubt in the audience as the new war began.

As song-and-dance man George M. Cohan, James Cagney’s self-assured performance is incandescently good movie

acting—commanding and selfmocking at the same time. Cagney performs the catchy title song as part of a play titled “Little Johnny Jones,” about an American jockey gone to England to ride in the Derby, only to be defeated by guile and sent home in disgrace. It’s not a high-pitched number; it has a confessional side. Singing “Yankee Doodle Dandy,” Cagney reaches for an imitation of Cohan’s distinctive clear-throated readings of the lyrics.

Stage lights whiten Cagney’s face, and photographer James Wong Howe recalls Toulouse-Lautrec’s pictures of performers leaning over the orchestra pit, arms spread.

Doing the flag-waving tune, and the endearing stiff-legged dance—an Irish ancestor to Chuck Berry’s duck-walk—you can see both a performer’s honest pride in citizenship, as well as the part of him that is counting the house.

It’s reassuring to discern the showman visible through the patriot. The sight says something about the confidence in the nation’s ability to tell the difference between a show and the natural deep feelings of love of country. It’s similarly depressing, in Bay’s case, to watch him wrap himself in the flag for as long as the audience will buy it.

YANKEE DOODLE DANDY shows with FOOTLIGHT PARADE July 3–6 at the Stanford Theatre in Palo Alto.

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m e t r o s i l i c o n va l l e y july 1-7, 2009 film Blue Sky Studios

PREHISTORIC Ellie the wooly mammoth and Crash and Eddie the possums

hope to survive ‘Ice Age: Dawn of the Dinosaurs,’ now playing valleywide.

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[50]

FILM JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

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Reviews by Jeffrey M. Anderson, Michael S. Gant and Richard von Busack.

New Ice Age: Dawn of the Dinosaurs (PG; 94 min.) More animated fun with those wacky prehistoric creatures. (Plays valleywide.)

Public Enemies (R; 140 min.) See review at right.

Tetro (Unrated; 127 min.) Francis Ford Coppola returns with a closely observed family drama starring Vincent Gallo and Maribel Verdú. (Opens Jul 3 at the Aquarius in Palo Alto.)

DVDS Godard and More See reviews on page 52.

Revivals Apollo 13 (1995) Tom Hanks, Kevin Bacon and Bill Paxton star in a dramatization of the ill-fated trip to the moon; Gary Sinise is their mission control. (Plays Jul 2 at sunset in Redwood City at Old Courthouse Square; free; bring blankets and lawn chairs.)

Caddyshack (1980) Scenes from the class struggle at Bushwood Country Club as described by the doomed satirist Doug Kenney, coscriptwriter and co-founder of National Lampoon. It’s the country-club elite (Judge Elihu Smails, played by Ted Knight) vs. a still-in-Saigon groundskeeper (the rare Bill Murray), who in turn opposes a famous gopher puppet, which rodent would seem to be some sort of symbol for the tunneling Viet Cong. The deathless Rodney Dangerfield steals the show as a nouveau-riche member who offends the WASP sensibilities of the older club men and women. (“Is that your son? Very nice, very nice. Now I know why tigers eat their young.”) Rated whatever it’s rated for the scenes of implicit stretch-mark loofahing.

(Plays Jul 8 at sundown in San Jose at San Pedro Square; bring lawn chairs and blankets; free; part of the Starlight Cinema series.) (RvB) Clerks (1994) Brian O’Halloran is your host to Dante’s li’l inferno—a suburban stop ’n’ rob in an upper-lower-middle-class section of New Jersey, next door to a video store where the No. 1 hit is the kid movie Happy Scrappy Hero Pups. Holding up the front wall are a pair of marijuanaimpaired lowlifes (Jason Mewes and director/writer/chief cook and bottle washer Kevin Smith). Customers, seeking all the convenience of life from porno to cottony toilet paper, crowd the place. But there’s room for you inside. (Plays Jul 3 at midnight in Campbell at Camera 7.) (RvB) Cover Girl/You Were Never Lovelier (1944/1942) Betrayed by Rita Hayworth, a Brooklyn nightclub dancer (Gene Kelly) waits for her to come to her senses. Songs

by Jerome Kern and Ira Gershwin include “Long Ago and Far Away.” BILLED WITH You Were Never Lovelier. In Argentina, Astaire hooks up with Hayworth as the band (Xavier Cugat and his Orchestra) plays on. (Plays Jul 7-9 in Palo Alto at the Stanford Theatre.) (RvB) Niles Film Museum Regularly scheduled programs of silent films. This week: Down to Earth (1917) with Douglas Fairbanks in a mad scheme to cure a boatload of hypochondriacs.

Also: Don’t Shove (1919) with Harold Lloyd and Snub Pollard, and Liberty (1929) with Laurel and Hardy; the one

Separate Tables/The Innocents (1958/1961) In a peeling seaside hotel, a mixed group of vacationers endure their loneliness; Deborah Kerr, Burt Lancaster, David Niven and Rita Hayworth co-star.

BILLED WITH The Innocents. Very classy but flawed horror story set in the midVictorian era. A governess, keeping the care of two young orphaned children, begins to think that a pair of ghosts are also watching over them. The ghosts are the spirits of a decadent valet named Peter Quint and the previous governess, Miss Jessel, whom he debauched. By not acknowledging the ghosts, who are plainly visible to the governess, the lovely, innocent children are “playing—or being made to play—some game,” as Henry James put it in the film’s source, The Turn of the Screw. Director Jack Clayton underscores the cultured viciousness of the uncle (Michael Redgrave), who decides to lock his nephew and his niece away in the countryside. Pamela Franklin plays Flora; Miles is Martin Stephens.

The film’s serious tone begins with one of the most terrifying of all film openings: a blacked-out screen as the children sing-song a folk tune by George Auric with neomedieval lyrics by Paul Dehn.

Even with the usual trappings of the Gothic—blowing curtains, wax-dripping candelabras—The Innocents never descends into camp. (Plays Jul 1-Jul 2 in Palo Alto at the Stanford Theatre.) (RvB) Yankee Doodle Dandy/Footlight Parade (1942/1933) See page 48 for story about Yankee Doodle Dandy. ) BILLED WITH Footlight Parade. Required viewing. San Jose–born Lloyd Bacon directs this introduction to the entertaining, bizarre world of the Warner Bros. musical. James

Cagney plays Chester Kent, a besieged creator of live musical prologues staged as curtain-raisers at movie theaters. It’s the production numbers we don’t see that sound the most hallucinatory; some of his touring companies are doing numbers on the themes of the Russian Revolution, ghosts, bullfighters and the Swiss Navy.

Meanwhile, Kent is gnawed by lesser problems: a defeatist dance instructor (whiny Frank McHugh) and an idiotic censor (Hugh Herbert), foreshadowing the wrath of the Production Code to come. Cagney shows off his considerable talents as a song-and-dance man, and Joan Blondell is attractive as his tough, loyal partner. As for the numbers: “By a Waterfall” is staged in a 20,000-gallon tank and capped with a 70-foot-high wedding cake of fountains and chorus girls; “Sittin’ on a Backyard Fence” is irresistible kitsch, featuring the enthusiastic if labored tap dancing of Ruby Keeler. In best musical-comedy style, Keeler is discovered under a pair of glasses and a schoolmarm outfit: “All you need is an Atlantic Monthly tucked under your arm,” tsks an observer. (Plays Jul 3-6 in Palo Alto at the Stanford Theatre.) (RvB)

Reviews Angels and Demons (PG; 138 min.) Tom Hanks, renegade Harvard symbologist, is called in on a plot to vaporize the Vatican. Meanwhile, a killer from the Illuminati offs one high-ranking cardinal an hour. The money is onscreen, as Hanks zips around Rome and scuttles through old churches.

Co-writer and frequent offender Akiva Goldsman adds his aroma to the script; a speech reconciling science and faith is of particular shininess. As the film’s girl, Ayelet Zurer plays a European physicist, dressed down like a Sunday

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film reviews

m e t r o s i l i c o n va l l e y july 1-7, 2009 film where the boys end up stranded on a girder. Frederick Hodges at the piano.

(Plays Jul 4 at 7:30 in Fremont at the Edison Theater, 37417 Niles Blvd.) (RvB)

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Gunfighters Michael Mann’s ‘Public Enemies’ is a skin-deep but good-looking story of John Dillinger

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T IS well known that the last movie John Dillinger watched was Woody Van Dyke’s fine, compact Manhattan Melodrama. Showing us Johnny Depp’s Dillinger in Public Enemies, director Michael Mann slows down the image of Manhattan Melodrama’s Myrna Loy onscreen. Suddenly, Mann’s hiring of Marion Cotillard as the female lead, Billie, is explained. He picked her because she looks like Loy. Previous takes on the life of Dillinger had themes like “Crime doesn’t pay” or “Society is to blame.” Mann’s is “It was only a movie.”

Mann carries out Public Enemies, a study of Dillinger’s career from its middle to its end, in darting, little-cam movements. If it weren’t for the music—1940s jazz in a 1930s world—the film would look Dogme-tized. The photography often uses high-def synthetic light: yellowish-white flares of gun bursts and gritty magenta torches burning. Mann loves the machinery: the cars, the vintage locomotive sliding into Union Station and a three-engined plane bringing Dillinger to one of the jails that cannot hold him. Here are a couple of the gunfights and cloudscapes Mann does better than anyone around, including the exterior of a lakeside prison at Michigan City, Ind. Mann turns the famous shoot-out at the New Bohemia into a version of the Battle of the Wilderness. One gangster has a sensationally picturesque death; he goes out plowing the earth with his Tommy gun as if he were digging his own grave.

Surfaces come to mind when you can’t hear the dialogue or can’t tell who the new characters are supposed to be. In numberless close-ups, Depp emphasizes surface, too. Spilling out the capsulized details of his life in three or four lines, Dillinger asks Billie, “What else do you want to know about me?” That’s meant to keep us satisfied, too. Who am I? I’m the guy playing Dillinger, that’s who.

Mann chases the Walker Evans out of the Depression. Everyone onscreen is a cop or a robber—with a few two-timing floozies on the side. Leelee Sobieski, looking more like Kim Novak than ever, has some shots in a film that doesn’t give up much feminine beauty. Billy Crudup commands the screen playing J. Edgar Hoover—he enunciates and has a clear purpose, unlike most of the characters. Stephen Graham’s psycho Baby Face Nelson seems modeled on Michael Badalucco’s performance in O Brother, Where Art Thou?. The movie pegs Christian Bale’s Melvin Purvis as a gunman who can’t handle death, and that’s his total character. Dillinger is caught in a pinch between Hoover’s cryptofascist sympathies and the founders of organized crime in Chicago. Neither crooks nor law enforcers have room for a lone innovator.

The movie makes the master bank robber a gent, a showman, an ardent monogamous lover; when he takes hostages, it’s to relieve them of the humdrumness of their lives. Public Enemies moves along quickly for its length, and it’s an adult gangster movie in a market that has mostly given up on adults. But the film never achieves that extra tang it’s reaching for—never establishes that link it reaches for, the link between those hard times and ours.

The misguided attempts at relevance (an Abu Ghraib–style interrogation is the worst of these) are immaterial to Mann’s purpose as a cold, skin-deep entertainer.

Richard von Busack PUBLIC ENEMIES (R; 140 min.), directed by Michael Mann, written by Ronan Bennett, Ann Biderman and Mann, photographed by Dante Spinotti and starring Johnny Depp and Marion Cotillard, plays valleywide.

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film july 1-7, 2009 m e t r o s i l i c o n va l l e y

DVD REVIEW

The Soft Skin Godard anticipates deconstruction in 1964 equilateral love triangle ‘Une femme mariée’

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WENTY-THREE-YEAR-OLD Mme. Charlotte Giraud (the almond-eyed actress Macha Méril) has, for three months, been the mistress of an classical theater actor named Robert (Bernard Noël). She is the wife of a private pilot named Pierre (Philippe Leroy), a man 10 years older than she. He has been previously married and has a son from his first marriage who looks at Charlotte as if she were his mother. Such is the triangle in Jean-Luc Godard’s 1964 Une femme mariée (a.k.a. A Married Woman), newly available on DVD. The film begins with the playful seizing of Charlotte’s wrist, set against a white paper background; it ends with a male hand relinquishing the grasp.

Here are characters literally on paper, paper-lovers. When writing the script, Godard’s gambit was to correspond with Elle magazine’s advice column to ask whether a straying wife should return to her husband or go off with her new lover. Charlotte comes to us in sections: a flat torso that fills the screen, the finely shaved legs, the nude shoulders and back. She’s a woman in pieces, shielded in fade-outs, calmly bathing, changing clothes, shuttling between the two men. One is her dull husband: a great moment of cinematic contempt has Charlotte putting one of the novelty album “laughing records” of the era on the record player so she can cackle at the cuckold by proxy. The growing question is whether her actor is any more suitable—he’s a man who only needs a director’s command to change his mood.

Now in paperback, Richard Brody’s Everything Is Cinema: The Working Life of Jean-Luc Godard (704 pages. $20, Holt) quotes Godard on his three characters: “They are not unhappy, they have nothing but psychological reflexes. . . . It’s a film in which something is missing.”

It’s a revenge film, too. Godard’s muse and lover, Anna Karina, had been unfaithful to him with an actor.

Brody describes Godard’s ideas in Une femme mariée as a radical approach to a conservative outlook. Amid the novel, algebraic way of cutting the characters down to size are references to Molière and Racine (the tragedy Berenice read, flatly, in bed, as Charlotte helps the weary Robert learn his lines); the triste Beethoven strings on the soundtrack give context to a drastic stripping down of characters.

Meril plays Charlotte as a chic, decorative object who is good to look at.

It’s hard to feel for her; she is so caught in the moment and the minutiae of her life that she doesn’t know what Auschwitz is. Likely, Charlotte’s mix-up of Auschwitz and the thalidomide tragedy is a symbolic gesture, reflecting French historical amnesia. The film was temporarily censored, as Brody records, just as Alain Resnais’ Night and Fog was censored. In Resnais’ case, the director was required to snip out a visual reference to the French collaboration in the deporting of Jews. Charlotte finally watches the Resnais documentary with Robert at the little cinema theater that used to stand at Orly Airport; only afterward does some kind of conscience awaken in her.

To me the most exciting part of the film is when these flesh-and-blood symbols gave way to actual symbols. First comes a disturbing scene of bathing beauties in printed negative, splashing ink-colored water on one another and grinning with glowing black grins as they are photographed by men with luminous cameras. Soon comes a montage of magazine lingerie ads, if a soft word like lingerie can be used to describe the brutal, almost deforming foundation garments here—the stiff girdles and torpedo bras, amid swirls of advertising copy. Godard cuts to an almost Situationalist cartoon caption. On all sides of Charlotte—swirling around her, in the air around her even—are magazine captions and copywriting: spirals of chatter, the presence of an allconquering banality.

Richard von Busack

51( school teacher in Ogden, Utah. A handy helicopter with the keys left in the ignition brings up a burst of bad-movie audacity at the end; this, sadly, proceeds a twist ending so weakly integrated into the show that it looks like the cast sat down together and watched the alternate finale on DVD extras. (RvB) Away We Go (R; 98 min.) Burt (John Krasinski), an alterna-insurance broker, and his pregnant mate, the dour, nervous Verona (SNL alum Maya Rudolph) seek a community. Sadly, they learn that America is a beautiful country full of ugly people. The two travel, meeting parents who are too permissive, or not permissive enough, before visiting an idealistic couple with a multiracial von Trapp–like family in Montreal. Not enough jokes, by a long chalk. Alison Janney, the standout, as a sharp-tongued mom, is only temporary relief from the two leads: the moral and physical center of this movie’s universe. The writers are San Francisco’s Dave Eggers and his wife, Vendela Vida, writers who seek the wonder and freshness in aged platitudes about the innocence of children. Director Sam Mendes makes this a Reactionary Road sequel to his last film Revolutionary Road; it’s a sitcom for nesting hipsters with guest appearances by celebrities playing wacky relatives. (RvB) Chéri (R; 100 min.) One of the grand horizontals of Paris’ Belle Epoque, Lea de Lonval (Michelle Pfeiffer), is ready for retirement and a hobby. She picks a ruinous kind: the care and feeding of a beautiful, diffident young man, nicknamed Chéri (Rupert Friend). Chéri is the son of Madame Peloux, Lea’s frenemy. In Chéri, director Stephen Frears reunites with scriptwriter Christopher Hampton and star Pfeiffer to revisit the type of games all three of them played 20 years ago in Dangerous Liaisons. The film brings out Pfeiffer’s gloriousness, her translucent skin, the limbs and hair still golden. But this deeply Southern Californian actress tries to play a Parisienne through formal diction and an exhausted drawl. Something simpler might have worked better. Yet Kathy Bates’ Madame Peloux walks away with

this picture, not that she does much walking. She spends a good deal of the film with feet propped up, a half-smile on her face. Here is a woman, in author ZZ Packer’s phrase, who wears her fat like a mink coat. She looks like a woman who knew how to keep her customers amused.

Easy Virtue (PG-13; 93 min.) Circa 1928: Larita, an outré American female race-car driver (Jessica Biel), arrives at the English country mansion of her new husband, John Whittaker (Ben Barnes). Still in possession of the place is his dragon of a mother, Mrs. Whittaker (Kristen Scott Thomas), and John’s formerly wayward stepfather, Mr. Whittaker (Colin Firth).

It’s hard to understand why Stephan Elliott decided to redo Noel Coward like a man trying to refurbish an antique with Day-Glo paint. Elliott’s timing isn’t bad, but he does go inadvisedly modern, adding a butt shot, a crunched Chihuahua and a bit about an English fox hunt I’d swear was pinched from Auntie Mame.

(RvB) Food, Inc. (PG; 94 min.) The most necessary film of the summer. The outrages of corporate food production are exposed in this fast and infuriating documentary by Robert Kenner. Defying the lawyers, one corporate chicken farmer shows us her wretched, antibiotic-packed birds. Today’s industry lobbyist is tomorrow’s regulator, as sure as today’s pig is tomorrow’s bacon.

Drooling packed-in steers are fattened with cheap Iowa corn; it breeds E. coli in their guts. The nigh-annual outbreaks of E. coli are seemingly the cost of business, a price paid even by spinach-eating vegetarians. Director Kenner can’t be accused of starry-eyed idealism. Food, Inc. reminds that if the United States could make Big Tobacco come to heel, then agribusiness’s wasteful and deadly practices can be stopped. (RvB) The Hangover (R; 100 min.) A well-built, good-looking and satisfyingly low comedy with a sturdy plot and the wit to realize that the Three Stooges format is solid gold. A quartet of Southern California types heads to Vegas for a bachelor party. Cut, eventually, to The Morning After: The Cramps’ version of “Fever” on the soundtrack as a live chicken struts through the smoldering ruins of what once was a $4,200-a-night Caesar’s Palace suite. The groom has vanished, and the three chumps, rendered amnesiac by booze, must search for him.

They are: kitty-whipped, Larry-like Stu

(Ed Helms), confident but wrongheaded Moe-style leader Phil (Bradley Cooper) and the “one-man wolf pack” Alan, played by the film’s standout, Zach Galifianakis, Curlying beautifully. (After one typical moment of idiocy, he’s introduced like so: “Don’t let the beard fool you. He’s a child.”) What gradually materializes is an evening that included a stolen cop car, inappropriate touching of Mike Tyson’s pet tiger and one member’s marriage to a very nice stripper (Heather Graham).

Stick with it, since the first third is hit and miss; later, director Todd Phillips solidly builds the situations, thinking up strategies to bolster the risky comedy.

(RvB) My Sister’s Keeper (PG-13; 109 min.) Nick Cassavetes strikes again, proving yet again that the acorn sometimes falls very far from the tree. It’s a family drama starring Cameron Diaz, Jason Patric and Abagail Breslin.

Night at the Museum: Battle of the Smithsonian (PG; 105 min.) Will Amy Adams’ pants be in the Smithsonian someday? They ought to be, since they work wonders for Shawn Levy’s otherwise only-forthe-kids movie. Ben Stiller’s security guard hero is still disinterested. Hank Azaria’s talents as a vocal actor are on display in his accent for the pharaoh Kahmunrah; in a world domination scheme, this animated Egyptian statue recruits a militia of historical villains, including Ivan the Terrible (Christopher Guest) and Al Capone (Jon Bernthal).

Director Levy oversees some very sweet and technically tricky effects—a ride on the Wright brothers’ plane, the colossal statue of Lincoln escaping his monument and a purple-pink giant octopus attack.

At the imaginary “National Art Museum” (actually the National Gallery), the paintings and sculptures come to life; a Roy Lichtenstein girl turns her head and frets. Admittedly, the living paintings are stuff we get at Hogwarts, but the more modern art makes the effect new. As the snugly clad Amelia Earhart, Adams gives this film some class and some adult appeal. (RvB) The Proposal (PG-13; 107 min.) Sandra Bullock returns in a romantic comedy with Ryan Reynolds. Plus (check your demographics tables here) Mary Steenburgen, Craig T. Nelson and Betty White. (Opens Jun 19.)

Star Trek (PG-13; 126 min.) Happily, J.J. Abrams’ version of the 40-year-old story is a

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UNE FEMME MARIÉE; one disc, Koch Lorber; $26.98.

EVERYTHING IS CINEMA: THE WORKING LIFE OF JEAN-LUC GODARD

by Richard Brody; Holt; 704 pages; $20 paperback

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m e t r o s i l i c o n va l l e y july 1-7, 2009 film loving refurbishing of an old structure, rather than a demolishing. Traditions honored include the green babe (Rachel Nichols) and the red-shirted ensign. As Kirk, Chris Pine himself is the ham this sandwich needs. Zachary Quinto is very poised as Spock, the tragic mulatto of space. Abrams’ tendency to undervillain the picture is redeemed by his making the villain fast, raging and large. Eric Bana, made up so that his face looks like a spider’s abdomen, plays Nero, a Romulan renegade escaped from the future. The film’s only conventional love interest involves Zoe Saldana’s Uhuru, drawn to Spock, as who wouldn’t be. The film’s real tension arises in the partnership between Kirk and Spock— two halves of one great leader, calm calculation meeting insane daring. (RvB) The Stoning of Soraya M. (R; 116 min.) Dreadful adaptation of the bestseller by Freidoune Sahebjam. A Franco-Iranian journalist (Jim Caviezel) gets stuck in a small Iranian town. A mourning woman, Zahra (Shohreh Aghdashloo) gestures for him to come in.

She tells the story of the execution of her niece Soraya (Mozhan Marno). The dead woman had been accused of adultery by her brute of a husband, Ali, a policeman with eyes for a 14-year-old second wife.

Blameless as she is, Soraya refuses to give the husband a divorce— she and her daughters would starve. Those too gentle to face this movie, who shudder at the title, should yield to the impulse that makes them promise to read the book instead. All you’ll learn from the film is that there is no subject so brutal that it can’t be aestheticized to the max. (RvB) Summer Hours (Unrated; 103 min.) American movies are usually about people with one problem; French movies are usually about people with a nexus of problems.

In Olivier Assayas’ absorbing and smart new film, the problems of an extended family illuminate the abstract idea of artistic patrimony. (Previously, it was French cinematic patrimony, in Assayas’ best-known film here, Irma Vep). At her 75th birthday party, Hélène (Edith Scob) prepares to divide up her worldly goods among her children. These children are scattered all over the globe and don’t have the wherewithal to keep a luscious summer house going; the place is stuffed with valuable art pieces, too, which will have to be doled out to relatives and museums. Hélène was the longtime companion (perhaps more) of her uncle, a noted post-Impressionist; the slightly awkward legacy is puzzled out during the extended mourning session after Hélène drops dead. It takes a perceptive director to remember the physical similarities between the young girl Scob was (in Eyes Without a Face) and Juliette Binoche, here playing Hélène’s daughter, the one who inherited the family’s artistic gifts. Mulling over the cultural and financial primacy that’s migrated out of France into China and America, Summer Hours makes no recriminations. Assayas is gentle about the harsh edge of time scraping away things that are traditionally French, leaving behind the pop (mono)culture of superheroes, sneakers and drinking beer from the bottle. At a final house party for the family, he dwells on a trio of charming young modern girls dancing to Les Plastiscines’ terrific punk tune “Loser,” as if they were the Three Graces or something. (RvB) The Taking of Pelham 1 2 3 (R; 106 min.) Grubby, truculent remake, with John Travolta looking like an old and jaded rent boy as a criminal mastermind hostaging a group of subway riders. He’s opposed by Walter Garber (Denzel Washington), a low-key civil servant for the MTA; Washington downplays things until he practically

vanishes. Director Tony Scott, with neither interest nor time for underdogs, can’t work up feeling for their plight, so he allows Travolta to inf late his part with anal-aggressive patter. On the sidelines are a surprisingly ineffectual (if refreshingly low-volumed) hostage negotiator, John Turturro, and a butterball New York mayor (James Gandolfini) trying to survive his own scandal. This Pelham has agoraphobia, taking place as it does either in the subway tunnels or the interior of an office, with brash but immaterial street scenes of the money arriving from Brooklyn. There’s a joke about how a helicopter would have been faster, but no explanation why they didn’t use the copters. If the filmmakers explain that they knew better, does that explain why they didn’t do better? (RvB) Transformers: Revenge of the Fallen (PG-13; 150 min.) Off to college goes young Sam Witwicky (Shia LaBeouf ) trying to forget the trauma of watching the robots destroy L.A. The government covered it up—everybody is indeed just that stupid in a Michael Bay movie.

Sadly, a chip of the spark cube stuck to Sam’s shirt, and that starts the whole mess over again: indistinguishable robot-clobber with warlike threats (“You want a piece of me?” is one uttered by these immemorial interstellar bots from beyond the stars). Manly Air Force officers in camouf lage strut in slo-mo amid more cargo planes than one would see in an “Army of One” commercial. We cut to some frog-baiting: the Witwicky parents go to Paris, where they are pestered by mimes and eat snails. (“This looks like Canadian goose poop!” cries Dad.) If Transformers keeps ugly Americans away from France, this movie won’t have been made in vain for nothing. The Titanic-like sinking of an aircraft carrier is the standout animation, and it was an unusually good idea to stage a fight scene at the antique Delaware Power Station in Philadelphia.

There seemed a little more breathing room in the finale, too, despite the incredible repetition of action sequences.

Megan Fox, as the gurl, conceals her new tattoos with way too many clothes, so we can’t confirm rumors that one of the tats says “Angelina Jolie, I’m taking your job” in Latin. LaBeouf is probed by crab-bots trying to find the source of his unkillable smirk. The deservedly famous Bro Rape video on YouTube is the only possible cure for the dorm scenes at ivy-covered PSIU. The alien hieroglyphics, when

translated, read, “He thinks he is seeing bad films instead of understanding that what he sees is no longer film at all.”— Rudolf Arnheim, 1935. (RvB) Up (PG; 96 min.) Pixar spoils us dreadfully, but this phenomenally good 3-D cartoon is a standout even by their lights: the sturdily built comedic adventure appeals to all. A reject kid named Carl (voiced, when he’s in old age, by Ed Asner) grows up to be a balloon vender in the city park. He decides to f ly to South America, using his house as a gondola.

He and a childish stowaway, Russell (Jordan Nagai), encounter a 13-foot-tall iridescent goonie bird, and they also run into Carl’s boyhood hero (Christopher Plummer), an explorer who has been bitten by the Dr. Moreau bug. Certainly, most people will care only about the film’s buoyancy. But while loving Up’s ingenuity and humor, one also respects director Pete Docter’s refusal to stint the other side of adventure: pain, disappointment and even a tiny amount of blood. (RvB) Whatever Works Whatever Works (PG-13; 92 min.)

Very minor and musty but often funny misanthropy comedy by Woody Allen.

Larry David plays Boris, formerly a physics professor, shortlisted for the Nobel Prize (“It was all politics, just like any award”); today, he is retired, a freerange castigator, teaching chess (brutally) to children and living in a brick-lined vault in Manhattan’s Chinatown. A waif called Melodie (Evan Rachel Wood) drops into his lap; Melodie takes Boris’ imprint completely—his rants, his phobias and his dislike of sex—and marries him. A year afterward, the in-laws arrive for a first visit: Marietta (Patricia Clarkson) believes that she has tracked her runaway daughter down and is outraged to find the girl married to a neurotic man old enough to be her grandfather. Soon thereafter, Marietta’s estranged husband (Ed Begley Jr.) shows up in the apartment. It’s based on a script Allen had in his drawer for several decades, and it often looks it. While it’s often canned corn, give it its props; Allen knows how to make a civilized comedy even when denouncing civilization.

(RvB) Year One (PG-13) Harold Ramis directs Jack Black and Michael Cera in a comedy about two cavemen on a forced migration.

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[54]

film july 1-7, 2009 m e t r o s i l i c o n va l l e y

times 

show

Movie listings are for Friday, July 3, through Thursday, July 9, unless otherwise indicated.

Programs and showtimes are subject to change without notice. Updated showtimes are available online at www.movietimes.com.

Campbell Camera 7

1875 S. Bascom Ave. (408.559.6900) Away We Go 12:05, 2:40, 5:00, 7:15, 9:35 Clerks Fri midnight Ice Age: Dawn of the Dinosaurs Real 3-D

Fri 12:15, 2:30, 4:45, 7, 9:15, 11:30; Sat-Thu 12:15, 2:30, 4:45, 7, 9:15 Public Enemies Fri 1:10, 4, 6:50, 9:40, midnight; Thu 1:10, 4, 9:40; Sat-Wed 1:10, 4, 6:50, 9:40 The Hangover Fri 12:30, 2:50, 5:10, 7:25, 9:50, midnight; Sat-Thu 12:30, 2:50, 5:10, 7:25, 9:50 The Proposal Fri 11:30, 2, 4:30, 7:10, 9:45, midnight; Sat-Thu 11:30, 2, 4:30, 7:10, 9:45 Transformers: Revenge of the Fallen

noon, 3:20, 6:40, 9:55

Up in Disney Real 3-D Fri 11:10, 1:40, 4:10, 6:30, 8:55, 11:20; Sat-Thu 11:10, 1:40, 4:10, 6:30, 8:55

Cinelux Plaza Theatre 2501 S. Winchester Blvd. (408.378.2425)

Ice Age: Dawn of the Dinosaurs in 3-D

11, 1:10, 3:20, 5:30, 7:40, 9:45

The Proposal 1:45, 4:10, 6:30, 9 Public Enemies 12:45, 3:45, 7:15, 10:10 Tale of Despereaux Wed-Thu (Jul 8-Jul 9)

10am

Transformers: Revenge of the Fallen

11:30, 12:15, 2:45, 3:30, 6:15, 7, 9:15, 10

Menlo Park Guild

949 El Camino Real (650.266.9260) Rocky Horror Picture Show Sat midnight Whatever Works Fri-Sun 2, 4:30, 7, 9:30, 11:30;

Mon-Thu 2, 4:30, 7, 9:30

Milpitas Century 20 Great Mall 1010 Great Mall Dr. (408.942.5550)

The Hangover Fri-Sat 9:40, 12:05, 2:30, 5, 7:30,

10, 12:25; Sun 9:40, 12:05, 2:30, 5, 7:30, 10; Mon-Tue 12:05, 2:30, 5, 7:30, 10 Ice Age: Dawn of the Dinosaurs Fri-Sat 10:10, 11, 12:40, 1:30, 3:10, 4, 5:40, 6:30, 8:10, 9, 10:40, 11:30; Sun 10:10, 11, 12:40, 1:30, 3:10, 4, 5:40, 6:30, 8:10, 9, 10:40; Mon-Tue 11, 12:40, 1:30, 3:10, 4, 5:40, 6:30, 8:10, 9, 10:40 Ice Age: Dawn of the Dinosaurs 3-D FriSat 9:20, 11:50, 2:20, 4:50, 7:20, 9:50, 12:20;Sun 9:20 am, 11:50 am, 2:20, 4:50, 7:20, 9:50 ;Mon-Tue 11:50, 2:20, 4:50, 7:20, 9:50 My Sister’s Keeper Fri-Sat 11:10, 1:50, 4:30, 7:10, 9:45, 12:20 ; Sun-Tue 11:10, 1:50, 4:30, 7:10, 9:45 Night at the Museum: Battle of the Smithsonian Fri-Tue 11:45, 6:10 The Proposal Fri-Sat 9:25, 12, 2:35, 5:10, 6:25,

7:45, 9, 10:20, 11:35; Sun 9:25, 12, 2:35, 5:10, 6:25, 7:45, 9, 10:20; Mon-Tue 12, 2:35, 5:10, 6:25, 7:45, 9, 10:20 Public Enemies Fri-Sat 9:30, 10:30, 11:35, 12:40, 1:40, 2:45, 3:50, 4:50, 5:55, 7, 8, 9:05, 10:10, 11:10, 12:15 ; Sun 9:30, 10:30, 11:35, 12:40, 1:40, 2:45, 3:50, 4:50, 5:55, 7, 8, 9:05, 10:10; Mon-Tue 11:35, 12:40, 1:40, 2:45, 3:50, 4:50, 5:55, 7, 8, 9:05, 10:10 Star Trek Fri-Tue 1:35, 7:25 The Taking of Pelham 1 2 3 Fri-Tue 11, 4:45, 10:20 Transformers: Revenge of the Fallen

Platinum Theatres

Fri-Sat 9:20, 9:50, 10:20, 10:50, 11:40, 12:10, 12:35, 1:10, 1:40, 2:10, 2:40, 3, 3:30, 4, 4:30, 5, 5:30, 6:20, 6:50, 7:20, 7:50, 8:20, 8:50, 9:20; Fri-Sat 9:40, 10:10, 10:40, 11:10, 11:40, 12:10; Sun 9:20, 9:50, 10:20, 10:50, 11:40, 12:10, 12:35, 1:10, 1:40, 2:10, 2:40, 3, 3:30, 4, 4:30, 5, 5:30, 6:20, 6:50, 7:20, 7:50, 8:20, 8:50, 9:20; Sun 9:40, 10:10, 10:40; Mon-Tue 10:50, 11:40, 12:10, 12:35, 1:10, 1:40, 2:10, 2:40, 3, 3:30, 4, 4:30, 5, 5:30, 6:20, 6:50, 7:20, 7:50, 8:20, 8:50, 9:20, 9:40, 10:10, 10:40 Up Fri-Sun 9:40, 10:55, 12:10, 1:25, 2:40, 3:55, 5:10, 7:40, 10:15; Mon-Tue 10:55, 12:10, 1:25, 2:40, 3:55, 5:10, 7:40, 10:15 Year One Fri-Sat 9:35, 12, 2:25, 4:55, 7:15, 9:40, 12:05; Sun 9:35 12, 2:25, 4:55, 7:15, 9:40; Mon-Tue 12, 2:25, 4:55, 7:15, 9:40

Ice Age: Dawn of the Dinosaurs 10:45,

Morgan Hill

Fremont NAZ 8 - Fremont Gateway Plaza

39160 Paseo Padre Pkwy - Gateway Plaza Shopping Center, (510.797.2000)

Call for other shows and times; information not available at deadline.

Gilroy 6851 Monterey St. (408.84.MOVIE)

12:50, 3:10, 5:15, 7:30, 9:30 Kung Fu Panda Mon-Wed (Jul 6-Jul 8) 10am Muppets From Space Wed (Jul 1) 10am Public Enemies 11:10, 3, 6:30, 9:25 The Hangover 10:55, 1:05, 3:25, 6:25, 9:10 The Proposal 11:05, 1:15, 4, 6:55, 9:05 The Taking of Pelham 1 2 3 Fri-Tue 5:10, 7:20, 9:35 Transformers: Revenge of the Fallen

10:50, 12:05, 1:50, 3:05, 4:55, 6, 8:20, 9:20 Up 11, 1:10, 3:15, 5:20, 8:25

Hollister Premiere Cinemas

581A McCray Street, (831.638.1800) The Hangover 12:15, 2:15, 4:50, 7:05, 9:20 Ice Age: Dawn of the Dinosaurs 11:20, 1:40,

3:50, 6, 8:10, 10

Ice Age: Dawn of the Dinosaurs 3-D

10:10, 12:20, 2:40, 4:50, 7, 9:15 My Sister’s Keeper noon, 2:20, 4:45, 7:20, 9:45 Open Season Mon-Thu 10am The Proposal 11:45 am, 2:10, 4:40, 7:10, 9:40 Public Enemies 11 am, 1:40, 4:30, 7:15, 10 The Taking of Pelham 1 2 3 7, 9:25 Transformers: Revenge of the Fallen

11:15, 12:15, 2:30, 3:30, 5:45, 6:45, 8:50, 9:50 Up 10:10, 12:20, 2:40, 5, 7:30, 9:30 Year One 10:20, 12:30, 2:50, 5:10

Los Gatos Los Gatos CinemaS

41 N. Santa Cruz Ave. (408.395.0203) The Proposal 1:30, 4:15, 6:45, 9:15 Transformers: Revenge of the Fallen Fri-

Wed 1:45, 5, 8:15; Thu 1:45, 5; Thu (Jul 9) 8:15

Cinelux Tennant Station Stadium Cinemas 750 Tennant Ave. (408.778.650)

Ice Age: Dawn of the Dinosaurs 11:45, 2:10,

4:30, 6:45, 9

Ice Age: Dawn of the Dinosaurs in 3-D

11, 1:10, 3:20, 5:30, 7:40, 9:50 My Sister’s Keeper 11:20, 1:45, 4:10, 6:45, 9:15 The Proposal 11:55, 2:30, 5, 7:30, 9:55 Public Enemies 11, 12:30, 2, 3:45, 5:10, 7, 8:15, 10 Tale of Despereaux Wed-Thu (Jul 8-Jul 9) 10am The Hangover 1:20, 3:30, 5:45, 8, 10:15 The Taking of Pelham 1 2 3 11 Transformers: Revenge of the Fallen

11:10, 11:55, 12:45, 2:15, 3:10, 4:15, 5:20, 6:30, 7:45, 8:45, 9:45 Up 11:30, 1:50, 4:20, 7:10, 9:30

Mountain View Century Cinemas 16

1500 N. Shoreline Blvd. and Fwy 101 (800.FAN.DANG 910#) Away We Go Fri-Sun 9:30, noon, 2:25, 5, 7:35, 10; Mon-Thu noon, 2:25, 5, 7:35, 10 Forever Plaid Anniversary Tribute Thu (Jul 9) 8pm Ice Age: Dawn of the Dinosaurs 3-D FriSun 9, 11:30, 2, 4:30, 7, 9:20; Mon-Thu 11:30, 2, 4:30, 7, 9:20 Ice Age: Dawn of the Dinosaurs Fri-Sun 10:15, 12:45, 3:15, 5:45, 8:15, 10:30; Mon-Thu 12:45, 3:15, 5:45, 8:15, 10:30 My Sister’s Keeper Fri-Sun 9:20, 11:55, 2:30, 5:05, 7:40, 10:20; Mon-Thu 11:55, 2:30, 5:05, 7:40, 10:20 Public Enemies Fri-Sun 10:10, 11:50, 1:30, 3:05, 4:50, 6:30, 8, 9:40; Mon-Thu 11:50, 1:30, 3:05, 4:50, 6:30, 8, 9:40

Star Trek Fri-Sun 10:05, 1:05, 4:05, 7:05, 10:10;

Mon-Thu 1:05, 4:05, 7:05, 10:10 The Hangover Fri-Sun 9:45, 12:15, 1:15, 2:45, 5:15, 6:15, 7:45, 10:15; Mon-Thu 12:15, 1:15, 2:45, 5:15, 6:15, 7:45, 10:15 The Proposal Fri-Sun 9:10, 10:25, 11:45, 2:20, 3:45, 4:55, 7:30, 9, 10:05; Mon-Thu 11:45, 2:20, 3:45, 4:55, 7:30, 9, 10:05 The Taking of Pelham 1 2 3 Fri-Sun 9:25, 2:35, 7:55; Mon-Thu 2:35, 7:55 Transformers: Revenge of the Fallen FriSun 9:05, 10, 11:35, 12:25, 1:20, 3:10, 3:55, 4:45, 5:45, 6:25, 7:10, 8:10, 9:05, 9:45, 10:25; Mon-Wed 11:35, 12:25, 1:20, 3:10, 3:55, 4:45, 5:45, 6:25, 7:10, 8:10, 9:05, 9:45, 10:25; Thu 11:35, 12:25, 1:20, 3:10, 3:55, 4:45, 6:25, 7:10, 8:10, 9:45, 10:25 Up Fri-Sun 9:15, 10:30, 11:40, 12:55, 2:15, 3:20, 4:40, 7:15, 9:50; Mon-Thu 11:40, 12:55, 2:15, 3:20, 4:40, 7:15, 9:50 Year One Fri-Thu 12:05, 5:10, 10:25

Palo Alto Aquarius 430 Emerson St. (650.266.9260) Food, Inc. Fri-Sat 2:45, 5, 7:30, 9:55; Sun 12:30, 2:45, 5, 7:30; Mon-Thu 2:45, 5, 7:30 Tetro Fri-Sat 2:30, 5:30, 8:30, 11:30; Sun 11:30, 2:30, 5:30, 8:30; Mon-Thu 2:30, 5:30, 8:30

CineArts @ Palo Alto Square 3000 El Camino Real and Page Mill Road Bldg #6, (800.FAN.DANG 914#)

Cheri Fri-Sun 2:20, 4:45, 7:20, 9:45; Mon-Thu 2:20,

4:45, 7:20 Moon Fri-Sun 2:15, 4:40, 7:15, 9:40; Mon-Thu 2:15, 4:40, 7:15

Stanford Theatre

221 University Ave. (650.324.3700) Cover Girl Tue-Thu 7:30 Footlight Parade Fri-Mon 5:35, 9:50 Yankee Doodle Dandy Fri 7:30, Sat-Sun 3:15,

7:30; Mon 7:30

You Were Never Lovelier Tue-Thu 5:40, 9:30

San Jose AMC Eastridge 15

2190 Eastridge Loop (888.AMC.4FUN) Bruno Thu (Jul 9) 12:01 am.

Forever Plaid Anniversary Tribute Thu 8 The Tale of Despereaux Wed (Jul 8) 10 am.

Summer Movie Camp

CineLux Almaden Cinema 2306 Almaden Road, (408.265.7373)

Ice Age: Dawn of the Dinosaurs 11, 1:10,

3:15, 5:20, 7:30, 9:40

My Sister’s Keeper 11:45, 2:15, 4:40. 7:10, 9:30 Public Enemies 1, 4, 7, 9:55 The Proposal 11:15, 1:45, 4:20, 7, 9:20 Transformers: Revenge of the Fallen

12:15, 3:30, 6:45, 9:50

The Tech Museum IMAX Dome Theatre

Transformers: Revenge of the Fallen Fri-

Sat 12:15, 1:10, 2:10, 3:25, 4:30, 5:25, 6:40, 7:45, 8:45, 9:55, 11, midnight; Sun-Thu 12:15, 1:10, 2:10, 3:25, 4:30, 5:25, 6:40, 7:45, 8:45, 9:55 Up 1:25, 3:50, 6:30, 8:55 Whatever Works Fri-Sat 1:50, 4:10, 6:25, 8:35, 10:50; Sun-Thu 1:50, 4:10, 6:25, 8:35 Year One Thu 3:15; Fri-Wed 3:15, 7:55

Century San Jose 24

Ice Age: Dawn of the Dinosaurs Fri-Tue

Call for other shows and times; information not available at deadline.

The Tale of Despereaux Tue (Jul 7) 10:30am

Century San Jose 25

10, 12:30, 3, 5:30, 8, 10:30

Century Capitol 16 San Jose

Capitol Expressway and Snell Avenue (408.972.9276) Angels & Demons 1:15, 7:25 Ice Age: Dawn of the Dinosaurs 11, 11:50,

12:40, 1:30, 2:20, 3:10, 4, 4:50, 5:40, 6:30, 7:20, 8:10, 9, 9:40, 10:40 My Sister’s Keeper 11:05, 1:50, 4:30, 7:10, 9:45 Night at the Museum: Battle of the Smithsonian 11:15, 1:45, 4:25, 7, 9:40 Public Enemies 10:55, 12:30, 2:15, 3:45, 5:30,

7:05, 8:45, 10:10 Star Trek 4:30, 10:30 The Hangover 12:10, 2:45, 5:15, 7:45, 10:20 The Proposal 11:30, 2, 4:40, 7:15, 9:55

Westgate Mall and Campbell/Saratoga (800.FAN. DANG 928#)

Info not available at deadline; call for shows and times.

CineArts@Santana Row 3088 Olsen Dr. (408.554.7000)

Forever Plaid Anniversary Tribute Thu

(Jul 9) 8pm

San Mateo Century San Mateo 12

320 E. Second Ave. (800.FAN.DANG 968#)

Wed (Jul 8) 10am

The Hangover Fri-Mon 10:50, 1:30, 5, 7:50, 10:40 Ice Age: Dawn of the Dinosaurs Fri-Mon

8, 10:35

Ice Age: Dawn of the Dinosaurs 3-D Fri-

The Spongebob Squarepants Movie The Taking of Pelham 1 2 3 12:25, 3, 5:25, Transformers: Revenge of the Fallen

10:50, 11:55, 1, 2, 3:05, 4:15, 5:20, 6:25, 7:30, 8:35, 9:45, 10:45 Up 12, 2:25, 5, 7:25, 10 Year One 12:15, 2:40, 5:10, 7:50, 10:15

Century 20 Oakridge 925 Blossom Hill Road (408.225.2200)

Ice Age: Dawn of the Dinosaurs in 3-D

Fri-Tue 9:15, 11:45, 2:15, 4:45, 7:15, 9:45

Ice Age: Dawn of the Dinosaurs Fri-Tue

9:45, 11:20, 12:15, 1:45, 2:45, 4:10, 5:15, 6:35, 7:45, 9, 10:15 My Sister’s Keeper Fri-Tue 11:15, 2, 4:40, 7:20, 10

Night at the Museum: Battle of the Smithsonian Fri-Tue 10:50, 4, 9:10 Public Enemies Fri-Tue 9:25, 11:25, 1, 2:40, 4:10,

5:50, 7:25, 9, 10:35 Star Trek Fri-Tue 11, 6:05 The Hangover Fri-Tue 9:10, 11:35, 1:05, 2, 4:30, 6:15, 7, 9:30 The Proposal Fri-Tue 10:30, 11:10, 1:55, 3:40, 4:35, 7:15, 8:45, 9:55 The Taking of Pelham 1 2 3 Fri-Tue 9:10, 11:45, 2:20, 5, 7:35, 10:20

Transformer: The Revenge of the Fallen

Fri-Tue 9:30, 10:25, 11:25, 11:55, 12:20, 12:50, 1:45, 2:20, 2:50, 3:15, 3:45, 4:15, 5:05, 6:15, 6:35, 7:05, 7:30, 8:30, 9, 9:35, 9:55, 10:25, 10:55 Up Fri-Tue 1:25, 6:35 Up in Disney Digital 3-D Fri-Tue 9:40, 12:15, 2:45, 5:15, 7:50, 10:25 Year One Fri-Tue 9:50, 12:20, 2:50, 5:20, 7:45, 10:10

10:40, 1:40, 4:50, 7:40, 10:10

Mon 9:50, 12:50, 3:50, 7, 9:40. RealD 3-D My Sister’s Keeper Fri-Mon 10:10, 12:50, 4, 7:10, 10 The Proposal Fri-Mon 10:20, 1:10, 4:10, 7:15, 10:15 Public Enemies Fri-Mon 11:50, 3:30, 7, 10:20 The Taking of Pelham 1 2 3 Fri-Mon 10, 4:20, 10:20 Transformers: Revenge of the Fallen

Fri-Mon 9:40, 10:30, 11:10, 12, 1, 2, 3, 3:40, 4:40, 5:40, 7, 7:30, 8:30, 9:30, 10:30, 11 Up Fri-Mon 11, 1:50, 4:30, 7:20, 9:55 Year One Fri-Mon 1:20, 7:35

Santa Clara AMC Mercado 20

101 Fwy and Great American Pkwy Ice Age: Dawn of the Dinosaurs 9:30, 12,

2:30, 5, 7:30, 10, 12:30 am

Public Enemies 10, 1:15, 4:30, 7:45, 11

Saratoga AMC Saratoga 14

Saratoga Avenue and Campbell Avenue (888.AMC.4FUN) Ice Age: Dawn of the Dinosaurs 10:30, 1,

3:30, 6, 8:30, 11

Public Enemies 9:15, 12:30, 3:45, 7, 10:15

One Nighters Courthouse Square Broadway and Hamilton streets

Call for other shows and times; information not available at deadline.

Ice Age: Dawn of the Dinosaurs Fri-Thu

Food, Inc. Fri 5, 7:10, 9:20; Sat-Sun 2:45, 5, 7:10, 9:20; Mon-Wed 5, 7:10, 9:20 Thu 7:10 Summer Hours Fri 4:30, Sat-Sun 1:45, MonThu 4:30 The Stoning of Soraya M. Fri 6:50, 9:30; Sat-Sun 4:10, 6:50, 9:30; Mon-Wed 6:50, 9:30; Thu 9:30 Thrillville Thu (Jul 9) 7:30

Transformers: Revenge of the Fallen Fri-

Thu 12:20, 3:40, 7, 10:25 The Proposal Fri-Thu noon, 2:35, 5:05, 7:35, 10:05 741 S. Winchester Blvd (800.FAN.DANG 927#)

Berryessa Road and Capitol Ave (800.FAN.DANG 929#)

Winchester 21

288 S. Second St. (408.294.3334)

3164 Olsen Dr (408.984.5610)

Century Berryessa 10

201 S. Market St at Park Ave (408.294.8324)

Camera 3

Winchester 23

3161 Olsen Dr (408.984.5610)

12:15, 2:40, 5:05. 7:30, 9:50

Apollo 13 Thu (Jul 2) 8:45pm School of Rock Thu (Jul 9) 8:45pm

Niles Essanay Silent Film

Winchester 22

37417 Niles Blvd., Fremont

3162 Olin Ave (408.984.5610)

Down to Earth with shorts Don’t Shove and Liberty Sat 7:30pm

Ice Age: Dawn of the Dinosaurs Fri-Thu

11:30, 1:55, 4:20, 6:45, 9:05

Public Enemies Fri-Thu 12:30, 4:10, 7:25, 10:30 Transformers: Revenge of the Fallen Fri-

Thu 11:15, 2:40, 6, 9:20

Camera 12

201 S. Second St. (408.998.3300) Easy Virtue noon Ice Age: Dawn of the Dinosaurs Fri-Sat

11:55. 2:20, 4:45, 7:10, 9:20, 11:35; Sun-Thu 11:55.

2:20, 4:45, 7:10, 9:20 My Sister’s Keeper 1:40, 4:20, 7, 9:30 Public Enemies Fri-Sat 1, 2, 4, 5:15, 6:50, 8:10, 9:45, 11:10, midnight; Sun-Thu 1, 2, 4, 5:15, 6:50, 8:10, 9:45 The Hangover 12:25, 2:40, 5, 7:20, 9:35 The Proposal 12:05, 2:30, 5:05, 7:35, 10:05 The Taking of Pelham 1 2 3 Thu 12:50, 10:10; Fri-Wed 12:50, 5:35, 10:10

become a fan metrofb.com

The Metro Facebook Page

METROGUIDE

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M E T R O S I L I C O N VA L L E Y JULY 1-7, 2008 MUSIC

[55]

Ani DiFranco_61 Club Scene: Music in the Park_62

Battle Tested

Raelin is ready to rock the Battle of the Bands at Los Gatos’ Venue ZY^e]didZnZ

By Garrett Wheeler

E COUCH CONTESTANTS Sbfmjo!xbsnt!vq!uif!

Cbuumf!pg!uif!Cboet! xjui!b!spvoe!pg! diboofm!tvsßoh/

VERY LOCAL music scene has its own version of a battle of the bands.

Small-town venues might pit a few high-school groups against one another, offering a grand prize of bragging rights. In places like L.A. and New York, a battle of the bands can be a far greater ordeal, representing the potential steppingstone from which an aspiring group might catapult to stardom.

And then there’s the South Bay’s 2009 PinUp Productions Battle of the Bands. Already into its third week, the show series boasts a whopping 54 bands playing at three different venues, with a grand prize of $10,000. Talk about an economic stimulus package.

“Winning the Battle would be amazing; there’s so much we could do with that prize money,” says Phil Bates, guitarist for the Hayward quintet Raelin, which plays on July 10 at the Venue in Los Gatos.

The costly expenditures that all bands face are suddenly roadblocks that can be hurdled in one fell swoop. All you have to do is play better than 53 other bands.

“I’m not going to say we’re going to win,” Bates says, “but I do know that we’re going to step it up and bring more to this show than we

have [to past shows].”

Formed in 2008 by Bates, bassist Uli Rodriguez and drummer Namor Nalupta, Raelin creates music that is something of a posthardcore meets hard-rock affair, with bits of metal, Southern rock and pop sprinkled in the mix.

During one of the group’s early rehearsals, a newly recruited singer showed up late for practice, forcing Rodriguez to fill in on vocals. “Uli got on the mic and started singing, and we realized that he was better than the other guy; actually, he was the best singer I’d heard in any band I’d ever played in,” Bates recalls. “The other guy had flown in from Ohio to try out with us, so he flew home a few weeks later.”

After completing their lineup by adding bassist Miles Franco and guitarist Lenny Heredia, Raelin were ready to unleash what they like to call “dirty rock.” “It’s not about what we look like, or how fantastic our stage show is,” Bates explains. “It’s just about playing good, straight-up rock & roll.”

Raelin’s influences fall on all sides of the spectrum. Diversity is its weapon, and the battle of the bands its call to arms. “We don’t like to categorize what we play. It’s not punk, or pop, or hardcore—it’s

just rock,” Bates says.

Given the band’s aptitude for changing things up on a whim, it might come as a surprise that Raelin’s San Jose fan base can keep up; in fact, the variation seems to be what’s drawing them in.

“Whenever we play San Jose, it feels like more and more kids come out to see us,” Bates says. “It’s really cool to see familiar faces coming in support.” Bates remembers a show Raelin played in San Jose last year with the post-hardcore outfit Drop Dead, Gorgeous. “We were a fairly new band at the time, and we didn’t have a full setlist yet. I think we played three or four songs that hadn’t even been recorded yet, but somehow all these kids knew the lyrics and were singing along.”

Raelin’s determination to bring out the masses isn’t just about personal gain, it’s about community.

“The scene [in the Bay Area] is really pretty weak,” Bates admits.

“We’ll go to a place like Texas, which has a great music scene, and come back home and it seems almost nonexistent in comparison.

And we want to change that. We’re working with our friend’s bands, playing shows together as much as possible and trying to bring

people together to just hang out, party and listen to good music. It’s an ongoing process, but we feel like we can help revive the music community here.”

The spirit of community that Raelin and other groups are determined to cultivate is no better realized than by Battle of the Bands, which gathers groups across all rock & roll genres and drops them into one exciting, competitive event. On July 10, Raelin will go head to head with a ska band (Trouble in Paradise), an indie folk-rock group (April Chase) and a punk-rock band (the Golden Hour). The other nine preliminary rounds are no different. By September, fans can expect a final showdown of similar variety.

“It would be an honor to win,” says Bates, “and there’s a lot we could do with that money. But either way, we’ll be touring full time by next year, releasing a full album [an EP is due out next month] and hopefully getting noticed by some bigger labels.”

BATTLE OF THE BANDS continues July 10 at the Venue, 4 New York Ave., Los Gatos, and runs through Sept. 5. For more details, visit www.myspace.com/pinupproductions.

[56] CLUB LOUNGE

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

club gallery

metroactive.com/club-gallery

Qipupt!cz!Csbez!Cmbdlnpo!boe!Gfmjqf!Cvjusbhp

180 LOUNGE!!Uif!nbtlt!dpnf!pgg!bu!b!ijhi.tuzmjoÖ!!

SAN JOSE BAR & GRILL!!Uif!ebodf!àpps!xijsmt!!

TEMPLE!!Uif!hppe!ujnft!vogpme!Uivstebz/

TOONS!!Uivstebzt!bsf!bmm!bcpvu!cfjoh!hmbnpspvt/

Gsjebz!cbmm/!

DETOX!!Uif!cfbdi!cpejft!dbnf!pvu!up!qmbz!boe!qptf!bu!TvoebzÖt!qppm!qbsuz/

po!b!ipu!Uivstebz/

M E T R O S I L I C O N VA L L E Y

JULY 1-7, 2009

[57]

Only In California A California Company Est. 1964

This Month at Guitar Center CRAFTING YOUR TONE

BLUES TUES. JULY 7, 7PM* Guitar Center’s King Of The Blues is just around the corner, so we’re taking an in-depth look at the innovative sound of the blues, arguably the most influential genre in the development of modern American music. Relax, you don’t have to sell your soul at some lonely Delta crossroads. We’ll walk you through some of the guitars, pickups, amps and pedals you can use to get your mojo workin’.

DRUM

CIRCLE TUES. JULY 14, 7PM* Celebrate the rhythms of music and life in California with some percussive communal bonding. It doesn’t matter if you’ve been drumming for a day or a lifetime, all levels of musical expertise are welcome. Bring your groove and a sense of adventure. You never know who you might meet!

RECORDING & CREATIVE APPLICATIONS FOR

GUITARISTS TUES. JULY 21, 7PM* Guitarists, it’s time to get onboard with the digital recording revolution, and this Only-In-Cali workshop is the crash course you need. Learn how to use a variety of great Line 6 gear to get up and running in no time. Open to all experience levels, even if you’re a complete home recording newbie.

TECH TUESDAY

SEAMLESS PRODUCTION WITH

ABLETON LIVE 8 AND APC40 TUES. JULY 28, 7PM*

Ableton Live 8 is one of the most advanced and in-demand music production software platforms in the industry, and the Akai APC40 is the controller created specifically to work with it. Our expert associates will walk you through the incredible features of Live 8 and demonstrate how easy it is to use with the APC40.

guitarcenter.com/california *Event start times vary with store hours; ask a sales associate for details.

[58] MUSIC

JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y

JULY 1-7, 2009

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JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

FREE Thursday Concerts June 4 – Aug. 27 5:30 – 9:15 p.m.

Plaza de Cesar Chavez Downtown San Jose

July 2 The Tubes featuring Fee Waybill Classic Rock Opener

Dusty Rhodes and the River Band Rock / Soul

June 4

July 2

August 6

Long Gon Bon and Evolution

The Tubes featuring Fee Waybill

Anthony David

Classic Rock 98.5 KFOX

Classic Rock 98.5 KFOX

June 11

July 9

Better Than Ezra

Sierra Leone’s Refugee All Stars

Eek-A-Mouse

Pop / Rock MIX 106.5

Contemporary R&B KBLX 102.9 FM

August 13

World/Reggae Alice@97.3

Reggae Live 105 (105.3)

August 20 July 16

Sonny Landreth

Third Eye Blind

Pato Banton and The Now Generation

Blues / Rock KFOG 97.7 SJ / 104.5 SF

Alternative Rock Channel 104.9

Reggae KSJO 92.3 La Preciosa

August 27

June 25

July 23

performs

Pete Escovedo Orchestra

Matt Nathanson

June 18

Latin Jazz 98.1 KISS FM

Pop / Rock MIX 106.5

White Album Ensemble “Across the Universe” Beatles Tribute 94.5 KBAY

July 30

Colin Hay of Men at Work Pop 94.5 KBAY

408. 279. 1775 sjdowntown.com

Visit Fahrenheit’s Restaurant and Lounge in the Park Serving creative sangria cocktails and award winning cuisine

A San Jose Downtown Association Production | Supported in part by a Cultural Affairs grant from the City of San Jose

M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 MUSIC

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MUSIC BOX

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Ani DiFranco

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Steve Palopoli

ANI DIFRANCO plays Wednesday (July 1) at 7:30pm at the Mountain Winery, 14831 Pierce Road, Saratoga. Tickets are $37.50/$42.50.

(408.741.2822)

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JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 MUSIC

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JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

A FOURTH FULL OF FUN AT

PATTY’S (FOOD, FUN AND FRIVOLITY)

SATURDAY JULY FOURTH It’s a public party at Patty’s featuring: BBQ, burger and dog plate with potato salad plus fixings, $4.75.

Outside Bar, PBR $2.50, Selected Shot Specials $3.00.

Live music, 12:00 Hit Man Dave, 4:00 Long Liner 6:30 on, DJ and the Blues Tramps.

Plus great American giveaways.

Corner of Montgomery & San Fernando

A.P.P. Since 1933

A good old fashioned corner bar

408-998-4566

M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 MUSIC

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FOR MORE MUSIC LISTINGS GO TO METROACTIVE.COM

++

[65]

M E T R O S I L I C O N VA L L E Y JULY 1-7, 2009 MUSIC

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&% \ZcZgVa# Hjc/ <jZhi 9?h# 1011 PACIFIC AVENUE SANTADaY hX]dda VcY ]djhZ# Cd CRUZ 831-423-1336 LZY! -/(%eb"&'Vb/ @VgVd`Z XdkZg# Bdc/ GdiVi^c\ 9?h# VcY 9? YVcX^c\# L^i] 9?

July 25 Cd XdkZg# IjZ! -eb"&'Vb/ BVcYd# '& # Cd XdkZg# ,%'- Saturday, AGES 16+ â&#x20AC;˘ In the Atrium @VgVd`Z IjZhYVnh# 9g^c` HVciV IZgZhV 7akY! HVc ?dhZ! heZX^Vah# L^i] B8 9Zk VcY )%-#''+#*)')# ;g^"HVi/ A^kZ bjh^X VcY 9? EjgeaZ# Cd XdkZg# '*& ;g^! ./(%eb/ CdX]Z KVfjZgV# 9?h# DaY hX]dda VcY G 7# HeaVh] 8Vhigd Hi! BdjciV^c K^Zl! $10 Adv./ $12 Dr. â&#x20AC;˘ Drs. 8:30 p.m., Show 9 p.m.

L^i] 9? ?dhZ @jZgkd VcY 9? &(-% H# BV^c Hi! B^ae^iVh! I]j! .eb"'Vb/ HeaVh] +*%#.+.#)-),# HaVb# ,# HVi/ 6ojXVg# L^i] )%-#.()#)...# 6gdjcY# K^YZd 9? gZfjZhih# Tuesday, July 28 â&#x20AC;˘ A GES 16+ â&#x20AC;˘ In the Atrium 9? (9# HVahV! gZ\\VZidc!

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XjbW^V VcY ]^e"]de# *# -.( EZVXdX` Adjc\Z plus Aivar :Xa^ehZ eaVnh AVi^c bjh^X VcY AZdc\ 9g! BdjciV^c K^Zl! ;g^! -eb/ 9? VcY 9VcX^c\# 9? >chVc^in he^ch ]^e"]de# Cd $15 Adv./ $19 Dr. â&#x20AC;˘ Drs. 7:30HVc ?dhZ Ang^X I]ZVigZ p.m., Show 8:30 p.m. $14 Ad./$19 Door ;ZVijg^c\ G 7! ide )%! ,%Ă&#x2030;h! +*%#.+-#+(++# Drs. 8 p.m., Show 9 p.m.-%Ă&#x2030;h! .%Ă&#x2030;h# Cd 8dkZg# HVi! .eb/ XdkZg WZ[dgZ &&eb0 * V[iZg# I]Z A^\]i DeZgV A^kZ XdcXZgi Thursday, July 30 â&#x20AC;˘ A GES 16+ â&#x20AC;˘ In the Atrium HVi/ Ide ' 7diidb# L^i] 9?

A^Yd C^\]iXajW 9? VcY 9VcX^c\# 8]^aa! G 7! hZg^Zh [ZVijgZh [Vkdg^iZh [gdb K^cna he^cc^c\ ]^e"]de VcY Dc\d^c\/ 9?h VcY YVcX^c\# Friday, July 10 â&#x20AC;˘ AGESIde )% &%' :# ;gZbdci 6kZ! 16+ â&#x20AC;˘ In the Atrium plus Lucy Walsh Ă&#x2020;<^aWZgi VcY Hjaa^kVc#Ă&#x2021; ;g^! ?ja daY hX]dda dc i]Z bV^c Ă&#x201C;ddg (% H# ;^ghi Hi! HVc ?dhZ! HjccnkVaZ! )%-#.+'#++.%# (! -eb# ;gZZ# 8V[[Z Ig^ZhiZ! (&* $3 Adv./ $5 Dr. â&#x20AC;˘ Drs. 8:30 p.m., Show 9 p.m.

VcY Ide )% VcY ]^e"]de l^i] plus The Collab Project )%-#'.-#)(&-# H# ;^ghi Hi! HVc ?dhZ# EZVgap.m., Show 9 p.m. 9? B^hh 8VcYn ^c i]Z adjc\Z $10 Adv./ $12 Dr. â&#x20AC;˘ Drs. 8:30 Friday, July 31 â&#x20AC;˘ AGES 16+ â&#x20AC;˘ In the Atrium Ad[i 7Vg VcY 7^higd bZooVc^cZ# Cd XdkZg WZ[dgZ ;g^"HVi/ 9?h VcY YVcX^c\# HVc ?dhZ L^cY Hnbe]dcn HOMETOWN CD RELEASE PARTY I]j"HVi! &%/(%eb"&/(%Vb/ &&eb0 * V[iZg# +* Edhi Hi! HVc 21+ Saturday, July 11 â&#x20AC;˘ AGES - H# ;^ghi Hi! HVc ?dhZ! 6 ;djgi] d[ ?jan egd\gVb i^iaZY A^kZ 9? VcY YVcX^c\# ;^ghi Hjc )%-#',.#))))# ?dhZ! )%-#..(#%-+&# Ă&#x2020;;VciVhi^X ;djgi]/ 8ZaZWgVi^c\ d[ ZkZgn bdci]/ HjcYVn dc HiVga^iZ 9VcXZ 8ajW Djg ;gZZYdb#Ă&#x2021; HVi! ?ja )! plus Los Dryheavers also Rockit Zombies i]Z IZggVXZ# L^i] 9?h AZmZg! FjVigV^c Adjc\Z &/(%eb# ;gZZ# Adh <Vidh =^\] I]j"Hjc! ."&&eb/ 9VcXZ :YY^Z 6edhida! 8V^c! 7Vd VcY $10 Adv./ $12 Dr. â&#x20AC;˘ Drs. 8:30 p.m., Show 9 p.m. ;g^"HVi! ./(%eb"XadhZ/ BddY EVgin# HVahV! AVi^c! VcY hl^c\ HX]dda! '% =^\] HX]dda 8djgi! @ViVanhi# .% H# HZXdcY Hi! HVc Hl^c\h# L^i] gdiVi^c\ 9?h# Friday, August 7 â&#x20AC;˘ AGES 21+ YVcX^c\# &&+% C# ;V^g DV`h Adh <Vidh# ?dhZ! )%-#'.&#%+,,# (%,* 9g^[ilddY 9g! HVc ?dhZ! plus Corby Yates 7akY! HjccnkVaZ! )%-#,)*#,-',# $33 Advance/$39 at the)%-#(,.#,&(,# Door RESTAURANT &

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XgZVi^dc VcY 9?h# HedchdgZY EVad 6aid! +*%#('*#+(*-# Wn 7Vn6gZVA^kZ VcY EVX^Ă&#x2019;X Thursday, July 16 â&#x20AC;˘ AGES 16+ â&#x20AC;˘ In the Atrium BZm^Xd A^cYd GZhiVjgVci 6gi 8daaZXi^kZ# 6aa V\Zh# (** plus Anya Marina I]j/ HVahV# ;g^/ @VgVd`Z VcY HVciVcV Gdl! &%+%! HVc YVcX^c\# IjZ! -eb/ CdX]Z YZ ?dhZ! )%-#'),#&,%+# $10 Adv./ $12 Dr. â&#x20AC;˘ Drs. 7:30 p.m., Show 8:30 p.m.

HVahV 8Va^ZciZ# Eajh aZhhdch# GjWn H`nZ Thursday, July 23 â&#x20AC;˘ AGES 16+ â&#x20AC;˘ In the Atrium *# && GVXZ Hi! HVc ?dhZ! Bdc! I]j"Hjc/ 9?h VcY )%-#'.*#,,+*# YVcX^c\# )'% BVhdc Hi! HVc B^Vb^ 7ZVX] 8ajW ;gVcX^hXd! )&*#+.(#%,,,# $10 Adv./ $12 Dr. â&#x20AC;˘ Drs. 8:30 p.m., Show 9 p.m.

I]j"HVi/ AVY^Zh C^\]i Dji# GjYnĂ&#x2030;h EjW I]j"HVi/ 9VcX^c\# KVg^djh Friday, July 24 â&#x20AC;˘ AGES 21+ I]j/ 9V ?j^XZ# =^e"]de! [jc` hinaZh d[ YVcXZ i]gdj\]dji AN EVENING WITH VcY YVcXZ bjh^X# :kZgn di]Zg i]Z lZZ`! ^cXajY^c\ igde^XVa! I]jghYVn# ;g^"HVi/ A^kZ 9?# gZ\\VZidc VcY ide )%# I]j!

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STELLAR CORPSES

JOHNNY 8DC8:GIH I]j"HVi! &%eb"'Vb/ 9VcXZ ;djgi] d[ ?jan ;^gZldg`h WINTER id i]Z hdjcYh VcY g]ni]bh HeZXiVXjaVg HiZe]Zch <gZZc

d[ i]Z WZhi 9?h# ;dg bdgZ $21 Adv./ $24 Dr. GVY^d 9^hcZn egZhZcih ^c[dgbVi^dc VWdji hedgi^c\ Drs. 7:30 p.m. ^ih '(gY VccjVa Ă&#x2019;gZldg`h VcY i]ZbZ c^\]ih! k^h^i Show 8:30 p.m. heZXiVXjaVg l^i] i]Z HVc lll#hiZe]Zch\gZZc#Xdb# ;gVcX^hXd Hnbe]dcn# I]Z ;^ghi HVi d[ ZkZgn bdci]/ Aug 7 James Intveld (AGES 16+) egd\gVb ^cXajYZh bjh^X [gdb EZgjk^Vc C^\]i# ;^ghi HVi d[ ZkZgn bdci]/ EZgjk^Vc C^\]i# Aug 8 The Pack/ TheĂ&#x2020;'%%&/ 6 HeVXZ DYnhhZn!Ă&#x2021; Cataracs Ă&#x2020;I]Z EaVcZih!Ă&#x2021; Ă&#x2020;HiVg LVghĂ&#x2021; ''( 8Vhigd Hi! BdjciV^c K^Zl! Dizzy Balloon/ Pep Love +*%#.+)#.&*&# VcY Ă&#x2020;HiVg IgZ`#Ă&#x2021; HVi! ?ja )!

The Holdup/ The Skaflaws (AGES 16+) -eb# ')" '.#*%# H]dgZa^cZ HigV^ih 6be]^i]ZVigZ! & 6be]^i]ZVigZ Aug 8 Lukas Nelson & the Promise of the Real (AGES 16+) ;g^"HVi! .eb"b^Yc^\]i VcY Aug 16 Hatebreed (AE`ln! BdjciV^c K^Zl! GES 16+) Hjc! -"&&eb/ A^kZ 9?# ((( )%-#..-#I>MH# HVciVcV Gdl! Hj^iZ &&%%! HVc Aug 17 Xavier Rudd (AGES 16+) ?dhZ! )%-#')+#+('%# 6c^ 9^;gVcXd Aug 19 Trevor Hall (A GES 16+) H^c\Zg$hdc\lg^iZg# LZY! ?ja I]Z IZbeaZ 7Vg Adjc\Z Aug 20 The Pyrx Band (AGES 16+) &! */(%eb# (,#*%" )'#*%# I]j/ IZbeaZ I]jghYVnh# ;g^!

BdjciV^c L^cZgn! &)-(& Aug 21 Slacktone (AGES 16+) &%/(%eb/ G 7 VcY =^e"]de# E^ZgXZ GY! HVgVid\V! Jci^a XadhZ# HVi! -/(%"&%/(%eb/ Aug 23 Forrest Day )%-#..-#I>MH# (AGES 16+) IZbeaZ 6aa"HiVg 9?h# HVi! Sep 16 Sugar Ray (A7^\ 7Vc\ 7ZVi GES 21+) &%/(%eb/ G 7! ]^e"]de VcY ]djhZ# Jci^a XadhZ# *' H# ;^ghi Sep 17 Steel Pulse (A GES 16+) Ă&#x2C6;+%h Bdidlc VcY hdja bjh^X# Hi! HVc ?dhZ! )%-#'--#-*&-# ;g^! ?ja (! .eb# &'$ &)# Sep 17 Elliot Randall/ Gina Villalobos (AGES 16+) A^iiaZ ;dm! ''%. 7gdVYlVn! I]Z HVkdn Sep 25 Cashâ&#x20AC;&#x2122;d Out (A GES 21+) GZYlddY 8^in! +*%#(+.#)&&.# I]j! ."&&eb/ 8daaZ\Z C^\]i# ' Oct 21 UFO (AGES 21+) YgV[ih# ;g^! .eb"'Vb/ 9? VcY 7dWWZ Cdgg^h $25 Adv./$28 Dr. Unless otherwise noted, all shows are dance shows with limited seating.

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Nice, beautiful therapists are offering Deep Tissue with private rooms & hot showers.

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Four Handed Massage Sexy fun couple offers a full body rubdown. Incalls only.

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Tall, curvy, sensuous brunette offers an erotic massage. Outcalls only.

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Mature Sexy Latina Offers the best Swedish massage. You will love it. Call for appt. 24/7.

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!!!!!!!!!uif! bewjdf !!!!!!hpeeftt

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Bn Wdn[g^ZcY d[ Z^\]i bdci]h ^h (-! l^i] ild `^Yh# >Éb ', VcY Y^kdgXZY# =Z ]Vh jcd[ÒX^Vaan bdkZY ^cid bn VeVgibZci! Wji ]Z ^hcÉi ejaa^c\ ]^h lZ^\]i# =Z eVnh *%% V bdci] ^c X]^aY hjeedgi VcY )%% [dg ]^h VeVgibZciÅi]Vi ]Z YdZhcÉi a^kZ ^c# 6aa d[ ]^h ji^a^i^Zh lZgZ h]ji d[[ [dg cdceVnbZci# > jcYZghiVcY i]Vi ]Z YdZhcÉi ]VkZ bdcZn id i]gdl VgdjcY! VcY ]Zae ]^b ÒcVcX^Vaan l]ZcZkZg ]Z cZZYh ^i# =ZÉh ValVnh \gViZ[ja! Wji >Éb [ZZa^c\ gZhZci[ja WZXVjhZ ]ZÉh kZgn ^ggZhedch^WaZ ^c ]^h heZcY^c\ ]Z aVX`h hZa["Xdcigda # > XdjaYÉkZ VbVhhZY Vc ZbZg\ZcXn [jcY dg Wdj\]i i]Z bdidgXnXaZ > egdb^hZY bnhZa[ V[iZg bn Y^kdgXZ# Cdl! i]ViÉh WZZc eji d[[# =Z i]gZl bZ V [Zl WjX`h [dg ZmeZchZh l]Zc > Vh`ZY! Wji dcan il^XZ# > idaY ]^b ]Z ]Vh jci^a 6j\jhi & id Y^iX] ]^h VeVgibZci hd ]ZÉaa ]VkZ hdbZ bdcZn# =Z YdZh hVn ]Z adkZh bZ ZkZgn YVn! iZaah bZ >Éb WZVji^[ja! VcY hVnh > bV`Z ]^b ]Vee^Zg i]Vc ]ZÉh ZkZg WZZc# >Éb Vi V adhh# =dl Yd > `^cYan iZaa ]^b id ejaa ^i id\Zi]Zg4 ÅIVeeZY Dji You dreamed of the wind on your face and the sun at your back as you’re speeding down the open road on a new Harley. You settled for a Hog parked in your living room, mowing through your groceries and mining the couch crevices for spare change.

Not surprisingly, the guy isn’t saying, “Gimme all your money, and make sure there’s no dye pack in there.” He tells you he loves you, how happy you make him, how beautiful you are. (He finds you especially beautiful as you’re writing the check to pay his electric bill.) It would be one thing if he’d fallen on hard times, but he’s impulsive and fiscally irresponsible. As unromantic as it is to care about money, what’s even more unromantic is fighting bitterly about it, which is what you’ll be doing, and in close quarters, if Mr. Moochypants gives up his place and moves in for good. And, no, the problem isn’t how to “kindly” tell him to get it together; this is a character issue. This is who he is—a 38-year-old man who can’t live within his means, but has no qualms about living within yours.

You don’t have to find a rich guy with a bum ticker, just a nice, stable guy who brings

more to the party than a variety of flattering remarks about your hair. After all, you pull your weight. Don’t you think you deserve a man who does the same? Also, because women evolved to seek providers, men coevolved to become somebody and acquire resources, probably as a way of getting chicks.

A guy might tell you he has no problem being supported by you, but he’s sure to devalue you for it—his genes make him do it. (Sadly, they have yet to enroll in “Intro to Women’s Studies.”)

You might care about your boyfriend, but your willingness to stay with an unrepentant sponge suggests you don’t expect much for yourself. Good news!

You can change that. Work on becoming a person who has a strong sense of selfworth—strong enough to set standards for who she lets into her life. You’re sure to pick a different sort of guy once it’s you who’s looking for a boyfriend, not your unresolved issues. Should you have a moment of weakness, just remind yourself of all the things you have to offer a guy—beyond lights, running water, and a telephone with a dial tone.

6 \jn > Y^Y hdbZ _jkZc^aZ ÈYVi^c\É l^i] WVX` ^c _jc^dg ]^\] ^h hidee^c\ Wn bn ldg`eaVXZ# I]Z i]^c\ ^h! ]Z YdZhcÉi Vh` bZ dji0 ]Z _jhi `ZZeh Xdb^c\ Wn VcY ]Vc\^c\ VgdjcY# >ÉY a^`Z i]^h id XdbZ id hdbZ hdgi d[ XdcXajh^dc hd > XVc hide ldcYZg^c\ l]Vi ]^h ^ciZci^dch VgZ#ÅEZgeaZmZY Loitering is a misdemeanor, not a form of seduction. The guy probably has the hots for you—accompanied by all the mojo of your stapler or the fake plant on your credenza, both of which have also lingered in your workplace but have failed to ask you out. Of course, you may be part of the problem. The flip side of Today’s Wimp is the woman sits there like a paperweight instead of flirting to let a guy know it’s safe

for him to make a move. Sure, you could ask your fragile petunia out. But, it’s a really bad idea. The guy who overcomes his shyness for you isn’t likely to take you for granted in a relationship like the wimpy guy you reward by taking over and doing the asking.

Assuming you have flirted, the conclusion you should come to is clear: If you want the guy to make himself useful, hand him a time card and a broom.

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M E T R O S I L I C O N VA L L E Y

JULY 1-7, 2009

CLASSIFIEDS

[71]

metro CLASSIFIEDS CLASSIFIED INDEX 69 71 71 71

PLACING AN AD 72 74 75 74

Single Services Employment Family Services Music

Legal & Public Notices Home Improvement Real Estate Automotive

Call the Classified Department at 408.298.8000 Monday through Friday, 8.30am to 5.30pm.

√

Fax your ad to the Classified Department at 408.271.3520.

@

classifieds@metronews.com Please include your Visa, MC, Discover or American Express number and expiration date for payment.

±

Mail to Metro Classifieds, 550 South First Street, San Jose, CA 95113.

≈

DEADLINES: For copy, payment, space reservation or cancellation: Display ads: Thursday 3pm Line ads: Friday 3pm

.

Door To Door Meat Men Wanted

Employmenta Accountant/Staff For a CPA firm. Res to Little & Company CPAs, 1294 Kifer Rd, #708, Sunnyvale, CA 94086. Attn: HR

Computer Logitech, Inc. currently has opportunities available in our Fremont, California location for the following positions (various levels/types). Some positions may require domestic and/or international travel: Hardware/Electrical Engineers, ref #938HWE Must include job title and above reference # when applying.

Send resume and cover letter to Logitech at Renezen_Benedicto@logitech.com Renezen Benedicto, HR Reporting Analyst. EOE.

Engineering

Psychologist

High School Diploma!

In Sunnyvale, CA. Fax Res & a copy of Ca credential to serve as school psychologist to 408 522 8221. Attn: HR. Sunnyvale School District.

Fast, affordable and accredited. Free brochure. Call Now!.

1-888-532-6546 ext. 97 www.continentalacademy.co m. (AAN CAN)

Sales/Travel Business

New Fun Summer Yoga ~ 1st Class Free

Design hardware/product prototypes for different systems of X-ray sensing products. Res to X-Scan Imaging Corp, 70 Bonaventura Dr, San Jose, CA 95134. Attn: HR

NVIDIA Corporation, market leader in graphics and digital media processors, has engineering opportunities in Santa Clara, CA: Signal Integrity Engr (SIGE06); Systems Design Engr (SYSDE12); Systems SW Engr (SSWE48, SSWE49, SSWE50 & SSWE51); Analyst Programmer Staff (APS01); Manager - HW Engr (MGRHW01); Physical Design Engr (PDE07 and PDE08); Hardware Engr (HW53); CAD Engr, Senior (CADEE03); Mixed-Signal Design Engr (MSD07); Architect (ARC04): Design processors; Product Test Engr (PTE01); Product Engr (PE10); Senior ASIC Engineer (SRASIC01); and HW Engr (HW54). If interested, ref job code and send to: NVIDIA Corporation. Attn: MS04 (L. Molina). 2701 San Tomas Expressway, Santa Clara, CA 95050.

Tell A Friend

Live-in Caregivers

6 days/week. Clean DMV. Must be able to drive stick.

Come sell the best product in the country! Slammin’ commission. $400 cash a day! Check out our products at www.eprimecuts.com Call M-F. Josh, 408-590-1730.

$600 Weekly Potential Helping the government Part time. No experience, no selling. Call 1-888-213-5225 Ad Code L-5. (AAN CAN)

Engineer/Design

You saw it in the Metro Classifieds!

Needed immediately! $100 Sign-On BONUS. We offer excellent benefits, training, and weekly pay! Call to set up interview today! Must have 1 yr eldercare experience, (nursing home exp. a plus) valid driver’s license, proof or veh. insurance & reliable trans., and good communication skills. CALL LivHOME now @ 408.879.1835, or 800.417.1897

Marketing/ Sales Event Marketing Firm seeks reps for credit card promotion in the San Jose Airport.

Fun and Flexible Ind. Contractor work. Please call 1-888-691-1810 for more info.

our offices Monday through Friday, 8.30am Visit to 5.30pm at 550 South, First Street, San Jose.

¬

Selling Corporate Online Booking Tool. Commission basis, Part-time OK. No Experience required. Wing Mate 408-416-1964

Network Interrupts Engineer Astreya Partners, Inc. in Santa Clara, CA. Document & troubleshoot network-related issues. Experience required. mail resume to 1515 Wyatt Drive, Santa Clara, CA 95054 or email cvg@astreya.com

g Career Development

Pleasure Point Fitness and Dance: 907 41st Ave, Santa Cruz. Visit: www.yogawithjenna.com

Business Training: Weekly - Free For more information, please go to www.meetup.com/Business Millionares/

Heal Anxiety & Depression With Ayurveda

Fun jobs. Great money. Earn $25-40/hr. Call for certification and placement information. $199 tuition with this ad. 888.901.TIPS or visit www.abcbartending.com

August 28-30 with DR. John Douillard, DC, PhD at Mount Madonna Institute (Watsonville, CA). Tuition: $245, plus meals & lodging.

Registration: 408.846.4060 / info@mountmadonnainstitute.org More Info: MountMadonnaInstitute.org

Post Office Now Hiring!

Security Guard Training

Average pay $21/hour or $54K annually. Including Federal benefits and OT. Paid training, vacations. PT/FT. 1866-945-0295. (AAN CAN)

Firearm permit. Classes are forming now in SJ. Guarantee 100%. Please call Dan, 408-580-4681.

Bartenders Needed

POST OFFICE NOW HIRING Avg. Pay $21/hour or $54K annually including Federal Benefits and OT. Paid Training, Vacations. PT/FT. 1-866-945-0315 (AAN CAN)

International Company Expanding in the Bay Area.

Looking for motivated professionals seeking part or full time opportunity. For more information call 888/287/8883. Ask for Jerry

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

Classes & Instruction Electrician Certification randelectric@gmail.com. For more info.call 707-480-0514

Computer Services We SOLVE Computer Problems!! Mention Metro Ad For $20 “Express Computer Tune-Up” Computer Repairs for Desktops, laptops, home networks, virus, slow/dead systems, data recovery.

Microsoft Certified. Call for free quote!!! Free pickup and delivery. 408-734-3123.

GET A NEW COMPUTER! Brand Name laptops & desktops Bad or NO Credit No Problem. Smallest weekly payments avail. CALL NOW 1-800-816-2232. (AAN CAN)

Computer/Laptop Repair June/July 1st time user special. Remote service $39.00. Onsite repair $69.00.

Cortron Est. 1967.

408/920-5679

General Services The Hottest Show in Town The Crucible’s 9th Annual FIRE ARTS FESTIVAL - July 15-18, 2009 8PM to midnight. Tickets $35$55; advance purchase tickets recommended. www.thecrucible.org or 510-444-0919

The Hot White Linen Affair!

Friday July 24, 2009 at the Fabulous French Quarter Cabaret 193 S. Murphy Avenue Sunnyvale, CA! FOR TICKETS OR INFO: (408) 729-6048, OR EMAIL: jerreece@wpcsjsunnyvale.org

Pets & Animals Free Kittens

$$ Need CASH Fast

3 cute kittens. Call 831/227-6562

$500, $1000, or $1500 direct to your account. No Credit History Required Get CASH now. For complete details go to www.BestTopCash.com www.BestTopCash.com (AAN CAN)

Music School Of The Blues Blues/Jazz weekly private instruction on Harmonica, Guitar, Bass and Organ/Piano. Conveniently located near 101/Blossom Hill Rd. 408/224-2936. www.schooloftheblues.com

Voice Lessons

Expand range, flexibility, confidence. Instruction also available for songwriting and guitar. Reasonable rates.

Running or not, the Rabbi will Instructor: award-winning vocalist/songwriter, throw in free towing Deborah Levoy. 408/275-0802. call 408-358-5530. Your old www.deborahlevoy.com car can help Chabad help others Genuine Analog

Turn Your Old Car Into A Blessing And A Tax Deduction

24 Track Analog. 24 Bit Digital. Stout Recording Studio. Randy Burk, in 111 alternative newspapers Producer/ Session Drummer. like this one. Over 6 million 510-567-8572 Oakland. circulation every week for StoutRecordingStudio.com $1200. No adult ads. Call Rick at 202/289-8484. (AAN SessionDrummer.net CAN) Real drum parts online. Real tape sound. Digital formats include: WAV, AIFF, Sound Do you dislike your Designer 2. $160.00 per job? song. Randy Burk, Producer/ Come in for vocational check- Session Drummer. Oakland, ing. You may have talents 510/567-8572 you don't suspect. Contact Scientology Test Center. 408383-9400

Advertise Your Business

Family Services Pregnant? Considering Adoption?

Talk with caring agency specializing in matching birthmothers with families nationwide. Living expenses paid. Call 24/7 Abby’s One True Gift Adoptions.

866/413-6293 (AAN CAN)

Up to $1200/month To Give A Child A Good Home Loving parents needed. www.billwilsoncenter.org 1-888-922-KIDS

Professional Services

For Sale

g g Electronics

Ms.Pacman Multigame Cocktail Arcade!

408.888.2725 if you have any questions at all.

Home Furnishings

Black Leather Sectional Sofa

With large square ottoman, $1850. 1 year old. Excellent.

408/771-5612

Bundini’s Used Furniture Dressers, Chests, Beds, Bookshelves, Sofas, etc. Call 831.325.9388, or walk-in 3641 Soquel Dr., (behind Senate Furniture) Santa Cruz.

[72]

ASTROLOGY JULY 1-7, 2009 M E T R O S I L I C O N VA L L E Y

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Legal Legal Notices

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FICTITIOUS BUSINESS FICTITIOUS BUSINESS FICTITIOUS BUSINESS NAME STATEMENT NAME STATEMENT NAME STATEMENT #524942 #525188 #524111

The following person(s) is (are) doing business as: FICTITIOUS BUSINESS Andrew’s 3rd Generation Tile, 1055 N. Capitol Ave., #66, NAME STATEMENT San Jose, CA, 95133, Andrew #525692 Steven Barrera.

The following person(s) is This business is conducted (are) doing business as: I Stay Here, 740 Concord Ave., by a indvidual. Registrant has not yet begun transacting #3, San Jose, CA, 95128, Tu Anh Nguyen. This business is business under the fictitious business name or names listconducted by a individed herein on. /s/Andrew ual.Registrant began transacting business under the fic- Steven Barrera titious business name or This statement was filed with names listed herein on the County Clerk of Santa 3/12/09. /s/Tu Anh Nguyen Clara County on 6/08/2009.

This statement was filed with (pub Metro 6/17, 6/24, 7/01, the County Clerk of Santa 7/08/2009) Clara County on 6/19/2009. (pub Metro 7/01, 7/08, 7/15, FICTITIOUS BUSINESS 7/22/2009)

The following person(s) is (are) doing business as: Koehler & Associates, CPA’s, 1541 The Alameda, San Jose, CA, 95126, David R. Keohler, 3614 Cour De Jeune, San Jose, Ca, 95148.

This business is conducted by a individual.Registrant has not yet begun transacting business under the fictitious business name or names listed herein on . /s/David R. Koehler This statement was filed with the County Clerk of Santa Clara County on 5/11/2009. (pub Metro 6/10, 6/17, 6/24, 7/01/2009)

The following person(s) is (are) doing business as: Brioso Auto Repair, 1721 Rogers Ave., Suite R, San Jose, CA, 95112, Nemesio Brioso, 2290 Alexian Dr., San Jose, CA, 95116.

This business is conducted by a individual.

Registrant began transacting business under the fictitious business name or names listed herein on Oct 22, 2008. /s/Nemesio Brioso This statement was filed with the County Clerk of Santa Clara County on 6/02/09. (pub Metro 6/10, 6/17, 6/24, 7/01/2009)

NAME STATEMENT FICTITIOUS BUSINESS #525047 NAME STATEMENT The following person(s) is (are) doing business as: Law #525892 The following person(s) is (are) doing business as: James Jeffrey And Sons, 1133 Denise Way, San Jose, CA, 95125, James Jeffrey.

This business is conducted by a individual.

Refile of previous #222019 after 40 days of expiration date. Registrant began transacting business under the fictitious business name or names listed herein on 2/6/91. /s/James Jeffrey This statement was filed with the County Clerk of Santa Clara County on 6/25/2009. (pub Metro 7/01, 7/08, 7/15, 7/22/2009)

Offices of Lise K. Strom, 1750 Halford Ave., #106, Santa Clara, CA, 95051, Lise K. Strom. This business is conducted by a individual.

Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. /s/Lise K. Strom This statement was filed with the County Clerk of Santa Clara County on 6/04/2009. (pub Metro 6/17, 6/24, 7/01, 7/08/2009)

The following person(s) is (are) doing business as: Evergreen Engineering, 2855 Kifer Suite #201, Santa Clara, CA, 95051, Oregon Evergreen Construction Inc., 7431 NW Evergreen Pky #210, Hillsboro, CA, 97124.

This business is conducted by a Corporation.

The state of Corporation: Oregon. Registrant began transacting business under the fictitious business name or names listed herein on 4/1/09. /s/Stephen Edgar Crust President #C2950207 This statement was filed with the County Clerk of Santa Clara County on 6/16/2009. (pub Metro 7/01, 7/08, 7/15, 7/22/09)

1800 Evans Ln. #1308, San Jose, CA, 95125, Angelena Lomas. This business is conducted by a individual.

Registrant began transacting business under the fictitious business name or names listed herein on 7/01/09. /s/Angelena Lomas This statement was filed with the County Clerk of Santa Clara County on 5/18/2009. (pub Metro 6/17, 6/24, 7/01, 7/08/2009)

FICTITIOUS BUSINESS NAME STATEMENT FICTITIOUS BUSINESS #524355 The following person(s) is NAME STATEMENT (are) doing business as: #525463 Angelena’s Cleaning Service,

FICTITIOUS BUSINESS NAME STATEMENT #524724

The following person(s) is (are) doing business as: John Lee Garden Service/ John Lee Property Management, 1683 Klipspringer Dr., San Jose, CA, 95124, John Lee, Stella Lee. This business is conducted by a husband and wife.Refile of previous file #447296 with changes Registrant began transacting business under the fictitious business name or names listed herein on July 1999. /s/John lee This statement was filed with the County Clerk of Santa Clara County on 5/27/2009. (pub Metro 6/17, 6/24, 7/01, 7/08/2009)

FICTITIOUS BUSINESS NAME STATEMENT #524887 The following person(s) is (are) doing business as: Southgate Liquors, 445 Blossom Hill Road, San Jose, CA, 95123, Six To Midnite Inc., 5562 Monterey Road, San Jose, CA, 95138.

This business is conducted by a Corporation. The state of Corporation: California.Refile of previous file #438498 refiled prior to expiration or within 40 days past expiration, with no charges Registrant began transacting business under the fictitious business name or names listed herein on Sept 1985. /s/Mansoor Gowani President#1496000This statement was filed with the County Clerk of Santa Clara County on 6/01/2009. (pub Metro 6/10, 6/17, 6/24, 7/01/2009

ROB BREZSNY

become a fan metrofb.com

6g^Zh (March 21–April 19): Time to diversify your

energy sources, Aries. It’s as if you’ve grown too dependent on oil—metaphorically speaking—and have neglected to develop relationships with wind turbines, solar panels, natural gas, and other mans of generating power. What if in the future— metaphorically speaking—oil becomes scarcer or wildly expensive? And what if, over the long haul, its byproducts degrade your environment? I suggest you start now to expand the variety of fuels you tap into.

It’s a perfect moment to adjust your plans for your long-term energy needs.

IVjgjh (April 20–May 20): Your mirror may lie to you this week. A friend might neglect to share a crucial detail. Even pets and heroes and normally reliable suppliers might not be completely there for you. Fortunately, I expect that secondary sources will come through. Other people’s mirrors may reveal a clue you haven’t been able to find in your own. An acquaintance could step forward and do a convincing impersonation of a friend. And a previously overlooked or unknown connection might become your own personal wellspring. Moral of the story: If you’re willing to be flexible and forswear all impulses to blame, you won’t be deprived of what you need. <Zb^c^ (May 21–June 20): Having discovered I can read the minds of animals, I’ve started a new sideline as a ghostwriter. Here’s an excerpt from an interview I did with Prestige, a potbellied pig born under the sign of Gemini. Brezsny: What do you like best about being a potbellied pig? Prestige: I’m greedy but cute.

I get to eat like a pig, yet not be victimized by the negative judgments people usually project onto pigs.

Brezsny: Is there anything you’re worried about?

Prestige: I need to make my caretaker understand that for the next few weeks we Geminis will need more than the usual amounts of food, love, presents, praise, attention, everything. Brezsny: Anything you’d like to say to my Gemini readers? Prestige: Don’t let anybody make you feel guilty for wanting what you want.

8VcXZg (June 21–July 22): The ancient Chinese sage Lao Tse said, “People of the highest caliber, upon hearing about Taoism, follow it and practice it immediately. People of average caliber, hearing about Taoism, reflect for a while and then experiment.

People of the lowest caliber, hearing about Taoism, let out a big laugh.” Now substitute the words “your splashy new ideas” for “Taoism” in Lao Tse’s quote and you’ll have your horoscope for this week, Cancerian. For added punch, remember what he said in another context: “No idea can be considered valuable until a thousand people have laughed at it.”

AZd (July 23–Aug. 22): Nietzsche’s dictum might

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be useful for you to keep in mind right now, Leo: “If it doesn’t kill you, it’ll make you stronger.” Since I’m very sure that the turbulent waters through which you’re navigating will not kill you, I’m looking forward to all the ways this journey will upgrade your confidence and enhance your power. But there’s more to be gained, beyond what Nietzsche formulated. It’s also true that if it doesn’t kill you (which it won’t), it will make you wilder and kinder and smarter and more beautiful.

K^g\d (Aug. 23–Sept. 22): According to my projections, you will not, in the coming weeks, meet a dark, secretive stranger who’ll play you like a violin.

Nor will you be lured to the warehouse district after midnight to pick up the “missing stuff.” And I highly doubt that you will be invited to join a cult that’s conspiring to seize political power following the events of Dec. 21, 2012. No, Virgo. Your fate is far more mundane than that. In fact, it’s more likely that you will soon meet a bright, forthright stranger who will play you like an accordion. You will be drawn to a convenient location at midday to pick up the “missing stuff.” And you will be invited to become part of a group that has the potential to play a significant role in your quest for meaning in the coming years.

A^WgV (Sept. 23–Oct. 22): For years, I’ve remembered most of my dreams every night, so I’m good at spotting trends. And one of the themes that has arisen recently involves you Libras. Last week, I dreamed that three of my Libra friends were pole vaulting at the Olympics. Four nights ago, I dreamed that my two favorite Libran astrologers were rappelling up a skyscraper. Last night, I dreamed that four Libran celebrities—Mahatma Gandhi,

Gwen Stefani, Sacha Baron Cohen (a.k.a. Borat) and Kate Winslet—climbed a gold ladder to a cafe on a cloud where they drank magic coffee that made wings sprout on their backs. So what’s going on? Is my subconscious telling me that it’s prime time for you to raise your expectations and upgrade your goals? Do my dreams mean you should rise above the conventional wisdom and rededicate yourself to your loftiest ambitions? What do you think?

HXdge^d (Oct. 23–Nov. 21): Spiritual epiphany alert!

Uncanny revelations imminent! Hope you don’t mind being awoken in the middle of your regularly scheduled life by a special delivery from the Great Beyond. Yes, my cute little bundle of rumbling feelings and psychic sensitivities: It doesn’t matter if you’re a true believer or an unrepentant infidel—you will soon be invited to have one of your logical certainties torn out by the roots and replaced with a throbbing vision of cosmic whoopee. Brace yourself for the most pungent fun you’ve had since your last mudwrestle with the angel.

HV\^iiVg^jh (Nov. 22–Dec. 21): While appearing

on the TV show “I’m a Celebrity . . . Get Me Out of Here,” ex-pro basketball player John Salley gave some advice I’d like to pass along. “When you see crazy coming your way,” he philosophized, “you should cross the street.” I do think crazy will be headed in your direction sometime soon, Sagittarius, and the best response you can make is to avoid it altogether, preferably in a way that it doesn’t notice you.

That’s right: Don’t shout at crazy, don’t bolt away ostentatiously, and certainly don’t run up and give crazy a big hug. There are far better ways for you to gather in your fair share of intriguing mystery; I’d hate to see you get bogged down in a useless, inferior version of it.

8Veg^Xdgc (Dec. 22–Jan. 19): Everyone wants

an extra piece of you these days, and they don’t necessarily care about how it will affect you. So beware of emotional manipulation, subliminal seduction, and the temptation to believe in impossible promises. To make matters more extreme, I suspect you may be secretly pleased that everyone wants an extra piece of you—and might be tempted to conspire in your own dismantling. Let me propose a compromise. How about letting three trustworthy people—no more—take an extra piece of you? And be very certain that they have enough self-control to know when to stop taking.

6fjVg^jh (Jan. 20–Feb. 18): You’re almost never

one brick short of a load. Know what I’m saying?

Your elevator almost always goes all the way to the top floor. Rarely, if ever, do I have to warn you against playing with a deck of 51 cards. So I hope you don’t be offended when I say that it’s time to find that missing brick and service your elevator and buy a new deck.

In other words, you’re due for your 40,000 mile check-up.

E^hXZh (Feb. 19–March 20): magic (ma’ jik), n. 1. A

mysterious event or process that seemingly refutes the known laws of science. 2. A willed transformation of one’s own state of mind. 3. A surprising triumph that exceeds all expectations. 4. Something that works, though no one understands why. 5. The impossible becoming possible. 6. “Any sufficiently advanced technology is indistinguishable from magic.” (Arthur C. Clarke.) 7. A quality predominant in the lives of Pisceans during the period July 1 through July 20, 2009.

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• The Center of Military History sent us an unsigned two-page report titled “Murder of U.S. Army Company Grade Officers in Vietnam by Enlisted Men,” apparently written in response to claims that 40 percent of captains and lieutenants killed in Vietnam were murdered by their men. Not likely, says the report. About 3,000 such officers died during the war; 40 percent of that number is about 1,200; no way would slaughter on that scale have escaped official notice.

Why did fraggers do it? Journalist Eugene Linden, writing in Saturday Review in 1972 (“The Demoralization of an Army: Fragging and Other Withdrawal Symptoms”) blamed the “futility and senselessness of the war.” A more persuasive story emerges when you look at the Bond-Gillooly data points: (a) 80 percent of the murders happened at base camps, not in the field; (b) 90 percent of the assaults took place within three days after an argument with the victim; (c) offenders typically felt they had been unfairly treated; (d) 88 percent of attackers were drunk or high when they did it; (e) on average they had been in Vietnam for six months; (f) 26 of the 28 were volunteers, not draftees; (g) only five had graduated from high school; and (h) many were loners or had psychological problems. In short, for all the tales of soldiers assaulting gung-ho officers they feared would get them killed, a more likely explanation is that fragging was the work of rear-echelon misfits with anger management and substance issues who sulked after getting chewed out and decided to have their revenge. The prevalence of drugs couldn’t have helped—one study of soldiers returning from Vietnam found one-fifth had been addicted to narcotics.

But that’s just my guess. Bond and Gillooly concede they didn’t have much information to work with, and evidently little other research was done. As of 2008, only two fragging cases had gone to court martial since the beginning of the war in Iraq. In a New York Times article about one of them, unnamed experts attribute the improved record to increased professionalism stemming from establishment of an all-volunteer army in 1973. Maybe, but most fraggers in Vietnam were volunteers, too. The truth is, we don’t really know.

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• Two articles on fragging, “Assaults with Explosive Devices on Superiors” by David Gillooly and Thomas Bond (Military Medicine, 1976) and Bond’s “The Why of Fragging” (American Journal of Psychiatry, 1976), were based on analysis of 28 convicted fraggers.

These articles are the most detailed research on fragging we have. However, each is just three pages long.

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Congress: 126 incidents in 1969, 271 in 1970, and 333 in 1971 (presumably as of the date of testimony). It’s unlikely fragging suddenly ceased in 1972, so 730 is probably low.

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I can, but frankly not much—and in my opinion, that’s a story all by itself.

Fragging—assaulting a superior officer using a fragmentation grenade or other explosive—was surprisingly common during the Vietnam war.

The most reliable figure is 730 suspected incidents from 1969 through 1971, much higher than in U.S. wars before or since. Oddly, there’s no official count of fragging deaths; one unofficial source says 86, another 45.

Prior to Vietnam, assaults against U.S. military officers were rare. World War I saw one incident leading to court martial per 12,700 servicemen, a ratio said to have remained fairly steady during World War II and the Korean war. During the Vietnam conflict, the fragging rate rose from 1 incident per 3,300 servicemen in 1969 to a peak of 1 per 572 servicemen in 1971. Few Vietnam fragging cases went to trial, so comparison with earlier wars is risky. I had my assistant Una scour the databases and contact the U.S. Army Center of Military History and the Combat Studies Institute. Even with the help of these sources she was able to turn up only a few short papers on fragging. Sure, maybe the Pentagon has some classified research it isn’t telling anybody about.

But here’s pretty much all that’s publicly known:

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PARADE P A ARADE STTART A START

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Meg Masterson & Karen Smith

Westminster Presbyterian Church

Elizabeth Monley

BALLOON DECOR

Santa Clara County Rose Society College Park Neighborhood Association Quiznos On The Alameda Berliner Cohen Accuprint Inc. Seakor Polish Deli White Shallot Habana Cuba Restaurant Tee Nee Thai Restaurant CareMore Health Plan

District 6 Councilmember Pierluigi Oliverio District 1 Councilmember Pete Constant District 8 Councilmember Rose Herrera Dave Cortese, Supervisor, District 3 South Bay Historical Railroad Society Rosicrucian Egyptian Museum & Planetarium Enterprise Rent a Car The Pupusas Factory Neto Sausage Pasta Pomodoro

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Home Improvement g g Carpentry

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