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N O V E M B E R 1 1 - 1 77,, 2 0 0 9 · V O L . 2 5 , N O . 3 7 · S A N J O S E , C A · F R E E

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[02]

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

HOME OF FAST, FRIENDLY, COURTEOUS SERVICE.®

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DESKTOP PC FEATURING AMD Phenom™ II X4 810 Quad Core PROCESSOR WITH 8GB DDR3 SDRAM, 750GB HARD DRIVE, Wi-Fi AND Windows® 7 Home Premium • SuperMulti-DVD Burner With LightScribe Technology • Wireless Networking (802.11a/b/g/n) Built-In • 15-In-1 Memory Card Reader • PCI Express x16 Expansion Slot $

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69799

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139

DECT 6.0 DIGITAL CORDLESS PHONE WITH DIGITAL ANSWERING SYSTEM & 4 HANDSETS • • • •

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79

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22" 720P LCD HDTV

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34110 After Instant Savings

DC23T2 MOTORHEAD CYCLONIC BAGLESS CANISTER VACUUM • Root Cyclone Technology & Core Separator • Lightweight Adjustable Wand • Dual Mode Floor Tool • Easy Stair Cleaning • Detachable Handle / Hose • Washable Filters • Cleaner Expelled Air

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

399 Before Promo CODE 50*

99

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6499 - 30 - 25 = $

In-Store Price

2 LIMITED EDITION CONSOLE • Limited edition Xbox 360 Console with exclusive design • Call of Duty: Modern Warfare 2 Standard Edition (Rated “M” for Mature.) • 250GB hard drive • Two Xbox 360 black wireless controllers • Xbox 360 black wired headset • Ethernet cable • Xbox 360 Composite A/V cable

$

399

CONSOLE #6050588

STORE HOURS: M-F 8-9, Sat 9-9, Sun 9-7 Prices Good Wednesday, November 11, 2009 thru Thursday, November 12, 2009 Prices subject to change after Thursday, November 12, 2009 Limit Rights Reserved. Not Responsible for Typographical Errors. No Sales to Dealers or Resellers. Rebates Subject to Manufacturer's

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

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

2499

2TB

7200 RPM

SERIAL ATA/300 HARD DRIVE

$

15999

#5947254 Limit 2 Per Customer TAKE THE NO-NONSENSE APPROACH TO TAKING YOUR FILES WITH YOU AND ALSO GET ALL THE LITTLE EXTRAS THAT MATTER!

999 320GB

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HARD DRIVES

360 v3.0 • Blu-ray Disc Playback Exceptional Full HD 1080p Video Performance • Superior Audio Performance Up to 7.1 Channels of Surround Sound • Express Reaction Startup • USB 2.0 Media Host

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20999

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iPod® Touch 8GB

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Please see Sales Associate for more details

NOVEMBER 11-17, 2009

[03] MUSIC CD #6072768

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

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® Bon Jovi/ The Circle

GAMES

120GB HARDWARE

DRAGON AGE: ORIGINS

54

$ $

37

$

EACH

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77 $

SAVE ADDITIONAL 5 WITH PURCHASE OF SELECT PIXAR DVD TITLES

BLU-RAY SET #6005468

77

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

$

EACH

19

SPECIAL EDITION

2377

19

99

19

$

DVD MOVIE #6051638

1749

BLU-RAY MOVIE #5731862

$

AVAILABLE NOW

STORE HOURS: M-F 8-9, Sat 9-9, Sun 9-7 Prices Good Wednesday, November 11, 2009 thru Thursday, November 12, 2009

Prices subject to change after Thursday, November 12, 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.

$

5 GIFT CARD

*With Purchase

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4 4 99

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Low Price BLU-RAY MOVIE #6051558

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2 9 99

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19

99 $

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5 GIFT CARD

*With Purchase

1629

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#6056738

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EACH

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49

AVAILABLE TODAY!

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COLLECTOR'S EDITION

#6057458/#6057478

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CALL OF DUTY: MODERN WARFARE 2

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9 95

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MUSIC CD #6072748

BRITNEY SPEARS: THE SINGLES COLLECTION

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

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y AdgXV 8d]Zc

Cover

Silicon Valley’s Weekly Newspaper

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A locally owned company

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

NOVEMBER 11-17, 2009

[05]

[06] LETTERS

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

Big Brother

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5

Distraction Your article “Newcomer Challenges Liccardo,� MetroNews, Oct. 23, was misleading about the Britannia Arms’ involvement in an ill-advised negative campaign against Councilmember Sam Liccardo. The owners of the Britannia Arms have not met with Tim Hennessey and we do not endorse him. As vice-president

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of the San Jose Restaurant and Entertainment Association (SJREA), I can tell you that the majority of hospitality-related businesses do not share the views expressed by the article. The reality is that the Brit has a strong and positive relationship with Councilmember Liccardo, as does the SJREA. We worked together, along with the mayor, other City Council members and the San Jose Police Department

to improve the policing model downtown for the beneďŹ t of all entertainment zone businesses and patrons. I believe that downtown business owners, Councilmember Liccardo and the San Jose Police Department are dedicated to working with all stakeholders to improve our downtown. A negative campaign is a distraction we do not need John H. Conway Sunnyvale

This is work. Across the street from my shop was a known crack house. The police were there at least two to three times a week. Deaths, overdoses and attempted murders happened there regularly. The police did nothing about it. They didn’t even have to dig very deep to ďŹ nd out that the landlord was more of the problem than the tenants. But the city had to shut me down because somehow I was more of a threat. But enough of that rant. Back to the subject of Moto Amore (“Ridden Out of Town,â€? MetroNews, Aug. 19). Granted, I’m sure there were complaints. It seems like everyone has a complaint about everything. The city acts like a big brother and bullies out the business that causes the complaint. Where Moto Amore was located, I can think of a thousand other things to complain about than his shop. Just stand on that corner of 10th and Santa Clara at 10 at night, and you will know what I’m talking about. It almost seems like the city wants small businesses like Moto Amore to be located downtown,

but they want it done their way or no way at all. My two pennies. Ben Skelton Campbell

Toothy Great job showcasing a local artist (“Materials Girl,� Style, Nov. 4)! This is interesting. I have been making jewelry out of wisdom teeth for family members for the last 17 years! Most tend to think it’s a bit morbid or creepy. Nice to see a write-up about “recycled� art! Raquel Perez San Jose

Laff Riot Grrrls Thanks for a great article about the SF Women’s Comedy Competition (“Lip Shtick Comediennes,� Cover Story, Nov. 4)! More people in the Bay Area need to know about the great comedy scene here, and younger female comics need to know they can thrive here. Dean Inouye San Francisco

J!Tbxzpv Pantless CUI Campus cop: You busted me for cycling under the inuence, one block from my house. That’s how desperate your agency must be for money. We were just biking back to my house. On the sidewalk, too. It was after the bike party. More than 2,500 went to that one. Everybody was drinking. Only two of us got caught. So I have to pay $400 for that. And I had to go to jail. In my underwear, since it was a no-pants party. From midnight until noon, I was in a cell—in my underwear. They did not give me anything to wear. My friend waited for me to get me out. The bailiff laughed. He knew who he was waiting for. We had to take the bus all the way to Campbell. I was in my underwear the whole time. It was ridiculous. It was so horrible. 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.

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

WE BUY YOUR CLOTHES, SHOES & ACCESSORIES &855(17 67</(6 ´ :20(1Ê6 0(1Ê6 ´ &$6+ 21 7+( 6327 12 $332,170(17 1(&(66$5< ´ )5,(1'/< %8<(56

CASH )25 <285

)$6+,21

SAN JOSE: 1959 west san carlos 408.292.6622 SAN JOSE: 1008 blossom hill rd. #e 408.269.9025 SANTA CRUZ: 811 pacific ave. 831.458.2555 www.crossroadstrading.com

PHOTO: ALANNA WILLIAMS

NOVEMBER 11-17, 2009

[07]

Courses Starting mid-November

[08] SILICON ALLEYS

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

Ready for Success in the New Year? ALL COURSES IN OUR NEW LOCATION 2505 Augustine Drive, Santa Clara Courses beginning in mid-November and December are now available, and there’s still time to take charge of your career direction this year. Whether you’re entering a new field or looking to build on your current skills, we have the most up-to-date courses to help you advance. Some of our courses starting soon include: Q Business and Management Role of the Project Manager, 0306-152 Project Management Negotiation Principles and Techniques, 1493-040 Extreme/Agile Project Management, Online, 20035-007 Project Management Office, 0829-013 Accelerating Your Career in Human Resources, 3842-009 Designing Training Programs, 3132-042 Usability Testing Documentation, Online, 0684-014

Q Engineering and Technology Perl Programming I, 2856-108 Cloud Computing, Introduction, 22413-001 Adobe Dreamweaver—Client Side, 2212-048 Ruby and Ruby on Rails, Advanced, 21342-007 Packet Capture and Analysis, 1990-008

Q Biosciences Case Report Forms Development, 5544-019 Molecular Diagnostics, 21972-002 Biotechnology Basics for Non-Scientists, 6163-021 Bioscience Business Development: Building Value, 19001-009

Q Education Online Teaching Overview, 22175-003 Autism: Intervention and Treatment, 6613-004

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

KNOWLEDGE YOU PUT TO WORK

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Fantasy Followers

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ALLOWEEN weekend is long gone, but for the hundreds of folks who attended the 2009 World Fantasy Convention at the San Jose Fairmont, it was a weekend they’ll never forget. Fantasy novelists from around the globe attended and took part in discussions. Book dealers hawked their collections, and attendees endlessly fired off Twitter messages while multiple events transpired. Costume parties, rippin’ panel sessions, leaking swimming pools and Internet meltdowns all contributed to the madness. Predictably, no one else downtown seemed to know the event was taking place. In the daytime, it was a ghost town as always. Some highlights: On Halloween Saturday, I attended a panel session in the Crystal Room titled “When People Confuse the Author With Their Work”—as if that was a bad thing. Scott Edelman, Garth Nix, Ellen Kushner and Tim Powers all participated in a rollicking discussion, much of which revolved around fans who mistake the narrator in a novel for the author himself. Edelman recalled a response he once wanted to give to a fan: “Just because I write a story about a guy who cuts off his own leg and eats it, doesn’t mean I want to do it with you.” Later that afternoon, another colorful session, “The End of the World,” explored apocalyptic scenarios in fiction. Cyberpunk pioneer and sublime Gurdjieff scriptor John Shirley took part, as did F. Paul Wilson and Mark Teppo. As I sat there with my laptop waiting for the panel to commence, in walked another cyberpunk originator, Rudy Rucker, and his wife, Sylvia. They quipped that downtown San Jose streets are always empty on weekend days. “There’s a thousand people at this convention and a thousand people at the tattoo convention, and there’s nobody on the streets anywhere,” Sylvia said. “You could fire a cannon down the street,” Rucker added. The panel featured philosophical banter about end-of-world scenarios, strategies for writing apocalyptic scenes and what narrative pitfalls to avoid. Somehow, all of this dovetailed nicely: two of my heroes in the jam-packed Fairmont Crystal Room, one talking about the apocalypse and the other musing how downtown is completely empty outside. Then came a fascinating panel session titled “Bad Food, Bad Clothes, Bad Breath.” This one surveyed the uglier aspects of pre-industrial societies, that is, if you’re going to place a novel in medieval times or write an authentic scene taking place in 900 C.E., you need to take into account the less lovely realities of those times—lice, raw sewage, bed bugs, gum disease, plagues and leprosy. Jenny Blackford moderated the The panel featured session, while Marie Brennan, M.K. philosophical banter Hobson, Kari Sperring and S.M. about end-of-world Stirling took part. Each one is a medieval scholar, historian or expert scenarios and in a related field. Sperring said that strategies for writing in pre-agricultural Wales, it rained a apocalyptic scenes lot and people defecated behind their neighbor’s house. Lice was rampant, and people saved their urine to wash their clothes in. Stirling added that the reason farming life grew popular is that farmers lived in their own feces, so they eventually grew more immune to diseases. Also: In medieval times, a man could divorce his wife if she had bad breath. The session ended with everyone trading riffs on the Great Plague of Athens, the demise of Viking civilization in Greenland and smallpox among Native Americans. Speaking of plagues, the Fairmont had its own problems over the weekend. Sunday morning, the pool developed a massive leak, with water pouring down into the secondstory foyer and the Imperial Ballroom. And since so many people were constantly using the hotel’s Internet service, the whole network went down, causing temporary panic. On Sunday, a Twitter message went out at 9:06am: “We broke the hotel. Internet down, ballroom flooded, space/time continuum breached. Fantasy writers are the new rock stars.” A few hours later, the same person Tweeted: “Correction: Ballroom not ‘flooded’ (no damage); space/time continuum breach merely daylight savings; Fantasy writers still rock stars.” At this convention, I was definitely among rock stars. I am not confused at all. Go ahead, confuse me with my column (SiliconAlleys@metronews.com)

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 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.

Old People Talking About the Web: Rupert Murdoch

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CHRISTMAS IN NOVEMBER

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RUPERT Murdoch has revealed his secret plan for News Corp. to make money on the Internet: Make News Corp. invisible, on the Internet. Murdoch will leave The Google, rewrite copyright law and teach you kids to stay off his lawn!

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That’s basically what he told his employees in a Sky News Interview, excerpted here: Q: You could choose not to be on their search engine . . . so when someone runs a search your websites won’t come up.

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A: Well, I think we will . . . when we start charging.

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This is certainly technically possible; all it takes is one correctly placed text file to tell Google to ignore some or all of a website. And who knows, Murdoch’s armies of lawyers and lobbyists might even succeed in effecting the other drastic change he mentioned: rolling back the entire doctrine of fair use, an interpretation of copyright law that allows the sort of quoting and selective reproduction of content that Murdoch’s newspapers and TV networks engage in every day.

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This isn’t the first time Murdoch, 78, and his lieutenants have made unfriendly noises about Google; they’ve recently attacked the search engine as a “parasite” with “promiscuous” users. This hostility must seem perfectly sensible if you’re an old man who has your secretary find and print up webpages on your behalf. But here’s a pro tip, Rupert: Old media doesn’t instant message those pages to your assistant’s Twitter, via Blogger, on AOL. She just does what your newspaper reporters and Fox News producers and sales executives and tabloid editors and attack-dog flacks and midlevel accountants do all the time every day: Sticks a hot, throbbing search query into Google and gets busy with a bunch of strange websites she doesn’t subscribe to. Welcome to the Internet. — RYAN TATE, VALLEYWAG.GAWKER/COM I]ZgZÉh cdi Zcdj\] VY bdcZn id [jZa ZkZgn cZlh h^iZ dc i]Z >ciZgcZi# D[ XdjghZ ndj XVc ldg` i]^c\h dji! Wji i]Vi ldjaY gZfj^gZ h^iZh a^`Z <Vl`Zg id WZ gjc Wn Ò kZ \jnh l^i]dji d[Ò XZh! eVgi^Zh dg Vcn [VcXn h]^i a^`Z hVn V hVaVgn# Åh]VYdlaVnZg > Vb Vaa [dg aZhh VkV^aVW^a^in d[ CZlh8dge# lZWh^iZh# HiVgi^c\ idYVn# ÅbZY^V]d]d]d Ndj XVc jhZ i]^h \Zc^jh higViZ\n ZkZc ^[ ndj ]VkZ V Wg^X`h"VcY"bdgiVg hidgZ/ &# 9Zhigdn Vaa i]Z gdVYh id ndjg hidgZ0 '# :a^b^cViZ h^\ch$<EH h^\cVa i]Vi b^\]i aZVY eZdeaZ i]ZgZ0 (# GV^hZ eg^XZh0 )#44440 *# EGD;>I# Å`^bhVbV

[10]

MASHUP NOVEMBER 11-17, 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 NOVEMBER 11-17, 2009 NEWS

“From the Newsroom Just 15 Years Younger Than Sesame Street”

Santa Clara Valley, California

November 11-17, 2009 ;Za^eZ 7j^igV\d

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Got a Tip for The Fly? fly@metronews.com

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Children’s Crusade Parents who’ve lost custody of their kids say the family law system is broken, and state lawmakers agree By Laura Fishman and Alastair Bland AREN ANDERSON hates the country’s family law court system. She believes that after a traumatic divorce, her two children became victims of sexual abuse perpetrated by their own father. However, when Anderson tried to file for full custody of her children in 1994, the court instead gave full custody of the children to Anderson’s ex-husband. “If ever there was a family law case that would demonstrate the

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85

Percentage of divorcing couples who devise their own custody plans

extreme corruption of the family court, it was mine,” Anderson says. Anderson has turned her rage into a cause. Along with other mothers who have lost their children in custody battles, she shared her story last week at a Family Law Forum held at the Roosevelt Community Center in San Jose. The meeting was called by the legal activist group Center for Judicial Excellence (CJE) to call attention to what it claims are serious problems in

70

Percentage of child custody cases in which custody is awarded to the mother

family law court cases. Along with organizations like the Child Advocacy Center, the Leadership Council on Child Abuse and Interpersonal Violence and the California Protective Parents Association, the CJE believes there is a crisis in the family courts, and that abused children are being handed over to their abusers. One CJE study claims that 38 percent of fathers who are identified as perpetrators of abuse receive full

20

Percentage of cases in which joint custody is awarded

[11]

custody of their children. That statistic, and many others cited by these organizations, could not be independently verified. But there enough evidence of a problem that Sacramento lawmakers, including San Jose Assemblymember Jim Beall Jr., are calling for changes to state law regarding parental custody disputes. Members of the Center for Judicial Excellence say one serious problem in family courts is that highly disputable, nonscientific theories are used as evidence in the courtroom, and frequently carry a huge amount of weight in many cases. The new law, co-sponsored by Beall, specifically bars theories such as the often-used “parent alienation syndrome” from child custody cases. Beall sat alongside Anderson during a panel discussion at last week’s meeting, where he talked about his Assembly Bill 612, which proposes a solution to problems in family court by establishing evidence standards. If A.B. 612 passes, courts will be prohibited from considering these unproven theories when deciding child custody or visitation rights. A.B. 612 will also eliminate training in these theories from Judicial Council– approved education for family court professionals. Beall says the presence of these ideas in family courts wastes court resources and unnecessarily prolongs family law cases by discouraging proper investigation of child safety. “This bill protects the public from unacceptable evidence that’s commonly used in family law,” he says. “A sense of fairness is necessary in California. That’s what inspired me. “A primary interest of the Legislature is public safety, especially the safety of vulnerable children. The standards we set up &'

70

Percentage of fathers who seek custody that are awarded it by the courts

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NEWS NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

&&

in the judicial system are being ignored and violated. This bill is an attempt to stop that from continuing.” Beall’s bill passed on the Assembly floor earlier this year, and will make its next stop in the state’s Senate Judiciary Committee. The assemblymember remains hopeful that the bill will pass, but admits that he needs all the support he can get from the public. “[The Judiciary Committee] is the biggest roadblock to the laws we’re trying to get passed,” Beall says. “The bill’s still breathing, but we need to do everything we can to keep it alive.” Yet Karen Anderson remains pessimistic about changes in the courts after the experience she went through. Even if new laws were to pass, she feels that divorced dads, aided by judges and lawyers, will always find a way to “cheat the system.” “Trying to fix the family-court laws is about as effective as plugging up the holes in the Titanic with bubble gum,” she says. While Beall stops short of such an analysis, both he and Anderson agree that change will only happen if the community gets involved. “Family law is now a recipe for disaster,” Beall concludes. “Where’s the justice?” Beall and Assemblymember Mark Leno (D-San Francisco) in July called for the Bureau of State Audits to investigate the family courts system in Sacramento and Marin counties. The audit is intended to improve due process within the system, shed light upon the criteria used by the court in training, qualifying and appointing custody evaluators and others specialists, and ultimately lead to placement of children in the custody of nonabusive parents.

A Vast Conspiracy When an Alabama Superior Court judge issued an order in 2008 that Amanda Hodge’s two adopted children be returned immediately to her custody out of concern for their safety, the family court of Monterey County, where Hodge’s children were living with their adoptive father, declined to cooperate. The Alabama court’s order had come following testimony from the children alleging abuse by their adoptive father, according to a February 2008 interview by the Child Advocacy Center. But the courts ruled in his favor and Hodge lost custody entirely. She was granted supervised telephone calls only, and has now not see her children in two years. Hodge’s case is hardly unique. Thousands of others like it, say activists and legal professionals, highlight what they claim is the vast injustice of the nation’s family court system, the legal branch that handles divorce cases and the baggage that goes with them, including child custody.

Data collected from 362 cases nationwide, including 137 in California, since 2004 by Dr. Geraldine Stahly, a professor at California State University San Bernardino, indicate that family law is failing to protect abused children. The study shows that courts sometime grant full custody to accused abusers— usually fathers. The activist group the Leadership Council on Child Abuse and Interpersonal Violence claims that 58,000 times per year, in fact, judges in family courts grant full custody of abused children to abusive guardians. Neither of these studies seems to differentiate between accused and convicted abusers, however. Nor do they point out that groundless charges of abuse have long been used as a weapon in hotly contested custody battles. In fact, the jaded attorneys and frustrated activists say the problem can be boiled down to financial motives. It’s their contention that children of divorce are being handed over to whoever has the most money. “It becomes like a feeding frenzy in the courtroom,” says Kathleen Russell, a co-founder and staff consultant at the Center for Judicial Excellence. Judges, Russell says, frequently defer families to “custody evaluators” for mandatory meetings in which the specialist interviews the parties, evaluates the situation and writes a report for the court. Many family court judges regularly appoint the same mediators, custody evaluators, child councils and specialists time and again to assist in cases. Russell calls the family court system a “culture of cronyism” from which a “cottage industry” of evaluators and mediators has grown and thrived. “People get stuck with these custody evaluators and the parent with the money is the one who writes the check, and it becomes a system in which custody of the kid goes to the highest bidder,” Russell says. “This system is in need of serious overhaul by eliminating profit incentives.” Evaluators are not cheap, either. In Santa Clara County, evaluator rates may range from $5,000 to $20,000. In Sacramento County, the average rate for an evaluation and report is $15,000. In Marin County, evaluators may charge as much as $60,000. In many cases, the parent who runs short of money first—unable to continue paying legal fees—loses custody. “Families are being ruined emotionally and financially by this system,” says Barbara Kauffman, a family law attorney. “This system is taking children from parents who don’t beat them, who don’t do drugs, who are respected, who have morals, and these good parents are the ones receiving supervised visitation.” One Santa Cruz man now immersed in a 6-year-old custody battle believes the system, with its mandatory

court-appointed evaluators and general incompetence and systemic inconveniences, operates with the foremost objective of extracting money from families. “They’ll bleed you dry,” says the man, who would give his name only as “George.” “They’ll never come to a final decision. They just wear you down until you have nothing left. It’s not in their interest to give 50-50 custody. They want to put the squeeze on one parent.” In the infamous case of Alycia MesitiAllen, the 14-year-old Santa Clara girl’s court-appointed attorney, Jonnie Herring, warned the court in 2006 of her concerns for the safety of the child and her older brother, who had both been placed with their father, Mark Edward Mesiti, in November 2005. Herring later wrote to Santa Clara County Superior Court Judge Vincent Chiarello, “I am deeply concerned about both minors, especially Alycia.” No transfer of custody to Mesiti-Allen’s mother or another relative occurred, and in August, 2006 Mesiti-Allen disappeared. Almost three years later, in March 2009, police uncovered her body. Her father has been charged with her murder.

Hating the Haters One of the greatest problems in the family court system, says Russell, is the use of Parental Alienation Syndrome (PAS), or custody battles. Evaluators and psychologists regularly diagnose parents

the

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with this “condition,” which is supposedly characterized by one parent seeking to “alienate” the child from the other parent. When a parent becomes stamped with the PAS label, he or she often loses custody. The legislative action is now under way that could begin to mend the system. And in May 2008 the Elkins Family Law Task Force was appointed by the state to conduct a review of family law proceedings and recommend to the Judicial Council of California proposals that will help provide more effective and consistent rules, policies and procedures, ensure that due process is followed and increase access to justice for families and their children. Robin Yeamens, a family law specialist in Los Gatos, has reviewed the reforms proposed by the task force. Some she does not approve of, others she does— such as one proposal that would allow litigants to carry tape recorders into the courtroom. Currently, recorders are prohibited and litigants must pay thousands to view transcripts from their own hearings. The task force, however, did not address PAS, which Russell fears might limit the likelihood that Beall’s A.B. 612 will pass through the Legislature this spring. A public comment period currently open for opinions on the task force’s proposals will close Dec. 4, after which the task force will make its recommendations to the California Supreme Court. News Editor Eric Johnson: eric@metronews.com

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NOVEMBER 11-17, 2009

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[14] COVER STORY

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

Tower Song

of

Leonard Cohen, 75, sings soundtracks for hopeless lovers—but with a sly, snarky bite behind the angst By Gary Singh

W

HEN Leonard Cohen was inducted into the Rock and Roll Hall of Fame last

year, he appeared at the podium with

the serenity of a Zen monk and humbly

declared: “This is a very unlikely occasion for me. It is not a distinction that I coveted, or even dared dream about. So I’m reminded of the prophetic statement of Jon Landau in the early ’70s. He said, ‘I have seen the future of rock & roll and it is not Leonard Cohen.’” The audience, including Landau, cracked up and then Cohen recited a few verses from his tune, “Tower of Song,” which he wrote 23 years ago, beginning with: “My friends are gone, and my hair is gray/ I ache in the places where I used to play.” Landau, of course, was the famous music critic who in 1974 declared Bruce Springsteen the future of rock. He then went on to manage the Boss and now heads the Rock and Roll Hall of Fame nominating committee. 17

M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 COVER STORY

B? @^b

LEONARD COHEN appears Friday (Nov. 13) at 8pm at HP Pavilion, 525 W. Santa Clara St., San Jose. Tickets are $39.50 and up. (800.745.3000)

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 COVER STORY

LEONARD COHEN

14

Cohen, on the other hand, actually is a Zen monk and, being a Montreal native, has already been inducted into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame. In 1991, he was made an Officer of the Order of Canada and, in 2003, a Companion to the Order of Canada, the latter of which is that country’s highest civilian honor.

Cohen, who from 1995 to 1999 wound up in a Zen Buddhist monastery near Los Angeles, is a man attempting to resolve his own inner conflicts through his songs and poems, especially if the endeavor involves a little meanness and black humor.

In 2006, his most recent volume of poetry, Book of Longing, was the first book of verse ever to hit No. 1 on the nonfiction bestseller list in the Great White North. And just three weeks ago, a few hundred fans gathered outside the Chelsea Hotel in Manhattan to witness an unveiling ceremony for a plaque celebrating Cohen’s famous tune about his interlude with Janis Joplin in the hotel, the one that goes like this: “You told me again you preferred handsome men, but for me you would make an exception.” Cohen’s 50-year-long oeuvre of novels, poetry and music exploring the interrelations between sex, religion, loneliness, longing and loss has inspired artists and lovers the world over—some even joke that every woman in France owns one of his albums—but, except for one forgettable appearance on Miami Vice, he never managed to penetrate the American pop-culture milieu. He’s far too Eurocentric, paradoxical, mysterious, well-dressed and funny. So it was no surprise when most of the

audience at the Hall of Fame ceremony didn’t even realize that Cohen was finishing the acceptance speech with his own lyrics: “Now I bid you farewell, I don’t know when I’ll be back/ They’re moving us tomorrow to that Tower down the track/ But you’ll be hearing from me, baby, long after I’m gone/ I’ll be speaking to you sweetly from my window in the Tower of Song.” Cohen’s current tour began in May of 2008, two months after he was inducted into the Rock and Roll Hall of Fame. The final leg concludes in San Jose this Friday, Nov. 13. Even though Cohen hasn’t toured in 15 years, he found himself close to broke after learning that his former manager had drained a few million from his bank account during the years that Cohen spent in a Zen Buddhist monastery. As a result, he needed to hit the road.

Hero of Solitude Born in 1934 in Montreal’s Westmount neighborhood, Cohen put out three poetry books and two novels before he even started making records. Even though he brought international acclaim on himself as a writer, he wanted to pursue a musical career instead. With his first three albums—Songs of Leonard Cohen, Songs From a Room and Songs of Love and Hate— he established himself as a commanding spokesman for the mortified, the lonely, the forlorn and the hopeless. Above all else, Cohen, who wound up in the monastery, near Los Angeles, from 1995 to 1999, is a man attempting to resolve his own inner conflicts through his songs and poems, especially if the endeavor involves a little meanness and black humor. For decades, critics have pilloried him with soubriquets like, “the godfather of gloom,” the “poet of pessimism” or the “architect of angst.” Many of Cohen’s songs serve as soundtracks for failed relationships, romantic disaster, heroes of solitude or, at the least, the merging of the sacred and the profane. Whenever anyone goes through a tumultuous breakup or bottoming-out and needs something on the turntable to dovetail with their own sorrows, there always seems to be a Cohen lyric or 50 that perfectly describes the situation, no matter who or what is involved. One particular messed-up disciple, Kurt Cobain, famously wrote in the Nirvana tune “Pennyroyal Tea,” from In Utero: “Give me a Leonard Cohen afterworld/ So I can sigh eternally.” And we know what happened to him. But these scenarios are sadly unfortunate, because, to the contrary, Cohen is actually quite a hysterically funny writer. In a 2001 article for GQ, John 18

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[18] COVER STORY

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

LEONARD COHEN

17 BVg\jZg^iZ"7djg\Zdnh BjhZjb

OUR LADY OF THE HARBOR!!Uif!divsdi!jo!Mfpobse!DpifoÖt!ÕTv{boofÖ!!

jt!b!cfbdpo!gps!Npousfbm!wjtjupst/

Leland celebrated Cohen as a “badass of dark verse,” fully acknowledging the humor of it all. This is important, as no matter how wretched Cohen’s words may be on the surface, one always seems to hear a snarky self-deprecating laugh buried somewhere within. Even when he inhabits the bottom of the misery barrel, you always get the feeling he’s secretly winking at you between the lines, every single one of which exhibits multiple layers of meaning. In that regard, he’s a natural. When it comes to badasses of dark verse, it takes one to know one, and Nick Cave has always declared that, for him personally, it all began with Leonard Cohen: “[He’s] been decried as depressing, but he’s one of the funniest writers we

have,” Cave told Leland in the GQ story. “I can’t think of a lyric that doesn’t have a sexy smile hidden in the lines. There are two things going on at all times: warmth and a wicked wit. I wish I had that.” During the current touring show that hits San Jose this Friday, Cohen reads his poem “A Thousand Kisses Deep” awash in indigo and magenta spotlights. His trademark from-the-depths groveling whisper resonates throughout the venue. Those in the know cannot hold back smiles with passages like this: “I loved you when you opened like a lily to the heat/ You see, I’m just another snowman standing in the rain and sleet/ Who loved you with his frozen love, his second-hand 21

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

NOVEMBER 11-17, 2009

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 COVER STORY

LEONARD COHEN

18

physique/ With all he is and all he was/ A thousand kisses deep.” At another juncture in the gig, Cohen banters that since his last tour 15 years ago, he has “taken a lot of Prozac, Paxil, Wellbutrin, Effexor, Ritalin and Focalin.” And that he has also “studied deeply in the philosophies and religions, but cheerfulness kept breaking through.”

During my last two visits to Montreal, I ambled through a few of Cohen’s neighborhoods— always my preferred method of voyage when I need to vicariously experience another author’s inner conflicts. And then the band appropriately kicks into “Ain’t No Cure for Love,” one of many classics from 1988’s I’m Your Man album. Including other now-famous tracks like “First We Take Manhattan” and “Everybody Knows.” I’m Your Man sold millions outside America and went to No. 1 all across Europe but never even charted in the United States.

Long Time Watching During my last two visits to Montreal, I ambled through a few of Cohen’s neighborhoods—always my preferred method of voyage when I need to vicariously experience another author’s inner conflicts. After all, world travel should involve continuous transpersonal renovation rather than giddy guidebookdriven sightseeing, I say. Montreal has at times been an embattled city above and beneath the surface; conflicts of language, politics and heritage still percolate, even if things are indeed much better these days than before. Cohen’s experimental 1966 novel, Beautiful Losers, was a postmodern exploration of the city’s three-pronged ethnic and political history—that of

the Anglophones, the Francophones and the indigenous peoples. It is filled with promiscuous sex, countless biblical references, Quebecois political strife and chaotic free-improv musings on Catherine Tekakwitha, the first Native American woman baptized Catholic in New France. Even though the book is about Quebec, Cohen wrote it while living on the Greek isle of Hydra. In 2006, a Chinese translation was released, with Cohen penning a new introduction for the Chinese readers. He said: “Beautiful Losers was written outside on a table set among the rocks, weeds and daisies behind my house on Hydra, an island in the Aegean Sea. I lived there many years ago. It was a blazing hot summer. I never covered my head. What you have in your hands is more of a sunstroke than a book.” Beautiful Losers might be a difficult read for linear-minded folks, but it functions as a great precursor to Leonard’s musical catalog and also provides some insight into the history of Quebec itself. Cohen never hails Montreal by name in a song, but its scenery famously appears in “Suzanne,” his first definitive hit: “Suzanne takes you down to her place near the river/ You can hear the boats go by.” The river in question is the St. Lawrence, which rolls up to the harbor, right at the oldest part of the city (Vieux-Montréal). The Notre-Dame-de-Bon-Secours Chapel, commonly referred to as the Sailors’ Church, one of Montreal’s oldest churches, dating back to 1771, faces the cobblestone streets of old town area. When “the sun pours down like honey on our lady of the harbor,” Cohen is referencing the statue of Mary at back of the church, whose arms are outstretched, facing the St. Lawrence River and the harbor. Inside the church, replicas of ships hang from the ceiling, as sailors would often come here to pray. Even better, and especially if you’re traveling by yourself and your haircut resembles that of Jesus, it’s pretty fun to climb the observation tower, knowing it’s the one Leonard mentioned in the song: “And Jesus was a sailor/ When he walked upon the water/ And he spent a long time watching/ From his lonely wooden tower.” The tower provides a breathtaking view of Old Montreal, the harbor and the ships. The lyrics to “Suzanne” are scribbled on the wall, in French, as you make your way to the top. It doesn’t stop there, however. Over in one of Montreal’s more bohemian Francophone neighborhoods—the Plateau as it’s called—Cohen still owns a house in the vicinity of Parc du Portugal, and he spends a few months there every year. In the same neighborhood, there’s also a legendary bagel shop he frequents and a 22

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[22] COVER STORY

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

LEONARD COHEN

21

SHEPHERD’S CRY Kbwjfs!Nbt!)sjhiu*!xpslt!uif!hpmefo!23.tusjoh!hvjubjs!gps!bo!bqqsfdjbujwf!Dpifo/

Zen center he owns. I walked down the street where he lives, but in no way would I have bothered the guy, had he actually been there. I did not even look for a doorbell.

Everybody Knows Last spring, Cohen’s tour stopped by the Paramount Theatre in Oakland. In my own lonely tower, I spent a long time watching from a seat in the back row. The three-hour gig features hits spanning 42 years of Cohen’s career. Several times during the evening, he removes his trademark Fedora hat and acknowledges the other musicians, as his band is one hell of a tightly knit unit. Spaniard Javier Mas dominates on the ethnic string instruments, adding a European Gypsy flavor to tunes like “Who by Fire” and “The Partisan.” With the utmost reverence, Cohen introduces him as “the sweet shepherd of strings.” Drummer Rafael Gayol receives comparable praise as “the prince of precision.” Rounding out the instrumentalists, we find the “impeccable”

Neil Larsen on the Hammond B3, plus Bob Metzger on guitars, Dino Soldo as “the master breath on the instruments of wind” and longtime Cohen sideman Roscoe Beck on bass. Since Beck did all the arrangements, Cohen introduces him as the “guardian sentry.” And no Cohen live enterprise would be authentic without the obligatory female accomplices/angels on vocals. Sharon Robinson, who co-wrote his hit “Everybody Knows” and produced 2001’s Ten New Songs, joins the Webb Sisters—Charley and Hattie—in providing a trilateral force of ethereal backup harmonies. Even if they exist partly to compensate for Cohen’s voice, the “angels”—as he always refers to them onstage—are essential components of any Cohen performance. When Hattie Webb breaks out the harp for Cohen’s legendary prayer song “If It Be Your Will,” it only gets more angelic. The entire venue turns into a cabaret chapel of the sublime. This is precisely why folks who only know Cohen’s work from the more sparse

M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 COVER STORY

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early albums, who haven’t owned the last few live releases or who never watched one of the hundreds of YouTube clips, will emerge from this show thoroughly converted. Those who never penetrated the outer layers of gloom will see Cohen at his most humble and reverent. In fact, you can’t avoid it. Many times, he sings form his knees or while gazing up toward the ceiling with a rapturous look on his face, as if he is communicating directly with the Goddess. At 75 years young, Leonard Cohen is finally arriving in San Jose—a show originally scheduled to be the last one of the tour. But just a week ago, tickets went on sale for a series of March 2010 dates in France. Again. So Cohen is not at all hanging up the fedora. He’s not moving to that tower down the track just yet. In fact, on this last leg of the 2008/09 tour, he’s already playing at least one new number. Has Cohen finally resolved 75 years’ worth of inner conflicts? Judging from the sheer beauty and grace of this show, it definitely seems that way. At least on the surface. M

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[25]

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NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

mind body & spirit g

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Focus Learn How To Meditate - And Why!

Bella Spa

Classes & Instruction

Enjoy life! Calm the mind. Improve relationships. Make better decisions. Meditation and Buddhist View with Reed Sherman. Everyone is welcome. No previous experience necessary. $10 per class. Every Wednesday evening, 7:30-9, Unitarian Universalist Fellowship of Los Gatos, 15980 Blossom Hill Rd. Los Gatos, 95032. Call Kelsang Gamo 408-226-0595 for information or visit us at www.MeditationInSanJose.org

g g Healing & Bodywork

Grand Opening

The best Asian Acupuncture & massage will make you feel like a new person. Stevens Creek & Hwy 85 408-973-8179 Health & Beauty

Orchid Beauty & Spa Hair, Nails, Waxing, Skin Care, Body Treatment, Massage Therapy. www.Orchid-Beauty-Spa.com. 2425 S. Bascom Ave., Campbell, 95008. 408-369-8999. Professional Massage Therapy, 1/2 $30, 1 hour $50 until 11/30/2009 with ad.

Massage & Relaxation

The best in relaxation, with aroma therapy. 359 W. El Camino Real, Mountain View. 650-965-8899

Massage By Michael Great massage by Asian man. In $50. Outcall $70. By CMT. For days 408-551-0767 or after 7pm 408-893-1966.

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The best Professional massage in the Bay area. Saratoga Ave. near Westgate Mall. 408-728-0717 Psychics

Psychic Counseling Healing & Workshops www.clairvoyancefoundation.com Affordable, short courses. Certifications. 408-625-1060

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Golden Star Massage Haircut Facial Body Slimming 316 Monroe St. 408.247.8352

Mind, Body, & Spirit. To advertise here, call

Michael R. Hill at 408.200.1308

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 STYLE

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Leathered Up

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EAVES are on the ground, leftover Halloween candy is settling into everyone’s spare tire nicely and the brisk winter weather is approaching at full force. As gentlemen drag out last year’s outerwear, it may become painfully obvious that they are in need of some snazzy new duds to shield them from the elements. To the chagrin of the animal-rights activists, there is no denying that leather is huge in men’s collections lately. Though none but the most confident men should venture into the land of leather pants (a trend that has reared its ugly, chafing head once again in fall 2009), the most versatile of cowhide incarnations, the leather jacket, is a musthave item for men this season. There really is nothing so sexy and badass as a goodlooking guy in a well-fitting leather jacket. Plus, it’s a garment that will look just as good with jeans as it will with slacks and a tie. Although leather jackets are an enduring look that will never go out of style, cuts and fits tend to correspond with the decade the jackets were acquired, much like tattoos (tribal armbands, anyone?). Right now, the look dominating stores is B:B7:GH DCAN–esque, tight, short and pocketed, circa the early ’80s. Though this ironic style is a great trend for this winter, it’s important to remember that a quality leather jacket is an investment piece that one will want to wear for at least a few years. As such, find a style that not too baggy and can roll with the times. Try G6AE= A6JG:C! 9>:H:A and 8DA: =66C for some classic jackets, like moto-collars, bombers and the zippered motorcycle-look. If one is in the market for something a little trendier, there are plenty of alternative leather jacket variations to stand out from the crowd this holiday season. Experiment with lengths, from knee to hip-length, and find colors outside the classic brown/tan/ black range. For those of the hipster persuasion, the English-style brand G:A><>DC has a variety of cool leather jackets that are pure rock & roll. Jessica Fromm

[27]

[28]

NOVEMBER 11-17, 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 NOVEMBER 11-17, 2009 MENU

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[29]

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Ale Fellow Well Met ;Za^eZ 7j^igV\d

Steve Donahue crafts artisan beers for Firehouse Grill and Brewery in Sunnyvale By Stett Holbrook

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URING THE ďŹ nal game of the World Series last week, Sunnyvale’s Firehouse Grill and Brewery was packed. Patrons pressed against the bar with beers in hand, and every table was taken. It was hard to hear as the Yankees-loving crowd cheered the team on to yet another World Series win. Amid all the rowdiness in the brewery, Steve Donahue worked in solitude behind a sheet of glass that frames the back of the bar. Like a ďŹ sh in an aquarium, Donahue is visible to everyone as he tends the kettles and pumps, wearing kneehigh rubber boots, a T-shirt and a baseball cap. Inside the brewery, the cement oor was wet with water and the occasional sticky overow from beer in different stages of brewing. Donahue is Firehouse’s brewmaster and he spent the ďŹ nal game of the Yankees/Phillies match-up tending a new batch of imperial stout. Even though Murphy Street in front of the brewpub is an impassable mess of construction that will turn it into a pedestrian mall by next spring (or so they say), people still ock to the restaurant and brewery for food and some of Silicon Valley’s best locally made beer. There

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are a half-dozen local brewpubs, but I would put Firehouse at the top. Donahue’s beers are outstanding. At the California State Fair Commercial Craft Brewing competition, Donahue won a gold medal for his pale ale, a silver for his Scotch ale, red ale and hefeweizen and a bronze for his Irish stout and maibock. Donahue also picked up a bronze medal at the Great American Beer Festival in Denver this year for his Baltic porter. Not too shabby. Donahue has been brewing for 14 years. He got his start at Gilroy’s late great Coast Range Brewing, where he worked under the wing of local brewmaster extraordinaire Peter Licht. From there, he moved on to brew at the Los Gatos Brewing Co. and at Stoddard’s in Sunnyvale, which was later taken over by Firehouse. Donahue currently has ďŹ ve of his beers on tap: Oktoberfest, pale ale, hefeweizen, abbey dubbel ale and Hops on Rye. For me the Belgianstyle dubbel ale and Ăźberhoppy Hops on Rye are the real standouts. But then, the rich and well-balanced Oktoberfest is great, too. To make a batch of pale ale, Donahue uses 18 pounds of hops. For the Hops on Rye, he used a staggering 72 pounds. You won’t

know what that means until you try a glass. It’s as hoppy as all get out and refreshingly bitter, but deliciously drinkable. This one is a real sipper. So is the winey dubbel ale. I drank mine with a Cuban sandwich, and it was a fantastic match. I didn’t expect much from Firehouse’s food beyond the typical brewpub standards, but the kitchen renders many of those dishes quite well. Best of all is the “media nocheâ€? ($10), a Cuban sandwich made with outstanding slow-roasted pulled pork that’s crusty and caramelized in places and juicy and succulent in others, smoked ham and Swiss cheese. The excellent toasted roll held it all together. I also liked the pale ale–braised baby back ribs ($21 full, $15 half-rack). Although the smoke avor was restrained, the avorful meat and pleasantly spicy sauce made the ribs memorable. Less good was the drab rotisserie duck ($18) and the lackluster pizza margherita ($9). The garlic fries ($6) were disappointing, too, because they lacked much of the requisite garlic. A better starter is the seared ahi with arugula salad ($11). I’m looking forward to the release of Donahue’s winter brews, but what really intrigue me are his barrel-aged

beers. His Scotch ale and imperial red stout have been in bourbon barrels for about a year and should be ready for drinking sometime this winter, once they pick up enough caramel and vanilla avor from the booze-soaked oak. They promise to be the kind of brews you want to drink ďŹ reside. “I’m going to wait until the weather is cold to release them,â€? Donahue says. His other project is aging hefeweizen and Scotch ale in red-wine barrels. He has added sour cherries to one barrel and sprinkled a little Brettanomyces yeast throughout. The yeast adds a distinct barnyard-funk avor to wine as well as the complex, horse-blanket avors found in Belgian Lambics. Donahue joins a small group of bold brewers in the United States who are playing with the wild and wooly strain of yeast. “I’m just ďŹ guring it out as I go,â€? he admits. But don’t hold your breath for a taste anytime soon. These will be in the barrel for about two years. What would he be doing if he wasn’t brewing beer? Donahue says he has no idea. Brewing is it. “I have no other skills,â€? he says. Lucky us.

[30] DINING GUIDE

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

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Sparkling Holiday

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OMEHOW, Thanksgiving is already upon us. That means figuring out what to eat and drink. The food is usually the easy part—turkey, stuffing, mashed potatoes, green beans—you know the drill. Deciding what to drink is trickier because of all that different food. You could buy a number of wines to match each stage of the feast but that’s too complicated. My advice: go with the bubbles. Sparkling wine and champagne work as great turkey-day wines. The effervescence of sparkling wine and its toasty, yeasty, nutty and fruity flavors make a dry-style sparkling wine a great match for a wide variety of foods, especially all those dishes set out on Thanksgiving. Plus the sound of popping corks keeps things festive. Whether you’re the host or a guest, choosing the right sparkling wine goes a long way toward elevating the quality of the meal and winning some style points along the way. Forget the André. Napa Valley’s Domaine Chandon is a good choice, but I say go even more local and pick up a sparkling wine from the Santa Cruz Mountains. The Santa Cruz Mountains produce a lot of good wine, but precious little sparkling wine (only the sparkling wine made in the Champagne region of France is called Champagne). If fact, there’s just one sparkling wine producer: :FJ>CDM. They make some outstanding wine. The winery releases very small quantities of wine, and as such it’s something of a secret. Equinox offers several styles of sparkling wine, but only the 1997 blanc de blanc is available. That’s right, 1997. The wine is 12 years old and spent 10 years in contact with the yeast to produce and an intense, delicious bottle of wine. The chardonnay grapes come from the famed Trout Gulch vineyard in Aptos. It’s a heady wine with aromas of yeast, honey, citrus and hazelnut and flavors of citrus peel, caramel and fresh bread. It sells for about $45. That’s a lot of money, but for a wine of this quality, to be consumed during a once-a-year celebration like Thanksgiving, it’s worth it. You can buy Equinox online at www.equinoxwine.com or at the winery’s tasting room at 427 Swift St. in Santa Cruz. The number is 831.423.3000. Stett Holbrook (Get food and wine updates from me at Twitter.com/Stett_Holbrook.)

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[31]

[32] DINING GUIDE

NOVEMBER 11-17, 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

PLAN your

COMPANY PARTY and enjoy the holidays without any stress.

Rock Bottom Restaurant & Brewery can offer your group a casual and fun dining experience in an entertaining atmosphere. All designed around a working brewery, Rock Bottom is the perfect spot to host your festive get together.

Call for Party Planning details for parties of 10-100 people. SERIOUS ABOUT OUR FOOD. CRAZY ABOUT OUR BEER.

1875 South Bascom | San Jose | 408.377.0707 rockbottom.com

NOVEMBER 11-17, 2009

[33]

[34] DINING GUIDE

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

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[36] DINING GUIDE

NOVEMBER 11-17, 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 NOVEMBER 11-17, 2009 DINING GUIDE

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HEF 96K>9 8=6C<, owner of the hysterically popular BDBD;J@J in New York City, roiled the Bay Area food world last month when he quipped that “every restaurant in San Francisco is just serving figs on a plate.” The nerve! The NorCal Asia Society went so far as to cancel an event with him during his local book tour this month to promote his beautiful new book, Momofuku. Chang thinks the whole dust-up is ridiculous and encouraged San Francisco foodies whose panties are in a bunch over the comment to “smoke marijuana.” Smoke more weed? No one would go to work anymore. Anyway, as far as I know Chang hasn’t bashed Silicon Valley’s food scene. Even though Manresa’s 96K>9 @>C8= introduced his buddy Chang at a book talk at Kepler’s last Saturday, the South Bay’s restaurant scene isn’t really on the star chef’s radar. Shocking, I know. So rather than wait for him to dis our food scene, I’ll do it for him. While we’ve got a few standout high-end restaurants and a wealth of delicious and exciting ethnic restaurants, in between the two poles is a great boring expanse of blandness and predictability. For example, we have so many steakhouses, their density is actually visible from outer space. If Silicon Valley restaurants are ever going to step out of San Francisco’s shadow and distinguish themselves, here are several dishes that absolutely have to go. H:6G:9 6=>/ This was once an exciting appetizer. An East-meets-West starter that seemed kind of exotic. So raw. So dark. So meaty. So—1997. It’s now available at sports bars and probably 7-Eleven. Time to retire it. 7::I 6C9 <D6I 8=::H: H6A69/ I don’t care if the beets are locally grown and come in a rainbow of colors and the chèvre is creamy and fresh. If one dish epitomizes Silicon Valley’s lemminglike lack of creativity and new ideas, I’d say this is it. 86:H6G H6A69/ A Caesar is kind of like every song by the band Boston. Their songs are good enough, but after listening to them 1 million times I could go to my grave happy if I never heard “Don’t Look Back” again. Same goes for Caesar salads, with or without grilled chicken on top. Please play a different song. B:6IAD6; 6C9 B6H=:9 EDI6ID:H/ 2001 called. They want their cliché comfort food back. 9DJ7A:"8JI EDG@ 8=DE/ To me, this fat piece of hog, usually soaked in salty water to keep from drying out, represents the mindless excess and greed of the subprime mortgage crisis. The pig is a noble animal, but as far as most Silicon Valley chefs know the chop is the one and only cut available. Lean times require a new, more thoughtful approach. Bring on the chitterlings and trotters. 8GÝB: 7GçAw:/ Stop it. We’ve had enough. I happen to like the dessert, but for the love of God it’s time to move on, people. Make something else, just make sure it isn’t something as equally tired as molten chocolate cake, tiramisu or cheesecake. Chefs are supposed to be creative. Create! Follow me on Twitter at twitter.com/stett_holbrook.

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777 Expwy, Santa 7 7 7 Lawrence Lawrence E xp pwy y, S anta Clara Clara

44 S. S. Almaden Alm maden Ave, Ave, San San Jose Jose

777 Expwy, Santa 7 77 Lawrence Lawrence E xpwy, S anta Clara Clar l a

408.998.TIXS 408.998. .T TIXS

408.241.0777 408.2 41.077 7

408.29.BLANK 408.29 .BLAN L K

Thu – 8:30pm; $10 $10

Fri $10/$12 F ri – 6pm; $1 0/$12

Fri 9pm;; $10 F ri – 9pm $10

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Center C e enter for for the P Performing erforming Arts Arts 255 25 55 Almaden Almaden Blvd, Blvd, San San Jose Jose 408.973.8276 40 08 973.827 08.9 8276 Sat 7:30pm; S a –7 at :30pm; $25 and up

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 CALENDAR

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Opera San José

Raelin

Lewis Black

B.B. King

California Theatre

The Refuge

Fox Theatre

Campbell Heritage Theatre

345 S. First St, San Jose

19624 Homestead Rd, Cupertino

2209 Broadway, Redwood City

1 W. Campbell Ave, Campbell

408.437.4450

Sat – 6pm; $10

650.369.4119

408.866.2700

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Sun – 8pm; $59.50

Sun – 7pm; $99

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Nov 14, 19, 21, 24 and 27 – 8pm, Nov 15, 22 and 29 at 3pm; $51-$91

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NOVEMBER 11-17, 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 NOVEMBER 11-17, 2009 ARTS

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METROGUIDE

Gjmn ‘Pirate Radio’ is more like the real ‘Titanic’ than the movie ‘Titanic’ _48

The Wrath Of Roth

In his newest novel, ‘The Humbling,’ Philip Roth again examines a man’s rage at the inevitable ravages of aging By Stephen Kessler

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VER THE last 20 years or so, Philip Roth has put on one of the more extraordinary late-season performances in U.S. literary history. No late bloomer, Roth from the very start of his career with Goodbye, Columbus has won high critical acclaim; in 1969, his great comic novel Portnoy’s Complaint was a sensational bestseller that vaulted him into popular renown. But success didn’t spoil Roth; on the contrary, it seemed to spur him on, as he proceeded into a highvoltage middle age with his series of Zuckerman novels (The Ghost Writer, Zuckerman Unbound, The Anatomy Lesson and The Counterlife) through the late 1970s and ’80s. In the course of his career, he has bagged every major literary prize except the Nobel. And since the early 1990s, he seems not only to have accelerated the pace of his production but also turned out a remarkable run of first-rate books. His memoir Patrimony and such knockout novels as Sabbath’s Theater, I Married a Communist, The Human Stain and American Pastoral have been followed in the new millennium by a series of tight, intense, finely wrought novellas

like The Dying Animal, Everyman and Exit Ghost. It’s not that he’s necessarily gotten better with age but that he has sustained a consistent level of energy and amplitude of ambition that has made him for his generation what Saul Bellow was for the previous one: the dominant American novelist of his time. Since the overrated counterhistorical fantasy The Plot Against America in 2004 (which literate liberals vainly wished would somehow deconstruct the Bush regime), Roth has issued a string of short narratives, each under 200 pages, which continue his unflinching exploration of the ultimate theme, Death, culminating (for now) in his new book, The Humbling. Once again here, Roth tackles some of the most unpleasant but inescapable realities of the human condition, mainly the implacable fact that the body tires and dies even as the spirit strives to survive, mourning its losses while desiring what it can’t have: the passionate if passing physical vigor of youth. As Portnoy proved, these passions, primarily sexual, can be a torment, but they infuse experience with a

vital charge that fades for most of us as we age. Roth has raged against time’s ravages for decades, but these late books (the author is now 76) take the fight to another level. If his writing is to be believed, Roth is angry at nothing less than Fate, humanity’s primal doom, each person’s personal death sentence. The heart of the matter is how one faces this inexorable truth. And his protagonists seldom do it with grace. In The Humbling, Roth’s antihero is an aging actor named Simon Axler, a star of the Broadway stage who now, in his mid-60s, finds himself unable to perform. In a version of stage fright, or what athletes call choking, Axler has frozen up in his latest plays and come to the conclusion that he’s finished, that he has tarnished his reputation and blown his career, that his blazing earlier successes in the spotlights have turned to ash. He is depressed, to say the least, despairing at the loss of his mojo, charisma, genius, juice, whatever you call the life force of a performer. Into this depression steps Pegeen Stapleford, the daughter of former colleagues, a hot young lesbian academic who decides to try out Axler as her lover. Whatever gyno- or

homophobia Roth may be working out in The Humbling, feminist critics will surely try to explain. What interests me is that the novelist has wrought another high-tension tale of a man past his peak who is trying to cope with his declining powers. The story is fat-free for all 140 pages of its grim but relentless telling, each sentence an essential step to the next, the narrative stripped of rhetorical excess, no time to waste on extraneous detail. The urgency of Roth’s attack on the form mirrors that of his thematic obsessions. Like every moment in a fleeting life, every word must count. The Humbling is strong and stark, from the beautiful jacket design by Milton Glaser to the dark dénouement of the final pages, and its vision is nothing if not bleak. It’s hard to say whether Axler is a tragic or pathetic figure, a Shakespearean or Chekhovian hero or just an absurd embodiment of life’s arbitrary breaks. “Yes,” the actor muses, “everything gruesome must be squarely faced.” Roth the author meets this challenge with the steel nerves of a surgeon. If you’re looking for comfort or consolation, look elsewhere. Expect to be unsettled by this troubling book. M

[42] STAGE/ART/LIT

NOVEMBER 11-17, 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

NOVEMBER 11-17, 2009

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[44] STAGE/ART/LIT

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

STAGE REVIEW

‘Shape’ Shifters

Excellent cast puts its own spin on Neil LaBute for RTE’s ‘The Shape of Things’

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HE Shape of Things is another of Neil LaBute’s clever storytelling traps. Debuting as a play in 2001 and turned into a film directed by LaBute himself in 2003, it presents itself as the simplest of boy-meets-girl romantic comedy setups. But that’s SHAPING UP!!Spcfsu!Dbnqcfmm!)mfgu*-!Kptivb!Nbsy! just one of many false bottoms in a boe!Bmjlb!V/!Tqfodfs!ep!MbCvuf!kvtujdf!bu!SUF/ story that ratchets up the emotional intensity with every scene, and in the end is as brutal as any of LaBute’s more obviously vicious attacks on the dubious niceties of interpersonal relations. All of the narrative and thematic sleight of hand is played out in the entanglements between two couples, so the cast has got to be top-notch to pull it off. Thankfully, Renegade Theatre Experiment’s new production is driven by four excellent performances, which not only nail LaBute’s ambitious agenda but even tweak the characters to the extent that those who’ve previously seen the film or the play must check out what’s been done with it here. For those who haven’t seen it, I personally think this is a better way to first experience this play than even LaBute’s version of his own work. He tends to go for harder, more cynical performances, an approach that’s less successful with The Shape of Things because it telegraphs too much about the characters and drains them of the sympathy they require to earn real investment from the audience. However, RTE director Kathleen Normington has wisely taken a different tack, emphasizing exactly the kind of naturalistic, vulnerable qualities that make the characters in a real romantic comedy work. When things start to get ugly, it makes it that much more tragic—and powerful. To start off, there’s Robert Campbell as Adam. Working as a security guard in a museum, he encounters Evelyn, played by Alika U. Spencer, about to deface a statue. She gets him into a conversation about the purity of art, he gets her phone number spray-painted onto his jacket. Mixing the mojo of Philip Seymour Hoffman and Christian Slater, Campbell convincingly portrays both the shy sad-sack Adam we’re introduced to at the beginning, and the increasingly hip and confident Adam who seems to thrive once he has Evelyn’s attention. Spencer brings warmth and intrigue to a character that’s too easy to play cold and stilted. It’s possible to draw an alternative set of conclusions about her mysterious and strident artist character after watching her interpretation. Joshua Marx plays Philip, Adam’s friend and former roommate, a blowhard broseph who clashes with Evelyn. He provides the comic, over-the-top delivery, but adds sincerity. And Caitlin Dissinger as Philip’s fiancé (and Adam’s longtime crush) Jenny has maybe the most difficult role of all. Jenny has to be somewhat of an overly traditional, and not overly interesting character, with a hint of deeper possibilities. It’s not easy to do. Gretchen Mol’s performance in the film, for instance, is way too shrill. Dissinger wisely takes the opposite approach; her Jenny is genuinely, hopelessly nice, and there’s something instantly recognizable and authentic in the way she lets the character’s complications slip out. The Shape of Things is the best I’ve yet seen from RTE; it’s riveting theater that’s a successful experiment in every way, and shouldn’t be missed. Steve Palopoli THE SHAPE OF THINGS, a Renegade Theatre Experiment production, plays Thursday–Saturday at 8pm and Sunday at 2pm through Nov. 21 at the Historic Hoover Theatre, 1635 Park Ave., San Jose. Tickets are $18/$20; 408.351.4440. *-% L# EVgg 6kZ! Adh <Vidh! )%-#(,%#,'*-#

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 STAGE/ART/LIT

[45]

STAGE REVIEW ?dnXZ <daYhX]b^Y

Young Love The Palo Alto Players want us to root for ‘Romeo and Juliet’ all over again

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OR AT least a half-century, no theater company worth its salt has bothered to produce William Shakespeare’s Romeo and Juliet unless it was prepared to do one of two things. The first option has been to engage in a bit of historical FATAL ATTRACTION!!Spnfp!)Boesfx!Hsvfo*!! anachronism, in which the late-16thboe!Kvmjfu!)Tfqjefi!Npbß*!nblf!uif!nptu!pg!! century play is reproduced as faithfully uifjs!xijsmxjoe!spnbodf/ as possible, except, of course, for the archaic practice of having men play women’s roles. The second, more-common approach has been to create something entirely new out of this tragic tale of the world’s most famous pair of “star-crossed lovers,” whether it’s a musical like Leonard Bernstein and Stephen Sondheim’s West Side Story from 1957 or a film like Baz Lurhmann’s Romeo + Juliet from 1996. That is the bar, but director Bill Olson has set his sights elsewhere for this new Palo Alto Players version, hoping, as he says in his director’s notes, to convince us that it’s “possible to root for Romeo and Juliet” in “today’s world of cell-phones and PDAs.” Many of us were probably already convinced, which is why the decision to excise so many of Shakespeare’s most beautiful and informative passages from the play feels so undermining. Sorely missed is the scene after Romeo (Andrew Gruen) kills Tybalt (Paul Jennings) in revenge for the slaughter of Romeo’s friend Mercutio (Jeremy Koerner). In that scene, Romeo’s cousin Benvolio (Kevin Hsieh) explains to Escalus, the Prince of Verona (Bill C. Jones), what has transpired, and the prince delivers his verdict on the spot: banishment. Robbed of Benvolio’s speech and the prince’s pronouncement, we only learn of this news secondhand from Friar Lawrence (the director himself) in the second act. Worse is the deletion of most of the dialogue at the play’s end, which leaves this version of the tale without a moral (“All are punished” is the timeless message in the original), let alone any reconciliation between Capulet (Dan Roach) and Montague (Robert Snedegar). As unfortunate edits go, this is a doozy. On the positive side, there are a number of fine performances. Shannon Warrick is terrific as Juliet’s confidant and nurse—when Warrick and Sepideh Moafi, who does a great job as Juliet, share the stage, the play feels in very good hands. Moafi is equally strong in her scenes with Gruen. She plays Juliet as the young girl the character is supposed to be, with the mannerisms and body language of a 14-year-old reeling from her first crush. I especially liked it when she sang and hummed to herself on her balcony, in full operatic throat, as Gruen’s Romeo confessed his love for Juliet to the audience—even if Moafi was singing from Carmen. The other pair that keeps the play on task is Koerner and Hsieh. Koerner’s Mercutio is an articulate hothead with more than a couple of screws loose. Hsieh’s Benvolio does his best to keep things light, whether it’s trying to brighten Romeo’s darker moods or playing the drunk, collapsing at one point into Koerner’s arms, and then passing out while standing. I was convinced.

A TRIBUTE TO HOWLIN’ WOLF FEATURING CHICAGO BLUES LEGENDS HUBERT SUMLIN AND EDDIE SHAW

Ben Marks J.C. Smith

ROMEO AND JULIET, a Palo Alto Players production, plays Thursday–Saturday at 8pm and Sunday at 2:30pm through Nov. 22 at the Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto. Tickets are $28–$32; (650.329.0891)

Hubert Sumlin

Eddie Shaw

:: Nov 14, 8 pm :: Carriage House Theatre :: TICKETS: $40/35; Members $36/31

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Award-winning J.C. Smith channels his love of Chicago blues to present this extraordinary tribute.

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Howlin’ Wolf’s legendary lead guitarist Hubert Sumlin is one of Rolling Stone’s “The 100 Greatest Guitarists of All Time.”

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)+

Eddie Shaw’s Shaw and The Wolfgang was the original back-up band for the legendary Howlin’ Wolf. SPONSORS:

Join Montalvo Today – And Save on Tickets! Montalvo Box Office, 408.961.5858 M-F, 10am-4pm montalvoarts.org or ticketmaster.com

JOIN NOW :: montalvoarts.org/membership

[46] STAGE/ART/LIT

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

ONE WEEK AWAY!

EXPANDING ROLES Buifob!qsftfout!Ă•Osjuzb!TbohbujĂ’Ebodf!Qsphsfttjpot-Ă–!b!qsphsbn!pg!Joejbo!

ebodf!fyqmpsjoh!qsphsfttjpot!jo!uif!mjwft!pg!Joejbo!xpnfo/!Bsujtujd!ejsfdups!Nzuijmj!Lvnbs!jt!gfbuvsfe! bmpoh!xjui!qsjodjqbm!ebodfs!Sbtjlb!Lvnbs/!Uif!tipx!ublft!qmbdf!Tbuvsebz!)Opw/!!25*!bu!8qn!bu!uif! Nfyjdbo!Ifsjubhf!Uifbufs!jo!Tbo!Kptf/

DON’T MISS IT! ONLY SOUTH BAY ENGAGEMENT! )*

NOVEMBER 19 • 7:30 PM • Flint Center - Cupertino Flint Center Box Office, all outlets ticketmaster.com • (800) 745-3000 Subscriber & Group discounts available, call 408-864-5885

www.flintcenter.com

a presentation

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 STAGE/ART/LIT

BOOK REVIEW

Valley Intrigue

[47]

Palo Alto Philharmonic presents

Chamber Concert I Mozart: Piano Quartet No.1, K478 Copland: Appalachian Spring Brahms: String Quintet No.1, Op.88

Saturday, Nov. 14, 8 PM

I

N SILICON VALLEY, it isn’t enough to just win. The competition also has to lose, which is why ruthless billionaire CEOs would realistically take such advice from Sun Tzu’s The Art of War when trying to steal someone else’s company. This is just one of three main threads embroidered in Keith Raffel’s new set-in–Silicon Valley thriller, Smasher. Protagonist Ian Michaels, CEO of Accelnet, is going through the usual rows with his board members because the seventh-richest dude in America is scheming to crush his company. At the same time, Michaels’ wife, an attorney, is embattled in her first murder case. On top of that, Ian is also digging up the story of how his deceased great aunt had her scientific discoveries heisted by fellow professors who went on to win the Nobel Prize for discoveries that were actually hers. So you have a ruthless Palo Alto CEO inspired by Zen, washed-up academic frauds milking their tenure at Stanford, plus good old-fashioned lawyer intrigue. And it works. Smasher is a slick-paced, easy-to-read three-dimensional, totally human tale. Raffel himself was a corporate entrepreneur—he founded UpShot Corporation—and he grew up in Palo Alto, where he still lives. In a marketing ploy undoubtedly borrowed from Menlo Park author Barry Eisler, Raffel’s bio puffs that he held a top-secret security clearance to watch over CIA activities while counsel to the Senate Intelligence Committee. Pass a background check, work for the government and then become a novelist. Now that’s Silicon Valley.

Palo Alto Arts Center Auditorium 1313 Newell Road, Palo Alto Order tickets $18/15/8: www.paphil.org _______________________

South Bay Philharmonic presents

Fall 2009 Concerts Dvorak: Symphony No.8 Elgar: Selections from The Wand of Youth

Friday, Nov 13, 7:30 PM Foothill Presbyterian Church 5301 McKee Road, San Jose FREE

Saturday, Nov 14, 7:30 PM First United Methodist Church 625 Hamilton Ave, Palo Alto FREE info: www.southbayphilharmonic.org

Discover the Arts www.svArts.org

Gary Singh SMASHER, by Keith Raffel; Midnight Ink; 302 pages; $14.95 paperback. Raffel appears Wednesday (Nov. 11) at 6pm at the Stanford Bookstore, 519 Lausen Mall, Stanford, and on Friday (Nov. 13) at 6pm at the Palo Alto Library, 1213 Newell Road, Palo Alto.

Lit Notes 6BN <DD9B6C, whose Democracy Now! radio show helps balance, as much as it can, the lunacy of most talk-radio shows, appears Tuesday (Nov. 17) at 7pm to talk about her new book, Breaking the Sound Barrier, which details her approach to reporting and her crusade to get unheard voices a hearing. This benefit for Peninsula Peace and Justice takes place at First Presbyterian Church of Palo Alto; call 650.326.8837 for details. Another lion of the left, E6JA @GJ<B6C, columnist, economist, Nobel Prize winner and keen critic of both Bush and Obama, speaks Wednesday–Friday (Nov. 11–13) at Flint Center in Cupertino for the Celebrity Forum. No doubt he will discuss his concern that the country needs another round of economic stimulus but Obama is too timid to suggest it, and the deficit hawks are too entrenched to even entertain the idea. Call 650.948.7176 for details. 8=6GA:H =# =DJH: and G6NBDC9 A# EG>8:, authors of a thick new volume from Stanford Business Books called The HP Phenomenon: Innovation and Business Transformation, will discuss the business culture that allowed the famed computer company to flourish. Curiously, there is no glowing blurb from Carly Fiorina on the bookjacket. Wednesday (Nov. 17) at 7:30pm at Kepler’s Books in Menlo Park (650.324.4321). 6A>6 B6A:@, author of A Country Called Amreeka: Arab Roots, American Stories, may have some insights to offer on the recent tragedy at Fort Hood; one of her chapters examines the story of an ArabAmerican soldier. She speaks Thursday (Nov. 12) at the Arab-American Cultural Center of the Silicon Valley (408.515.8566). On a lighter note, LDC6 B>C>6I> will expand on a topic close to the hearts and stomachs of a lot of shoppers: The Trader Joe’s Companion: A Portable Cookbook, Sunday (Nov. 15), at 2pm, also at Kepler’s. Michael S. Gant

Limos!

[48] FILM

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

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METROGUIDE

Sea Sick

‘Pirate Radio,’ a look at ’60s broadcasting anarchy in the U.K., is all wet

By Richard von Busack

D

ISMISSING Pirate Radio as a bad film made by bad people is shirking responsibility. It’s an easy shot to describe it as a sinking ship—Pirate Radio tries to top the ending of Titanic with a new Miracle of Dunkirk. But Pirate Radio is handily the worst movie of the year, and that alone gives it some stature, some worthiness of dissection. Director/writer Richard Curtis’ Pirate Radio, a.k.a. The Boat That Rocked and a few worse titles, wastes a roster of first-rate actors, including Philip Seymour Hoffman, Bill Nighy, Nick Frost and January Jones. Curtis also rubbishes a fascinating story, the history of how ship-to-shore radio short-circuited the BBC’s ban on rock music during the 1960s. Those interested in the facts of the matter are led to John Dougan’s book on the album The Who Sell Out, part of the 33 1/3 series. Taking this interesting David and Goliath story, Curtis’ inspiration was to put pontoons under Animal House and float it. Kenneth Branagh plays the John Cleese–like fussy inspector, who determines to use the British government to shut down the musical madcaps afloat on a boat, broadcasting in the North Sea. It’s not a onenote performance, it’s more like a quarter-note. Branagh turns up,

sputters at an assistant and then repeats this effort at least six times over the course of the film. Nighy plays the saturnine owner of the boat, and he has the proper louche 1960s air but nothing to do with it; he stands around, making the sour persimmon face, and we wait for something to happen. Tom Sturridge plays the ship’s cabin boy—he’s there because he’s supposed to be looking for the father he never knew among the radio men there. And he’s also trying to lose his malemaidenhead, to one of the many girls who drift aboard and leave afterward. Hoffman is the legend-in-hisown mind American DJ called the Count, whose big moment is replaying John Goodman’s “Ever heard of Vietnam?” routine from The Big Lebowski. Some rivalry is established when a fellow Yank DJ arrives on the boat: repeat-offender Rhys Ifans playing the silky (or rather drippingly oleaginous) Gavin Cavanaugh. Needing something to cut to, Curtis shows the listeners to the radio in England; some rocking out on the toilet (three separate shots); most are frozen, their necks are craned, as if they were Communist slaves taking in the last broadcast from Radio Free Europe. But what the Rock Boat is spinning is surprisingly moldy-oldy needle

drops. The cast tries to glom on to this music’s fading energy, like people trying to warm themselves around a fire made of toothpicks. Pirate Radio has a stink on it. It’s the aura of flop-sweat: of people trying too hard at a show, such as has been decried by critics going back to Nietzsche. It also has the mungy odor of a film made by people thoroughly sure of themselves—Elvis Costello’s song about radio sums this selfimportance up: “They really think we’re getting out of control.” The movie’s self-congrats lets the cast look at all women as potential groupies. Pirate Radio is especially rough on the actresses. Katherine Parkinson plays Felicity, a declared lesbian; she’s a minority, but what exactly is she doing on the boat? I don’t recall even seeing her make tea for the boys. (If Curtis was going to rewrite history so much, why not give a woman a shot at the turntable?) Jones—we know how good she is from Mad Men—has to give a speech about why she married one man just to get closer to another; this goes beyond a challenge to an actress and is some kind of special category of sadistic wastage. Emma Thompson is smarter—she turns up immersed in a turtleneck sweater that seems to be devouring her. Blinkered by sunglasses, she may hope not to be

recognized whatsoever. The self-importance of rock & roll—lampooned so beautifully in one of the year’s best films, Anvil! The Story of Anvil—causes a moment of great dismayinducement. It’s an end-title crawl brandishing 40 years’ worth of album covers to prove that rock had a great run despite its enemies. Among this parade—Grace Jones, disco with a capital D, part of rock’s history?—is the cover of the aforementioned Elvis C’s My Aim Is True. That was the album, you’ll recall, that dismissed the kind of radio-DJ self-love this film wallows in, hippopotamus-wise: “The radio is in the hands of such a lot of fools trying to anesthetize the way that you feel.” PIRATE RADIO (R; 135 min.), directed and written by Richard Curtis, photographed by Danny Cohen and starring Bill Nighy and Philip Seymour Hoffman, opens Nov. 13. (PS: For some 10 years, Morton Marcus and I collaborated on Cinemascene, a discussion show on films on local cable. Morton succumbed to cancer a few weeks ago. I found out about his death early on a Sunday morning at an Internet cafe in Sydney, Australia. Considering Mort’s many roles—soldier, poet and teacher—it’s appropriate that someone mourned for this universal man on the far side of the world.)

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

New The Boondock Saints II: All Saints Day (R; 117 min.) Two vigilante Irish brothers (Sean Patrick Flanery and Norman Reedus) blast their way through Boston’s underworld. Also stars Peter Fonda and Judd Nelson. (Opens Nov 13 at Camera 12 in San Jose.) Cosi Fan Tutte Opera broadcast of Mozart classic. (Nov 15 at 11am and Nov 18 at 7pm at Camera 7 in Palo Alto.) Dust of Life (Unrated; 90 min.) Le-Van Kiet’s drama about a the orphaned son of a pair of boat people, growing up in Orange County. (Opens Nov 13 at Camera 3 in San Jose.) (RvB) Latino Film Festival The festival continues. The Watercolorist by Daniel Ro, a Peruvian feature about an artist, shows Wed (Nov 11) at 6pm at the Tech Museum. On Thu (Nov 12), MACLA hosts showings of Meet the Head of Juan Perez (6pm) and Last One for the Road (8pm), two Mexican features. (See satinoďŹ lmfestival.com for details.) Pirate Radio (R; 135 min.) See review on page 48. Silicon Valley Jewish Film Festival Menachem & Fred (Nov 11, 7:30pm, Camera 7): Documentary concerning two brothers who were separated in the Holocaust. Today, one lives assimilated, a high-tech engineer with children married to gentiles; the other lives religiously in Israel with children in the West Bank settlements. Florida’s Fred Raymes, a subject of the ďŹ lm, is on hand for discussion afterward. Billed with the short Go Kosher. Rabbi Melanie Aron leads a panel discussion afterward. S’Rugim (Nov 12, 7pm, OFJCC, Palo Alto). The Israeli TV hit about singletons in Jerusalem who have to balance not just commitment fears and money worries but also the question of how devout they are. Episodes 1–4. (Episodes 5–9 show Nov 15, 7pm, Camera 12.) Altalena (Nov 15, 5:30pm, Camera 12). Dramatic version about the sinking of the arms-loaded freighter in June 1948, a key incident in the early history

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 FILM of Israel. Black Over White (Nov 14, 7:30pm, Cubberley, Palo Alto) is the proďŹ le of the Ethiopian-rooted Israeli musician Idan Raichel, co-billed with the short West Bank Story, the ’06 Oscar winner for best short subject. Yuval Ron, composer of the ďŹ lm’s music, will be on hand at the screening. (Festival runs through Nov 22 in San Jose at Camera 12 and in Campbell at Camera 7 and in Palo Alto; see www.svjff.org for details.) (RvB) Poppy Jasper Film Festival The event that stops Morgan Hill in its tracks. This year, there are 30 short ďŹ lms on the schedule, hailing from Mumbai, Germany, New Orleans and beyond. Victor Miller, scriptwriter for the original Friday the 13th, and indie ďŹ lmmaker Grant Richards will be on hand to lead workshops. Saturday night’s headliner is Mary Vogt, costume designer for Men in Black 1 & 2 and other ďŹ lms. (Plays Nov 13-15 in Morgan Hill.www.poppyjasperďŹ lmfest .org.) (RvB) 2012 (PG-13; 158 min.) See review on page 52. (Untitled) (R; 96 min.) Jonathan Parker’s comedy about a New York gallery owner (Marley Shelton) and a frustrated composer of dissonant music (Adam Goldberg) trying to make their way through the world of modern art. (Opens Nov 13 at Cinema Century 16 in Mountain View.) (RvB)

Revivals Foreign Correspondent/Beat the Devil (1940/1953) Alfred Hitchcock’s intrepid thriller about a journalist (Joel McCrea) who discovers Nazi termites gnawing at the windmills of Holland. Sourcing it from a

serious book of news reportage, Hitchcock went to town, turning it into a mad tale of assassination and espionage; highlights include a then-state-of-the-art plane crash. Ripping stuff. BILLED WITH Beat the Devil. The lounging adventurer Billy Dannreuther (Bogart), stuck in a podunk Italian beach town, has a tip on some uranium ďŹ elds in Africa; he’s waiting with several fellow adventurers for transport there. His partners include Robert Morley, subbing for Sydney Greenstreet, and Peter Lorre. One of their number, Maj. Ross (Ivor Barnard), a hit man with Rosicrucian sympathies, has knifed someone important in London. During the forced wait, Dannreuther’s wife, Maria (Gina Lollobrigida), takes a liking to an upper-class Englishman named Harry Chelm (Edward Underdown). Fortunately for Dannreuther, Chelm has a neglected wife: Jennifer Jones, looking better in cat’s-eye sunglasses than anyone has ever looked since. The adventure of a few shady men trying to rip off Kenya holds up a cracked mirror to imperial pretensions, speciďŹ cally British pretensions. (Plays Nov 17-19 in Palo Alto at the Stanford Theatre.) (RvB) The Maltese Falcon/Citizen Kane (Both 1941) Rosebud v. The Black Bird. Orson Welles’ famous debut ďŹ lm remains the great touchstone of American cinema. This seemingly inexhaustible epic swiftly and deftly tells the story of one newspaper magnate (Welles as William Randolph Hearst and a host of contradictory American dreamers) and his rise to wealth and fall to emotional regret. The cinematography, the acting, the dialogue, the music—all are dazzling. BILLED WITH The Maltese Falcon, John Huston’s tidy, smart

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adaptation of Dashiell Hammett’s novel, with Humphrey Bogart as the perfect Sam Spade. Also stars Mary Astor, Peter Lorre, Sydney Greenstreet and Elisha Cook Jr. It’s hard to imagine a better night at the movies than this double bill. (AR) (Plays Nov 13-14 in Palo Alto at the Stanford Theatre.) (RvB) Niles Film Museum Regular programs of silent films. This week: The Mark of Zorro (1920). Kenneth Clark described Douglas Fairbanks Sr. as “a sort of Ariel” (“To fly, to swim, to dive into the fire, to ride on the curl’d clouds.”—The Tempest). As the avenging spirit of old California, Fairbanks brings exuberant humor to this still-startling physical comedy. He’s also the best Don Diego ever, suggesting not foppery as much as slack-jawed inbreeding. He plays with his silk handkerchiefs in nerveless hands, making a “handkerchief bunny” that he adorably feeds a pinch of snuff—to the pretty contempt of the female lead. BILLED WITH The Sealed Room (1909) and The Rink (1916), the kind of Chaplin film that caused W. C. Fields to deem Chaplin “the greatest ballet dancer of all time.” Judy Rosenberg at the piano. Also a special pre-show tribute to the Edison’s late MC Tommy Andrew, with films of his own skating routine. (Plays Nov 14 at 7:30 in Fremont at the Edison Theatre, 37417 Niles Blvd.) (RvB) The Prisoner of Zenda/The Mark of Zorro (1937/1940) In the tiny imaginary country of Zenda, an Englishman (Ronald Colman) is induced to impersonate a king. The Prisoner of Zenda is a classic swashbuckler. BILLED WITH The Mark of Zorro. The story of the enigmatic avenger of a California plagued, then as now,

by misrule and greedy landlords. Highlights: (1) Tyrone Power’s spot decision to pose as a satin-loving pantywaist. (2) An entrance our hero makes, dousing a candle with a flick of his rapier when he comes to visit the governor at night, making it seem as if a dark room is illuminated by the masked hero’s glowing eyes. (3) Eugene Pallette snorting “Puppy!” at the thin-blooded fop. Other versions of this story may be faster; none is as velvety or as sexy. (Plays Nov 15-16 in Palo Alto at the Stanford Theatre.) (RvB) To Be or Not to Be/Ninotchka (1942/1939) The Shakespearean Joseph Tura, “that great Polish actor” (Jack Benny), should have followed Iago’s advice,“Look to your wife.” His own spouse (Carole Lombard) is being courted by a callow pilot (Robert Stack), but this becomes less important when the Nazis invade, and the ham turns patriot. BILLED WITH Ninotchka. All about Paris’ bad effect on the communist spirit—although visiting the site of the Communards’ martyrdom only strengthened my leftwing resolve. Melvyn Douglas slouches his elegant way through the film as a persuasive demigigolo, involved with a White Russian grand duchess in reduced circumstances. A Soviet commissar turns up with the duchess’s jewels, trying to sell them to raise money for the USSR. The gigolo must turn his charms upon the Red, but she (Greta Garbo) is quite immune.“Don’t make an issue of my vomanhood,” she says, frowning over a map of Paris as if it were an overdue bill. The politics are deft—satirizing both the USSR’s aims to make “fewer but better Russians” as well as the 20-20 golden hindsight of the aristocratic class. (Plays Nov 11-12 in Palo Alto at the Stanford Theatre.) (RvB)

Reviews Amelia (PG; 111 min.) If there ever was a figure who deserved a postmodern bio, it’s Amelia Earhart, since she left so many questions behind. Mira Nair’s Amelia spins the time frame around, but it’s done in the standard fashion: incidents of her final world-circling flight are intercut with scenes from the beginning of the aviator’s career. Amelia is very much the canned biopic that exists solely because a celebrated actress is playing on a physical resemblance. Hilary Swank does look like Earhart, grinning large, with freckles and bleached hair. But repeat offender Ron Bass’ prolix script keeps underlining every relationship with a yellow felt pen. The film is a little more frank about Earhart’s life than previous versions of the story. It teases us with the possibilities of her sexuality.“You’re the only woman I know who points out other beautiful women,” notes her husband, George F. Putnam, played by the still seriously undermojoed Richard Gere; and this film tells of an affair with the Washington socialite and West Point instructor Eugene Vidal (Ewan McGregor). The staging of the finale over the Pacific is dramatic enough. Still, if it weren’t for the ending, Amelia would be the in-flight movie par-excellence: the kind of movie that seems to be made for the purpose of watching itself. (RvB) Antichrist (Unrated; 105 min.). The most prestigious grossout since Irreversible. A gory/XXX variation of the story of the Fall of Man, with “She” (Charlotte Gainsbourg) and “He” (Willem Dafoe) exiled to a cabin called “Eden,” where they are to be punished by nature and each other. There, her desire for sex grows. Visions of diseased, supernatural animals torment “He”: these include a ludicrous rotting talking fox, whose two-word growl “Chaos Reigns” might be the title of the next Spinal Tap album. Things having got as sexual as they can, terrible violence breaks out. For no good reason, Lars von Trier marks his film with episodes: is there a better way to shake an audience out of a mood of horror? But are we supposed to be horrified, or are we supposed to think of this as an intellectual exercise with nut-busting and mutilation?

The visuals are occasionally hypnotic, but von Trier relentlessly breaks the trance. In all the coupling, there might have been a subtitle at the bottom of the screen “These are not bodies, these are instruments.” And the actors who could make these stiff, pompous lines ominous haven’t been genetically engineered yet. (RvB) The Box (PG-13; 115 min.) A thriller about a couple given a lucrative but morally fraught choice. Stars Cameron Diaz, James Marsden and Frank Langella. Based on a short story by Richard Matheson, which is usually a good starting point for this kind of movie. Directed by Richard Kelly, hoping to get his Donnie Darko mojo back. Capitalism: A Love Story (R; 127 min.) Michael Moore’s broad but apt documentary has both his strong points (his expert and hilarious use of montage) and his weak points: his tendency to address us as through a bullhorn and his use of the time-honored “Michigan Defense,” as seen in Anatomy of a Murder: “Your honor, I’m just a humble country journalist, doing the best I can against this brilliant system.” The film is a Mondo Financo with episodes about the arcane and vicious qualities of a rogue system: the nigh-destruction of his hometown through Wall Street scheming; the Gogollike “Dead Peasant Insurance” story; and the overworking of commercial pilots and the resulting body counts. The movie doesn’t stint working-class success stories, including a tour of the co-op-run Petaluma’s Alvarado Street Bakery. This call for democratic socialism sounds loud, clear and not at all shrill after 30 bruising years of privatization, layoffs and shameless corporate thievery. Hugely entertaining, Capitalism: A Love Story will get people in touch with an anger they didn’t know they possessed—and a hope they didn’t dare let themselves feel. (RvB) 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. 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 roué named Etienne Balsan (Benoit Poelvoorde). Director Anne Fontaine reminds us that this is a movie from the country that gave us The Rules of the Game. What could have been a dull bird-in-thegilded-cage story turns urbane, with the everchanging flow 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.” The fox in question: a British businessman nicknamed “Boy” (Alessandro Nivola). The end titles call the house of Chanel an empire, but Tautou—last seen, cigarette on lip, in a cage of mirrors, surrounded by models wearing her gowns—makes it look like mostly hard work. (RvB) An Education (PG-13; 95 min.) Lone Scherfig’s British coming-of-age film 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 flat 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 meetcute 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 film’s excellent pre–Swinging London soundtrack. Singer Beth Rowley steals the show as the breathy canary at one nightspot. (RvB)

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FILM REVIEW

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Demolition, Man Roland Emmerich’s disaster epic ‘2012’ features urban renewal and family encounter sessions

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ATCHING L.A. take a beating is always refreshing, and there are a few minutes in 2012 that are absolutely high art: a lovingly detailed sequence of downtown L.A. wobbling on all sides of a mile-deep fissure in the earth, the skyscrapers dancing around its brink or keeling over in slow faints. A stretch limo scoots around these twisting monoliths trying to get to a comfortable cruising altitude; meanwhile, the unquiet earth rises up on both sides of the escarpment until it’s a crescent-shaped motif. Then, the UNESCO World Heritage Site (What? It isn’t? What the hell is up with that?) concrete advertising sign of Randy’s Donuts wheels through the chaos, as if inviting the car to take the proverbial flying you know what at a rolling donut. Being Roland Emmerich, the director must cut away from this splendor to John Cusack, his ex-wife Amanda Peet and his family (adorable daughter and bratty son who keeps calling him by his first name instead of Dad) and the ex-wife’s new squeeze, an expendable plastic surgeon (Thomas McCarthy). The ensemble pulls the appropriate sorrow-and-the-pity reactions to all the destruction we’ve been giggling at. The follow-up has Santa Monica sliding into the ocean, as predicted by ancient prophecies going back to the mid1970s. The gang is on a long trip to China, where the world’s powers have been preparing for just such an eventuality. “We were warned” says the posters, and you were fully warned by the previews. (“The nutbags with the cardboard signs got it right!” Cusack blurts.) No surprise, 2012 is a film of sequences and of wildly uneven tone. Boring family bonding is enlivened with riding around the chaos in ever-larger vehicles: from stretch limo to a private plane, risibly named “The Western Spirit.” Eventually, the shell-shocked cast ends up in an Antonov 500, the imaginary larger version of the world’s largest fixed-wing aircraft, the Antonov 225. The six-engine monster is our vantage point for the last implosions in Las Vegas. Many of the world’s other cities get it, too. The Vatican barrel-rolls onto the praying faithful. In blurry green-screen, the Washington Monument swats a patriotic crowd. With an eye on the Obama victory, Emmerich has made 2012 gratifyingly Africanistic, right up to the film’s last shot. The film has a virtuous (not to say gelded) courtship between a slightly embarrassed Chiwetel Ejiofor and Thandie Newton. About to be clobbered by an aircraft carrier, U.S. President Danny Glover goes out addressing his dead wife with a Redd Foxx–worthy “I’m coming home, Dorothy.” There’s more of an aspect of subversion in 2012 that we’ve seen in previous Emmerich monstrosities; the film balances out its straight-faced idiocies with conspiracy and rich creeps—the Queen of England, Angela Merkel and the prime minister of Canada are among the plotters. The film soft-pedals the spiritual mumbo-jumbo, except for a Tibetan lama performing the ancient Zen proverb about the too-full cup. The leaded last 45 minutes have Cusack floundering in the studio tank. Fun’s over, and we can wait for the moral of the story: Better the whole world be inundated, and the South Pole relocated to Wisconsin, than one American nuclear family should be sundered. Richard von Busack

2012 (PG-13; 158 min.), directed by Roland Emmerich, written by Emmerich and Harald Kloser, photographed by Dean Semler and starring John Cusack , opens Nov. 13.

*%

The Fourth Kind (PG-13; 98 min.) The story of an Alaskan town where people keep disappearing. Could it be alien abduction? Only Sarah Palin knows for sure. Good Hair (PG-13; 95 min.) A genuine work of investigative journalism. And it’s a risky story, too, all about the time and treasure that people of color spend in search of “good hair”: lank hair that behaves like white people’s tresses. Rock shows the political side of the fashion: “Hair relaxers relax white people.” But Rock doesn’t harangue, either. He is, needless to say, funny as hell, even when dealing with the prickly subject of how much beauty products cost. It’s staggering. A weave can cost $1,000 or more, and it won’t last for more than a few months. Rock gives all due respect to the importance of the beauty salon and the barbershop as small businesses that are centers for the black community. But Rock also wonders about the caustic chemicals that, if trends continue, will one day be sizzling the scalps of his own two daughters. Good Hair nears 60 Minutes status when Rock explores the hair market in India: a profit maker for a huge temple where the poor get their heads shaved to pay off promises they made to God. (RvB) The Men Who Stare at Goats (R; 93 min.) George Clooney stars in the story of a reporter who stumbles across a secret military project designed to harness psychic powers. Also stars Ewan McGregor and Jeff Bridges. Michael Jackson’s This Is It (PG; 112 min.) A last look at the late icon. 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. Writer-

director 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) Paris (R; 130 min.) Director/writer Cédric Klapisch’s intriguing if lightweight tag-team film. He takes to the heights of the city—Montmartre, the helipad at the Tour Montparnasse, the Eiffel Tower and, most important, the top floor of a Haussmann-era building directly above Gambetta Metro. There, a former chorus dancer at the Moulin Rouge, Pierre (Romain Duris), is mortally ill with a heart condition. Pierre’s sister, Elise (Juliette Binoche), a social worker, moves in to nurse Pierre, bringing her brood of fatherless children. The film is like a pile of jackstraws, rather than a solid structure; the loosest ends are the subplots in Cameroon and North Africa, where new immigrants are trying to get to where the euros are. Karin Viard is hilarious as a racist bakery owner; the ace comic actor Fabrice Luchini plays a history professor, undone by modern temptations. (RvB) 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) Skin (PG-13; 107 min.) The absurd but inexorable logic of South Africa’s apartheid era is laid out with considerable emotional impact in Skin. Based on a true story, the film follows the difficult life of Sandra Laing, born in the mid-1950s with skin color and features that would make her black in the eyes of the law, except that her parents are both white. As a genetic researcher later admits in front of an embarrassed courtroom, most Afrikaner settlers have African blood. The law makes clumsy attempts to cope with the situation— Sandra is at first termed white because of her parentage, then “colored” by her appearance, then white again. The whiplash affects her whole life, tearing at the fabric of her family, poisoning her relationships and thrusting her into poverty. This is a grim chronicle leavened by some fine acting. Young Sandra is played by the very appealing, wide-eyed young firsttimer Ella Ramangwane. Sophie Okonedo (last seen in The Secret Life of Bees) takes over as the grown-up Sandra, valiantly trying to find a way to cope with personal and societal upheaval. Alice Krige is touching as Sandra’s mother, but the real surprise is Sam Neill, who gives a subtle, wound-up performance as Sandra’s father. Abraham Laing’s love for his daughter is deep and strong; in the early scenes, he sticks up for her with admirable courage. But eventually, tragically, he too is driven to near madness by the artificially enforced divisions that ruled South Africa for so many decades. At times, director Anthony Fabian is guilty of laying on the blows of apartheid with too heavy a hand, but the film earns its tearful, haltingly hopeful conclusion. (MSG) Where the Wild Things Are (PG; 101 min.) The beast suits—part costumes, part CGI—are accurate versions of the Sendak illustrations. Max Records seems just right as Max, the little boy whose father is out of the picture, who flees to a monster island. The feature film gives children due respect for their towering moods. But children’s moods change, and this film’s mood doesn’t. It’s essentially gloomy, like a collection of Peanuts strips clipped of their punch lines. The film is staged in an Australian forest, the domain of seven or eight depressed creatures (Lauren Ambrose, James Gandolfini and Catherine O’Hara, among others). They’re cautious and fretful; they form cliques and snipe at each other. The rumpusing beastliness always ends with some injury, as per Mom’s warning about how it’s all fun and games until someone gets hurt. Scriptwriter Dave Eggers’ work is typically formless, 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. It’ll be a cult item for aging-children hipster types, the ones who would wear their terrycloth wolf-suits to work if they could. (RvB)

METROGUIDE

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Howlin’ Wolf guitarist Hubert Sumlin pays tribute to his friend’s legacy By Steve Palopoli UBERT SUMLIN is a national treasure. Not just because he played with Howlin’ Wolf for almost 25 years, including on what is to my mind the best blues record ever made, 1962’s Howlin’ Wolf (a.k.a. the “Rocking Chair album”). Or because he also played with Muddy Waters, most notably on the 1957 single “Got My Mojo Working.” Or even because his incredible and unmistakable guitar style influenced everyone from Eric Clapton to Jimmy Page to Keith Richards. At 77, Sumlin, who will perform many of the most famous songs he recorded with Howlin’ Wolf when he plays a tribute to the blues great at Montalvo on Nov. 14, is also one of the last great blues storytellers. To hear most rock musicians tell their life story is, in a word, boring. But the blues? Man, there’s a reason some people still think Robert Johnson sold his soul to the devil. Because that’s just how cool your

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story had to be to be even mildly interesting in old-school blues country. Sumlin, who grew up in Arkansas and played with James Cotton (now a fellow legend) as a boy before joining up with Howlin’ Wolf in 1954, can do for a story what his guitar can do for a song: elevate it to a level where you’re not sure what is real and what is simply impossible. He took time to tell a few about his career to Metro. On sneaking out to see Howlin’ Wolf play at a juke joint when he was 12: “This is what happened,

man: somebody had stacked these Coca-Cola crates up, like steps, up to this window where the fan was, right up over Wolf ’s head. I don’t know what happened, but somebody smacked these CocaCola crates out from under me. I had both hands on the exhaust fan. And you know what? I believe that Wolf knowed that I was coming. Because this man had both big old huge hands out, and he caught me falling from the

fan. Yes, sir. Caught me coming down. If I had hit that floor, I’d a been dead. I know I’d a been hurt very bad. He caught me man, like a baseball, and he didn’t even flinch. And he said, ‘Ladies and gentlemen, please bring this young man a chair.’ When he got off, he took me back to my house, which was four miles. He told my mother, ‘Please, don’t whup him. Don’t beat him. He’s just a young man.’ Mama said, ‘Yes, sir, Mr. Wolf. Yes, sir.’ But when Wolf left, man, Mama got me. Aww yeah. And my daddy, he made whiskey. He was out doing his route on this plantation. He hadn’t come home. But when he come home, he got me. So I got two whuppings. But man, I was right back out there the next weekend to see Wolf. That didn’t stop me.” On being Wolf’s closest collaborator: “They say Wolf was

a bad man, everybody say, ‘How’d you stay with him that long,’ and everything. Wolf did look scary. He did look scary to people—but not me, man. At first, I was afraid

of him, too. But that man, he was just like a little kid. He showed me so much. He started to let me put the music to his numbers. Oh boy, you better believe I put my whole heart and soul into every song. I got pretty good at it, so he said, ‘Hubert, look, from now on, you gonna help me. Let us do our thing.’ That’s what we did, man. For 25 years, almost. He was just like a father to me. I got to know him so good, I’d know what he was going to do before he’d do it. That’s how close we were.” On working with Muddy Waters:

“Muddy offered me more money. He’d been trying to get me in his band. Wolf knowed it. So Wolf told me to go on and play with Muddy a little while, but he said, ‘You coming back, I’m just going to loan you to him a few days.’ That’s what he told me. And that’s what I did. I only intended to stay with Muddy three or four days, but I stayed with him 29 days. We played Miami, and we had Ann Cole. Ann Cole stayed *,

[54] GALLERY

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

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with us all over Florida, and then we ew back and recorded ‘Mojo.’ That was Ann Cole’s number. We ew back at 3 in the morning from Tampa, Fla., and it took about 40 minutes to record ‘Mojo.’ People were just getting up when we were going to bed. Two weeks later, they put the number out. And Ann Cole, she wanted to kill Muddy, ’cause it was her number. I thought she was going to get us, too. They had to settle her down, man. They had to give her a sedative.â€? On the one time he was ďŹ red, for three days: “Wolf ďŹ red me one time,

I never will forget this. He ďŹ red me because I was playing with a pick. And I had been with the man eight years! He ďŹ red me in front of about 700 people, in a nightclub. I could have killed Wolf that night. I felt like it. But that’s the only time he ďŹ red me. Lord have mercy, he ďŹ red so many people . . . and he hired some of them same people right back! But he put me up to do it. When I came back, I came back with a vengeance, man. My ďŹ ngers got so sore. I found myself when Wolf ďŹ red me. I got my own style. I woke up one morning, and I had what he wanted. It was all in my ďŹ ngers, I felt everything, I was ready. When I went back to work, those people wanted to see if I did what Wolf had told me to do. And I did. Let me tell you something, when I played the number, I had to cry myself.â€? On recording the ‘rocking chair album’:

“I love it, I really love it. I remember making ‘Shake for Me.’ I remember ‘Going Down Slow.’ I remember ‘300 Pounds.’ All the numbers. I put my heart and soul into it. I even showed the rhythm section what to do. Me and Wolf and Big Willie Dixon, we was in the garage for weeks before we went into the studio to record. Then we got in the studio, here come the rhythm section, here come the horns. Let me tell you something: ‘300 Pounds’? I’ll bet we wasn’t in there 30 minutes. That’s right. I had already mapped out before we went in the studio what I wanted the horns to do. And Wolf, he cut me loose. He said, ‘Just tell ’em what you’ll need.’� On recording ‘The London Howlin’ Wolf Sessions’ with Eric Clapton: “Eric told

me I freaked him out with ‘Going Down Slow.’ He wanted to know how I could make notes sound like that. I told him, ‘God, man. I got ďŹ red. And if I hadn’t, I wouldn’t have found myself.’â€? HUBERT SUMLIN plays Saturday, Nov. 14, at 8pm as part of ‘A Tribute to Howlin’ Wolf,’ also featuring J.C. Smith and Eddie Shaw, at Montalvo Arts Center, 15400 Montalvo Road, Saratoga. Tickets are $40; call 408.961.5858.

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 MUSIC @VgVd`Z# L^i] H]Zgg^Z VcY HjZ# Cd XdkZg# &'&) 6edaad LVn! HjccnkVaZ! )%-#,('#'&&%#

CONCERT FILE

1011 PACIFIC AVE. SANTA CRUZ 831-423-1336

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Thursday, Nov. 12 • AGES 16+

Julian Marley

GZY^ Gddb

featuring

Stephen Marley

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plus also

Gdh^Z BX8VccÉh

Javaughn

DJ Gully Bank Sound System

$19 Adv./ $21 Drs. • Drs. 7 p.m., Show 8 p.m. Friday, November 13 • AGES 16+

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$14 Adv./ $19 Drs. Drs. 8 p.m., Show 9 p.m. Saturday, November 14 • AGES 16+ NUMBSKULLSHOWS.COM presents

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SUICIDAL TENDENCIES

plus

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Saturday, Nov. 14 • AGES 16+ • In the Atrium

DIZZY BALLOON $10 Adv./ $12 Dr. • 8:30/9 p.m.

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also

Steve Palopoli MARC ANTHONY performs Saturday, Nov. 14, at HP Pavilion, 525 W. Santa Clara St., San Jose. Tickets are $39.50–$150; 408.287.9200. 9VcX^c\ Vi ./(%eb# HVi/ AVi^c C^\]i# GZ\\VZidc! XjbW^V! bZgZc\jZ VcY bdgZ# Hjc"Bdc! *eb/ IVc\d# 6g\Zci^cZ hinaZ# ,(+ L# 9VcV Hi! BdjciV^c K^Zl! +*%#.+-#(%%,#

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Of Mice and Men

and

Let’s Get It

$14 Adv./ $17 Drs. • Drs. 7 p.m., Show 8 p.m.

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FINCHDrop / BLESSTHEFALL Dead Gorgeous

Marc Anthony

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Sunday, November 15 • AGES 16+

HIGHS AND J-LOS!!Nbsd!Bouipoz!jo!ijt!Ă•Fm!dbouboufĂ–!evet/!

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Tomorrow’s Bad Seeds also Good Guys in Black

$22 Adv./ $24 Drs. • Drs. 8 p.m., Show 9 p.m.

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+'

Tuesday, November 17 • AGES 16+

SNOOP DOGG

plus

Hustle Boys

$49 Adv./ $54 Drs. • Drs. 7 p.m., Show 8 p.m. Nov 22 The Disco Biscuits (AGES 16+) Nov 29 Toots & the Maytals (AGES 16+) Dec 3 Zane Lamprey (AGES 21+) Unless otherwise noted, all shows are dance shows with limited seating. Tickets subject to city tax & service charge by phone 866-384-3060 & online

www.catalystclub.com

[61]

[62] MUSIC

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

Nvtjd mjtujoht

COMEDY

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Recording Studios!

MIKE BETANCOURT performs A SPECIAL NIGHT OF COMEDY on Thursday (Nov. 12) at 8pm at the Sonoma Chicken Coop, 200 E. Campbell Ave., Campbell. Tickets are $5. (408.866.2699)

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PUCK UP OR SHUT UP

(IT’S HOCKEY TIME AT PATTY’S) Where else can you ďŹ nd the best fans, the coldest beer and cheapest drinks in town. $2.00 POLISH SAUSAGES & HOT DOGS $300 ITALIAN SAUSAGES $2.00 HOUSE SCHNAPPS After every Sharks goal All home games only (And as always, ďŹ rst drink $1.00 off with ticket after any HP event.)

BARD ON A STRING TubogpseĂ–t!wfstjpo!pg!QsplpĂ&#x;fwĂ–t!! Ă•Spnfp!boe!KvmjfuĂ–!jodmveft!b!dbtu!pg!mjgf.tj{f!qvqqfut/

Since 1933

A good old fashioned corner bar

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Corner of Montgomery and San Fernando 408-998-4566

[63]

[64] MUSIC

NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

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bodies in their foyer to defend their kid’s honor, his parents came right out and told you he’s a relentless liar. You later emailed me that he yells and swears at them, and even threatened to vandalize their new car if his dad didn’t do what he wanted. (Apparently, telling Dad he’s pretty doesn’t cut it.) Do you actually find anything attractive about him; I mean, besides how attractive he makes you feel? You’re clearly trying to make the best of a really bad situation, because for you, being without a man is an even worse situation. This boyfriend isn’t a good guy, just a different kind of bad guy than the last one. Once again, this isn’t going to end well—none of your relationships will until you do the hard work it takes to build up a strong self and standards, and the guts and dignity to stand up for them instead of settling for pretty talk. For a guidebook, pick up Nathaniel Branden’s The Six Pillars of SelfEsteem. You’ll be ready to date again when you find it unbelievable that this guy was ever in a position to ask you to marry him—and even more unbelievable that your answer was “Yes” and not “Why don’t we skip straight to the bitter divorce?”

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card’s about to run out.” Sorry for the tough love, but the guy’s told you in numerous ways that there’s nothing left. Even the butterflies have hit the road. You can wish things were different, but the kindest thing you can do for yourself is admit the obvious, and stop editing the writing on the wall into something a little less “I’ll soon be in bed with Svetlana!”

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[67]

[68]

CLASSIFIEDS NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

metro CLASSIFIEDS

CLASSIFIED INDEX 66 68 68 68

PLACING AN AD 69 70 70 71

Single Services Employment Family Services Music

Legal & Public Notices Automotive Home Improvement Real Estate

.

g Employment Jobs

Marketing Manager Cisco Systems, Inc. is accepting resumes for the following positions in San Jose/Milpitas/ Santa Clara, CA: *Marketing Manager (Ref #: SJ59): *Plan and develop global marketing programs that are scalable and repeatable, targeting a global data center buying audience (server, storage, application, network decision makers). 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. www.cisco.com

Technology

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Plantronics, Inc. has the following job opportunity available in Santa Cruz, CA: ∑ RF Test Engineer (RFTE-CA) †Responsible for wireless telephony products in the 900 MHz and 2.4GHz product category. Some positions may require travel. †Submit resume by mail to Plantronics, Inc., 345 Encinal St., Santa Cruz, CA 95060, Attn: HR Dept./ Job Code RFTE-CA. Must reference job title and job code (i.e. RFTE-CA) in order to be considered. See www.plantronics.com for all available positions.

Work that matters. It’s what we do at Symantec. Symantec is the world leader in providing solutions to help individuals and enterprises assure the security, availability, and integrity of their information. In essence, we protect the free flow of information in a connected world. As the fourth largest independent software company in the world, Symantec has operations in more than 40 countries with 475 out of Fortune’s global 500 companies using our solutions. People look to us to safeguard the integrity of their information, ensuring it is secure and available. Achieving this ambitious goal is only possible through the combined efforts of the innovators and visionaries that Symantec continuously attracts. Symantec draws the very best people with a variety of backgrounds, experiences and perspectives and provides them with a work environment where uniqueness is valued and empowered. The creative people we attract help define the spirit of innovation at Symantec. Symantec is proud to be an equal opportunity employer. We currently have openings for the following positions in Mountain View, CA (various levels/types). Some positions

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

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may require travel. Software Engineers (Job ID# SWEHQ1009) Software QA Engineers (Job ID# SQAEHQ1009) Computer & Information Systems Managers (Job ID#ENGMHQ1009) Support Engineers (Job ID# SUPHQ1009) Computer Systems Analysts (Job ID# CSAHQ1009) Financial Programmer Analysts (Job ID# FPAHQ1009) Information Technology Directors (Job ID# ITDHQ1009) Marketing Managers (Job ID# MKTHQ1009) Market Research Analysts (Job ID# MRAHQ1009) Product Managers (Sales Engineers) (Job ID# PDMHQ1009) Submit resume to GMHRADS@symantec.com †Must reference position & Job ID# listed above. EOE. For additional information about Symantec and other positions visit our website at. http://www.symantec.com.

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Technology Verigy US, Inc., provider of semiconductor test solutions, has an employment opportunity for the following position in Cupertino, CA: Staff Consultant (SCON02): Provide technical leadership, perform demos, create optimized test solutions. If interested, ref job code and send to: Verigy US, Inc. Attn: R. Butts. 10100 N. Tantau Ave, Cupertino CA 95014.

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g General Notices Announcements

UpRoar 2009 - Art Exhibit/Sale & Opening Party Heart of Chaos (see http://www.heartofchaos.net ) proudly presents their 3rd annual UpRoar event. South First Billiards & Lounge (21+ venue) in Downtown San Jose on Friday, November 6, 2009 at 7:30pm and will feature live music by local bands and djs, live painting and belly dancing.

g Electronics

Get Dish-Free Installation $19.99 per month. HBO & Showtime Free. Over 50 HD Channels Free. Lowest Prices no equipment to buy! Call now for details: 877/2420974. (AAN CAN)

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Advertise In Metro's Classified Section Be seen both in print and onlineby one of the largest, most active audiences in the South Bay! To advertise visit metroactive.com or call 408/200-1300.

g Computer Services Consultants

We SOLVE Computer Problems!! Mention Metro Ad For $20 “Express Computer Tune-Up” Computer Repairs for Desktops, laptops, home networks, virus, slow/dead systems, data recovery. Microsoft Certified. Call for free quote!!! Free pickup and delivery. 408-734-3123.

g Music

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Biggest Bead Show in Pregnant? the West ! Considering Nov.14th -15th, Marriott Oakland City Center, Adoption? Broadway @ 10th St. Admission $7 for two days. For more information, visit www.BeadExtravaganza.com

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

The Metropolitain Palo Alto Monthly and hourly music rehearsal space. Music instrument (fretted and vintage keys) and amplifier service. 650.279.1793

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Need Music? Got Music? Check out the Metro Classifieds's music section. To advertise call 408-200-1300

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

g Legal Notices

Legal & Public Notices

FICTITIOUS BUSINESS NAME STATEMENT #530660 The following person(s) is (are) doing business as: Rajeunir Day Spa, 509 E. Campbell Ave., Campbell, CA, 95008, Yang D Hollenkamp. 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/Yang Deng Hollenkamp This statement was filed with the County Clerk of Santa Clara County on 11/03/2009. (pub Metro 11/11, 11/18, 11/25, 12/02/2009)

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)

Your ad will appear in both print and online. To advertise visit metroactive.com or call 408/200-1300.

FICTITIOUS BUSINESS NAME STATEMENT #530349 The following person(s) is (are) doing business as: Lavo Realty, 6120 Hellyer Ave., Suite 100, San Jose, CA, 95138. This business is conducted by a Corporation.

Business Listings

Business Listings

when you use deceit to cover up the messy facts about a situation. A blackwash is just the opposite: It’s when you invoke candor as you reveal complications that have previously been veiled. According to my analysis of the astrological omens, the coming weeks will be prime time to enjoy a jubilee of blackwashing. But I suggest that you proceed gently. Remember that not all hidden information is a sign of malfeasance or evil intentions. Sometimes the truth is so paradoxical and nuanced, it’s hard to get it completely out in the open all at once. And sometimes people are motivated to keep things secret mostly because they’re afraid to cause pain.

IVjgjh (April 20–May 20): “Dear Rob: I’ve read horoscope columns written by many astrologers, and yours is the only one that’s not prejudiced against at least one of the signs. You really do treat everyone equally. You play no favorites. But that’s exactly the bone I have to pick with you. I’m wondering if you’ve got a passion deficiency or something. It seems abnormal not to display a hint of bias now and then.” —Suspicious Taurus Dear Suspicious: My own birth chart includes elements of both Taurus and Libra. The Taurus part of me has strong feelings and deep passions, while the Libra part of me is fair-minded and well-balanced. They’ve worked out a synergistic arrangement that allows me to maintain my equilibrium as I feed my intensity. I recommend this approach to you right now. <Zb^c^ (May 21–June 20): Personally, I’ve never been very smart about making investments. At least in that area of my life, my intuition seems to work in reverse. I often do the precisely wrong thing at the wrong time. Billionaire businessman George Soros, on the other hand, is a genius. When facing a decision about which way to go financially, he says he becomes a jungle animal guided by actual sensations in his body. You Geminis have arrived at a phase when your choices could have long-term effects on your relationship with money. According to my reading of the astrological omens, you’ve got the potential to be like Soros rather than me. Trust your instincts. 8VcXZg (June 21–July 22): This will be a smooth, easy and graceful week for you—if, that is, you get yourself out of the way and allow the universe to do its job. Can you do that? It doesn’t mean you should be passive or blank. On the contrary, in order for the cosmos to perform its magic, you should be on the lookout for what captivates your imagination and be primed to jump when life says “jump!” Be both relaxed and alert; receptive and excitable; surrendered to the truth and in intimate contact with your primal power. Then the song will sing itself. The dream will interpret itself. The beauty will reveal itself. AZd (July 23–Aug. 22): Mathematician Charles

Babbage (1791–1871) is considered a “father of the computer.” Among his many inventions, he created a mechanical calculator that was a forerunner of the magical device that’s so indispensable today. And yet Babbage had other obsessions that were not as useful. For his own amusement, he once counted all of the panes of glass that had been broken in a factory over a period of 10 months, and investigated the cause of each break. He also spent an inordinate amount of time estimating the statistical probability that the miracles reported in the Bible had actually occurred. I bring this up, Leo, in the hope that you will concentrate on your own equivalent to Babbage’s calculator, and not get sidetracked by meditations on broken glass and Biblical miracles.

K^g\d (Aug. 23–Sept. 22): “Everything that emancipates the spirit without giving us control over ourselves is harmful,” said Goethe. Luckily, Virgo, you’re in the midst of a process that may emancipate your spirit and give you more control over yourself. Here are two ways you could cash in on this potential: 1. Brainstorm about a big dream even as you attend to the gritty details of making the dream a reality. 2. Expand your imagination about your tricky situation even as you burn away the illusions you have about your tricky situation. Photo Exhibit • through Dec. 2, 2009 550 South First St. San Jose

ROB BREZSNY

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FICTITIOUS BUSINESS STATEMENT FICTITIOUS BUSINESS NAME Run Your Ad In Metro #529846 NAME STATEMENT Classified's The following person(s) is #529378 Legal Section (are) doing business as: Bio The following person(s) is (are) doing business as: Shoe Candy, 50 North Santa Cruz, Los Gatos, CA, 95030, Lucille Mendes, 1062 Drexel Wy., San Jose, CA, 95121.

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6g^Zh (March 21–April 19): A whitewash happens This business is conducted by a individual. Registrant has not yet begun transacting business under the fictitious business name or names listed herein. /s/Lucille Mendes This statement was filed with the County Clerk of Santa Clara County on 9/28/2009. (pub Metro 10/28, 11/04, 11/11, 11/18/2009)

ASTROLOGY

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Legal The state of Corporation: California. Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. /s/Rada Nhem President #3257423 This statement was filed with the County Clerk of Santa Clara County on 10/23/2009. (pub Metro 10/28, 11/04, 11/11, 11/18/2009)

NOVEMBER 11-17, 2009

A^WgV (Sept. 23–Oct. 22): Have you heard about the new sport of chess boxing? Two competitors play chess for four minutes, then put on boxing gloves and try to punch each other for three minutes; they continue this rhythm for up to 11 rounds. I suspect

you’ll soon be asked to meet a similar challenge, going back and forth between two contrasting modes. If you treat this challenge as a fun game rather than a crazy-making exertion, you’ll do fine.

HXdge^d (Oct. 23–Nov. 21): A 13-year-old girl shocked everyone by winning a plowing contest in England. Driving a 12,000-pound tractor and pulling a fivefurrow plow, Elly Deacon did a better job than all of the middle-aged male farmers she was competing against. What’s more remarkable is that she was a newcomer, having had less than a week’s experience in the fine art of tilling the soil with a giant machine. She’s your role model for the coming week, Scorpio. Like her, you have the potential to perform wonders, even if you’re a rookie, as you prepare a circumscribed area for future growth.

HV\^iiVg^jh (Nov. 22–Dec. 21): I hope that by

now you have finished scrabbling along on your hands and knees over burning hot shards of broken glass. The next and hopefully final phase of your redemptive quest should be less torturous. In this upcoming chapter, the operative metaphor might be assembling a jigsaw puzzle with 200 pieces, all of which are red. Amazingly enough, you actually have it in you to accomplish this improbable feat—as long as you don’t spread out the puzzle pieces all over the burning hot shards of broken glass. Find a nice, clean, quiet place to do your work.

8Veg^Xdgc (Dec. 22–Jan. 19): According to

psychologist Carl Jung, one of the most potent influences that our parents have on us is their unlived lives. Whatever dreams they didn’t pursue, whatever longings they didn’t fulfill, are likely to worm their way into our core, often without our conscious awareness. There they get mixed up with our own dreams and longings, causing us confusion about what we really want. The coming weeks will be a good time for you to get clear about this. You’ll have the power to untangle your own deepest, truest desires from the muffled wishes your mommy and daddy deposited in you.

6fjVg^jh (Jan. 20–Feb. 18): “Awesome” has become

a commonplace word that is used to express gladness about small triumphs and simple pleasures. Today, for instance, a woman at the local cafe uttered a sweet “Awesome!” when someone pointed out to her where she could find an electrical outlet to plug in her laptop. Back in the old days, however, “awesome” was a portentous term invoked only rarely. “Awe” referred to an overwhelming feeling of wonder, reverence, admiration, inspiration or even agitation in the face of a sublime or numinous experience. In the coming week, Aquarius, I expect you will experience more than your usual quota of both kinds of awesome.

E^hXZh (Feb. 19–March 20): According to Leonardo

da Vinci, you could magnify the power of your prayers or meditations ten-fold by bathing in purple light. Back in his time, that was easiest to accomplish by standing near a church’s stained glass window that was tinted purple. These days you can get the same effect with the help of a purple light bulb. Alternately, you could simply close your eyes and visualize yourself surrounded by a shimmering purple glow. I recommend this practice for you in the coming days. It’s an excellent time to do anything and everything to intensify your spiritual power. P.S. Experts in color theory say that purple nurtures the development of the imagination, which would be of great value to you as you tone and firm your devotional impulses.

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STRAIGHT DOPE NOVEMBER 11-17, 2009 M E T R O S I L I C O N VA L L E Y

CECIL ADAMS

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=dl ^h ^i i]Vi! ^c eaVXZh l^i]dji cVijgVa [ZVijgZh hjX] Vh V g^kZg dg bdjciV^c gVc\Z id bVg` V WdgYZg! J#H# hiViZh XdjaY ZhiVWa^h] V c^XZ! ZkZc a^cZ dkZg ]jcYgZYh d[ b^aZh WZ[dgZ <EH4 Å<gVc^iZ"BdgVaZ The lines aren’t always nice and even. Study a U.S. atlas and you’ll find many supposedly straight boundaries with slants and zigzags in them, the work of surveyors who were, and it pains me to say this, borderline incompetent. Still, the remarkable thing isn’t how often the surveyors screwed up but how often they didn’t. Here’s a primer on the old-fashioned way to draw a straight line on a bumpy planet. First a question: why straight lines? Straight lines had the virtue of simplicity. There are many Potomac branches for Virginia and Maryland to argue over, but there’s only one 42nd parallel. Now let’s get to work. Step 1. Understand a straight line isn’t always a straight line. In surveying then and now, one worker holds a pole while another trains a surveyor’s transit on him. They designate what’s literally a landmark, anything from a blaze on a tree to a stone monument. Then they move on to the next line segment. As long as they keep all the marks aligned, the result is a straight line, right? Wrong. What you get is a line of sight that defines a geodesic or great circle. It’s the shortest distance between two points. However, except at the equator, it doesn’t follow the parallels of latitude commonly used for east-west borders. Not getting this? Draw a string taut between two points on a parallel of latitude on a globe. See how the line formed by the string diverges from the latitude line? There are ways to compensate for this, some simple, some mindnumbingly complicated. Let’s just say that whereas today when you see a smart child you think “future newspaper columnist,” 200 years ago you’d have said, “That kid’s a born surveyor.” Step 2. Understand the difference between true north and magnetic north. Magnetic compasses don’t point to the north pole, but rather to a spot about 500 miles distant, a fact surveyors take into account when determining true north. Compensating requires constant adjustment as you move around. This subtlety was lost on some early surveyors. The knuckleheads who laid out most of the Virginia–North Carolina– Kentucky-Tennessee border didn’t realize they needed to adjust their adjustments, so as they headed west, the boundary curved north. The surveyors who handled the western end of the border, working east from the Mississippi,

covered less ground and so had less chance to screw things up. Where the two lines meet, at the Tennessee River, there’s a 12-mile jog still conspicuous on maps. Step 3. Establish true north. This wasn’t that hard to do in the old days. You just had to get up at a defined time in the middle of the night, sight on the North Star and possibly make an angular adjustment. You then dropped your scope to the horizon and marked the spot with a lantern, and that was true north. Then you had to take your chances with a magnetic compass, or else await the 1835 invention of the superior solar compass, which merely required precise knowledge of the time, latitude and solar declination, plus of course no clouds. Step 4. Establish a starting point. Precision is obviously critical. Reportedly surveyors took 3,000 observations trying to find the longitude of California’s northeast corner and still didn’t get it. To simplify matters, Congress sometimes specified that a boundary start at a landmark, but that wasn’t foolproof. The Missouri-Iowa border is supposedly marked by “the rapids of the River Des Moines.” The Supreme Court later had to decide: what rapids? Step 5. Chop a slot through the forest. Drawing a bead on the guy holding the pole only works if nothing’s in the way—a challenge in colonial times, when the eastern third of the country was densely covered with trees. When Charles Mason and Jeremiah Dixon laid out their famous line separating Maryland, Pennsylvania and Delaware in the 1760s, they had axmen hack a path through the woods called a visto. It was eight or nine yards wide, several hundred miles long. Step 6. Sober up. In the 1770s a party-hearty type named Collins led a team that surveyed the boundary between Quebec and Vermont. On one 22-mile stretch, a fifth of their expenses went for booze. The result, an international commission later acknowledged, was “very far from a straight line.”

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You saw it in the Metro Classifieds!

California law requires that contractors taking jobs that total $500 or more (labor or materials) be licensed by the Contractors State License Board. State law also requires that contractors include their license number on all advertising.

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M E T R O S I L I C O N VA L L E Y NOVEMBER 11-17, 2009 CLASSIFIEDS

real estate gg Real Estate Rentals

Real Estate Sales

Shared Housing

Homes Under $600K

ALL AREAS - RENTMATES.COM Browse hundreds of online listings with photos and maps. Find your roommate with a click of the mouse! Visit: www.Rentmates.com. (AAN CAN)

Rural Hollister Home Private lot with a clean turn key home on a fully landscaped nearly a 1/2 acre overlooking views of mountains and valley. 3 bedroom, optional 4th bedroom. 831636-8858

Notice All real estate advertised in Metro Newspapers is subject to the State and Federal Fair Housing Act, which makes it illegal to advertise any preference, limitation, or discrimination based on race, color, religion, sex, handicap, family status (the presence of children), or national origin, or the intention to make any such preference, limitation, or discrimination. State and locate laws forbid discrimination in the sale, rental, or advertising of real estate. We will not knowingly accept any advertising for real estate which is in violation of the law. All persons are hereby informed that all dwellings advertised are available on an equal opportunity basis to the best of our knowledge.

landbargins.com

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Handy Man/ Investor specials We have been locating many properties in San Jose and Watsonville that are perfect for a handy man or an investor that is in to rehabbing properties. Taplin Investments. 1-800-825-8343

Pirates Pir ates o off P Penzance! enzanc a e! E Enter nter to to win a pair pair of of tickets tickets San San Jose Jose Ballet’s Ballet’s Pirates Pirrates of of Penzance! Penzance!

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Lease a home with the option to buy. Choose through thousands of properties from our nationwide database. Pictures included!! Call for more information (805) 6838600 (AAN CAN)

Be seen by one of the largest, most active audiences in the South Bay! Your ad will appear in both print and online for one great price. To advertise visit metroactive.com or call 408/200-1300.

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[71]

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For Holidaze Boutique at Crosswalk Community Church, 445 South Mary Avenue, Sunnyvale. Date: Dec 5 and 6, 9am to 5pm. Email: pgraves@crosswalkchruch.com for information and application or call 408-736-3120.

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