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O C T O B E R 2 1 - 2 77,, 2 0 0 9 · V O L . 2 5 , N O . 3 4 · S A N J O S E , C A · F R E E

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silicon valley’s weekly newspaper

Last Ramone mone ndin ng Standing Marky Ramone amo one at Fairgrounds unds ds pp59 59

Investmen Investment t t dollars dollar s and sscreamingly cream mingly fast electric electr ic motors mot c ould ld mak ke could make valley this our v a y th alle century’s c en Motown M o

Ramen, Standing nding Why people are waiting waitting in line for Japanese panese noodles dles p33

p14 p1 4

Silicar Valley By Eric Johnson

[02]

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y HOME OF FAST, FRIENDLY, COURTEOUS SERVICE.®

This Thursday 10/22 and Friday 10/23 Showtimes: 12 noon, 1pm, 4pm, 5pm, 6pm

®

15.4"

DESKTOP PC FEATURING Intel® Pentium® DUAL CORE PROCESSOR E5200

NOTEBOOK FEATURING AN Intel® Core™ 2 Duo PROCESSOR

WITH 4GB MEMORY & 320GB HARD DRIVE

WITH 4GB MEMORY & 320GB HARD DRIVE

Windows Vista® Home Premium (64-Bit) And Get A Free Copy Of Windows® 7 After Release Date DVD Burner

2.1 GHz Intel Core 2 Duo Processor T6500 15.4" Widescreen Display DVD-RW Drive 802.11a/b/g/n Wi-Fi Integrated Webcam & Microphone Windows Vista® Home Premium

DV5-1392nr #6038908

$

Limit 1 Per Customer

649

99

Limit 1 Per Customer. Limited to Quantities on Hand. No Substitutions, and No Rainchecks on this Item.

299

$

99

#6034908/#6034918/#6034928/ #6034938/#6034948/#6034958/#6034968

Limit 1 Per Customer

30000:1 Dynamic Contrast Ratio 3 HDMI Inputs 8ms Response Time HD Built-In

#5891753

Price

$

342

379 - 37 = After Instant Rebate & Instant Rebate

Before In-Store Savings

1GB Internal Memory Plays Music Scan Your Prints To Digital Slideshow Built-In Clock, Calendar & Alarm Clock 5-In-1 Memory Card Reader Scan Up To 4"x6" Photos At High Resolution #5978914

137

3 USER LICENSE

$

$

40

149

Limit 1 Per Customer

WINDOWS 7 READY $ PC CD-ROM #5991804

USB FLASH DRIVE

99 EACH

#6039408

*Rebate Offer Does Not Refund the Sales Tax Paid by the Customer **Upgrade Rebate Requires Proof of Previous Ownership

Mail-In **Upgrade Mail-In Rebate Rebate

WITH POWER ADAPTER

FREE

*

After All Rebates

2425 #5272567

WITH 10 DEPARTMENTS & HIGH-SPEED PRINTER

21

SHOP ONLINE at www.FRYS.com "Advertised prices valid only in metropolitan circulation area of newspaper in which this advertisement appears. Prices and selection shown in this advertisement may not be available online at Fry's website: www.FRYS.com" METRO_WED_10/21/09_LEFT

99

PCR-26S #5864863

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

$

64

99

$ PC CD-ROM #5392378

59 - 40 - 20 = 99

In-Store Price

Mail-In **Upgrade Mail-In Rebate Rebate

STORE HOURS: M-F 8-9, Sat 9-9, Sun 9-7 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.

SERIAL ATA/300 HARD DRIVE

$

32MB BUFFER

8999

Limit 2 Per Customer

TAKE FILE ANYWHERE WITH SUPER DURABLE PATENT PENDING DROP GUARD™

500GB eGO USB 2.0

7999

$ #5940954

Limit 1 Per Customer

GO GREEN Made with Naturally Grown Bamboo and Recyclable Aluminum

*

After All Rebates

1.5TB Barracuda

PORTABLE HARD DRIVE

FREE

Prices Good Wednesday, October 21, 2009 thru Thursday, October 22, 2009 Prices subject to change after Thursday, October 22, 2009

13

99

BROWN LEATHER

*Rebate Offer Does Not Refund the Sales Tax Paid by the Customer **Upgrade Rebate Requires Proof of Previous Ownership

CASH REGISTER

$

Limit 1 Per Customer

#6002438

PAINT SHOP PRO PHOTO X2

$

After Instant Savings

STORAGE SOLUTIONS

ANTI-VIRUS 2010

5995 - 35 - 25 =

In-Store Price

12-VOLT AIR CIRCULATING SEAT CUSHION

IR-40 Ink Roller Black

14999

8GB

TM

Your Back Stays Cool During Hot Car Rides Built-In Electric Fan Draws In Cool Air And Circulates Throughout Seat For Cooling Comfort Adjustable Straps To Keep Cushion In Place Adjustable Control For Setting The Perfect Cooling Level Includes Power Adapters For Car And Office Or Home Use

Instant Savings

#5907164 Limit 1 Per Customer

After Instant Savings

SOFTWARE

Skyla SCANNING DIGITAL PHOTO FRAME

22" 720P LCD HDTV

Regular Price

179 - 30 = $

29999

2.2" Widescreen Color Display Video Camera, Microphone Polished Aluminum Finish FM Radio + Live Pause Voiceover Speaks to you Nike+ iPod Pedometer

YOUR BEST BUYS ARE ALWAYS AT FRY’S!

$

Instant Savings

Regular Price

Rock Music. Roll Camera.

®

#5949244

39999 - 100 = $

1680x1050 Maximum Resolution 2500:1 Contrast Ratio $ 99 5ms Maximum Response Time Regular

iPod® Nano 8GB

WITH 1GB MEMORY & 160GB HARD DRIVE

$

$

H210-H3643 #5996864

10.1"

Intel® Atom™ N270 PROCESSOR Windows XP Home 10.1" WSVGA LED Backlit Acer CrystalBrite Display 802.11b/g Wireless

22" WIDESCREEN LCD MONITOR

1TB

[re]Drive USB 2.0 EXTERNAL Drive Limit 1 Per Customer

#5806593

$

78

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

Please see Sales Associate for more details

OCTOBER 21-27, 2009

[03] MUSIC CD #6053528

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

AVAILABLE NOW

HOME OF FAST, FRIENDLY, COURTEOUS SERVICE.®

This Thursday 10/22 and Friday 10/23 Showtimes: 12 noon, 1pm, 4pm, 5pm, 6pm

9 95

$

® Tim McGraw/ Southern Voice

GAMES

WITH TWO BONUS GAMES + CHARGER (TOTAL $53.59 VALUE)

ELITE

WITH 3 BONUS GAMES (TOTAL $59.40 VALUE)

15

DVD MOVIE #6029538

$

1477

DVD MOVIE #6033288 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

20

$

77

DVD MOVIE #6029528

$

1977

BLU-RAY MOVIE #6033258

22

$

77

$

2677

DVD SET #6033278

$

DVD TRILOGY

STORE HOURS: M-F 8-9, Sat 9-9, Sun 9-7 Prices Good Wednesday, October 21, 2009 thru Thursday, October 22, 2009 Prices subject to change after Thursday, October 22, 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.

1377

DVD MOVIE #6033148

1777

BLU-RAY MOVIE #6024678

$

1877

BLU-RAY MOVIE #6033138

#5983014

4 9 99

5 9 89

$

EACH

EACH

$ TRANSFORMERS 1+2 DOUBLE DVD PACK

PLAYSTATION 3

#5886853/#5887373

5 9 89

$

EACH

27

$

EACH

#5964384/#5959724

47 99

77

DVD MOVIE #6029508

BLU-RAY MOVIE #6029518

XBOX 360/PLAYSTATION 3

#6063968/#6063978

NEW RELEASES

$

SPECIAL EDITION

$

3 9 99

299

$

EACH

XBOX 360/PLAYSTATION 3

$

3 4 99

$

#6044478/#6044598

24 99

$

Limit 1 Per Customer

BUNDLE #6069058

XBOX 360/PLAYSTATION 3

#6022878

#5974494

3 9 99

2 7 99

77

34

$

INCLUDES NAGA COLLECTOR BALL

$

EACH

Limit 1 Per Customer

#5506160

WII

#6040528

WII

49

$

$

$ $

CONSOLE #5979474/#5979514

50

249

XBOX 360/PLAYSTATION 3

4 9 99

Wii

#6048978

Wii

2 MOTIONPLUS INSIDE

199

EACH

BUNDLE #6069868/#6071778

$

#6039878

Limit 1 Per Customer

16GB Built-in Memory Bluetooth Support Ultra-Portable Entertainment All Digital Content, No Disks Required Ultra-crisp 3.8" LCD Screen

XBOX 360/PLAYSTATION 3

$

• • • • •

#5887413/#5886813

$

$

1977

DVD MOVIE #6005598

995

$

MUSIC CD #6053538

TWILIGHT: NEW MOON / VARIOUS ARTISTS

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

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

Cover Silicon Valley’s Weekly Newspaper

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

OCTOBER 21-27, 2009

[05]

[06] LETTERS

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

BY TOM TOMORROW

can’t be reached while spending consecutive days on the golf course. David Bethel Saratoga

A New Level

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5

Teeing Off Santa Clara County Assessor Larry Stone has repeatedly identiďŹ ed himself as a “friend of labor,â€? yet he adds fuel to the ďŹ re threatening the retirement beneďŹ ts of employees in his own department (“Taking the Safe Course,â€? The Fly, Sept. 30). I’ll bet he doesn’t really believe that when 50-year-old county employees retire they’re going to

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continue to collect 90 percent of their salary. To do so, one would have to have worked 30 years as a ďŹ reďŹ ghter or deputy—only “safety workersâ€? get 3 percent per year of service. In order to retire at age 50 with 30 years of service, one would have to begin employment at age 20—the minimum age for “safety workersâ€? is 21. Employees who have served in the military may pay to apply those years of service towards their total time as

a county employee, so it’s possible that some individuals may fall into this retirement group. But how many ďŹ re or police personnel last 30 years on the job? Mr. Stone’s remarks are a cheap shot at front-line workers and should be taken with a grain of salt since they come from a county manager earning in excess of $150,000 per year, who is required by law to be in the office only a minimum of one day per week and who

Film reviewers cover a full spectrum of approaches—ranging from the banal to astutely critical discussions which praise or damn a movie. Metro’s Richard von Busack has taken the responsibility of ďŹ lm reviewing to a new level by writing an ode, an articulate love poem, to the United Nations Association Documentary Film Fest, in the Palo Alto Area through Oct. 25 (“World of Difference,â€? Film, Oct. 14)). He brings his own passion for human rights, his clear appreciation for the dedication of courageous ďŹ lmmakers and a touch of affectionate humor (“Good thing the Czechs have centuries of practice in nodding, smiling and then doing whatever authority doesn’t want doneâ€?) to his informative discussion of the UNA offerings (mostly free!). As a documentary ďŹ lmmaker, I confess that we may spend years on a single project and then years

trying to get it seen. Von Busack’s “World of Differenceâ€? provides both the ďŹ lmmakers, and the community, with a gift beyond measure. Everyone “winsâ€? when a skilled media critic takes on a diverse body of documentaries like these (50 ďŹ lms) and invites the public to give themselves the gift of attending this Festival ďŹ lled with labors of love from 50 countries. Thank you, Richard! Dorothy Fadiman Menlo Park

You’re Forgiven Pardon my ignorance, but . . . aside from the little blurb re Mr. Bump (“Phil Bump Returns,� The Fly, Oct. 14), I have never heard of the guy. Yet some people seem to feel that he is somehow important. Who is this guy, what are his credentials, who are his clients other than WPUSA and perhaps the SBLC, and most importantly, why should any of us care about this guy who is now apparently in New York and has served on a civil jury there? Some folks clearly have a hardon over this guy, and I’d like to know why. John Michael O’Connor From SanJoseInside.com

J!Tbxzpv Bed Hoppers You run in our same circle of friends. I saw you irting with my boyfriend on several occasions. I let it go and brushed it off as harmless because I trusted him, and you had a boyfriend, and I didn’t want to appear insecure and jealous. However, when he broke up with me, and got “more than cozyâ€? with you while our sheets were still warm, I regretted having trusted the two of you. But thanks, you did me a favor by shortening the time I spent with him. Obviously, you’re both untrustworthy and got what you deserve: a relationship with someone you know you can’t trust. The last laugh is on the two of you. Have a nice life. SEND US your anonymous rants, raves, gripes and diatribes about your co-workers, bosses, enemies or any badly behaving citizen who rankles your ire—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–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

OCTOBER 21-27, 2009

[07]

Courses Starting in November

[08] SILICON ALLEYS

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

Take the Direct Route If you’re like the majority of our students, you know what direction you’d like to go next. You may be contemplating a career move, looking to build on your current skills or pursue a new field. UCSC Extension in Silicon Valley, the South Bay’s proven resource for professional education, is your direct route to advancement. Here are just a few of the courses starting e\ok month.

ALL COURSES IN OUR NEW LOCATION 2505 Augustine Drive, Santa Clara Q

Business and Management Managing the Development of New Products, 3196-036 Role of the Project Manager, 0306-152 Accelerating Your Career in Human Resources, 3842-009 Winning Strategies for B2B Marketing, 2802-007 Information Architecture and Design Basics, 2662-020

Q

Engineering and Technology Search Engine Optimization for Designers, 19954-005 AJAX for Java Developers, 20750-005 Linux Device Drivers, Advanced, 1016-011 Digital Video Compression, 6930-010 Jitter Essentials, 21321-003 Packet Capture and Analysis, 1990-008 Intrusion Detection, 2265-021

Q

Biosciences Perl for Bioinformatics, 19971-004 Design Control for Product Development, 21973-002 Clinical Project Management, 2315-016 Regulation of Biomedical Product Advertising, Promotion and Labelling, 20756-005

Q

Education Introduction to Exceptional Children, 20330–002

Q

Environmental Health and Safety ISO 14001 and Environmental Management Systems, 5870-027

See ucsc-extension.edu/tm for directions, course details and to enroll

SiliconValley

KNOWLEDGE YOU PUT TO WORK

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VER SINCE Video Mania at Branham and Almaden Expressway bit the dust more than 20 years ago, there has not existed a public place in San Jose where aficionados of vapid B-movie trash can peacefully assemble and feel at home. Now everything has changed as Thrillville has finally hit San Jose. Will “The Thrill” Viharo has proudly brought his rolling blunder review of below-budget atrocities to the Camera 3 Cinemas in downtown San Jose, so fans of grimace-inducing bombs can get their fill while ingesting some killer rockabilly music and retro tiki culture at the same time. Viharo is a Rat Pack–era steak-and-martini dude who usually dons a leopard skin fez and a smoking jacket, while his co-host/cohort, Monica Tiki Goddess, sports vintage muumuus of the most unassuming sort. Together, they have presented the Thrillville series of B-movie screenings in the East Bay for more than a decade now, and they’ve been faves of Bay Area cult film fans for years. But as of last summer, Thrillville officially started up on a regular basis at the Camera 3. B-movie buffs, Mystery Science Theater fanatics, lounge lizards and all other sordid supporters of schlock are encouraged to attend. The first San Jose installment went down on June 18. As a spectacular bash celebrating the TV show Creature Features and dedicated to its late host Bob Wilkins, the evening included previously unseen outtakes and behind-the-scenes footage of Wilkins as well as of the late film critic Bob Shaw. Mr. Lobo from Cinema Insomnia made an appearance, as did John Stanley, Wilkins’ eventual replacement on Creature Features. The San Jose band Aardvark dazzled the crowd with surf music while selected prizes were doled out to members of the audience. For the main spectacle, Will and Monica screened The Horror of Party Beach, perhaps the first monster panty raid movie—a god-awful 1964 romp in which radioactive monsters transformed by toxic waste get their fill at a swinging beach party. The event was a huge success, with numerous underground scenesters and connoisseurs of high camp arriving to sample the evening’s debauchery. Both Stanley and Mr. Lobo hawked videos and other swag at tables in the lobby, and the entire theater exuded a beautifully ridiculous aura of old-school iniquity. Other Thrillville installments soon followed, the most recent of which included a spectacular Mexican wrestling double feature, Santo and Blue Demon vs. the Monsters (1969) pairing nicely with Wrestling Women vs. the Aztec Mummy (1964). And just in time for Halloween, the next affair takes place this Thursday (Oct. 22, 7:30pm). Aptly titled Thrillville’s Gore ’n’ Snorefest, the extravaganza will feature two supersleazy, sexy, spooky exploitation classics: Hollywood Chainsaw Hookers (1988) and Zontar, the Thing From Venus Will Viharo is a (1966). The former features veteran chainsaw virtuoso Gunnar Hansen Rat Pack–era steakplus ’80s scream queens Linnea and-martini dude Quigley and Michele Bauer. One of the who usually dons a original grindhouse classics, Hollywood leopard skin fez and Chainsaw Hookers contains all the gratuitous nudity, violence and sad a smoking jacket one-liners a director could possibly cram into 80 minutes. Don’t miss Quigley doing the Virgin Dance of the Double Chainsaws. They just don’t make ’em like that anymore. Zontar, on the other hand, was a Z-grade designed-for-TV slaughtering of Roger Corman’s It Conquered the World, which originally came out in 1956. In other words, it was a cheesy remake of an already cheesy-on-purpose catastrophe from 10 years earlier. Shot on 16 mm, it stars the quintessential B-movie staple, John Agar, whose abysmal talents graced numerous sci-fi washouts like The Brain From Planet Arous and countless others. Zontar is so painful to watch, even hardcore B-movie masochists might have difficulty with it. (For some critical insights, see Richard von Busack’s piece in this week’s film section.) But that’s not all you’ll see at Thrillville. Like any true showman, Viharo sprinkles the entire evening with all sorts of other shenanigans, and since we’re nearing All Hallows’ Eve, no one knows what he has up the sleeves of that vintage leisure suit. He’s promising trivia contests, prizes, dancing girls and other guaranteed bombs from the blue. They’re all going to laugh at you: SIliconAlleys@metronews.com

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M E T R O S I L I C O N VA L L E Y OCTOBER 21-27, 2009 MASHUP

[09]

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.

Apple’s Insanely Great Quarter Larry Ellison Struts His Wealth Before Peons DgVXaZ aV^Y d[[ ]jcYgZYh d[ ZbeadnZZh i]^h nZVg! VcY ^h ZmeZXiZY id aVn d[[ i]djhVcYh bdgZ# 7ji i]Vi ldcÉi `ZZe i]Z Wjh^cZhh hd[ilVgZ XdbeVcnÉh 8:D [gdb iVjci^c\ ldg`Zgh VWdji ]^h nVX]i# 9dcÉi ndj l^h] ndj ]VY dcZ! ndj Wgd`Z"Vhh eddg4 AVggn :aa^hdcÉh gVX^c\ nVX]i ^h VlZhdbZ! VXXdgY^c\ id XdbbZcih [gdb AVggn :aa^hdc Vi V HVc ;gVcX^hXd eVgin ViiZcYZY Wn ]^h hVaZheZdeaZ VcY W^\\Zhi XjhidbZgh# 6h fjdiZY Wn Hd[ilVgZ 9ZkZadebZci I^bZhÉ 6aZm =VcYn! l]d lg^iZh i]Vi :aa^hdcÉh ÆWZ]Vk^dg ^c `ZncdiZh ^h \Zii^c\ ldghZ ZkZgn nZVgÇ/

APPLE’S September quarter saw, among other things, the release of Snow Leopard, the latest upgrade to its OS X operating system and the first public appearance of CEO Steve Jobs, who’d been on a medical leave of absence for a liver transplant. It was also the first full period since the company launched the iPhone 3GS, in late June. No wonder it was a blowout quarter.

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After market close Monday, Apple reported a fiscal fourth-quarter profit of $1.67 billion, or $1.82 a share, on revenue of $9.87 billion. That topped the estimates of analysts surveyed by Thomson Reuters, who’d expected the company to earn $1.42 a share on revenue of $9.2 billion. CAPTAIN OF INDUSTRY Psbdmf!dijfg!

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The company sold 3.05 million Macs during the quarter, a 17 percent increase over last year. It sold 10.2 million iPods, 8 percent decline from a year-ago quarter. And iPhones? It sold 7.4 million of those—7 percent more than it did during the same period last year. So much for those supply-chain issues that some analysts warned might undermine iPhone sales. “We are thrilled to have sold more Macs and iPhones than in any previous quarter,” said Steve Jobs, Apple’s CEO. “We’ve got a very strong lineup for the holiday season and some really great new products in the pipeline for 2010.” [“really great new products”—is that a euphemism for tablet?— Editor] Apple shares, which closed at $189.86 today, are spiking as I write this. At $203.90 they’re up more than 7 percent in extended trading as I write this. Looking ahead to its fiscal first quarter, Apple estimates it will earn between $1.70 and $1.78 a share on revenue in a range of $11.3 billion to $11.6 billion. That’s comically lower than the $1.91 a share on $11.45 billion in sales that analysts are forecasting. But as today’s results clearly demonstrate, Apple subscribes to the underpromise-and-overdeliver school of guidance theory, so there’s likely little cause for concern. So, to recap: Apple sold more Macs and more iPhones than in any previous quarter in the company’s history. Before the holiday quarter. And in midst of the worst economy we’ve seen in 50 years. —JOHN PACZKOWSKI, DIGITALDAILY.ALLTHINGSD.COM

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MASHUP OCTOBER 21-27, 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 OCTOBER 21-27, 2009 NEWS

Santa Clara Valley, California

“Whether You’re in the Balloon, or Just Hiding in the Attic.”

[11]

October 21-27, 2009 the atmosphere that NASA’s top climate scientist, Jim Hansen, has counseled will most closely support the earth and human civilization.

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FLY

METRO: How long have you been on board with the 350 parts per million figure?

STEPHEN SCHNEIDER: Since back in the 1970s. We were well below 350, and I was trying to get us off the pathway of the mega increases, and we failed. The issue will [now] be: how much are we going to overshoot the safe target? There’s no doubt we already have, and we will go far before we go back.

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How does it feel to have the number 350 back in the headlines? Do you feel vindicated? Depressed?

The kids told me, “Well you may be frustrated, but at least you can give them an I-told-you-so.” Now an “I told you so” is just an “I failed you so.” We just didn’t get it done. Yes, it’s very frustrating. As we look to reduce the amount of carbon in the atmosphere, what new technologies are you excited about?

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Dr. Doomslayer After 35-plus years battling climate change, Stanford’s Stephen Schneider refuses to surrender hope By Jessica Lussenhop R. Stephen Schneider is a climatologist, a senior fellow at the Woods Institute for the Environment at Stanford University and a 1992 MacArthur Foundation “genius grant” recipient. He has been in the trenches of the climate change battle since the 1970s and has advised presidents from Nixon to Obama on how to manage the threat posed by global warming.

D

350

Maximum amount of carbon, in parts per million, in a life-supporting Earth atmosphere

We have to work across a whole spectrum and see who wins. I call it a “learning-by-doing feeding frenzy.” Let’s see how much carbon we can take out of smokestacks and coal plants so that we have a smooth transition towards renewables. And can we put it underground permanently and safely? Not clear. Let’s work on that. How about putting it in high concentrations into algae and the algae can be used for biofuels? Great idea. How about biochar? Let’s take agricultural waste or forest plantation waste, cook them at 300 degrees for an hour and get the natural gas off of the top, and then get char—which is sort of charcoal at the bottom—which you can add to the soil and sequester carbon. There are even crazy ideas to build artificial trees, a chemical

The insanely busy Schneider (the following interview was cobbled together from four separate phone calls during which he was at the airport, grabbing a bite to eat, waiting in a doctor’s office and rushing to class) is also a member of the Intergovernmental Panel on Climate Change, which won the Nobel Peace Prize in 2007. His new book, Science as a Contact Sport: Inside the Battle

to Save Earth’s Climate, will be published next month by the National Geographic Society. Metro spoke to Schneider about his work in advance of an international day of action organized by author Bill McKibben, slated for this Saturday, Oct. 24, and known as 350 Day. Three hundred and fifty was chosen because it’s the amount of carbon parts per million in

387

22 Percentage of the worlds

$100 Billion Amount

carbon emissions that come from the United States

President Obama has dedicated to green projects through the American Recovery and Reinvestment Act

Amount of carbon, in parts per million, in the Earth’s atmosphere today

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[12]

NEWS OCTOBER 21-28, 2009 M E T R O S I L I C O N VA L L E Y

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process where you run water by certain kinds of chemicals. And then there’s a little company in Silicon Valley called Calera, and they’re going to try and actually see if they can make real cement by a different chemical process that, instead of giving CO2 up when it hardens, it takes it up. So now, will it work? Will any of these things work? We don’t know yet, but we’ve got to give all these clever ideas a chance.

You’ve got to cure poverty, but not by artificial low prices and energy. We have to deal with equity, and we have to deal with environmental effectiveness, and this means two acts of good governance in a world that has trouble getting one act of good governance. So I’m not pretending what I’m saying is easy. But there’s no defensible reason we couldn’t do everything I just said. The only thing is political will and people’s awareness.

What about solutions on a policy level?

Do you see that kind of political will in the Obama administration?

One is performance standards. California has the lowest energy use and the lowest carbon dioxide footprint per capita. It’s a big footprint, but per capita it’s the lowest in the United States. Europe and Japan are around California. So how could that happen? There’s always been a culture of public protection. California has had, for the last 40 years, rules, and these rules are very strict building codes on double pane windows and insulation and air conditioners and refrigerators and lots of other things. The states have to set up an energy commission and the energy commissions set the rules. The U.S. must do this; the rest of the world must do this. Then there’s the tax on carbon. That’s the market solution. It could be a direct price—meaning you just have a tax, $50 per ton of carbon dioxide emitted—or a shadow price, which is a cap. It’s got to be mandatory—either cap or price. I prefer price, I could live with a cap. The last part of it—for me, I will pay more money. So will you. Everybody will pay more money. But we’re already paying money in the form of burned-down forests and hospitals for children with asthma. That’s what we call external cost. You’ve got to make the price of energy include all the costs. For me, it’s going to affect the quality of the pinot noir I drink. A poor person, it’s going to affect the quality of the protein their family eats. So not only do you have to protect the commons by having a fee for dumping your waste in the atmospheric sewer, but you also have to deal with the people who would be differentially hurt. I do not believe you hold the sustainability agenda of the planet hostage for poverty.

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Dramatically. Remember, in the previous administration we were going in the wrong direction. In this administration, what we’ve got is the political will to get things done. They’ve put their money where their mouth is. They got with the stimulus bill $100 billion—that’s a lot of money—for green tech development. They still have Congress in bed with all the special interests in their districts. Every coal mine, every power plant, all the farmers who want to use fertilizer at the lowest price. These people only think about their own bottom line and their own back yard, never concerned about the country and less about the planet. So the difficulty is, he’s got to fight with the pork barrel lions in Congress, including Democrats, and it takes major leadership. He’s got to make compromises, but he’s got to turn the ship around. You don’t turn a tanker around quickly. What do you see as the most important role for you in the future?

In the short term, it’s to try to explain to people how not to be fooled by the cacophonous and often fraudulent opinions out there. There’s all this nonsense out there and you can’t make good decisions if you don’t have some idea about what’s reality. Then, of course, there’s research and working inside the [Intergovernmental Panel on Climate Change]. Long-term role, Crosby, Stills and Nash: “Teach your children well.” In my case, I include my academic children, which is where I’m about to go right now to meet with them. News Editor Eric Johnson: eric@metronews.com

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[14] COVER STORY

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

Power Silicon Valley’s automotive entrepreneurs are showing that beating global climate change can be lucrative— and fun By Eric Johnson

F

OR PASSIONATE car lovers in Silicon Valley, Club Auto Sport is a combination country club, museum and temple. Its showroom is filled with some of the most beautiful, powerful and expensive automobiles ever made.

On a recent Saturday afternoon, a rare Porsche Carrera GT sat alongside an even rarer Ford GT40 race car. The Porsche, flat-black and still recognizable as a Carrera despite a bulge behind the rear windshield housing a 10-cylinder, 612-horsepower rear-mounted engine, is one of the fastest production cars ever made, capable of traveling from zero to 60 mph in under four seconds. It was priced at a bargain $325,000. The GT40, built in 1965, was the machine that reasserted American automotive technological dominance in the Le Mans circuit—a Ferrari killer. More than 40 years old, it still does a sub-four-second zero to 60 and typically sells for around $150,000. 16

M E T R O S I L I C O N VA L L E Y OCTOBER 21-27, 2009 COVER STORY

[15]

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[16] COVER STORY

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

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Down the hall from the showroom, in a tiny garage stall that’s part of a business incubator, sits a small two-seater that, when finished in a few weeks, will be able to beat both cars off the line. The car is being built by the one-man startup company Saba Motors and is designed to sell for $40,000. The Saba Spider is a sharp-looking roadster, but it looks nowhere near as impressive or intimidating as the two vehicles that it will one day be able to blow away. That’s because the Spider is a different kind of car. With an aluminum frame, carbon-fiber body and other proprietary technologies I am not supposed to mention, the car weighs about as much as an old Schwinn beach cruiser. But what really makes the car fast is that the Saba is electric, driven by a motor about the size of a 3-gallon pail, powered by a bank of Thundersky lithium batteries. Simon Saba, software engineer by day, revolutionary automotive designer at night and on weekends, is building the car because he believes he is living in a unique moment in history. “There is a perfect storm happening right now,” he says. “For one thing, technologies have evolved to make something like this possible. At the same time, the Obama administration has stepped up and declared its commitment to green technology and is putting money behind that commitment. Private VC money is

also becoming available. And meanwhile, the old automotive companies are nearly bankrupt. “Right now, there is a level playing field. We’re living through a time like the 1920s, when there were 100 car companies. And I believe that I have as much chance as anybody to design the car and launch the company that succeeds.” Saba’s strategy is simple—to dispel “the two myths of electric cars—that they’re slow and that they’re ugly.” To accomplish this, he decided to build a high-performance sports car rather than a glorified golf cart. He has run scores of calculations plotting curb weight, rolling resistance coefficient, drag coefficient, air density and other metrics, and experimented with various materials and off-the-shelf devices. “Efficiency,” he says, “equals power.” Saba’s primary goal is to win the “X Prize,” an international competition “designed to inspire a new generation of viable, super-fuel-efficient vehicles.” The contest, set up a by a nonprofit and funded by the Progressive Insurance Company, involves designing, building and bringing to market 100 MPGe (miles-per-gallon energy equivalent) vehicles “that people want to buy and that meet market needs for price, size, capability, safety and performance.” More than 100 teams have entered the competition for three prizes totaling $10 million.

M E T R O S I L I C O N VA L L E Y OCTOBER 21-27, 2009 COVER STORY

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Saba believes his lack of automotive experience and expertise gives him an edge on the competition. “Automotive engineers are looking for ways to rebuild vehicles that already exist. I’m looking for brand-new ways to solve the problem.” Saba’s confidence does not appear to be too misplaced. Three weeks ago, he attended Gov. Arnold Schwarzenegger’s Global Climate Summit at the invitation of EPA chief Lisa Jackson. He proudly shows off photos of himself talking to Schwarzenegger and Jackson, who visited his display booth for 15 minutes. While he has not spent a lot of time yet actively seeking any government assistance or even venture capital—focusing instead on building his prototype—Saba has indeed entered a fertile field. In the past 12 months, green technology, in general, and automotive tech, in particular, have become the fastest-growing sectors of the American economy. In August, the Department of Energy dispersed $2.4 billion in grants to companies to spur green development in the automotive field. While most of that went to the rust-belt states where the recession has hit the hardest, two California companies—Tesla and Fisker— received $465 million and $528.7 million, respectively. But the government money is the tip of the iceberg. The real money is in the private sector, where the prospect of a

new, sustainable automotive industry has already sparked a gold rush.

Driven to Change Steve Jurvetson, a partner in the Sand Hill Road venture-capital fund Draper Fisher Jurvetson, is heavily invested in the clean-tech revolution. His company, one of the oldest and most respected VC firms in the valley, has funded startups from Hotmail to Ooma, and made a strong move into the green sector several years ago. With holdings in companies including Brightsource Energy, a builder of solar power plants, DFJ is banking on a renewable future. One of the firm’s most high-profile clients is Tesla Automotive, the San Carlos– based builder of the media-darling Tesla Roadster. Jurvetson also drives a Tesla— one of the first 20 ever built—and sits on the company’s board of directors. He says the potential offered by the new breed of nonpolluting vehicles cannot be exaggerated. “It’s one of the largest opportunities we’ve ever looked at,” he says. Jurvetson points out that the prospect of a new green automotive industry opens up not only the entire automotive transportation industry but also the multibillion-dollar petrochemical industry. “It’s a trillion-dollar market,” Jurvetson says. “We have never seen a market of this size. The whole [information technology] market was a few hundred billion. This— it’s kind of mind-bending.” Jurvetson has seen plenty of evidence that this is not just a pipe dream. Brightsource, which his company backed in its early stages, just inked a $10 billion solar deal. What was until recently a dream held by many environmentalists and some forward-thinking scientists has, in just the past couple of years, turned into money. That’s good for DFJ’s startups—and good for Silicon Valley. “Startups do well in markets where there’s been a disruption—when something changes in the market,” Jurvetson says. “In a stable market, the big get bigger, and the little startups don’t have much of a chance.” The recent disruptions have included skyrocketing oil prices and much bigger forces, from terrorism to global climate change. Other changes are the new administration in Washington, D.C., and the resultant changes in the regulatory landscape. Much of the action is focused on Silicon Valley. But confronted with the question of whether Silicon Valley is set to become the next Detroit, Jurvetson says that’s the wrong question. 19

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OCTOBER 21-27, 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 OCTOBER 21-27, 2009 COVER STORY

PowerPlay 17 “My ďŹ rst reaction is that I don’t think Detroit is a good role model,â€? he says. “Silicon Valley is going to do what Silicon Valley does. We will do what we did with IT, in the way that Silicon Valley uniquely can. This is going to be something completely different, in a completely different space, that becomes a substitute for what came before.â€? Jurvetson credits the explosion in the alternative-vehicle market to more than an accident of history. He says “engineering and design elegance,â€? combined with business innovations, have forced the change.

‘Right now, there is a level playing ďŹ eld. We’re living through a time like the 1920s, when there were 100 car companies. And I believe that I have as much chance as anybody to design the car and launch the company that succeeds.’ —SIMON SABA He points to Tesla’s sales strategy, which dispenses with independent dealers, allowing Tesla to sell directly to consumers, and “control the brand experience.â€? “We can talk about selling in a whole new way,â€? Jurvetson says, “which only really makes sense because this car has a lot of cachĂŠ.â€? A more signiďŹ cant business innovation is the one that allowed Tesla co-founder Elon Musk to start a car company without having hundreds of millions of dollars on day one. Tesla was able to do that by building its Roadster around the guts of a Lotus Elise. “With this, [Musk] isn’t just selling a dream,â€? Jurvetson says. He contrasts this business model with the old way. Henry Ford, he points out, owned everything that went into the production and sales of his cars, from rubber plantations to dealerships. “That’s a staggeringly expensive way to build a car company,â€? Jurvetson says. While Detroit automakers and other

[19]

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upstarts were building mostly variations on the golf cart, Musk and his team decided to build a high-performance vehicle and to work with an established, but smallish, auto builder. The effort paid off. With its Roadster, Tesla was ďŹ rst to market—and delivered a product that has impressed everyone who’s driven or even seen it. “It’s a singular experience,â€? Jurvetson says. “The sheer acceleration—it’s like being shot out of a rail gun. I used to tell people, ‘Zero to 60 in under four seconds,’ and watch their eyes glaze over. Now I just say ‘it goes like a bat out of hell.’â€?

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Future Fast To start the Tesla Roadster, you push a button in the middle of the console. Press D, and the one-speed transmission is engaged. At a standstill, the car is silent. Step on the accelerator, and it makes a high-pitched, rapidly modulating whine. It’s a very cool sound—like the sound spaceships make in sci-ďŹ movies. Slip out onto the road and press hard on the pedal, and the whine modulates very rapidly until the car is emitting a nice, soft scream. At that point, the car is probably doing 80 mph—and not even straining. The Tesla Roadster is explosively fast. It can go from a cold stop to 60 miles per hour in about the time it took you to read this sentence. It is unlike anything on the road. As a former mechanic, I have driven some fast cars. I worked for years in a shop that serviced Porsches. We had a customer with a race-tuned Carrera; on several occasions, I drove that Carrera 160 mph. The Tesla would kick that Carrera’s ass off the line. Mike Falcone, a salesman at the dealership in Menlo Park, knows about fast cars, too. His personal car is a 1969 Pontiac GTO with a 400-cubic-inch V-8 and a four-barrel carb. On our test drive, I asked him how the two cars compared. He just laughed. The stretch of Sand Hill Road that runs from El Camino Real to Highway 280 is 2.6 miles long and has six stoplights. Between each of those stoplights, I took the Tesla straight up to 80 and then, out of prudence, backed off. Each time, it felt remarkable. I noticed something else I liked about the car—because it uses regenerative braking, the Tesla slows itself down immediately when your foot comes off the accelerator, as the motor draws energy. This is done in the name of efficiency, but as it happens, it makes for a better driving experience. Without the driver stepping on the brake, the car will slow itself to from 80 mph to 3 mph, quickly and smoothly. At the 280 onramp, things got really fun. The Tesla’s front end and suspension are 21

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100 percent Lotus Elise. That means oldschool unassisted rack and pinion. Which means you can literally feel the road in your hands—none of that power-steering mush. The heavy battery pack is located in the center of the car, giving the Roadster 60–40 weight distribution—a good thing— and the motor and tranny are located just behind the rear wheels, which causes the vehicle to dig in hard under acceleration. And the thing about explosive acceleration is that it, too, just plain feels good. On the cloverleaf Sand Hill Road onramp, I couldn’t help but let out a shout. Falcone, my co-pilot, said, “All clear,” and I jetted out over to the fast lane and hit 100something in no time at all. By the time I gathered myself enough to look in the rearview mirror, I saw nothing but empty road, with a bunch of BMWs and big Mercedes in the distance. “In the Tesla, you end up driving alone a lot,” Falcone said. “Nobody can keep up with you.” Feeling a professional obligation to put the car through its paces, I exited at Alpine Road and headed up into Portola Valley. This is the kind of road the Lotus chassis was designed for, and the Tesla loved it, exploding through the gentle curves. But when I checked the rear-view again, I was surprised and then doubly surprised: there was a car just off my back bumper; it was another Tesla. The driver was grinning and waving through his windshield, and I waved him over. We pulled into a turnout.

Matt Devin, on a Sunday drive with his daughter, seemed elated. This, I thought to myself, is the look of a man who owns a highly efficient, ecologically responsible automobile. The look on his face told me that this is the kind of thing that could save the world from the polluting deathgrip of the gasoline-powered automotivepetrochemical complex. Assuming an electric car will be brought to market for significantly less than the Roadster’s $109,000 price tag. On the way back down Sand Hill Road, another fortunate event: at a stoplight just west of the Stanford Shopping Mall, I looked to my right, and sitting there was a new Corvette. I honked the horn. The driver, and handsome woman in a golf cap, turned to us with a grin and asked: “What’ve you got in there?” “A battery and a little electric motor.” Pointing at the road ahead, I asked the time-honored question: “Wanna run?” She kept grinning. “Sure.” The light turned green. It was over in a hurry.

The Old New Thing The Electric Auto Association, a national club, was founded in San Jose in 1967, by a bunch of Lockheed engineers. Today, it is still a going concern, furthering its mission “to encourage experimentation in the building of electric vehicles, particularly 22

[21]

[22] COVER STORY

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

PowerPlay 21 to improve energy and resource efficiency, reduce emissions and improve vehicle safety.” For most of the intervening 22 years, the club has served as a clearinghouse for hobbyists and small entrepreneurs who use a variety of kits to convert gasolinepowered vehicles to EVs.

In the past 12 months, green technology, in general, and automotive tech, in particular, have become the fastestgrowing sector of the American economy Mike Brown has been at it from the beginning. A longtime Volkswagen mechanic, Brown built his first electric vehicle in 1979: a FiberFab Aztec kit car on a VW Beetle chassis. Then he started experimenting, converting Porsches, other kit cars and, finally, his biggest success—a VW Rabbit he named the “Voltsrabbit.” He founded his own company, Electro Automotive, in 1981. In 1989, he and his partner Shari Prange published the book Convert It, which still circulates in electriccar culture. Since that time, Brown may have been responsible for the production of more electric cars than any other company. By his own estimation, there are something like 2,500 cars on the road today running Electro Automotive conversions. While his setup is somewhat bulkier and less elegant-looking than the Tesla, or even Simon Saba’s Spider, it operates on the same simple principle. A bank of batteries supply power to an series-wound DC motor, which feeds it through a gearbox straight to the drive wheels. Several times a week, working from a little shop in the Santa Cruz Mountain community of Bonny Doon, he ships kits to owners of Rabbits, Porsche 914s or, recently, the Beck’s Spider, a cool little reproduction kitcar modeled after a 1965 Porsche. During that time, many car companies, including the Big Three, have experimented with building EVs from scratch. So far, none have really succeeded. GM’s EV1, built from 1996 to 1999, was popular with its small band of owners, but

ultimately the company killed the model, recalled all of the cars and crushed them. Toyota went a different route—more like Brown’s—converting its own miniSUV, the RAV4, to run on an electric motor. In production from 1997 to 2003, the model was discontinued with little fanfare. While the big companies are still at it— the Chevy Volt for a couple of years now— they were beat to market by entrepreneurs doing essentially what Mike Brown does: Musk’s Tesla is essentially a retrofitted Lotus (although much of the car, including the frame and body, has been altered). On Musk’s heels is a legendary coachmaker Henrik Fisker, whose soon-tobe-released Karma is following a third way.

Selling a Dream When Tom Price learned that Henrik Fisker was getting into electric cars, he took notice. He knew Fisker as one of the world’s leading designers of luxury coaches, the man who had designed the BMW Z8 and the Aston Martin DB9, two of the most beautiful cars to hit the road in the past couple of decades. Price was ideally positioned to win the first Fisker dealership in Northern California, which is set to open in Sunnyvale next year. Price owns Toyota of Sunnyvale, which is the nation’s secondbiggest Prius dealer, so he has a firsthand knowledge of what “green” can mean to the bottom line. He also owns Marin Luxury Cars in Corte Madera, one of the region’s top sellers of Aston Martins. “The more I learned about the car, and how it was out together,” Price says, “the more comfortable I became.” Price is speaking of the Fisker Karma, which is poised to be the first plug-in hybrid luxury sedan to hit the market. Fisker himself designed the car’s body. Almost everything else in the vehicle has been subcontracted out to experienced manufacturers. The power train is being built by Quantum, a Southern California– based manufacturer of fuel cells and fuel systems. The interior is being built by Magna Steyr, a Toronto-based global supplier. Almost every component in the car is being built by a similarly wellestablished company. In the end, the pieces will be shipped to Finland, where they’ll be assembled by Valmet Automotive—the company that assembles the Boxster and Cayman for Porsche. “It’s easy to have confidence in the vehicle, knowing all of these vendors,” Price says. Price is equally confident the car will sell. “When we had it here,” Price says, “we showed the car to friends and asked them what they figured the price would be. Most 25

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

OCTOBER 21-27, 2009

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OCTOBER 21-27, 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 OCTOBER 21-27, 2009 COVER STORY

PowerPlay 22 said $200,000.” The Karma will retail for $87,500. Subtract out the federal rebate of $7,500 and, the way Price figures it, the car is competitive with the Audi A8, Jaguar XJ and Mercedes-Benz S-Class. Unlike the Tesla, the Fisker Karma is a hybrid, running a 2.0-liter four-cylinder gasoline engine that generates power for its patented “Q-Drive” electric motor. The combination produces more than 400 total horsepower; the car is tested 0–60 in under six seconds. Not as fast as the Tesla Roadster, but then it seats five. And unlike other hybrids on the road today, the Karma offers a plug-in option. It can travel up to 50 miles before the charging motor kicks in.

‘Startups do well in markets where there’s been a disruption—when something changes in the market,’ Jurvetson says. ‘In a stable market, the big get bigger, and the little startups don’t have much of a chance.’ Price has driven the car and believes he’ll have no trouble convincing some high-end car buyers to give up their big Euro-sedans. “I don’t think you sacrifice anything in terms of agility or power,” Price says. “There’s a solar panel on the roof, so you don’t have a sun roof. But that’s probably about it.” Tesla, meanwhile, is also preparing to enter the luxury sedan market, albeit at a significantly lower price point. The Tesla Model S, an equally stunning, nicely appointed five-plus-two-seater, is scheduled to ship in late 2011. It was Tesla’s Elon Musk, in fact, who gave Henrik Fisker the idea that the time of the plug-in automobile has arrived. Musk hired Fisker to design Tesla’s first sedan, which at the time was code-named WhiteStar. (After a year or so, Fisker quit and was followed out the door by a lawsuit charging him with theft of proprietary

information. Fisker announced plans to start his own company some time later; the lawsuit was decided in his favor.) The Model S differs from the Karma in a couple of ways. First, the Model S is fully electric. Second, it’s priced $20,000 less than the Fisker. After the $7,500 tax break, the Model S will start at $49,900. Not exactly a “Tesla for the rest of us,” but the Model S does represent a big step toward the time when electric cars will be commonplace, because it will come equipped with a battery that can be swapped out in five minutes. That would make driving a Model S about as convenient as driving a gas-powered car. All that remains is to build a vast network of charging spots and battery swap-out stations. And another Silicon Valley company is well on the way toward achieving that ambitious goal.

The Big Idea At the World Economic Forum in 2005, Klaus Schwab, the founder of the international organization that has gathered business, political and intellectual leaders in Geneva every year since 1971, posed a question: “What’s the most important thing you could do to make the world a better place by 2020?” Shai Agassi, who had been invited to attend the event as one of the inaugural class of Young Global Leaders, was part of a working group assigned to look at climate change. A 37-year-old engineer and entrepreneur, Agassi was on the board of directors of SAP, the Germanbased software development firm, and had come to be interested in the problem of global warming. Agassi led his team to the conclusion that gasoline-powered cars were the biggest threat to the planet, and—because of their vast numbers—the most difficult problem to solve. After returning to his job in California, Agassi produced a succinct nine-page white paper on the subject. It contained an argument for building national-scale infrastructures to support mass-adoption of electric cars, and a blueprint for making it happen. The piece takes as a given that the era of oil is ending, and then sets forth to “project the most probable set of changes in the energy markets and the transformational technologies that exist today, and how they will come together to address this emerging oil shortage.” It calls for large-scale solar energy plants “generating electrons, and sending the energy directly over the electric grid into an electric battery which powers an efficient electric motor.” This would be no ordinary electric grid, but an “intelligent Electric Recharge Grid (ERG)” using hardware and software to connect utilities, 27

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[26]

OCTOBER 21-27, 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 OCTOBER 21-27, 2009 COVER STORY

[27]

PowerPlay 25 ;Za^eZ 7j^igV\d

REVOLUTIONARY ROAD !Tjeofz!Hppenbo-!WQ!pg!Cfuufs!Xbz-!sfqpsut!uibu!!

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charging stations and drivers. Agassi shows that at the time of his writing, the cost of new-generation Lithium Iron Phosphate batteries was starting to drop. He states unequivocally that “the economics have now tipped in favor of electric transportation.” For the first time, he reported, the total cost of energy for electric transportation had crossed under the cost of fossil fuel. “We will create a sustainable transportation energy solution,” the paper says matter-of-factly, “which will go practically forever with no reliance on oil and no emissions.” The “cross-under point” had gone almost unnoticed in the world of automotive design, which was focused on the hybridcar race. Yet, Agassi concluded, its effect “will change the industry in the most disruptive economic shift ever experienced in history.” The bulk of the white paper is devoted to crunching the numbers to show that this hugely ambitious endeavor would be cost-effective. Breaking out his calculator, he shows in detail that when fuel consumption is factored into the price of car ownership, electric cars would soon be not only the cleanest and most efficient but also the cheapest way to drive. And he said, this is the tip of the iceberg. Referencing Moore’s law, in which Silicon Valley legend Gordon E. Moore correctly predicted chip improvements resulting in a 50 percent reduction in size every 18 months, Agassi predicted the price

of renewable generation declining over the years, to the point where large solar installations come down in cost by 50 percent every five years. Despite the undeniable scope of the undertaking he was proposing, Agassi lays it out simply. “We propose the creation of a ubiquitous infrastructure that can enable a car to automatically charge up its battery when parked, and on the exceptional long drive using an exchange station where an empty battery is replaced with a full one in automated lanes resembling car-wash devices positioned in gas stations across the country. “We for the first time look at the car battery as part of the infrastructure system, not part of the car, much like the SIM card inside a cell phone is part of the network infrastructure which is residing inside the phone.” Utopian, but it was being written by an engineer who happened to also be a hard-headed businessman of some genius, as well as a successful entrepreneur—he joined SAP when the software giant purchased his own company, Top Tier. He devotes some effort in his white paper to demonstrating that the idea would make money. A lot of it. Fuel at the pump represents a market of $1.5 trillion every year. Cars and components add up to roughly the same amount: $1.5 trillion a year. He predicts that clean electricity generation for cars will reach $150 billion a year. The construction of the grid—the

ERG—was projected at $500 billion. Battery manufacturing will reach similar levels of $500 billion a year, accounting for reduction in battery cost as the market size will continue to increase. Carbon credits alone will be worth roughly $300 billion when all cars are driven on clean electricity. “In the aggregate, we are looking at an annual dislocation reaching roughly $6T a year.” Keep in mind: Agassi was putting this idea together in his spare time, while he was running the 10,000-member engineering team for a big multinational corporation. He seems to have written the paper for the sheer joy of solving a hugely perplexing problem or as an act of global community service. “The real value of such change,” he concludes, “is the massive reduction in greenhouse gas emissions and the longterm implication on our planet. “Regardless of who wins or loses economically, there is one sure winner— the sustainability of our planet and humanity. If we desire to sustain the planet and our current way of living, we stand in front of a decision that has no alternative, since risking the one planet we have in an uncontrolled experiment is simply not a viable option. The time is now, and the change is already in motion. In the words of Lee Iacocca, ‘It’s time to lead, follow or get out of the way.’”

The Big Money Agassi delivered his white paper to the World Economic Forum in 2007—two years after he had begun investigating Klaus Schwab’s question. According to Sidney Goodman, VP of Automotive Alliances for the Palo Alto– based Better Way, Agassi was next in line for the top job at SAP. He was not very interested in starting the company that would build the grid he was envisioning. Ultimately, it was Shimon Perez, the former prime minister of Israel, who convinced him otherwise. “Shai was hoping to pass the idea along to a government, hoping they would take up the challenge,” Goodman reports. And Perez was interested. He issued Agassi two challenges. One: Get a buy-in from a major car company (known in the biz as an original equipment manufacturer, or OEM). Two: Get the money. Agassi wasted no time. He brought in Carlos Ghosn, president of the RenaultNissan alliance, one of the world’s top five carmakers. “His strategy for electrification is in his flag,” Goodman says, adding that RenaultNissan “differs from any other OEM in the market” in its interest in plug-in cars. “They decided quickly that there was a strategy fit—and said, ‘Let’s do it.’”

In October 2007, Project Better Place was launched. Agassi had also met condition No. 2—he had raised $200 million, from VantagePoint—another big Silicon Valley VC firm—as well as from Israel Corp., Morgan Stanley and a smaller group of private investors. The deal has been called one of the largest and fastest seed rounds in history. Meanwhile, Perez had taken the idea to Edward Ohlmert, the Israeli prime minister. Strings were pulled, deals were made, and in two years, Better Place will have its infrastructure in place, and Renault will have its fleet of cars ready for delivery. “We already have metal in the ground,” Goodman reports—more than 1,000 charging stations have been put together in several Israeli cities. Later in 2011, the same thing will happen in Denmark. Australia will follow in 2012. And then: California. In April 2008, Deutsche Bank analysts concluded that the company’s approach could be a “paradigm shift” that causes “massive disruption” to the auto industry, and which has “the potential to eliminate the gasoline engine altogether.” The head-spinning speed at which this idea has caught on certainly accounts for the fact that most Americans are practically unaware that such a radical power shift could be in the offing. There is one curious fact, again from Agassi’s white paper, that makes the transition seem almost inevitable—even before the dozens of required solar power plants are built. Every energy-generating plant and grid system produces excess power capacity, called “active reserve.” This is used to guarantee immediate availability of power in demand spikes. The active reserve is usually wasted, as power stations have no ability to store it. According to Agassi, the active reserve alone could power more than a third of the cars in developed countries. “The smart recharge grid provides a ‘distributed storage facility,’” he says. “Taking the concept one step further, the cars and batteries can even feed back electricity to the grid. Steve Jurvetson offers another piece of evidence that this dream is real. He points to the fact that many of the most talented young engineers, bankers and other professionals are being drawn into the clean-energy sector. He attributes this to something fundamental. “It just feels good to know you’re part of a significant change. For young people just out of college, they get to feel like they’re contributing something important to the world. For those of us who have been around a while, for the first time, our kids think we’re cool.” M

[28] EVENTS

OCTOBER 21-27, 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

Pest Control!

OCTOBER 21-27, 2009

[29]

[30] STYLE

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

BORROWED FROM THE BOYS!!Dimp Öt!gbmm!311:!dpmmfdujpo!!

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What’s His Is Hers

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HE “boyfriend blazer,” the “boyfriend cardigan,” “boyfriend jeans” and now the “boyfriend shirt”? It seems that this fall, every article of women’s clothing that is not elasticized into a body-skimming second skin must have been attained by raiding the closet of one’s man-friend. In fact, this “boyfriend” label gives the impression that sartorially aware ladies will only be comfortable when they’ve picked something loose and billowy off their boy toy’s bedroom floor and thrown it on before running out the door. Fadish fashion terminology aside, traditionally masculine cuts are migrating back into women’s ready-to-wear this winter. Though last year’s holiday season saw more of a tight and tailored menswear trend, this time around it is expressed as much more relaxed and laid-back. High-waisted, tapered trousers held up by thin braided leather belts; generously cut, high-neck button-ups; and oversize double-breasted blazers are back in action for a decidedly Katherine Hepburn–meets-early-’80s air. Cold-weather-ready tweed and hound’s-tooth fabrics impart a chic borrowed-from-the-boys aesthetic to these garments. The color palette for this manly trend is generally muted and neutral, with shades dominated by black, white, gray and tan. It appeared as if Annie Hall was a huge influence on French fashion house 8=ADÜ’s fall 2009 runways, where pleated, cuffed khakis and even blanket coats were seen paired with lace-up suede ankle boots. Designer >H67:A B6G6CI has said that she was inspired by “bad boys” for her most recent winter collection, where she brought together boxy, textured blazers and baggy pleated pants with one of this season’s hottest footwear trends: sexy thigh-high boots. Fortunately, the no-frills, more conservative outfits of this fall’s menswear trend are also very versatile and office-friendly. Added androgyny imparts an extra dash of power to onthe-job ensembles, especially when one doesn’t have to worry about binding pencil skirts and panty-lines. Think of the gents when shopping for accessories for this look also. Avoid babbles and bangles in exchange for chunky metal watches, buckles, leather handbags or Western-look saddlebag purses. Footwear can range from Oxford-inspired flats to sexy stiletto booties, but make sure to shy away from exaggerated studding or fringe. Jessica Fromm

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

Limos!

OCTOBER 21-27, 2009

[31]

[32]

OCTOBER 21-27, 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 OCTOBER 21-27, 2009 MENU

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[33]

tjmjdpo!wbmmfzĂ–t!hvjef!up!Ă&#x;of!ejojoh Mjwf!Gffe Dining Debuts highlights the new restaurants in the valley_38

Ramen Hood ;Za^eZ 7j^igV\d

Where Saratoga Avenue meets Highway 280 lies ramen heaven, and Santouka leads the way By Stett Holbrook

SITE FOR SOY EYES Uif!tpz!tbvdf!qpsl!sbnfo! bu!Tboupvlb!jt!tfswfe!xjui! tbmnpo!fhht!pwfs!sjdf/

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HERE IS no ashing neon sign at the intersection of Saratoga Avenue and Interstate 280 to let motorists know they’re entering Silicon Valley’s ramen nirvana, but there should be. Within just a few hundred yards of this crossroads are the three best Japanese noodle soup purveyors in the South Bay. There’s Ramen Halu, a longstanding outpost of outrageously delicious ramen. There’s Kahoo Ramen, a 2-1/2year-old member of Silicon Valley’s ramen elite. And just a few storefronts down is the brand-new Santouka Ramen. Adjust your GPS device accordingly. I would be hard-pressed to pick my favorite, but after downing two bowls of ramen at Santouka just a few hours ago, I’m still under the spell of this 4-week-old newcomer. Just so we’re on the same page, when I say ramen I do not mean the little bags of dried noodles with the foil packet of seasoning. Real ramen is made from a slow-simmered, complex broth poured over springy, freshcooked noodles and crowned with an array of delights such as braised pork, pickled bamboo shoots, green onions, soft boiled eggs, ďŹ sh cakes, spinach and dried seaweed. A real bowl of ramen is to the store-bought packaged stuff what a warm spring day perfumed with lilac blossoms is to a can of oral-scented bathroom freshener.

Real ramen is one of the world’s great meals. It’s quick, cheap and ďŹ lling, and when done right it’s heaven in a bowl. And Santouka does it right. Santouka is a Japanese-based chain with locations in Southern California, Chicago, New Jersey and San Jose. But don’t let the restaurant’s chain status keep you away. It is just spreading the love. The restaurant occupies a space in Mitsuwa Marketplace, a Japanese supermarket that is a culinary destination in its own right. If ever there were a contest for “great food in an unlikely setting,â€? this place would be sure to win. I’ll take great food over atmosphere any day. There’s no sign for Santouka outside the store, but once inside, the ramen shop is hard to miss. Look for the line of people waiting to order as they stare at the strangely lifelike display of plastic ramen replicas behind a sheet of glass. The delicious-looking diorama serves as the restaurant’s menu. All the choices can make it look complicated, but there are really just three basic options based on the kind of soup avor: salt, soy sauce and soybean paste (miso). With options such as extra pork, “special pork,â€? spicy broth and side dishes of salmon eggs, rice and natto (fermented soy beans), the variations add up. The ramen is available in a choice of small, medium and large, too. As adjectives, salt, soy sauce and

soybean paste don’t do justice to the worlds of avor within. The saltavored ramen, or shio ramen for ramenophiles, is Santouka’s agship offering. The milky, opaque broth is luxuriously rich with a salt-edged sweetness that comes from the addition of shellďŹ sh broth to the porkbone and salt broths. According to rameniac.com, this is Asahikawa-style ramen from a small town in the cold northern island of Hokkaido where seafood is a mainstay. One of the distinguishing features of the ramen is the dappling of pork grease on top of the soup, which serves to trap and retain the heat of the broth. It works remarkably well and yet doesn’t taste overly oily. Nary a whiff of steam escaped until I disturbed the bowl with chopsticks and spoon. One time, I ordered two kinds of ramen at once. I saved the salt-avored ramen for last, and when I dug in, it was still tongue-burning hot. The yellow, curly noodles (shipped fresh from Japan) are ďŹ rm and chewy and hold up well in the hot broth. Floating on top is a raft of goodies, including thick slices of buttery braised pork, pickled bamboo shoots, a thin slice of ďŹ sh cake, green onions, wood ear mushrooms and a single bright-red pickled plum. It’s tremendous. A small bowl goes for $6.95. As good as the salt-avored ramen is, don’t pass up the soy sauce– or

shoyu-avored ramen, which also goes for $6.95 for a small bowl. The cafĂŠ con leche–colored broth yields a pleasingly salty and rich broth. A subtle sesame avor undergirds the soup, giving it a nutty and creamy quality. The toppings are the same as for the salt-avored ramen, minus the umeboshi plum. For a real trip into decadence, check out the salt-avored ramen with toroniku, described on the menu as “special porkâ€? ($9.95 for a small bowl). I asked one of the women at the cash register what made the pork special. She said it was a different cut of meat. Not too helpful. Another woman offered the opinion that the meat was softer. Not much help either. Further investigation revealed that it is pork jowl. Best known as guanciale in Italian cuisine, the meat is richer and ďŹ ner than pork belly. It’s an over-thetop experience of porcine bliss. The ramen arrives unadorned, with a side plate loaded with slices of porkcheek meat and all the other toppings so that you can assemble your soup to your liking. Once the broth hits the pork, it softens and almost liqueďŹ es the fat within. Buttery and rich don’t even come close to describing the experience. I think I could actually feel my arteries clogging up as I slurped down the last bit of broth from my bowl. It was totally worth it.

[34] DINING GUIDE

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

AAMAZING MAZ ING DRINK D RI N K SPECIALS SP E CIA L S & ½ PRICE PRIC E APPETIZERS APP E TI ZE RS every Happy evvery day during Happ py Hour Happy Hour Mon-Fri Mon-Fri,, 4-7; Sat, 11-4; Sun, 10-4; and m every night from 10pm

Bring you yourr Football party

Brunch with our fam famous mous Bloody Mary Bar Su Sundays, undays, 10-2

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Watch up ttoo 13 games every Watch Sunday Sunday,, on 17 high-def, at screen plasmas!

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

OCTOBER 21-27, 2009

[35]

[36] DINING GUIDE

OCTOBER 21-27, 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 OCTOBER 21-27, 2009 DINING GUIDE

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[37]

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Artisan Wine Depot

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OUNTAIN VIEW’S 6GI>H6C L>C: 9:EDI is different from most wine shops. First off, the 5-monthold store is in an unlikely setting: behind a roll-top door next to an auto shop in an industrial strip of Mountain View. “We’re kind of like a speakeasy wine SNIFF TEST!!Disjtujof!Usbo!uftut!b! shop,â€? says Artisan Wine Depot marketing Ă&#x;of!wjoubhf!bu!Bsujtbo!Xjof!Tipq/ specialist ?6B:H IG6C >n reference to the store’s discreet, camouaged appearance. Inside is a smuggler’s cave of vinous treasures. The small space is densely packed with domestic and international wines, many of them from lesser-known, small production wineries. “It’s like home cooking rather than mass, cafeteria-style cooking,â€? Tran says of the store’s selection. “We want to offers wines that have good stories to tell.â€? The shop also offers premium beers and soon will stock sake if they can ďŹ nd the space. For wine lovers, the place feels like an overloaded toy store. Artisan Wine Depot also sets itself apart in that wine buyer 8=G>HI>C: IG6C, James Tran’s sister, is a sommelier. Sommeliers most often work in restaurants, and Christine used to put her wine knowledge to use at Mountain View’s nowclosed Castro Point restaurant. She also has experience in corporate wine buying and beverage-program development for retail and restaurant establishments such as the Straits Restaurant Group and the Wine Club. As the sommelier-in-residence at the wine shop, she is able to walk customers through her wine selections and help them pick the right wine. She also sticks little tasting notes with food pairings to each bottle, kind of like a cheat sheet for wine. She has created a feature on her websites (artisanwineshop.com and askthesommelier.com) called “Ask the Sommelier.â€? Not to be confused with Metro’s monthly column “Ask the Sommelier,â€? Christine Tran answers questions about food and wine pairings, serving wine and other queries submitted online. She’s hoping to enlist the help of other sommeliers to offer a robust panel of experts. She has tasted every wine in the store (not all at once) and aims to offers great wine values and wines that are “varietally correct,â€? i.e., wines that best express the characteristics of the grapes from which they’re made. Finding good wine is easy in California, but ďŹ nding good wine at a good value is the challenge. “There’s an art to ďŹ nding good wine at a good value,â€? she says. White males dominate the wine industry, so as an immigrant who ed Vietnam with her family by boat after the fall of Saigon, Christine Tran offers some refreshing diversity in the vanilla wine world. She left a career in high tech to pursue her passion for wine. Because of her mother’s partial French ancestry, she was exposed to wine when she was growing up but only on a limited basis. She’s a certiďŹ ed sommelier now and is preparing for the arduous master sommelier exam. There are 150 master sommeliers in the world, and only 14 are women. Finally, in spite of the Artisan Wine Depot’s low-tech industrial setting, it’s actually a rather technologically sophisticated operation. On Christine Tran’s recommendation I picked up a bottle of a 2007 Bruscus San Valentino Lambrusco 2007 and nonvintage Praia Vinho Verde. An online account was created and my receipt emailed to me. The coolest part is that when I logged in later I could see my purchases and then click on the wines to read tasting notes and background information on the wines. For regular customers this is a great feature that allows them to retrieve details about wines they enjoyed but can’t quite remember. The store’s online inventory matches the in-store inventory. Order online, and if you like, the staff will even box up your order and chill it for you if necessary. That makes pickup a breeze and saves on shipping. Stett Holbrook (Sholbrook@metronews.com)

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[38] DINING GUIDE

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

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Dining Debuts

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N SAN JOSE, newcomer O>76 G:HI6JG6CI offers classic Persian food with dishes like koobideh kebabs, gormeh sabzi and fesenjoon, as well as only-in–Silicon Valley twists like a Persian beef burrito. Mexi-Persian? :A 8=6A6I:8D, a local chain of dependable delicious Mexican and Salvadoran food, has added a new location in east San Jose on Alum Rock Avenue. HJH=> >C;>C>IN opened last month on The Alameda in San Jose with all-you-can-eat sushi, while across town, 7>HIGD IJE6O opened on Santa Teresa Boulevard. The restaurant offers a menu of hearty Mediterranean classics like seafood fettuccine, osso buco and moussaka, as well as house-made pastries and desserts. After a lengthy lead-up, Iowa-based HBD@N B6G@:I is planning to open its doors Oct. 13 in downtown Los Gatos. The restaurant and market is something of a prototype and represents the ďŹ rst in a series of such restaurant-stores to be opened across the country in the next ďŹ ve years. The restaurant will offer all things hickory smoked—ribs, sliced pork loin and chicken. Meanwhile, I’ve been anxiously awaiting the opening of =DL>:ÉH 6GI>H6C E>OO6 in Palo Alto’s Town and Country Village. Howie is =DL6G9 7JA@6, former executive chef at the great Marche in Menlo Park. While he’s still a partner at Marche, he left ďŹ ne dining to make wood-ďŹ red, thin crust pizza in a more casual setting. In addition to pizza, Bulka will offer baked mussels, wood-oven baked Florida gulf shrimp and Strauss creamery soft-serve ice cream all made from locally sourced, sustainable farms and producers. Construction is supposed to wrap up in the next few weeks and then open shortly thereafter. This will be one to watch.

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

OCTOBER 21-27, 2009

[39]

[40]

OCTOBER 21-27, 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

OCTOBER 21-27, 2009

[41]

Brewer’s Grill & Cigar Party Tuesday, November 10th at 7pm Join us for for four courses of perfectly paired food and beer, plus two cigars.

$50 per person (includes tax and gratuity) Grilled Blue Point Oysters Casino Grilled Seasonal Vegetables & Tri-Tip Steak Surf & Turf • Grilled Fruit Trio

SERIOUS ABOUT OUR FOOD. CRAZY ABOUT OUR BEER.

Please RSVP by calling the restaurant 1875 South Bascom | San Jose | 408.377.0707 rockbottom.com

[42] CCALENDAR ALENDAR

OCTOBER O C T O B E R 21-27, 2 1 - 2 7, 2009 2 0 0 9 M E T R O S I L I C O N VA VA L L E Y

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408.287.3991 408.28 7.3991 .

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Wed W ed – 6pm; $12 e

Fri $39.50 F ri – 8pm; $39 .50

Fri F ri – 9pm; $5

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M E T R O S I L I C O N VA L L E Y OCTOBER 21-27, 2009 CALENDAR

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Imperial Silence Scare Crawl MACLA 2009 510 S. First St, San Jose 408.938.3594 Fri-Sat – 7pm, Sun – 3pm ; $10/$15

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tv Downtown San Jose 408.463.6836 Sun – 7:30pm; free

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Pictures of Then Cirque Dreams Mission Ale House Illumination 97 E. Santa Clara St, San Jose 408.292.4058

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Mon – 10pm; free

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800.345.3000 Tue-Wed – 7:30pm; $27-$49

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OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

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Back to The Future A new ‘Star Trek’ exhibit at Tech Museum reminds us how much the show predicted about our culture and ourselves By Richard von Busack

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T IS weird how deeply a Star Trek exhibition can work on the feelings, even if you’re only an indifferent fan who still hasn’t seen most of the original episodes. The first round aired on NBC 1966–69 and was past my bedtime. My affection for it at all is due to one man, screenwriter/ director Nicholas Meyer, who has just published his account of everything he gave to the best films in the series, The View From the Bridge: Memories of Star Trek and a Life in Hollywood. Like a few other pop-culture series, Star Trek has a cumulative force from just having been around for so long. Opening Friday (Oct. 23), the Tech Museum’s “Star Trek: The Exhibition” is centered around an IMAX revival of this summer’s rousing hit and a display of models, sets and props of different eras in the franchise, with a timeline to keep it all straight. Some of the pieces are originals, most are replicas fabricated by Premier Exhibitions of Atlanta. They include a fleet of Enterprises,

a Borg cube the size of a big Christmas parcel, empty costumes in cylinders and a mockup of the transporter room. Visitors can have imaginary conversations with the Guardian of Forever, a donutshaped portal—as we know, some 5 billion years old, neither machine nor living entity. It is surrounded with a sand-colored fiberglass desert, which has a warning sign not to walk on it with high heels. The captain’s quarters aboard Star Trek: The Next Generation are on display; on the table is an empty bottle of Chateau Picard, from Patrick Stewart’s estate in Bordeaux. For an extra charge, those who have the spine for it can take a ride on one of a pair of simulators in shuttle form—one gentle, the other more authentically rough as it re-enters a particularly turbulent atmosphere. The exhibit gives fans a chance to walk around the bridge of the classic-era Enterprise—dimmed and glowing with ultraviolet light. It is so unlike the clear, plain, hot threepoint TV lighting of the 1960s. The

rooflessness of the set doesn’t make much of a dent in the illusion. The sound effects chirp away, creating their own narcosis. If they like, visitors can take a seat in Kirk’s leather chair. I certainly couldn’t do it myself—I got an uneasy feeling of blasphemy. The genial Roqua Montez of the museum, my guide on the advance tour, helpfully pointed out the positions where Spock would stand and the seats where Chekov and Sulu would sit. The set is circled by a walkway, with the panels displaying the gravity generation and dilithium crystals levels. Nice to note that the brave vessel will be locally built in some starship yard of the future; a battered plaque in one corner reads USS Enterprise, San Francisco, California. Star Trek: The Experience is another one of those shows meant to hit baby boomers hard, even if there are similar shows in Las Vegas and right outside the Chinese Theatre in Hollywood. The appeal seems obvious; you can peer through the malaise of a melancholy present

into the dreams that did come true. Star Trek’s hand-held communicators are now held in everyone’s hands. Surely the iPhone never would have been born if someone hadn’t imagined having a tricorder. And tasers do pretty much what a phaser was supposed to do (too bad the difference between “stun” and “kill” isn’t always clear on the real-life model). As for the question of the science of it all: when I interviewed him 12 years ago, Lawrence M. Krauss, of The Physics of Star Trek, claimed that the answer was “a resounding ‘maybe,’” to the possibility of warp drives. The exhibit has to take a more realistic approach to Einstein. Still, if and until that day comes, the Star Trek lore represents an unusually benign cult, offering a promise of immortality to the human race: not as Gods, but as wiser humans doing what they do best, going forth boldly. STAR TREK: THE EXHIBITION opens Oct. 23 at the Tech Museum, 201 S. Market St., San Jose. Tickets are $19–$25. (408.294.TECH)

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[45]

STAGE PREVIEW

‘Spring’ In Fall Broadway San Jose presents the Tony-winning ‘Spring Awakening’

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N 1917, the play Spring Awakening, by German writer Frank Wedekind, played in New York City, only to be censored and banned over the next 89 years. The rock musical that opened off-Broadway in 2006 and was loosely adapted from the play received a much YOUNG LOVER !Disjtuz!Bmupnbsf!boe!Kblf!Fqtufjo!! better reception. Spring Awakening tubs!jo!uif!upvsjoh!dpnqboz!gps!Ă•Tqsjoh!Bxblfojoh/Ă– was the winner of eight Tony Awards, including best musical, in 2007. The Broadway run ended in January 2008, and the national tour is set to hit the San Jose Center for the Performing Arts on Oct. 28 for a ďŹ ve-day run. Spring Awakening tells the story of several students coming of age in a sexually repressed, 1891 Germany. The parents and teachers refuse to enlighten the children about their changing bodies and urges. That leaves the students confused and angry, grasping with both hands in the dark only to ďŹ nd a microphone. “Rock music expresses anguish and longing, passion and joys,â€? says Steven Sater the Tony Award–winning writer of the musical’s book and lyrics. “[Having rock music] altered the whole feeling of the play.â€? The characters burst into songs such as “The Bitch of Livingâ€? and “Touch Meâ€? to show “the internal world of the teens.â€? As a unique touch, the actors are given microphones to hold onstage as they sing. This was done to remind the audience of when they stood in their bedroom and held a hairbrush as they sang. “Everyone has been a rock star in their own bedroom,â€? notes Sater. The touring cast of mostly recent high school graduates, college students and new college graduates “gives the show a fresh, new energy. They believe in the show because it’s what they are going through.â€? Two of the Broadway cast members who believed in the show reached worldwide fame: John Gallagher Jr. won a Tony Award for his performance, and Lea Michele went on to star in FOX’s hit new series Glee. “These young people just stand out there and give you their hearts,â€? says Sater. The musical touches on “the hope and the strength, the darkness and the lightâ€? in self-discovery. In fact, the importance of the subject matter led Planned Parenthood to invite Sater to become a member of their organization. “This play opens up real dialogue between generations because, whatever your age, you watch from the perspective of the young. And [the play] touches the heart so profoundly to remember that time of naughty pleasure.“ Emily Grube SPRING AWAKENING, presented by Broadway San Jose, plays Oct. 28 at 7:30pm, Oct. 29 at 2 and 7:30pm, Oct. 30 at 8pm, Oct. 31 at 2 and 8pm and Nov. 1 at 1 and 6pm at the San Jose Center for the Performing Arts, 255 Almaden Blvd., San Jose. Tickets are $20–$75. (408.792.4111)

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[46]

OCTOBER 21-27, 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 OCTOBER 21-27, 2009 STAGE/ART/LIT

CLASSICAL REVIEW

‘Stepping’ Out San Jose Chamber Orchestra debuts Dan Wyman’s ‘Stepping Stones’ for violin

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S HE HAS BEFORE, Dan Wyman attended the weekend’s premiere performance of his latest San Jose Chamber Orchestra commission. On Sunday, the strings played Stepping Stones, a 10-minute romp through just about every kind of thing one can do on a violin. His program note proposed a search for footing across a stream that has washed away evidence of a previous path, “rushing, flowing, turning and, occasionally for a moment, resting.” Pretty tough not to hear those things with such a written description. Put another way, it did not disappoint. Tony Quartuccio was on the podium for the Sunday performance, sandwiching the Wyman between a pubescent string symphony by Mendelssohn and Bartók’s Music for String, Percussion and Celesta. Wyman’s piece begins as surging rapids that soon settle into a regular, if short-lived, pulsation. Meter changes soon disguise any steadiness of beat, then, full stop. Tremolos start the next section, which features concertante solos, harmonics and sighing glissandos. Effects include brittle sul ponticello (bowing close to the bridge), skittering gestures, buzzing bees, a brief nod to Steve Reich–style minimalism and a big trainlike acceleration finale. Tunefulness took the form of brief ostinatos tossed around the orchestra. In all, the piece was coherent, bracing, full of delightful surprises and in need of repeated hearings to get all the goods. Mendelssohn was 13 when he wrote his String Symphony in D (and several others around the same time). It (as they all do) follows the classical model as taught to the boy, in Berlin, by Carl Friedrich Zelter. While conventional in most respects, this ambitious work contains some unusual features. The second movement is given over to three (of four) violas, featuring solo playing (by section principal Eleanor Angel), plus added cello and bass. The final movement, having establishing its own theme, then indulges in Beethoven-style development inspired, specifically, by a variation from the last movement of that composer’s Eroica Symphony. The Bartók roped in the talents of timpanist Kent Reed, percussionist Ward Spangler, celestist Brenda Tom, harpist Anna Maria Mendieta and pianist Michael Touchi. Commissioned by Paul Sacher for his chamber orchestra in Basel, the work celebrates to a high degree the treasury of Romanian and Hungarian folk music the composer had spent earlier years collecting. Folk-inspired themes and rhythms run riot throughout, along with aural allusions to folk instruments. Yet it bristles with sophisticated inventions, surprising instrumental combinations and delectable turns of phrase. Kudos all around for a fine performance, with one big bone to pick. Le Petit Trianon offers an inherently lively, even loud, acoustic response to music. What this orchestra needs are conductors who explore the full range of dynamic contrasts. What it got here, and what I have heard from music director Barbara Day Turner, is not nearly enough of it, and no such thing at all as a real pianissimo. Dynamic contrast gives music its 3-D, its light and shadows. The SJCO and its audiences deserve better. Scott MacClelland

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[48]

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

ONE WEEK AWAY!

The 29th Annual Fall Art Auction at the San Jose Institute of Contemporary Art An exhibition and live auction of works by more than 150 Bay Area contemporary artists

$5 off tickets children 14 & Under

Exhibition: October 2 – October 24, 2009

THE NATIONAL TOURING PRODUCTION • ONLY SOUTH-BAY ENGAGEMENT

OCTOBER 27 & 28 • 7:30PM Flint Center - Cupertino Flint Center Box Office, all

Auction: Saturday, October 24, 2009 Doors open at 6:00 pm Auction begins promptly at 7:00 pm Auction Admission: $40/ticket thru October 23 $50/ticket at the door

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Call 408.283.8155 or email lis@sjica.org to purchase tickets. View online auction gallery at www.sjica.org The 29th Annual Fall Auction is made possible in part through the generous support of Metro Newspapers.

Subscriber & Group discounts available, call 408-864-5885 a

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E V E R Y O N E ’ S

G O T

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O P I N I O N

San Jose Institute of Contemporary Art 560 South First Street, San Jose, CA 95113, 408.283.8155, www.sjica.org

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M E T R O S I L I C O N VA L L E Y OCTOBER 21-27, 2009 STAGE/ART/LIT

[49]

STAGE PREVIEW @Zk^c 7ZgcZ

Faceted Drama

Set in South Africa, S.J. Rep’s ‘Groundswell’ raises questions of race and apartheid NSWERS are not handed to the audience in Groundswell, San Jose Repertory Theatre’s newest, a psychological thriller about race relations, desperation and reparations in the post-apartheid SCHEMERS Uibnj!)Exjhiu!Ivoutnbo-!mfgu*!boe! world. In its second stateside Kpibo!)Tdpuu!Dppqxppe*!usz!up!ubml!Tnjui!)Qfufs!Wbo! production, South African playwright Opsefo-!dfoufs*!joup!b!ejbnpoe!jowftunfou/ Ian Bruce’s volatile tale centering on his country’s tragic legacy is as challenging and heavy as theater gets. Fortunately, Groundswell never seems to buckle underneath its own weight. Under the direction of the Rep’s former associate artistic director, Kirsten Brandt, the tension between the play’s trio of troubled characters is palpable, slowly building in complexity and intensity during the single act until it explodes and emotions come out like knives. The setting is the Garnet Lodge, a remote beachside hotel on the African continent’s foggy west coast. Black gardener and off-season manager Thami (Dwight Huntsman) and white ex-cop-turned-handyman Johan (Scott Coopwood) run the place while the owners are away. Living apart from his family and desperate to pull them out of the slum, Thami has cooked up a get-rich-quick scheme with Johan involving the local diamond industry. All they need is an investor, and when retired banker Smith (Peter Van Norden) passes through by chance, they believe their dreams are ďŹ nally in reach, if only they can persuade him to hand over a starter check. A drifter and part-time diamond diver, the unstable Johan decides to come over for dinner with their wealthy guest to convince him to put some money in their venture. As the blustery, foggy night wears on and the drinks come out, the dark past of the long divided South African nation, and all three men, comes to light. Old wounds are opened and deep secrets are revealed as the anxiety of their dire situation builds to a climax. Providing ominous atmosphere, a port bell tolls and the wind howls in the background of this resort lobby set, thanks to sound designer Steve Schoenbeck and scenic designer John Iacovelli. Although Groundswell was a replacement for Joe Penhall’s Landscape With Weapon, which fell through last summer when the rights were optioned for a ďŹ lm version, artistic director Rick Lombardo made a superb choice with this selection. The events of this play take place far away, but the subject matter of race and resentment still stings here for American audiences. Van Norden’s Smith is a deeply complex character, and his performance is the strongest of this outstandingly well-acted production. On the outside Smith is just looking for a place to play a good round of golf, but on the inside he is deeply bitter over having been forced into retirement when his high-level investment job was handed to a black man. A leftover from South Africa’s white aristocracy, his character is probably the most relatable to the San Jose Rep’s audience. You could hear a pin drop during Van Norden’s emotional speech when Smith ďŹ nally breaks down. Coopwood, whose credits seem to be predominantly Shakespearean, is ďŹ rst-rate in his sweating, unhinged portrayal of Johan, a man with nothing to lose looking for redemption for the deadly wrongs of his past. Huntsman’s Thami is the only innately good character of the three, but he still does not intervene in Johan’s escalating violent behavior if there is a possibility of getting the funds he needs. In the end, Groundswell is a ďŹ rst-rate production that will open up audience dialogue about much more than South Africa’s apartheid.

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Jessica Fromm GROUNDSWELL, a San Jose Repertory Theatre production, plays Tuesday at 7:30pm, Wednesday at 11am (Oct. 21 only) and 8pm, Thursday–Friday at 8pm, Saturday at 3 and 8pm, and Sunday at 2pm through Nov. 8 at the Rep, 101 Paseo de San Antonio, San Jose. Tickets are $35 and up. (408.367.7255) HVi! 'eb# ;gZZ# EVad 6aid 6gi 8ZciZg! &(&( CZlZaa GY! EVad 6aid! +*%#('.#'(,%#

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[50] STAGE/ART/LIT

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

UP FOR GRABS!!Kbtpo!Beljotร !311:!njyfe.nfejb!qjfdf!ร Sbguร !jt!kvtu!pof!pg!tdpsft!boe!tdpsft!pg!

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Palo Alto Philharmonic

presents

Orchestra Concert I featuring

Csaba Onczay cello

Saturday, Oct 24, 8PM Beethoven: Overture to King Stephen Dohnรกnyi: Konzertstรผck for cello and orchestra Bartรณk: Hungarian Sketches Kodรกly: Hary Janos Suite

Cubberley Theatre, 4000 Middlefield Road, Palo Alto Tickets:$18/15/8

order on-line: www.paphil.org

Discover the Arts www.svArts.org

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M E T R O S I L I C O N VA L L E Y OCTOBER 21-27, 2009 FILM

METROGUIDE

[51]

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CuttingEdge Humor Converted comedian Yisrael Campbell gives it all he’s got in ‘Circumcise Me’ doc at S.V. Jewish Film Festival By Richard von Busack

S

INCE I GOT into alternative journalism precisely because I wanted to write about genitals, the title of the film Circumcise Me caught my attention. It fills but one of the evenings at the Silicon Valley Jewish Film Festival, which runs through Nov. 22. Here is the local premiere of Paul (Taxi Driver) Schrader’s newest film, Adam Resurrected, based on Yoram Kaniuk’s novel. Here also is a reprise of the excellent docudrama Blessed Is the Match about Hannah Senesh, RAF warrior and martyr (at age 23) to the Nazis, with a personal appearance by director Roberta Grossman Oct. 25. Further offerings include a dramatic film about the sinking of the Altalena, as well as several episodes of the hip Israeli TV show S’rugim. Guess what I pulled off the pile of screeners first? The moral is: You indie filmmakers out there, give your movie a title that sits up and barks. After figuring Circumcise Me (Nov. 22, 5:30pm) to be a documentary about this, the unkindest cut of all, the film turned out to be the true-life story of Philadelphia-bred standup comedian Yisrael Campbell, born Chris Campbell—Chris, as in “Christian,” since his mom was an exnun and his aunt is still in a convent (“That means Jesus is my uncle!”). The genial, plump Campbell reminisces about how he came to leave Catholicism to follow the path to conversion trodden, so long ago, by Sammy Davis Jr. As part of

this conversion, Campbell made the demand of the title. Even after seeing the movie, I’m a bit unclear on how this works, but apparently the comedian went through three rounds of paying his due to Abraham. He has two kids today, so anyway, the mohels must have left something. We see Campbell in live performances at a Jerusalem nightclub amusingly named “Off the Wall.” Jews in standup comedy, who’da thunk? The film offers some “but seriously, folks” moments, among them Campbell’s solemn visit to the Wailing Wall. The interesting scenes of Jerusalem include Campbell’s sad accounts of friends killed by bombs in the Intifada. Still, Campbell has enough mirth to jest about a news item: the capture of the triple-amputee Hamas “master bomber” who, through misfired bombs, gave up rather more to Allah than Campbell gave up to Jehovah. “I’m not going to say he’s a master,” Campbell comments. “I’m going to say he’s mildly proficient.” The evening also features a live appearance by local comedian Jeff Applebaum. But seriously, folks. The plethora of Jewish cinema lately, from the excellent A Serious Man to the gloomy but unquestionably Jewish Where the Wild Things Are includes this week’s screening, a documentary on the man who is unquestionably the most controversial figure in the history of Israel. It’s been so long since Ariel Sharon entered his persistent vegetative state that Dror Moreh’s

documentary Sharon (Oct. 25, 3pm, Oshman Family Jewish Community Center, Palo Alto) can get different angles on the subject. Sharon winds back from the former prime minister’s surprise decision to endorse the clearing of the settlements in Gaza and Samara. That Sharon would ever be PM of Israel surprised everyone, particularly his wife, Lily, quoted by a witness: “Arinka, you’ll never be prime minister, they hate you too much.” Even Uri Shani, Sharon’s former chief of staff, admits that Sharon’s victory was seen by some as “a reason to leave” Israel. As the film Waltzing With Bashir explains, Sharon was occupying the ground in Lebanon when the Phalangists massacred Arab civilians. The portly PM’s side of the story was that he was “being blamed for Christians killing Arabs.” This charge of abetting a massacre never left Sharon’s neck, and it was only a combination of matters that overcame voter resistance. One big factor was the increasingly terrorized quality of Israeli life as one suicide bombing after another took hundreds of Israeli lives. Another factor was the series of ad campaigns that made Sharon look like Cincinnatus or George Washington—a farmer called out to aid his nation, an image bolstered with “morning in Israel” shots of Sharon’s cows in their fields. This multiwar veteran was at first the hawkiest of hawks, and, by any definition of the word, a racist: often Sharon privately quoted his mother’s advice never to trust the Arabs.

Unexpectedly, Sharon grew into a statesman, restraining the worst of the revanchists after the grisly attacks on a disco in 2001 and supervising the pulling back of the occupations and the settlements that he once encouraged. “It was like cutting off his hand,” says a crony here. Sharon, then, was converted to political realism late in life. In this, and a few other things, he took what interviewee Condoleezza Rice defines as “the high ground.” The problem, of course, is Condi’s idea of the high ground; sometimes, the ground is so high, one fails to discern the difference between revolutionary groups far below. Sharon is most shocking when it reveals secret dealings about how W forced Sharon to abandon his plan to assassinate Yassir Arafat. Still, one sees Sharon in different lights—as a lonely widower, as a good friend, as a man who cared enough about art to get up before dawn to see a Picasso show at the Tel Aviv museum. Sharon’s interest to American non-Jews ought to be obvious, since whatever Israel does or will do is your tax dollars at work. The interest to documentary makers should also be obvious—how do you deal with the question of whether a great man is great because he could have been so much worse? THE SILICON VALLEY JEWISH FILM FESTIVAL runs through Nov. 22 at Camera 12 in San Jose, Camera 7 in Campbell and locations in Palo Alto. See www.sfjff.org for schedule.

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[52]

FILM OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

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Up and Away The classic ying robot returns in ‘Astro Boy’

I

T IS suggested that the Japanese are the world’s greatest consumers of comics due to a proud tradition of graphic simplicity and sophisticated woodblock prints. Could we say that animism might be the reason why the Japanese seem so particularly open to the question of whether a machine has a soul? “God of Cartoonsâ€? Osamu Tezuka deserved that title in the Japanese comic book and animation industry. He was a Walt Disney who surpassed Walt in the range of his material. His most popular character, his Mickey Mouse, was Astro Boy. The ying robot’s starlike cowlicks were even set at the same angles as Mickey’s ears—or so Tezuka confessed once. It’s surprising how much of Tezuka there is in the ďŹ lm Astro Boy. The CGI venture preserves the winning personality of the undersized hero as well as his look (though he is attired a little more modestly in 2009). While moving like an action picture of today, the graphics salute 1960s manga and anime. Tezuka’s favorite caricature of himself—beret, beatnik beard and round worried face—turns up in the crowds. Further retroness shows up in the Mary Blair–style graphics of a documentary, explaining the history of Metro City and of the robots it uses and trashes. In the future, the art deco Metro City oats in the sky like Jonathan Swift’s Laputa. Its dictatorial president (Donald Sutherland does the voice) is trying to arrange a war to ensure his victory in the upcoming election. During a demonstration of a new form of atomic power, the son of the city’s greatest scientist (Nicolas Cage) is vaporized. Griefstricken, the scientist tries to reincarnate the boy in powerful robot form. Like Dr. Frankenstein, he rejects the creature that results. Stranded in an underworld of the poor and discarded, Astro (Freddie Highmore) learns how the other half lives, before returning to the city of his birth to defeat the power-mad leader. But there’s a modern romance, of sorts, with a streety girl child named Cora (Kristen Bell), who wises up Astro to what life is like in the shadows. The ďŹ lm’s anti-militarism is robust. Astro Boy all but name-checks Obama when the evil dictator uses as his election slogan “It’s Not Time for a Change.â€? This might explain why there’s a seriously unfunny subplot about three inept Marxist robots trying to liberate the enslaved ’bots. The Futurama-ish gags were done so much better in Life of Brian, whence they were stolen. They aren’t going to mean a lot to American children who probably haven’t encountered anyone to the left of Michael Moore, let alone Moore himself. If anything these wacky-revolutionary bits seem to function as a lighting rod, to show that the left wing has been satirized, too. The fact that the revolutionaries are there at all shows just how much sympathy there is for anti-militarism in this engaging story of seless robot heroism. The smashing soundtrack by San Jose’s John Ottman even makes one disremember, for a time, the immemorial “Astro Boy Theme.â€? This smart cartoon keeps this icon alive in both look and action; Astro Boy is a paciďŹ st hero who doesn’t lie back on the job. It’s the thinking-child’s version of Transformers. Richard von Busack ASTRO BOY (PG; 94 min.), directed by David Bowers, written by Osamu Tezuka, Timothy Harris and Bowers, with the voices of Nicolas Cage, Freddie Highmore and Kristen Bell, opens Oct. 23. For movie alerts and giveaways, follow us: twitter.com/metronewspaper.

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FILM REVIEW

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Reviews by Michael S. Gant, Steve Palopoli and Richard von Busack.

New Amelia (PG; 111 min.) The story of Amelia Earhart, with Hilary Swank as the famous aviatrix whose orbit included everyone from Eleanor Roosevelt (Cherry Jones) to the youthful Gore Vidal (William Cuddy). Richard Gere plays her husband, George P. Putnam. Mira Nair (The Namesake) directed. (Opens Oct 23 at Camera 7 in Campbell, the Los Gatos Cinema and selected theaters valleywide.) Astro Boy (PG; 94 min.) See review at left.

Cirque du Freak: The Vampire’s Assistant (PG-13; 108 min.) Paul Weitz (About a Boy, American Dreamz) directs the adaptation of the young adult series about a vampire (John C. Reilly) moonlighting as a sideshow performer; Chris Massoglia stars as the teenage chronicler Darren Shan. (Opens Oct 23 valleywide.) The Damned United (R; 97 min.) See review on page 54. An Education (PG-13; 95 min.) Lone ScherďŹ g’s British coming-of-age ďŹ lm ends with a marathon session of tea brewing, but it has its good points. The look is cool—1960ish England may be more interesting than the full-blown and overexposed later ’60s. Twickenham-raised Jenny (Carey Mulligan) is studying for Oxford when she gets picked up by David (Peter Sarsgaard), a slightly older rotter; his slightly cruel eyes and at smile forecast trouble to come. Until then, Jenny gets to see London highlife and nightclubs, and voyages to Paris. Smelling class, and wanting to make their hard-

working daughter happy, Jenny’s parents (Cara Seymour, Alfred Molina) relax the leash. And that’s when the young girl learns how David makes his money without working days. No one in the movie apparently saw one of those melodramas about the wealthy seducer who steals a poor but honest girl; letting that matter aside, Mulligan is charming, the meet-cute is deft and Olivia Williams bears all the movie’s spine as a deliberately drabbed-down English teacher. Nick Hornby’s screenplay, from Lynn Barber’s memoir, might have meant he had input on the ďŹ lm’s excellent pre–Swinging London soundtrack. Singer Beth Rowley steals the show as the breathy canary at one nightspot. (Plays at Camera 7 in Campbell and Century Cinemas 16 in Mountain View.) (RvB) Good Hair (PG-13; 95 min.) Chris Rock looks at the various styles of African American hair in a documentary by Jeff Stilson. (Opens Oct 23 at selected theaters.) Michael Jackson’s This Is It (PG; 112 min.) A last look at the late icon. (Opens Oct 23 valleywide.) More Than a Game (PG; 105 min.) A ďŹ lm about LeBron James and the Fab Five of his high school basketball team in Akron, Ohio. (Opens Oct 23 at CinĂŠArts Santana Row.) Saw VI (R; 90 min.) Another round of heartwarming outreach among friendly strangers. (Opens Oct 23.) Silicon Valley Jewish Film Festival See story on page 51. Blessed Is the Match documents the short life of Hannah Senesh, RAF warrior and martyr (at age 23) to the fascist Hungarian Iron Cross. Raised in the Lubitsch world of afuent Budapest, she was idealistic enough to go to Palestine and become an agricultural worker on a kibbutz. Then came the war. Well-wrought dramatic re-enactments bring old photos to life. The title comes from one of Senesh’s poems. (Shows Oct 21, 7:30pm, at Camera 7, and Oct 25, 3pm, at Camera 12. Director/producer Roberta Grossman will be on hand at the Oct 25 screening.) The Wedding Song: In Tunisia, during World War II, two female friends (one Jewish, one Muslim) have their lives changed by the Nazi occupation (Oct 25, 5:30pm, Camera 12). Sharon (Oct 25, 7pm, OF JCC, Palo Alto). For My Father. After his mission fails, a would-be suicide bomber is trapped in Tel Aviv (Oct 28, 7:30pm, Camera 7). (Plays Oct 21-Nov 22 at the Camera Cinemas in Campbell and San Jose and in various South Bay locations; www.svjff.org.) (RvB) UNAFF Festival Highlights of this documentary-only ďŹ lm fest. Oct 21: American Outrage, George and Beth Gage’s study of a pair of western Shoshone sisters who have had their cattle conďŹ scated in a case that went all the way to the Supreme Court. (5:30pm). Burma VJ concerns video journalists doing their best to get news past one of the world’s most feared dictatorships (7:20pm); Disco and Atomic War claims that Finnish broadcasts of soap operas and popular music helped free Estonia from the USSR (10pm). Oct 22: “Producing Films With Passion—A Woman’s Perspectiveâ€? is a panel discussion (4pm) followed by two ďŹ lms on the AIDS crisis in Africa. The Sari Soldiers proďŹ les female ďŹ ghters in the Nepal conict (8pm); Dishonored, a searing account of how a Pakistani woman sought justice after being ritually gang-raped to avenge a rival clan’s honor (10:05pm). Oct 23: Soldiers of Peace proďŹ les ďŹ ghters against world injustice in this Michael Douglas–narrated story of activism (5pm). Letters to the President follows Iran’s president’s journeys around his nation (6:50pm). Crips and Bloods: Made in America is the newest by ace documentary maker Stacey Peralta (Dogtown and Z Boys; Riding Giants). Peralta examines the gang wars in South-Central and ďŹ nds humanity behind the gangsta posturing. What can you say about a life where you’re so afraid to leave your 10-block L.A. safety zone that you never see the ocean? (9:40pm). Oct 24: An all-day series on oil, with Houston—We Have a Problem (12:30pm), Black Wave: The Legacy of the Exxon Valdez (3:30pm) and Crude (7:30pm) about

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FILM REVIEW

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the Ecuador lawsuit against Chevron. The Age of Stupid (9:15pm) is a look back from the blighted future at the failure to stop carbon emissions. Oct 25: The Dhamma Brothers, about a meditation retreat inside the walls of one of America’s worst prisons (11am); Garbage Dreams, about the city of trash outside of Cairo (3:40pm). Finally at 5:30pm, The Yes Men Fix the World, a highly recommended comedic look at the intrepid pranksters who made monkeys out of the world’s corporate communicators. Closing-night party follows. (Plays Oct 21-24 at Stanford University; www.unaff.org). (RvB) Where the Wild Things Are (PG; 101 min.) See review on page 56.

Revivals An Affair to Remember/Bringing Up Baby (1957/1938) Its powers as a weeper are joked about in the dumb Sleepless in Seattle. However, the emotional wallop isn’t caused by the sex of the viewer but by the poise and splendid underplaying of Cary Grant. He’s a career bachelor—”a big-dame hunter”—tamed by a shy woman (Deborah Kerr) with whom he connects during a sea voyage. The titanism and loneliness of New York are tangible in the photography here. Note the arresting innovation of having the first kiss partially offscreen, as something too beautiful for the audience to be allowed to witness. In CinemaScope, it is a far different movie from the one shown on TV—and certainly more than just the object in Sleepless director Nora Ephron’s depressing object lesson about the difference between men and women. Get popcorn during the musical sequence of singing underprivileged kids performing “The Little Scout Inside”; it’s pure ipecac. BILLED WITH Bringing Up Baby. This, the greatest painkiller this side of a martini, features Katharine Hepburn as an heiress who informs us that “the love impulse of the man frequently reveals itself in terms of conflict”; her quarry is Grant, a paleontologist who has a bone (actually, an intercostal clavicle) to pick with her. (Plays Oct 23-24 in Palo Alto at the Stanford Theatre.) (RvB) Arsenic and Old Lace/His Girl Friday (1944/1940) In a decrepit Brooklyn Victorian, a pair of sweet old ladies follow the serial killer’s trade. Like some of George S. Kaufman’s popular comedies, the forced drollery has aged badly, and star Cary Grant was never himself in this kind of desperate laugh-seeking venture. BILLED WITH His Girl Friday. Big-city newspaper editor Walter Burns (Cary Grant) faces the simultaneous loss of his ex-wife and his star reporter: Hildy Johnson (Rosalind Russell), who proposes to remarry and move to the sticks. Meanwhile, an execution is scheduled, and only Hildy has the smarts and the spirit to expose it as judicial lynching. The best movie about newspapers, ever. Grant’s Burns is the distillation of every type of movie comedy into one man. Grant uses slapstick, irony, cartoon reactions, silent-film mugging and Hamlet’s own wordplay to confound the marks around him—and all the people in the world are his marks, except for Hildy. (Plays Oct 20-22 in Palo Alto at the Stanford Theatre.) (RvB) Holiday/It Should Happen to You (1938/1954) George Cukor’s drama about a wealthy, boyish heiress (Katharine Hepburn) who travels to broaden herself. Cary Grant co-stars, with the high-principled Lew Ayres and Edward Everett Horton. BILLED WITH It Should Happen to You. Ordinary little shop girl Gladys Glover (Holiday) rents a billboard at Columbus Circle to promote herself, and the trick works—much to the discomfiture of her honest documentary-maker boyfriend (Jack Lemmon). In the meantime, a soap company covets her choice advertising location and sends representative Peter Lawford to finesse the billboard out of her hands. While the mid-’50s NYC locations are time-capsule delights, and while Holiday’s wise-foolishness is beguiling, my favorite moment is a speech in which she holds off the lecherous Lawford. To get him talking (and to stop him nibbling her ear), she asks him if he’s lonely, living there in that bachelor apartment all by himself. Yes,

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Vital Gore Schlock night at Camera 3 features two of the worst movies ever

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S JAMES BUCHANAN to presidents, so Larry Buchanan to directors. Odd that Buchanan was once Peabody-nominated for a TV show he directed in the 1950s. This was long before Mars Needs Women, Mistress of the Apes and his tantalizing Death and the Maiden fantasia, Strawberries Need Rain. Hard to find is Buchanan’s most prestigious work, a shot-in-Tunisia biblical epic titled The Copper Scroll of Mary Magdalene, concerning everybody’s favorite whore with the heart of gold. Buchanan’s Zontar, The Thing From Venus is the title that makes people’s hearts leap—one-half of Will “The Thrill” Viharo’s Gore ’n’ Snore double bill on Thursday (Oct. 22) at Camera 3. San Jose’s own Actual Rafiq (“One-track mind, eight-track soul”) will shore up the night’s entertainment. Zontar (1966) concerns an aggravating, Tim Roth–like twerp named Keith Ritchie (Tony Huston), a scientist rapt by Venusian radio broadcasts. We can’t understand the transmission (it sounds like wobbly electronic beeps), but it pumps Ritchie up just like a Michael Savage diatribe engorges a laid-off construction worker. Meanwhile, under the direction of top scientist John Agar, NASA launches a rocket, despite Ritchie’s carping that Earthlings are too stupid to join “the great brotherhood of the countless galaxies.” Ritchie, for one, welcomes of our alien overlords: “The world has been headed downhill for a long time!” he exclaims. The girls in the picture don’t want to know about it (“I’m tired of hearing about laser satellites!”), but the bite of several “Injectopods” (i.e., diseased-looking flying crustaceans) clinches Venus’ argument. Eventually comes the arrival of Zontar himself: a three-eyed molting ape/bat who shakes his wings menacingly at the camera. Impresario Viharo telexed me the film’s origins, taking understandable pride in the fact that he’s giving Zontar its big-screen debut in San Jose: “Zontar, the Thing From Venus is the most infamous of a series of TV flicks commissioned by American International Pictures in the mid-1960s. Basically AIP cynically regurgitated several of their ’50s sci-fi drive-in hits for the small screen, even though the cheap originals were already staples of local late-night and Saturdayafternoon TV horror-host programs. I have no rational explanation for this behavior. Zontar is a remake of Roger Corman’s It Conquered the World (1956); it most notably replaces Peter Graves with genre icon John Agar looking tired and even a bit irritable.” As well he might. Best known as Shirley Temple’s ex-husband, Agar started off with John Ford and ended up with Larry Buchanan. Viharo adds, “Buchanan’s films were all shot in rural and suburban Texas, making the location photography and incidental background atmosphere the most interesting aspects of these films.” Agreed. The cinderblock backdrops, the failed attempts at service comedy (two chumps in Army uniforms goldbricking around a cyclone fence) and the incidents of the cast sitting around having strangely formal coffee klatches as the world is menaced: all give this slowpoke film a little dynamism. The second part of the bill is Fred Olen Ray’s Hollywood Chainsaw Hookers (1988). Viharo claims that “it centers around a chain-saw-worshipping cult led by Gunnar Hansen, who played Leatherface in the original Texas Chainsaw Massacre, recruiting prostitutes to maim and murder for no particular reason.” They can’t all be Mary Magdalene. Richard von Busack THRILLVILLE, with two movies and plenty of live entertainment, plays Thursday (Oct. 22) at 7:30pm at Camera 3 in San Jose. Tickets are $12.

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FILM OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

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Leading Leeds ‘The Damned United’ looks at the short reign of renowned soccer coach Brian Clough

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HERE’S NO giddy thrill of victory in The Damned United. This is not the typical sports movie where a team begins on the bottom and battles its way to the top. There is no climactic moment on the ďŹ eld toward which our emotions are guided. Instead, the ďŹ lm explores the sheer hubris of legendary soccer coach Brian Clough as he waltzes into and takes over a blatantly dirty Leeds United club for a spell of 44 days in 1974, primarily to enact revenge against his old foe, the team’s previous coach, Don Revie. Revie had just departed the league-leading Leeds to manage England’s national team, and Clough takes his place. Played decisively by Michael Sheen, Clough comes into the club demanding to revamp its gritty style of play, and it doesn’t work. He is met with a hostile group of players still loyal to Revie (Colm Meaney), whom Clough detests. The movie is less a sports ick and more of a straight-up docudrama and personality study, also with constant interplay between Clough and his trusted talent scout, sidekick and much-needed soccer conscience, Peter Taylor (Timothy Spall). Clough is nothing without Taylor, and we get to see their deteriorating partnership juxtaposed against the backdrop of what’s going on with the team on the ďŹ eld. Now the background: Clough later when on to manage Nottingham Forest for almost 20 years, a period that included back-to-back European Cup Championships in 1979–80, a feat not accomplished by any British team since. To this day, he is sometimes considered to be the greatest English coach who never actually managed the English national side. A statue of him still exists outside Nottingham’s stadium. The movie concentrates on a small fragment of his career, in which his ego got the best of him, leading to failure. All in all, Sheen does a good job with a mediocre script, and even those not schooled in the subtleties of English football will dig the drama. Gary Singh THE DAMNED UNITED (R; 97 min.), directed by Tom Hooper, written by Peter Morgan, based on the novel by David Peace, photographed by Ben Smithard and starring Michael Sheen and Colm Meaney, opens Oct. 23 at Camera in San Jose and the Century Cinemas 16 in Mountain View.

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FILM REVIEW

he admits, lowering his eyes.“You could get a parrot,â€? she suggests.“You could be talking to it, and it could be talking to you. I mean, you wouldn’t be talking to each other, but it would be talk.â€? (Plays Oct 27-29 in Palo Alto at the Stanford Theatre.) (RvB) It Happened One Night/Midnight (1934/1942) An heiress (Claudette Colbert) jumps off of her family’s yacht; a working-class reporter (Clark Gable) tracks her down to ďŹ nd out why. This, a favorite romantic comedy, is invigorated by the class differences between the roughhousing Gable and the pampered Colbert—not to mention the gritty locations of bus stations and motels, unseen in the context of a comedic love story before. But I’m not a fan of this classic; Gable’s contempt for the heiress seems to be turned up too many notches. The way he cuts her down to size has a cruel streak, which is obviously endorsed by the director, Frank Capra. BILLED WITH

Midnight. Much more like it. A broke and unaccompanied woman (Colbert) arrives in Paris determined to net a rich husband; meanwhile, she’s hired by a rouĂŠ to lure away his wife’s lover. This sophisticated comedy stars John Barrymore in his last good ďŹ lm and Don Ameche as a humble but unbowed cabbie. (Plays Oct 25-26 in Palo Alto at the Stanford Theatre.) (RvB)

in a hallway: a quiet symphony of ickered facial expressions, as minimal yet as complex as an Eric Satie piece. Plus: Habeas Corpus (1928) “You shall have the bodyâ€? in Latin, an appropriate title for a story of Laurel and Hardy following in the footsteps of Burke and Hare. Greg Pane at the piano. (Plays Oct 24 at 7:30 in Fremont at the Edison Theatre, 37417 Niles Blvd, Fremont.) (RvB)

Niles Film Museum Regular programs of silent ďŹ lms. Sat, Oct 24: some efforts to get one in the mood for the upcoming best day of the year. He Did and He Didn’t (1915) is an unusually dark silent comedy with Fatty Arbuckle as a physician who is jealous of wife Mable Normand’s old boyfriend; also, Haunted Spooks (1920) with Harold Lloyd, and The Haunted House (1921) with Buster Keaton as a bank clerk ďŹ rst tarbabied with sticky bundles of cash and then trapped in a haunted house. Memorable for a trick staircase, and Keaton’s mute yet eloquent reaction to suddenly meeting Satan

Reviews The Boys Are Back (PG-13; 104 min.) A crying-on-the-inside sort of movie, based on Simon Carr’s memoir. “Joe Warrâ€? (Clive Owen) seemingly has it all—a good marriage, a job as a newspaper sportswriter, a young son and an off-the-road bungalow not too far from the beach in South Australia. Then, at a party, his wife (Laura Fraser) falls into a faint and thus into a short but credibly harrowing bout with cancer. After her death, Joe holds away intruders and decides to try to raise his young son, Artie (Nichols McAnulty), by himself, eventually sending for his other son, Harry (George MacKay), from a British boarding school. Out of grief, distraction and compassion, Joe decides to let his kids run wild—a “just say yesâ€? policy that manifests itself with bike riding in the house, pizza in bed and chickens strutting indoors. Director Scott Hicks (Shine) tends to lay everything on the line—complete with regular appearances by the wife’s ghost. The ďŹ lm can’t escape the sitcom mawkishness of the premise, no matter how much restrained sensitivity Owen radiates. (RvB) Coco Before Chanel (PG-13; 110 min.) Audrey Tautou plays the designer as modernist in the years before World War I—a woman who assumed male privilege by assuming the simplicity and directness of their clothes. After a stint as a saloon singer, Coco calculates her way into bed with a wealthy rouĂŠ named Etienne Balsan (Benoit Poelvoorde). Director Anne Fontaine reminds us that this is a movie from the country that gave us Rules of the Game. What could have been a dull bird-in-the-gilded-cage story turns urbane, with the ever-changing ow of power between the slightly wizened but sporty decadent. When Balsan realizes that another man has stolen Coco, he only murmurs,“I’m smiling, because I’m the one who let the fox into the hen house.â€? The fox in question: a British businessman nicknamed “Boyâ€? (Alessandro Nivola). The end titles call the house of Chanel an empire, but Tautou—

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M E T R O S I L I C O N VA L L E Y OCTOBER 21-27, 2009 FILM

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FILM OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

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FILM REVIEW

last seen, cigarette on lip, in a cage of mirrors, surrounded by models wearing her gowns— makes it look like mostly hard work. (RvB) Couples Retreat (PG-13; 107 min.) Vince Vaughn stars as one of a quartet of couples who get the group rate to a Bora Bora–like resort; when they arrive, the men are chagrined to learn it’s a marital encounter session. Co-stars Jon Favreau, Kristin Davis, Kristen Bell and Malin “Kirsten” Akerman. Peter Billingsley directs. From Mexico With Love (Unrated; 98 min.) A young Hispanic boxer learns life lessons from an older wiser trainer—Roqui in short. Directed by long-time stunt coordinator Jimmy Nickerson.

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Problem Child Jonze/Eggers version of ‘Where the Wild Things Are’ will leave fans at a loss

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HE BEASTS are touchy, certainly not touchy-feely, and not very touching. The Spike Jonze/Dave Eggers live-action adaptation of Maurice Sendak’s Where the Wild Things Are won’t tread on many people’s dreams, but you may leave at a loss. The film is staged in an Australian forest, dusty and ringed by a cliff; this island is the domain of seven or eight depressed creatures who talk like Elaine May and Mike Nichols monologues. They’re cautious and fretful; they nurse passive little grudges and snipe at each other. When baffled, they make urbane little humming sounds, like someone at a museum trying to understand a particularly difficult painting. Where the Wild Things Are doesn’t talk down to kids. It gives them all due respect for the towering moods in small bodies, all acknowledgment of that miasma of depression that sensitive children wander through. But children’s moods change, and this film’s mood doesn’t. It’s essentially gloomy, like Peanuts strips clipped of their punch lines. Any moment of physical elation gets its counterpoint: the rumpusing beastliness ends with some injury, as per Mom’s warning about how it’s all fun and games until someone gets hurt. Sometimes the incidents of violence get extreme—against birds, for instance—and this fulfills the promise of a Harmony Korine children’s special seen in the first shaky images. Max Records seems just right as Max, the little boy ; he’s being raised by a loving but tired mother (Catherine Keener). After a snowball fight goes against him, the boy throws a tantrum, hopping up on the kitchen counter and bellowing, Richard Harris–wise, “Feed me, woman!” (Come to think of it, the funniest bit in Eggers’ Away We Go was the husband trying to talk macho sportssmack.) After a bit of bad behavior, Max runs away to a local pond, where a sailboat waits. When he arrives on the island, Sendak’s minimal plot is acted out: Max is made king not because of his size but because of his storytelling. He gets the most trust from the rage-prone beast Carol (voiced by James Gandolfini). The other wild things are faithful copies of Sendak’s bestiary—something between Chagall and Goya. They accept their new crowned and sceptered king with muted enthusiasm, forming ever-shifting cliques. Judith (Catherine O’Hara), a rhinohorned anthropoid, is the most cutting and dangerous; KW (Lauren Ambrose) is the most maternal. The beasts aren’t always violent, but they always stare. They’re always sizing Max up; and they’re rough beasts, with mucousy noses and battle scratches. They are scarier than the book’s creatures. Then again, when he was a kid, this Universal Monsters fan never thought those Wild Things were quite scary enough. Those Sendak beasts were such dumplings. Being the whimsical birthday clown of American letters, Eggers has made a career of trying to oppose the critical impulse in himself and others—of trying to get in tune with an inner child who must never be silenced by adult concerns. (We see this kind of storytelling in Max’s scene of weaving a tale of vampires and skyscrapers.) The problem of that approach is obvious: work that’s formless and cute and drifty. There’s no artistic force behind this movie, only whims and anxieties. A parting word from the beasts—“When you go home, will you say good things about us?”—seems addressed to a baffled audience. Richard von Busack WHERE THE WILD THINGS ARE (PG; 94 min.), directed by Spike Jonze, written by Jonze and David Eggers, based on the book by Maurice Sendak, photographed by Lance Acord and starring Max Records and James Gandolfini, plays valleywide.

Law Abiding Citizen (R; 108 min.) An unstoppable killer (Gerard Butler) terrorizes Philadelphia. Only prosecutor Jamie Foxx can stop him. New York, I Love You (R; 110 min). Is the funniest thing about New York the fact that so many people there pretend to be who they aren’t? Even if this were the case—even if there’d been a reason for reiterating this single principle over and over again—the episodes in New York, I Love You would wear out its welcome fast. Hate to say it, but by far, the director who used the short story format best was the muchmaligned Brett Ratner. Its components: a talkative pharmacist (James Caan) who is both loving father and procurer, arranging his daughter (Olivia Thirlby, terrific) a date at the prom with a neighborhood kid (Anton Yelchin). Second prize goes to Allen Hughes’ sequence about Drea de Matteo as a lady commuting on the subway to a second date, carrying second thoughts with her. The worst? Easy: a tone-poem by Shekhar Kapur about a heartbreak hotel room, a desk clerk dressed in black (John Hurt, looking like Einstein), and the ruins of a once great lady (Julie Christie).

Its tone of lament and unrelenting beigeness look like an outtake of Toronto, I Have Great Respect for You. (RvB) Paranormal Activity (R; 99 min.) This is being touted as “the next Blair Witch Project”—meaning, essentially, horror’s new runaway phenomenon—but there are very important differences that should help it avoid the dreaded Blair backlash. There are similarities, sure. Writerdirector Oren Peli made this for $15,000, and the plot is about what you can expect anybody to get out of $15,000. It has a young couple, played by Katie Featherston and Micah Sloat using their real names (in what seems like an homage to Blair Witch), believing something unusual and disturbing is going on in their house. Micah buys a handheld camera to try to capture it on film, recording day and night. This leads to the movie’s biggest flaw, also a weakness in Blair Witch, Cloverfield and almost any other movie that uses this device, what I call Why Am I Picking Up the Camera Right Now Syndrome. It pulls me out of the movie when I have to think about, “Wait, would someone really go pick up the camera and film this if that was happening?” However, it also leads to lots of genuinely creepy footage, and a lot of powerful shocks. Peli’s excellent sense of timing makes this the scariest movie anyone will see this year. The biggest difference is that unlike Blair Witch, Paranormal Activity delivers on its name, with extreme prejudice. (SP) A Serious Man (R; 105 min.) All the themes in the Coen brothers’ previous films blend harmoniously in this terrific tale of comedic woe and horror. Minneapolis, 1967: a meek professor Larry Gopnik (stage actor Michael Stuhlbarg, looking like a dispirited Harold Lloyd) teaches physics at a small college. Gopnik is tantalized with the possibility of tenure, betrayed by his wife with their neighbor Sy Ableman, a clammy, polyester-clad swine (Fred Melamed,

brilliant). Gopnik’s son Danny (Aaron Wolff) has a cowlike indifference to his father’s plight. And Larry must take charge of his unemployable brother Arthur (Richard Kind), an obese holy fool. The postmodern moments give A Serious Man a vaudeville kick: a prologue about the appearance of a demon in the old-time Jewish ghetto is staged like a lost episode of Mario Bava’s Black Sunday. In another of this film’s parables, a Hebrew message is carved by God into the teeth of a gentile to teach—what? some indecipherable lesson, like the physics equations on Larry’s chalkboard, like the Hebrew letters Danny is too dumb to learn. Photographer Roger Eakins and composer Carter Burwell do outstanding work making these episodes coalesce into a fever dream of persecution and encroachment. (RvB) The Stepfather (PG-13) A remake of a family thriller about a really, really bad stepfather. Stars Dylan Walsh, Sela Ward and Penn Badgley. Surrogates (PG-13; 88 min.) In the near future, all human beings will be pale shut-ins, experiencing life through cybersimilacra. Late one night, the son of the man who made this technical breakthrough possible is murdered, fried by electrical surge after his avatar is killed by a strange new weapon. Investigating the crime is an FBI agent (Bruce Willis) and his partner (Radha Mitchell). They believe the crime is linked to a large reservation of Luddites, led by a charismatic leader called the Prophet (Ving Rhames). Based on a graphic novel, this routiner-than-routine mystery teaches us little, except that toupees won’t look much better in the future. Though the use of these ’bots has reportedly wiped out sexism and racism, you certainly couldn’t tell: when Willis talks, women listen, and at one point he calls a suspect “Honey.” The possibilities, visible even in a far-more-low-budget effort like Creation of the Humanoids (1962), aren’t teased out here, in what’s eventually a tract against spending too much time online. Bad exposition (“This kid’s father is Lionel Canter—as in the inventor of surrogates, Lionel Canter!”) complements the seriously ugly color, which as usual might look better on Hi-Def TV. (RvB) Whip It (PG-13; 111 min.) Drew Barrymore’s whengirls-collide roller derby movie is bliss; actually, Ellen Page plays Bliss, a Bodeen, Texas, tomboy who takes the name “Babe Ruthless.” Director and bon vivant Drew Barrymore (who plays a rolling calamity of a teammate) has rescued Page from the career-killing move of repeatedly playing the smartest person in the room; here we get to see the speed and energy in Page’s tiny frame since she’s playing an athlete, of sorts. The acting is superior on down the line. As the parents, Marcia Gay Harden and Daniel Stern have a fond rapport, and in a noteworthy comeback role Juliette Lewis smolders away as the well-motivated villain on a rival team. Scriptwriter Shauna Cross’s wit lets Page hold the screen like never before. (RvB) Zombieland (R; 81 min.) Under a plague of the living dead, the United States is in ruins, and the nervous college-age hero (Jesse Eisenberg) calls the dreadful landscape Zombieland. He joins three reluctant companions: a Twinkiesloving cowboy called Tallahassee (Woody Harrelson), a fast female loner named Wichita (Emma Stone) and her little sis, Little Rock (Abigail Breslin). They head to a place where they think the light at the end of the tunnel still shines: Disneyland, renamed “Pacific Playland.” There’s merit to the idea of a turkeyshoot zombie-killing finale amid colored lights and spinning rides, but the film doesn’t get more imaginative than anything seen in the previews. Under Ruben Fleischer’s barebones direction, Zombieland is slathered with narration. Harrelson is a fierce-looking party, but he doesn’t get Western-lyrical enough. (RvB)

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

[57]

OCTOBER 21-27, 2009

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[58]

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

METROGUIDE

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M E T R O S I L I C O N VA L L E Y OCTOBER 21-27, 2009 MUSIC

[59]

Classical Moves_65 Three Bad Jacks_66 Bridge School_70

Last Punk Standing Marky Ramone brings his former band’s musical legacy to San Jose By Steve Palopoli

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ARKY RAMONE is certain about one thing: if they were together today, the Ramones would be the biggest band in the world. Of course, he’s right. It’s not just that the music and style of the Ramones launched the entire punk movement and have left their mark on probably every rock musician who has plugged in an electric guitar since the band made their debut at CBGB’s in 1974. It’s that the Ramones’ presence—just the idea of the band—has arguably surpassed even the Beatles and the Rolling Stones for sheer critical mass in modern pop culture. The Ramones’ music has been reworked for children and turned into lullabies for babies. Their logo covers the surfaces of T-shirts, posters, bracelets, wallets, plates, skateboards and tongue rings all across America, and the world. “There’s Ramones blankets for dogs and cats,” says Ramone. “It’s amazing.” Currently bringing his 32-song set of Ramones classics to the El Mexicano Rock Fest at the Santa Clara Fairgrounds on Saturday, Oct. 24, Ramone remembers how unlikely their world domination seemed in the early years. “I joined the band in ’78,” he says,

“and the first song I did was ‘I Wanna Be Sedated.’ They still weren’t making any leeway then. We didn’t have anything. What we did have, we put into the band.” The tragic part is that the Ramones never will be back together to bask in the glory. Joey died of lymphoma in 2001, Dee Dee died of a heroin overdose in 2002 and Johnny died of prostate cancer in 2004. When he took over from original drummer Tommy Ramone, Brooklyn-born Marky had already played with two important figures on the New York rock scene, Wayne County (more famous as his later transsexual identity, Jayne County) and Richard Hell, whose song “Blank Generation” was a defining CBGB’s anthem. Marky played with the Ramones for 15 years in total, and became sort of an honorary original member. Now, he’s pretty much the last Ramone standing. “Tommy plays folk music now, and more power to him,” he says. “I’m the only Ramone to keep the legacy alive. Do I want this on my shoulders? I don’t mind. But if I had three wishes, I wish Johnny, Joey and Dee Dee were alive.” Indeed, though he thought he was retiring his Ramoneship (he was born Marc Bell) when the band

called it quits in 1996, it turns out it was only resting. With his two solo bands Marky Ramone and the Intruders and Marky Ramone and the Speedkings, as well as with pals in groups like the Misfits and Teenage Head, he continued to pound out both new songs and Ramones favorites. But since his friends’ deaths, he seems to be truly on a mission, with his “Blitzkrieg” Ramones sets. “I play them as if they’re up there with me,” he says. “I’m committed to doing this. I don’t care where it is.” That helps explain what he’s doing headlining what is otherwise basically a festival of Rock en Espanol bands, including El Tri and La Cuca. Maybe it’s not such a crazy idea. When he first brought the Blitzkrieg to Mexico City, the stampede of fans was so out of control the show had to be canceled. He returned in June to play Ramones songs for 20,000 fans at Vive Latino Festival 2009. “I’ll play anywhere,” boasts Ramone. It’s a work ethic he honed in the well-documented pressure cooker that was often the Ramones. After five years in the band initially, he started drinking heavily and left. “It was being involved with a bunch of—I won’t say crazy people, but a bunch of people who had

maniacal idiosyncrasies. I was getting upset and depressed.” After 3 1/2 years out of the band, he was asked to join again, and the feuding dynamics between Joey and Johnny hadn’t changed. But Marky believes the hardest parts of being a Ramone were overplayed in the documentary End of the Century (he produced his own first-personperspective documentary about his experience, called Raw). “We weren’t masochists. If we hated each other that much, we would have left,” he says. In fact, he was extremely close to Dee Dee, with whom he formed the Remainz after the Ramones broke up. And he joined Joey on the Ramones lead singer’s solo album, and says he was the only member of the band to visit him in the hospital. In 2002, he joined Johnny, Dee Dee and Tommy for the band’s induction into the Rock and Roll Hall of Fame. “We were closer than family,” he says. “You never get over the losses, but you remember the good times.” MARKY RAMONE performs Saturday, Oct. 24, at the El Mexicano Rock Fest, which begins at 8pm at the Santa Clara Fairgrounds, 344 Tully Road, San Jose. Tickets are $40; go to ElMexicanoPresenta.com.

[60] GALLERY

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

gallery

metroactive.com/club-gallery

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

OCTOBER 21-27, 2009

[61]

[62] MUSIC

OCTOBER 21-27, 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

OCTOBER 21-27, 2009

[63]

[64]

OCTOBER 21-27, 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 OCTOBER 21-27, 2009 MUSIC

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CONCERT FILE

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FROM ARGENTINA WITH LOVE Johsje!Gmjufs!qfsgpsnt!CffuipwfoĂ–t!

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[65]

[66] MUSIC

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

Nvtjd mjtujoht

CONCERT FILE

+*

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FAST AND FURIOUS!!Uisff!Cbe!Kbdlt!dpncjof!qvol!boe!epp.xpq/

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Three Bad Jacks

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DE:C B>8$ ED:IGN

THREE BAD JACKS perform Friday, Oct. 23, at 9pm at the Blank Club, 44 S. Almaden Ave., San Jose. Tickets are $10. (408.292.5265).

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

OCTOBER 21-27, 2009

[67]

[68] MUSIC

OCTOBER 21-27, 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

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OCTOBER 21-27, 2009

[69]

[70] MUSIC

OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

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[73]

[74] ADULT ENTERTAINMENT

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woman with a teen-girl orientation toward relationships: “I’m pretty, so guys should like me.” (Why go through all that sweaty, ugly business of becoming somebody when you can just become somebody’s girlfriend?) It’s easy to come off as loving when life is all hot sex and free beer and bar snacks. Actual loving is something you do. It’s putting your own needs on pause and spending six months scooping the grieving boyfriend off the kitchen floor. Yeah, we all have insecurities and are capable of reading volumes into something that means nothing. You resolve this sort of thing by asking your partner what the deal is. And then, if he has no history of cheating and both of his parents just died, you probably manage to believe him. Ironically, your girlfriend went all Nancy Drew on you, but you ended up making the disturbing discovery—that you’re with a woman who doesn’t get you, doesn’t appreciate you and probably never loved you like you thought she did. You’re a good guy, the kind women all tell their friends they’re looking for. It shouldn’t be hard to find a girlfriend who’d express genuine concern for your well-being at a time like this—beyond “Hey, how much longer is my booty machine gonna be broken?”

L]ViÉh l^i] ldbZc aViZan4 > ign id bV`Z [g^ZcYan XdckZghVi^dc Vi i]Z WVg VcY i]Zn ^chiVcian \d XgVWWn VcY cZ\Vi^kZÅheZl^c\ jc^bV\^cVi^kZ XVccZY a^cZh a^`Z ÈI]Z dcan \jnh > bZZi VgdjcY ]ZgZ VgZ Xdeh dg \dkZgcbZci ldg`Zgh#É BZVcl]^aZ! lZÉgZ h^ii^c\ ^c V \^Vci hedgih WVg WZilZZc V \dkZgcbZci Wj^aY^c\ VcY V eda^XZ hiVi^dc # ÅI^gZY d[ >i Women have different motives for going to bars. Some go to drown their sorrows and some go to find a nice guy to drown in the toilet in the ladies room. But, a woman who snarls “The only guys I meet . . .” is probably trying to tell you something: “In case you don’t like me, I don’t like you first.” Or, it’s an excuse for why she’s single. Or, she’s playing hard-to-get (and coming off hardto-want). If you like a clever woman, that’s

what you should have. Still, you might give a woman a free pass to say a couple stupid, unfunny, off-putting things, as nervous people often do. Talk to her a little, and find out whether she’s just flustered, or stupid, unfunny, and off-putting. Try not to take bad attitude personally or respond with a low blow: “Oh, sorry—is that a chip on your shoulder, or did I doze off while the bar was hit by an asteroid?”

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There are telltale signs a partner is cheating: a sudden obsessive attention to appearance, newfound enthusiasm for working late, and dancing little jigs around the house when they think nobody’s looking. Then there’s all that stuff your girlfriend has on you—the lethargy, the lack of motivation to wash, and the fact that you’ve inexplicably come up with a new favorite sexual position: curling up in a ball and weeping uncontrollably. How terrible for your girlfriend that these inconvenient tragedies have removed the spotlight she expects to have on her and her needs 24/7. Apparently, in her eyes, it’s “Yeah, so both your parents died, and after you nursed them through their suffering for six months. I mean, it’s nothing really horrible, like if your favorite TV show were canceled or Ben & Jerry’s stopped making Chunky Monkey.” She’d be there for you, really she would, if only she wasn’t so busy scanning your browser history to see where you’ve been. Her lack of empathy suggests she never got her act together enough as an individual to be able to be a partner. Sure, she came along with you—but was it because she loves you, or because she feels like nobody without you? Chances are, she’s a 37-year-old

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[76]

CLASSIFIEDS OCTOBER 21-27, 2009 M E T R O S I L I C O N VA L L E Y

metro CLASSIFIEDS

CLASSIFIED INDEX 74 76 76 76

PLACING AN AD 77 78 78 79

Single Services Employment Family Services Music

Legal & Public Notices Automotive Home Improvement Real Estate

.

Tow Truck Driver

g Employment Jobs

$$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 www.easywork-greatpay.com (AAN CAN)

Engineer Maxford Technology LLC has openings for Sputter Control Sys. Engr (Electrical Engr). Mail resume to 2200 Calle De Luna, Santa Clara, CA 95054.

ENGINEER Advanced Micro Devices, Inc. (NYSE: AMD) is a global semiconductor company that designs, develops, markets, and supports a wide range of microprocessors, graphic processing units, chipsets and related products and serves as a broad-based platform supplier with server, desktop, mobile, and embedded processing solutions. Resumes are being accepted for the following positions in Sunnyvale, CA: ASIC / Layout Design Engineer II- CA0109 CAD Design Engineer II-CA0209 Software Engineer II- CA0309 Design Engineer II- CA0409 MTS ASIC/ Layout Design Engineer- CA0509 MTS Design Engineer- CA0609 MTS Software Development Engineer- CA0709 Sr. ASIC/ Layout Design Engineer- CA0809 Sr. Design Engineer- CA0909 Send resume with job title and code referenced to: AMD, Mail Stop 101, One AMD Place, P.O. Box 3453, Sunnyvale, CA 94088.

Clean DMV, & minimum one year experience need apply. Apply in person only @ 70 Cristich Ln., Campbell, CA 95008. Needed as soon as possible.

Painters Starting rate $10-12 per hour. Must Have Valid CDL. Pay Rate DOE. 408-984-8045.

Business Cisco Systems, Inc. is accepting resumes for the following positions in San Jose/Milpitas/Santa Clara, CA: *Finance Business Analyst (Ref#: SJ20)*: Applies forecasting, modeling and product marketing concepts to provide clients with analyses and recommendations required to make informed business decisions relating product pricing, product functionality and marketing strategy. Please mail resumes with reference number to Cisco Systems, Inc., Attn: J51W, 170 W. Tasman Drive, Mail Stop: SJC 5/1/4, San Jose, CA 95134. No phone calls please. Must be legally authorized to work in the U.S. without sponsorship. EOE.

g Business Opportunities

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.

g Classes & Instruction

Classes & Instruction

Bartender / Cocktail Servers Full time or Part Time available. Alex’s 49er Inn, San Carlos & Bascom. Apply morning’s only.

Aspiring & Semi Pro MODELS Photo Shoot and Workshop

FREE Training for members. No Experience OK. Excellent $$$. Full & Part Time. Expenses Paid When you Travel. 1-615-228-1701. www.psubodyguards.com (AAN CAN)

g Career Development

Bartenders Needed 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

Earn $75-$200 Hour Media Makeup Artist Training. Ads, TV, film, fashion. One week class. Stable job in weak economy. Details at www.AwardMadeUpSchool.com 310/364-0665. (AAN CAN)

Time for New Skills? Check out Metro's employment classified section and find a new career. Call 408200-1300 to advertise.

√

Fax your ad to the Classified Department at 408.271.3520.

@

±

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

≈

g General Notices

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.

Miscellaneous

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1 W. Campbell Ave | Campbell, CA 95008 Chanukah Bazaar at 4:00pm, Show at 5:00pm. For info and tickets: www.SimchaShow.com

g Family Services

Aspiring and Semi Pro MODELS photo shoot and workshop FASHION, FITNESS, Adoptions BIKINI and LINGERIE Every other Saturday Noon to Pregnant? 5pm. Please send 2 recent photos, they do not have to Considering be professional and your con- Adoption? tact information to Talk with caring agency speScarlettEvents@yahoo.com cializing in matching birthwith families nationSolar Industry Classes mothers wide. Living expenses paid. The Green Energy Economy Call 24/7 Abby's One True Needs the Right Workforce. Gift Adoptions. Begins 10/13/2009866/413-6293 (AAN CAN) 10/22/2009 T, TH 6-9PM Solar Installer Level 1. Begins 11/3/2009-11/21/2009 T 69PM ,Sat 9-4PM. Register at: www.rps-solar.com/classes or (408) 998-7400

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534,311 People Browse through the Metro Classifieds each month! Get seen today! To advertise, call 408-200-1300.

g Computer Services Consultants

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g Instruction

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

gg Music Bands

Pass It On

Let them know you saw it in the Metro Classifieds! Rehearsal/Recording

Lil Wayne, E-40, Snoop Dog, San Quinn Genuine Analog

Thug World Records explosive label features lil Wayne Deep Tissue Rights To Related Services In Snoop dog E-40 G-unit and The Public Schools Technique & Theory more. Free Downloads, MP3s, 9:30 a.m. to 12:30 p.m. RingTones, videos. for the Posterior Body Time: November 14th, 2009. www.thugworldrecords.com and Neck 870 Market Street, 408-561-1255 November 10-16, 2009. 11th Floor Conference Room. Tuition: $595 (plus meals & Mosaic Child and Family lodging) TO REGISTER Phone: Therapy Services: 408-846-4060 www.mosaicchildandfamily.com Email: info@ MountMadonnaInstitute.org Simcha a Chanukah www.MountMadonnaInstitute Celebration and .org

Ballet & MODERNJAZZ Adult Class

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

¬

24 Track Analog. 24 Bit Digital. Stout Recording Studio. Randy Burk, Producer/ Session Drummer. 510-567-8572 Oakland. StoutRecordingStudio.com

classifieds@metronews.com Please include your Visa, MC, Discover or American Express number and expiration date for payment. DEADLINES: For copy, payment, space reservation or cancellation: Display ads: Thursday 3pm Line ads: Friday 3pm

The Metropolitain Palo Alto

g g Monthly and hourly music rehearsal space. Music instrument (fretted and vintage keys) and amplifier service. 650.279.1793 Services

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For Sale

Books/Publications

Haunts of San Jose by David Lee

Includes the hit & run demon, 250 gold rifles, ghost photos, house no one enters, seance gone bad, etc. At stores, Amazon, schifferbooks.com

g Home Furnishings

Modern Art Contemporary Abstract Art Beautiful, hand painted artworks by an American Artist in Oil and Acrylic on canvas! www.LaGasseGallery.com

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

g Legal & Public Notices

FICTITIOUS BUSINESS NAME STATEMENT #529846 The following person(s) is (are) doing business as: Bio Logic Technologies, 581 Hermitage Dr., San Jose, CA, 95134, Robert K. Edberg, 3567 Benton St., #352, Santa Clara, CA, 95051. This business is conducted by a individual. Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. Refile of previous file #407611 with changes /s/Robert R. Edberg This statement was filed with the County Clerk of Santa Clara County on 10/09/2009. (pub Metro 10/21, 10/28, 11/04, 11/11/2009)

The following person(s) is (are) doing business as: DNA Paternity Testing. 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/Paolo Bello This statement was filed with the County Clerk of Santa Clara County on 9/11/09. (pub Metro 10/07, 10/14, 10/21, 10/28/2009)

Foreclosure Defense and Bankruptcy Law Attorneys FINANCIAL LAW GROUP, PC Oakland Bankruptcy Law Firm Serving Bay Area 888.324.2882 Toll Free 510.663.6330 Office

San Jose Divorce & Family Law Attorney

The Law Offices of Ernest A. Cardona 2055 Junction Avenue, Suite 118, San Jose Run Your Ad In CA 95131-2115 Metro's Legal Section (408) 279-1100 eac@cardonafamilylaw.com Your ad will appear in both print and online. To advertise http://cardonafamilylaw.com / visit metroactive.com or call 408/200-1300.

The following person(s) is (are) doing business as: Global Networkz, 4591 Camden Ave., San Jose, CA, 95124, Nahelly Henriquez, Clayton McClesney, Thomas Wheeler. This business is conducted by a general partnership. Registrant began transacting business under the fictitious business name or names listed herein on 9/2/2009. /s/Nahelly Henriquez This statement was filed with the County Clerk of Santa Clara County on 9/02/2009. (pub Metro 9/30, 10/07, 10/14, 10/21/2009)

FICTITIOUS BUSINESS NAME STATEMENT #528528 The following person(s) is (are) doing business as: The League Music Group, 4591 Camden Ave., San Jose, Ca, 95124, Allan C. Iida, 4012 W. Campbell Ave., Campbell, CA, 95008. This business is conducted by a general partnership. Registrant began transacting business under the fictitious business name or names listed herein on September 2, 2009. /s/Allan C. Iida

[77]

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Legal Notices

ASTROLOGY

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Legal FICTITIOUS BUSINESS FICTITIOUS BUSINESS NAME STATEMENT NAME STATEMENT #528853 #528527

OCTOBER 21-27, 2009

This statement was filed with the County Clerk of Santa Clara County on 9/02/2009. (pub Metro 9/30, 10/07, 10/14, 10/21/2009)

FICTITIOUS BUSINESS NAME STATEMENT #529225 The following person(s) is (are) doing business as: House Doctor Painting, Inc, 538-E Santa Ana Ave., San Jose, CA, 95112. This business is conducted by a Corporation. The state of Corporation: California. Registrant began transacting business under the fictitious business name or names listed herein on 4/28/1995. Refile of previous file #391910 after 40 days of expiration date. /s/kelly McKinley Owner #2326187 This statement was filed with the County Clerk of Santa Clara County on 9/22/2009. (pub Metro 9/30, 10/07, 10/14, 10/21/2009)

Run Your Ad In Metro's Legal Section Your ad will appear in both print and online. To advertise visit metroactive.com or call 408/200-1300.

most fertile part of the sky,” writes Guy Murchie in his book The Seven Mysteries of Life. Microbes with short life cycles live there in abundance, “eating, breathing, excreting, floating, swimming, competing, reproducing.” Next time you look up at a puffy cumulus, see it as a large city that hosts a teeming host of living things. Speaking of invisible fecundity, let’s turn our attention to you. According to my analysis of the astrological omens, you are largely unaware of how much creative energy has been building up within you. Your homework is to tap into it and unleash it.

IVjgjh (April 20–May 20): My friend Alcea,

the pagan priestess who leads group rituals, is a responsible sort who has humble respect for the power of the spirit realms. She thinks there can be value in seeking help from the beings who dwell on the other side of the veil, but you’ve got to be careful. They can be as clueless and misguided as the less evolved characters who live on the material plane. That’s why Alcea is especially impeccable around this time of year, when the veil between the worlds is thinner and our dimension is more accessible to the spirits. Having said all that as a caveat, Taurus, I want to let you know that this would be an excellent time for you to call on the help of your most intelligent, interesting and loving ancestors.

<Zb^c^ (May 21–June 20): “He who loves 50 people has 50 woes,” said Buddha. “He who loves no one has no woes.” Even if you agree with this sour observation, I urge you to override the warning it implies. Now, more than ever, you can and should attract rich benefits into your life by expanding the frontiers of your empathy—even if it means you will feel the hurts of others more deeply. And what exactly are those rich benefits? Here’s one: Getting close-up views of the ways people suffer will help you avoid suffering like that yourself in the future. 8VcXZg ( June 21–July 22): In the film Postcards

From the Edge, the character played by Meryl Streep made a monumental declaration: “Instant gratification takes too long.” I know exactly what she meant. Sometimes I wish I could have what I want before I have to endure even a moment of frustrated longing. I bring this up, my fellow Cancerian, because in the coming week we may get our yearnings satisfied before we fully express them. Of course, there could be a downside to this situation: Since the magic will be materializing so quickly, you’d better be very sure you really want what you even start to wish for.

AZd ( July 23–Aug. 22): Cement is the most

common human-made material in the world. Combined with water to make concrete, it is a fundamental ingredient in many buildings and roads. And yet no one knew its precise structure until recently. Then a group of scientists figured out that its strength comes not from its orderliness but rather from its messiness. At the atomic level, cement’s molecules display both regular geometric patterns and areas of random variation. It’s in these chaotic areas that water molecules bind with the cement, creating a structure that’s both flexible and robust. This is the kind of foundation I urge you to work on in the coming weeks, Leo—a configuration that will endure exactly because it has a lot of give.

K^g\d (Aug. 23–Sept. 22): In my dream last night, the High Priestess from the Tarot deck came to life and gave me the following message: “Tell Virgos that when their deep hunger starts to stir, they should not eat from the bowl of delicious seeds. That meager meal would not satisfy their deep hunger. Rather, they should plant those seeds and let them grow up. The resulting harvest will satisfy their deep hunger.” A^WgV (Sept. 23–Oct. 22): It’s an excellent time to see if you can remove some of the neurotic twitches from your erotic itches. For example, you could use all your ingenuity to talk yourself out of the silly guilt you feel for having a certain idiosyncratic desire—a desire that, if acted out, would hurt no one, and that is therefore, by definition, healthy. Here’s another possibility: You could invoke the full powers of your imagination as you free yourself from things that prevent you from experiencing maximum pleasure, like old wounds, simmering anger, rank egotism and limiting beliefs. HXdge^d (Oct. 23–Nov. 21): The astrological vibes

suggest that you open yourself wide, try everything, and give freely. I urge you to adapt as your motto an exhortation that once came out of the mouth of the seven-year-old cartoon character Dennis the Menace: “Hey! Wake up! Let’s go everywhere and do everything!” More than any other phase in many moons, Scorpio, this is your moment to make YES your battle cry. The world is asking you to be bigger than the old you, wilder than five blood oaths put together, and as strong as the full moon rising over a mountain.

HV\^iiVg^jh (Nov. 22–Dec. 21): The average middle

class person alive today has more goodies than the kings and queens of times past. In fact, even during this time of economic retrenchment, most of us have a higher standard of living than 99 percent of all the humans who’ve ever walked the planet. In pointing this out, I don’t mean to discount the suffering of those who’ve lost their jobs and homes. But I think it’s helpful to keep our collective deprivations in perspective. Similarly, I like to remember that no matter how much our personal trials may test us, they are more bearable than, say, the tribulations of the generation that lived through the Great Depression and World War II. Keep this in mind, Sagittarius. As you wander in the limbo between the end of one chapter of your life story and the beginning of the next chapter, it’ll really help to stay conscious of how blessed you are. Halloween costume suggestion: a saint tending to the needs of the dispossessed and underprivileged.

8Veg^Xdgc (Dec. 22–Jan. 19): It’s prime time

for intense and momentous social events. Of the gatherings you may attend, I hope you’ll find at least one that fits the following descriptions: 1. a warm fluidic web of catalytic energy where you awaken to new possibilities about how to create close alliances; 2. a sweet, jangly uproar where you encounter a strange attractor—a freaky influence that makes the hair on the back of your neck rise and lights up the fertile parts of your imagination; 3. a sacred party where you get a novel vision of how to connect with the divine realms more viscerally. Halloween costume suggestion: something that incorporates a hub, wheel, or web.

6fjVg^jh ( Jan. 20–Feb. 18): The members of

the congregation at St. Peter-at-Gowts Church in Lincoln, England, had a minor crisis a few years ago. For years, they had prayed to a very old stone sculpture they assumed was a likeness of the Virgin Mary. Then a nosy archaeologist came poking around and informed them that the figure was actually Arimanius, the god of the underworld in the ancient Mithraic religion. I encourage you to make sure you’re not under a comparable misimpression, Aquarius. This is an excellent time, astrologically speaking, for you to seek the help of higher powers, but it’s crucial that you direct your invocations to the right source.

E^hXZh (Feb. 19–March 20): Some of history’s

worst tyrants have been terrified by kittens. Napoleon, Genghis Khan and Mussolini all had ailurophobia, a morbid and irrational fear of domestic felines. Alexander the Great and Julius Caesar were also discombobulated by cats. I bring this up, Pisces, because it reminds me of a certain situation in your life. I’m betting that a pushy or domineering influence that distorts your emotions will soon be susceptible to being spooked by a seemingly harmless little thing. Maybe you could turn this into a permanent advantage. How skilled are you at purring?

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• One study found generic versions of heart disease drug digoxin 40 percent more likely to have “adverse events” than branded digoxin. • Two studies of the epilepsy drug phenytoin found wide variation in the amount of medication delivered to the blood by branded vs. generic versions—the drug concentration must fall within a narrow range to be effective. A survey of epileptics who switched from branded to generic drugs found that more than 10 percent experienced reoccurrence of seizures. After the heartless socialists running Ontario’s health care system forced epileptics to take generic versions of the antiepileptic drug Lamictal, more than one in eight were

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Let’s put it this way: the differences are small. That doesn’t mean they aren’t important. It also doesn’t mean they are. When the patents on a name-brand drug expire and competitors flood the market with knockoffs, prices can drop to astounding depths. In a quick survey of 10 common drugs, my assistant Una found generics offered savings of 15 to 94 percent off name-brand prices, with the average around 60 percent. That’s in line with an FDA analysis, which found that having just two competing manufacturers for a drug chopped the price in half. Generics are used for nearly two-thirds of all U.S. prescriptions. The key issue in name brands vs. generics is quality control. Branded drugs are tested extensively for effectiveness, side effects and drug interactions, and before the Waxman-Hatch Act of 1984, so were generics. The new law lowered the bar. Generic drug makers now must merely show that they use approved manufacturing processes and that the active ingredients in their products are bioequivalent to those in branded drugs—that is, that they’ll perform the same way in the human body. To consider two drugs bioequivalent, the FDA requires reasonable but not exceptional confidence that they’ll be within 20 to 25 percent of each other in terms of how much shows up in your bloodstream. So there’s room to cut corners, if you’re so inclined. How much difference might there be, then? Una, always game for an experiment, immediately fired up the Bunsen burners, but unfortunately we’d blown the research budget on liquid analgesics. So instead we repaired to the med library and established the following:

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switched back under doctor’s orders due to problems. • Generic diazepam was found to have a significantly slower absorption rate than Valium—if you’re waiting desperately for the stuff to kick in before boarding an airplane, it’s small comfort to know you’re saving big bucks. The antipsychotic medication clozapine has shown significant differences between generic and branded versions; in one study some patients suffered psychotic relapses after switching to generics. And research suggests generic versions of the blood thinner heparin are so different they can’t be safely substituted for one another. You can find plenty of arguments for why generic drugs might be inferior to name brands despite using the same active ingredients. Many drugs don’t dissolve well in water and require the addition of what are known as wetting agents to improve their solubility. If the manufacturer of a generic substitutes a cheaper but less effective agent, too bad for you. The brand-name drug maker Merck recommends against substitution of generics when small differences in dose cause a big difference in effect, as with blood thinners like warfarin. Still, let’s note the obvious: most of the drugs we’ve been talking about here are used to treat serious conditions. They’re not really an argument for buying name-brand cough syrup. The effectiveness of any drug varies with the individual. If you’re the methodical sort and the worst that could happen with a generic is your sniffles last longer, the logical approach is to find the cheapest thing that works. Then again, judging the effectiveness of over-the-counter drugs is often subjective, and I’m guessing your wife won’t sit still for a double-blind test. If so, you might simply point out that in relatively low-stakes situations, at least, heard of it + costs more = good is an assumption that favors marketers, not the rest of us.

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