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DECEMBER 2-8, 2009 · VOL . 25, NO. 40 · SAN JOSE, CA · FREE

Win Wi W Win Wi in in n Sugarland signed guitar and CD catalog | Dinner at Red Lantern METROGIVEAWAYS.COM Silicon Valley visionary backs life-extension research p11 Jim Fox’s legacy p11

A somewhat subversive mission to promote humanity and social values in high-tech Palo ALto By Stett Holbrook p14

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

DECEMBER 2-8, 2009

[03]

[04] CONTENTS

DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

Cover Silicon Valley’s Weekly Newspaper

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

DECEMBER 2-8, 2009

[05]

[06] LETTERS

DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

self-serving in approach. Society’s proclaimed outcasts or “sinners,â€? like the repressive Roman soldier centuries ago who turned to Jesus as a last resort when his son was dying, should ďŹ nd openness and creative will to accept and welcome all the Children of God. Bravo for being open to taking the time to explore the life experiences of all people, especially those that people with money, power or comfort zones to protect like to judge and write off as losers or lost souls. Many of us know that Jesus used to dine with pre-judged individuals and told them “theirs was the kingdom of heaven.â€? It never hurts for the media to remind all us, from time to time, whether we, in this free society, are really “walking the walkâ€? that we like to showcase and talk. Bob Rucker SJSU Journalism & Diversity in Media professor

Dealer vs. Driver Haven’t you ďŹ gured it out yet? (“Big Brother,â€? Letters, Nov. 11). I have many friends that are in law

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Walking the Walk Thank you for including me in “The Church’s New Colors� story (Cover Story, Nov. 18). It was one of the most thorough, honest, accurate and moving newspaper stories I have ever read in more than 30 years as a professional journalist. Your facts were well researched and dead on the mark. Your quotes were detailed and accurate, and the guts you showed tackling this sensitive topic with candor and professionalism was, in

my view, deserving of top journalism awards! Straight people and members of the GLBT community have been reading this story online across the nation and the world. My email inbox has been lighting up with reactions! Overwhelmingly, most have been brought to tears of joy, thankful for your reporting efforts and hopeful that maybe, just maybe, we as a nation, and as a church, can now focus on the basic value and gifts of all human beings, which has been

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sorely missing in many of the timely, heated and hurtful political issue debates about gays and lesbians. While some may be challenged by your creative use of the pastor’s photo with the GLBT ag as a backdrop, many in the faith community see your initiative to combine the two as an inspiring step that Jesus himself might have taken. He wasn’t afraid to shake things up and knock down long-held barriers and taboos which have long since been proven to be far too simplistic in thinking or

enforcement and in no way am I being disrespectful. The police officers in California go after the drunk driver and leave the drug dealers and the people using drugs alone, Why? If you arrest a drunk driver, he is usually employed and is somewhat stable. If you arrest this person, he will more than likely pay the ďŹ ne, attend and pay for the classes and report as ordered by the judge—and usually continue to live life without crime. The drug dealer and the drug user, however, are a different story. Both are a menace to society; they steal, rob, break into homes, they are not stable, they continue to break the law and are usually out on the street before the officer can ďŹ nish his report. If convicted, and most are, they become a liability to society and usually end up in prison where we as law-abiding citizens support this individual for a period of time until he is released and usually begins the cycle all over again. Get it? Why go after the drug dealer and user when the drunk driver is more proďŹ table. Ron Keffer San Jose

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Cleese Clown

I saw you in Redwood City. You were a twentysomething woman sitting behind us for John Cleese. You were on a ďŹ rst date with some poor schmuck. You couldn’t stop talking, before, during and after the show. Your voice was shrill, obnoxious and unbearable. You gave your date (and everyone else around you) a dose of TMI, too much information. I felt so sorry for the guy, and wouldn’t blame him for jettisoning on a second-date option. Even he shushed you once or twice. Obviously, you are a girl who knows nothing about discretion or how to maintain in public. You sounded like a drunken hyena on speed, and you ignored my diplomatic stares of disapproval. But I cut you some slack because it was, after all, a comedy show, and people do laugh when things are funny. But you really overdid it volume-wise. And I was really quite offended when you announced loudly, during Mr. Cleese’s moving memories about his dear friend and former Python writing partner, that you just couldn’t stand the late great Graham Chapman. I’m sure if he was alive he’d feel the same way about you, miss. Along with me and the rest of the Fox Theatre balcony. To paraphrase Joe Jones from his 1960 hit: You just talk too much. 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

DECEMBER 2-8, 2009

[07]

[08]

mashup MASHUP DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

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.

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Senators Tell EU to Approve Oracle-Sun Deal WITH Sun Microsystems beginning to founder as it awaits European Commission SAVIOR Tfot/!Kpio!Lfssz! boe!Pssjo!Ibudi!ibwf!hpof! clearance of its acquisition by Oracle, a up!cbu!gps!Mbssz!Fmmjtpo!jo! group of U.S. senators is urging the EC to ijt!cje!up!cvz!uif!bjmjoh!Tvo! Njdsptztufnt/ speed up its approval of the deal. In an open letter, the group—led by Senators John Kerry (D-Mass.) and Orrin Hatch (R-Utah)—essentially tells European regulators to “get on with it,” warning that further delay could result in additional layoffs for Sun’s already much diminished workforce. “Sun Microsystems’ financial position has become more precarious and the commission’s inquiry has continued,” the letter states. “Some have raised concerns over the company’s ability to continue to employ its thousands of workers. Accordingly, we respectfully request the European Commission complete its investigation of this transaction as quickly as possible.” An earnest (and surprising) appeal. But it’s hard to see it going over well with the EC, which issued a formal objection to the deal Nov. 9 and has been carping about Oracle’s lack of cooperation in its investigation for months now.

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Meanwhile, Sun, which reported a net loss of $2.2 billion for its 2009 fiscal year, compared with a net loss of $403 million for 2008, continues to lose about $100 million per month as it waits for the deal to close. —JOHN PACZKOWSKI, DIGITALDAILY.ALLTHINGSD.COM

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

DECEMBER 2-8, 2009

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MASHUP DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

Free Program Overviews

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20 Career Enhancing Program Overviews Discover how professional education can help boost or retool your career. Attend our FREE Program Overviews January 6–27.

ALL EVENTS ARE AT OUR NEW LOCATION:

2505 Augustine Drive, Santa Clara Q January 6 Business Administration and Pre-M.B.A., 13548-009 Q January 7 Accounting, CPA and CMA, 22407-002 Q January 9 Early Childhood Education: Careers and Regulations, 1923-050 Educational Therapy: Orientation, 0726-054 Q January 11 Biotechnology, Bioinformatics and Bioscience Business, 16649-010 Human Resource Management, 5235-018 Embedded Systems and VLSI Engineering, 20544-006 Web Design with Dreamweaver CS4 Preview, 6667-006 Q January 12 Financial Planning and Wealth Management, 13552-013

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Q January 13 Clinical Trials and Regulatory Affairs, 16650-010 Marketing Management, 4135-016 Network Engineering and System Security, 20545-006

AOL’s Big Plan: Robot Traffic Whoring

TESL Certificate, 4156-070 Database Systems, 3212-011

Q January 27 Silicon Valley Business Leadership, 6658-011

Software Development, 3085-015

For event details, times, and to register, visit us at ucsc-extension.edu/tm

SiliconValley

K N OW L E D G E YO U P U T TO WO R K

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Twitter Declared Most Popular English Word of 2009

Project and Program Management and Advanced Applied Project Management, 13547-009

Q January 21 Instructional Design and Delivery, 19314-010

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Q January 14 Administrative and Executive Assistants, 6941-011

Q January 19 Technical Writing and Communication, 0469-010

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M E T R O S I L I C O N VA L L E Y DECEMBER 2-8, 2009 NEWS

“Fully Deployed and Urgently Pursuing the Endgame.”

Santa Clara Valley, California

the

FLY

Downtown Pioneer Dies

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DR. ETERNITY Sbz!Lvs{xfjm-!xip!mbvodife!Tjohvmbsjuz!Vojwfstjuz!jo!Npvoubjo!Wjfx!

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The Methuselah Manifesto

A Silicon Valley entrepreneur and futurist is at the center of a movement to extent human life—indefinitely By Ronald Bailey

I

F you’re under age 30, it is likely that you will be able to live as long as you want. That is, barring accidents and wars, you have centuries of healthy life ahead of you. So the participants in the Longevity Summit that convened in Manhattan Beach last week contend. Over the weekend, Maximum Life Foundation president David Kekich gathered a group of scientists, entrepreneurs and visionaries to meet for three days with the goal of developing a scientific and business strategy to make extreme human life extension a real possibility within a couple of decades. Kekich dubbed the effort the Manhattan Beach Project. Tech entrepreneur and futurist Ray Kurzweil, who launched

the Google-backed Singularity University at the NASA Ames Research Facility in Mountain View three weeks ago, opened the conference with a virtual presentation on exponential technology trends that he believes are making a leap in longevity possible. “We are very close to the tipping point in human longevity,” Kurzweil said. “We are about 15 years away from adding more than one year of longevity per year to remaining life expectancy.” This has been labeled by summiteer and life-extension guru Aubrey de Grey as “longevity escape velocity.” Achieving escape velocity, according to Kekich, would mean that “your projected day

of reckoning moves further away from you rather than closing in on you.” “Health and medicine will be a million times more powerful in 20 years,” Kurzweil said, predicting that the complexity of biology will yield to the exponential powers of applied information technology and take off. He cited Moore’s Law, which in 1965 predicted the doubling of microchip functionality and halving of its costs every two years—and which has proven correct. The decrease in cost and increase in speed of sequencing whole human genomes is outpacing even Moore’s Law. In 2000, the first genome was sequenced after 14 years of concerted effort and at a cost of

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December 2-8, 2009 $3 billion. Now various startups offer the potential to sequence an individual’s DNA for less than $100 in under an hour. By 2029, Kurzweil says, people will be beginning their intimate merger with information technologies, biotechnologies and nanotechnologies. “Something I am personally interested in is not just designer babies,” he said, “but designer baby boomers.” Anti-aging research is a rich and varied territory right now. Researchers are finally beginning to get a handle on the actual causes of aging. With this increased scientific understanding, some researchers now believe they are on the way to figuring out how to stop it, and—eventually—how to reverse it. Michael Rose, a biologist at the University of California, Irvine, has been breeding longlived fruit flies for decades. Rose’s work is built on the premise that natural selection only works to keep organisms healthy and alive until they have reproduced. After reproduction, the human body no longer works to prevent the accumulation of damage that leads to aging and death, because your genes have moved on to your children. Rose has produced fruit flies that live four times longer than normal—the human equivalent of being healthy at age 300. The Methuselah flies are more fecund and better at handling environmental stresses than are normal flies. Insights garnered from the genomics of long-lived flies are being used by Genescient LLC to develop anti-aging supplements for people. The company plans to release its first product in 2010. “In my world, biological immortality is possible,” Rose says. William Andrews, head of Sierra Sciences (motto: “Cure Aging or Die Trying”), says his company’s project is to identify compounds that lengthen “telomeres”—sequences of DNA that cap the ends of &'

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NEWS DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

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chromosomes to keep them from unraveling. Andrews argues that telomeres control aging in cells and thus control aging in us. And a new study this month reports that centenarians have longer telomeres than the rest of us. According to Andrews, when an adult’s telomeres get down to a certain size, they die of old age. By looking at telomere length in a blood sample, Andrews says, “I can tell how old you are and how long you have before you die.” (For the curious, Spectracell offers a commercial telomere length test.) The only cells in our bodies that do not suffer telomere shortening are reproductive cells, thanks to the enzyme telomerase. The goal of Sierra Sciences is to develop compounds that will reactivate telomerase in somatic cells. After screening more than 160,000 compounds, Sierra has come up with 33 that activate telomerase and lengthen telomeres. “This would be the biggest thing to hit the planet, if we can turn these into drugs,” Andrews says.

Biological Machines Why do some people live to be more than 100 years old? That’s the question that Stephen Coles, head of the Supercentenarian Research Foundation (SRF) is trying to answer. Supercentenarians are people who are over 110 years old. In the world there are 76 currently validated supercentenarians, 72 are female and 4 are male. The genetic underpinnings of their longer lives are still murky. However, Coles has performed a number of autopsies and he has found that most died of senile cardiac amyloidosis, the accumulation of amyloid fibers in their heart muscles. Anti-aging research is not for the fainthearted. Biologist Michael West was one of the founders of the Menlo Park biotech stem cell company Geron. He later founded Advanced Cell Technology which worked on therapeutic cloning. Therapeutic cloning, a.k.a somatic cell nuclear transfer, involves inserting nuclei from specific patients into human eggs to produce stem cells that are immunologically matched to those patients. The goal would be to transform these stem cells into other cells—nerve, muscle, immune system cells—which could be used to repair damaged or old tissues and organs. That’s the theory, but no one has been able to perfect the practice; no stem cell lines have been derived from cloned human embryos so far. West now heads up BioTime, which is increasingly focused on using induced pluripotent stem cells (IPS cells). IPS cells are created by dosing normal adult cells, say skin cells, taken from a patient with various embryonic factors that cause it to revert to an earlier stage of development. IPS cells can be transformed into other types

of cells which can be used to repair damage or rejuvenate tissues and organs. For example, new hemangioblasts, the precursor cells of blood, could be used to reconstitute and rejuvenate the human immune system. Theoretical biogerontologist, Aubrey de Grey, the founder of the SENS Foundation and the Methuselah Foundation, is the energizer bunny of anti-aging scientific research and advocacy. SENS stands for Strategies for Engineered Negligible Senescence, which De Grey defines as “an integrated set of medical techniques designed to restore youthful molecular and cellular structure to aged tissues and organs.” De Grey says one proposed anti-aging solution is to install mitochondrial genes in the nuclei of cells. One theory of aging is that the cellular powerhouses, the mitochondria, produce highly reactive molecules called free radicals as a side effect of generating energy to run cells. These free radicals over time cause mutations in mitochondrial genes that become ever more damaged, producing even more free radicals in a downward death spiral. If these mitochondrial genes could be moved to the more protected nucleus, this free radical death spiral could be greatly attenuated. Engineering this migration from mitochondria to nucleus has been successful for one gene so far. De Grey says that defeating the aging process would also require eliminating the damaging crosslinked proteins and sugars that clog cells and damage the extracellular matrix. The SENS Foundation is funding research to find enzymes in bacteria that degrade these organic complexes with the goal of turning them into drugs. One major barrier to cracking the problem of aging is a shortage of researchers. Computer scientist Peter Voss, the founder of Adaptive Artificial Intelligence, aims to solve that shortage by creating the equivalent of thousands of virtual researchers and research assistants. “Imagine hundreds of thousands of Ph.D.-level machines chipping away at the aging problem,” Voss muses. Two years ago, at the Singularity Summit at Stanford University, Voss said: “In my opinion AIs will be developed almost certainly in less than 10 years and quite likely in less than five years.” At the Longevity Summit last week, Voss predicted that his artificially intelligent researchers would be ready in six years. In his presentation Kurzweil had envisioned constant nanotech monitoring of individual brain cells. Such nanotech devices would “ultimately capture our mind files and back them up,” he said. “A thousand years from now, people will think it pretty daunting the people today went through life without backing up their mind files every day.”

News Editor Eric Johnson: eric@metronews.com

M E T R O S I L I C O N VA L L E Y DECEMBER 2-9, 2009 SILICON ALLEYS

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Bella Verse

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HIS WEEK, I regale you with another “local boy makes good” saga and it takes some quick, albeit fuzzy, recollection of the mystique of one Mr. Frank Bella, whose poem, “Novus Credo,” appears in a new independent collection of poetry inspired by the work of Leonard Cohen. Titled Leonard Cohen You’re Our Man, the book erupted from the Foundation for Public Poetry in Montreal, Cohen’s hometown. Net proceeds will go toward a Leonard Cohen Poet-in-Residence program at Westmount High School, his alma mater. Poets from around the world responded to a call for submissions and Bella was one of 75 who were accepted for inclusion in the book. Eighteen years ago, Bella was a regular at Marsugi’s and the Ajax Lounge in downtown San Jose, where he staged riotous booze-fueled live mic sessions under the banner of a “Purgatory Tour.” The gigs were legendary. Poets, musicians and often people who were neither took part in the debauchery. The winner of the evening’s antics would sometimes win a leg of lamb or a similar prize. It was a killer scene. Bella has published several times—this is by no means a debut—but “Novus Credo” is his most recent piece in print. After hearing about the planned book from the Leonard Cohen MySpace page, he wrote his entry while slogging away at a horrendous data entry job in Chico, where he now lives. “You always come up with your best stuff when your life is fucked,” he said over the phone. Leonard Cohen You’re Our Man—a brainchild of Montreal poet Jack Locke—required only one thing from its contributors: Their submissions must react to something previously done by Leonard Cohen. That’s it. As a result, a wide mishmash of scribes are included in the book—from the sappy to the sublime. Many poets wrote pieces in direct response to a particular Cohen poem or song; some riffed on Cohen’s entire oeuvre over the course of his career; others mimicked the rhythm or cadences in a particular Cohen work; and a few just wrote free-verse letters to Leonard. Incorporated in the volume are free-flowing streams from the subconscious, jealous longing for Leonard’s attention, humorous lyrical pieces and even haiku. They also got Margaret Atwood to supply a poem. Her contribution, hypothetically written to Cohen and titled “Setting Leonard to Music,” recalls the ’50s, when Cohen originally burst on the scene as a “soulful bardic star of college girls” while she was a “blue-eyed frightener despite my curls.” In the end she tells him: “You’ve always known that life’s a song, And you have to wing it; Whatever darkness comes your way, at least you’ll sing it.” Another poem, by Tom Wayman, is The gigs were titled “Leonard Cohen Didn’t Get Me legendary. Poets, Laid.” The narrator stares into his beer musicians and often while listening to other women in the bar fawn over Cohen. people who were Bella’s contribution is in response neither took part to a Cohen’s poem, “Credo,” in which in the debauchery. the narrator and his partner achieve sanity via “ordinary morning lust” while biblical plagues and spats between God and Satan carry on around them. Bella’s poem responds, adding: “We do not need cities or promises with all this going on above us below us within us and all the holiness. Love frees slaves, silences priests and Pharaohs.” In order to promote the book and raise more money, the Foundation for Public Poetry is currently planning a tour stateside with a potential spring show in Los Angeles. All the California-based poets in the book, including Bella, have committed to show up and perform. Poets interested in participating, and persons willing to help with financial and logistical support, are encouraged to visit the Foundation’s website: (publicpoetry. wordpress.com). “The reading and book tour will be a Canada/U.S. cooperative cultural tour,” it says. “Our goal is to take a bus from Montreal to Los Angeles and hold readings at various locations along the way. Canadian poets who are represented in the book will travel across the continent to meet up with California poets in the book at a special L.A. reading.” Battalions of the wretched, wild with holy promises: SiliconAlleys@metronews.com

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DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

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[14] COVER STORY

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M E T R O S I L I C O N VA L L E Y DECEMBER 2-8, 2009 COVER STORY

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For 30 years, a band of down-to-earth hyper-intellectuals in Palo Alto have been fomenting a quiet revolution—and laying the groundwork for a new world By Stett Holbrook

Y

ALE University student David Schrom sat alone in his room with his 326-page thesis in one hand and a loaded shotgun in the other.

It was 1968, and he was in his senior year. Although he was a gifted student who could have done anything with his life, the future no longer looked so bright. Since starting Yale, he had been questioning everything about his life—his upbringing, his values, his place in the world. The culture of the ’60s had had a powerful impact on him, and he had been on a quest to find deeper meaning in his life and what he was supposed to do with it. “The more I inquired about the underpinnings of my life, I discovered they were made of sand instead of stone,” he says. 19

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But he also thought of the gifts and education he had received, and decided not to pull the trigger. Instead, he set out on a path that led him to blast through what he says are the illusions and selfdeception that block people from living well and helping others to do the same. It’s a journey that led him to Palo Alto, and the founding of a radical intellectually community and a life philosophy that he and others believe could be the salvation of us all. “Magic,” as the community and the nonprofit group that grew out of it are called, claims to be applying the scientific method more fully and more consistently to questions of value. By “value,” they refer to what we want and how we get it. Taken to its logical end, such a practice would necessitate profound changes in the way we live. That’s because we would discover that it is in our self-interest to treat each other more kindly, to end suffering where we can and to make all human endeavors subservient to the environment, rather than the other way around. “We have made our human laws incompatible to natural law,” says Schrom. “I think we can be much better than we are.” Part of Magic’s mission is to reclaim science from the academy, corporate-

backed research labs and the government. Schrom cites the Bush administration’s politicization of science to suit its agenda on human evolution and global warming. “Science has been used as a tool to reinforce authority,” he says. “It’s a word that has been stolen.” In 1999, Hillary Hug was a student at Stanford taking a class in environmental ethics. As part of her course she helped plant oak trees with Magic, and it planted a seed in her. “A lot of people want to be good,” she says, “but where do you go to do that?” Many look to religion but that wasn’t for her. She was drawn to the Palo Alto group’s brand of secular humanism and went on to move into the community. That was 10 years ago and she’s been at Magic ever since. The core members live in three adjacent homes on a suburban street near California Avenue. The leafy avenue is home to Stanford professors and other professionals. The trio of Magic houses are more modest than some, but give no outward sign of the intellectual hothouse within. Schrom had considered communal living deep in the woods at the end of the road somewhere, and he visited communes 20

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[20] COVER STORY

DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

MAGIC 19 just like that. But he found them too isolated, socially and intellectually. While Schrom came of age in the ’60s and once had long hair and the rest of the accoutrements of the counterculture, Magic is no hippie commune. The members describe it as a “residential service learning community.” But it’s also a living laboratory of provocative ideas put into practice. Magic has received widespread recognition for its community service and philosophical contributions. These include awards from the International Oaks Society for assessing the ecological impacts of climate change, an award for swim instruction from New Zealand Triathlete, an award for urban forest planning from the Journal of Arboriculture and an award for mediation and community development from the American Society of Landscape Architects. The group also won an award for public service from Stanford University.

Schrom’s father, a strict Lutheran with a strong Puritan streak, feared Yale would turn his son into a communist or worse. He was right. The organization depends on income from its various programs—such as maintaining oak trees on the Stanford campus—as well as gifts from supporters. Dinners are taken together in one house. Much of the food is salvaged from local markets. Meals are usually vegetarian unless someone comes across a source for meat that might go to waste. The house is spartan, spare even. There’s nothing on the walls but bookshelves. The dining room holds a few pushed-together tables and mismatched chairs. The house will probably never make the pages of Sunset magazine, but what the dining room lacks in contemporary furnishings is made up for in conversation. The plain room routinely hosts travelers, visiting intellectuals and seekers from all over the world. Chris Tyler moved into Magic in 2002 after a friend suggested he check the group out because “they ask good questions.” “I came here not knowing what I was looking for, but I found it,” he says.

He holds a Ph.D. in math and is pursuing a second doctorate degree in economics while working with Magic.

New Scientist David Schrom’s life was supposed to be different. He was supposed to do what was expected of him. Instead he devoted his life to Magic. Born and raised in York, Pa., the longtime Palo Alto resident was a gifted student. He was president of his high school’s debate team. He was a National Merit scholar and a member of the presidential honor society. He even won a good driver award. As a boy he accompanied his father to the factories he owned and got a firsthand education in labor relations, engineering and product development. He was being groomed for a career in engineering or maybe even politics. He was accepted to Yale University in the fall of 1964. His father, a strict Lutheran with a strong Puritan streak, wanted him to go to school in Pennsylvania like he did and feared Yale would turn his son into a communist or worse. He was right. At Yale, Schrom, now 63 with mischievous eyes and a bemused smile, was classmates with George W. Bush—who, he recalls, made a point of memorizing everybody’s name and face from the school’s yearbook. But just as his father feared, so far did he stray that in his sophomore year his father formally disowned him, effectively cutting him out of an inheritance of several million dollars. Schrom in turn became so disillusioned with the world that he contemplated suicide. Back from the brink, he entered Yale Law School, where he sometimes sat next to Bill Clinton and Hillary Rodham. But Schrom didn’t spend much time in class. He spent most of his law school years in the library feeding a voracious desire to know about life, about man’s impact on the environment, about the limits of growth and about how one might live life differently. After law school Schrom worked a number of jobs including as an engineer for Honeywell, an architect for a firm that designed the Windows of the World restaurant atop the World Trade Center and a lawyer for a San Francisco corporate law firm. He even did a stint in President Carter’s Environmental Protection Agency. “I tried to find a place but I kept feeling really disgusted,” he says, disgusted by the immorality, dishonesty and pointlessness of what he was doing. Drawn by the social upheaval of the Bay Area, Schrom settled in Palo Alto in 1973. In the early 1970s the human potential movement, the environmental movement 23

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DECEMBER 2-8, 2009

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M E T R O S I L I C O N VA L L E Y DECEMBER 2-8, 2009 COVER STORY

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MAGIC 20

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and the social justice movement were in full swing and Schrom “pogosticked” from one group to another while dabbling in psychedelics and trying on different alternative communities for size. In the end, he grew disenchanted with what he saw as the narrowness of each group and unwillingness on their part to make common cause. Rather than go on lamenting the state of affairs, he and a few fellow travelers decided to form their own group. Magic was born in 1979. Magic is a community of like-minded people as well as a nonprofit group that performs activities like tree planting, conflict mediation, swim lessons, food salvaging, street improvement and teaching classes at Stanford. In one of the group’s first acts it succeeded in getting the city of Palo Alto to install traffic barriers on the group’s street to create a more pedestrian and bikefriendly neighborhood. Magic’s work on neighborhood tree planting prodded the city to update its tree policies. At the heart of Magic—the community and the nonprofit—is the radical concept called “Valuescience.” Put simply, Valuescience seeks to apply the scientific method and rational, skeptical inquiry to questions of values and morality. Pause and consider that. Science applied to morality. “Goodbye religious authority,” says Schrom. “Goodbye political authority. Valuescience is extremely liberating and also extremely destabilizing. It is revolutionary.” As Schrom reasons, ideas about value, or what we want, are based on prediction. We want to have children because we think it will enrich our lives. We want to go to college because we think it will get us a

better job. We want a better job because we predict it will make us happier. And so on. Schrom, who first articulated the idea of Valuescience 10 years ago, but says he has been working up to it for more than 40 years, says science is the sole method for making predictions better than simply guessing. And, so the logic goes, science is the best means to more accurately discern and more fully realize what we want and how to get it. Confusing desires with reality or clinging to dogmatic beliefs keeps us in a state of illusion and suffering, he says. “We think we’re free, but we’re not. We are compelled to do others’ bidding.” Will Valuescience set us free? Schrom believes so.

Stanford Imprimatur The name Magic is something of a lark. Back in 1972 in a time before cell phones or even answering machines, Schrom and his band of longhaired friends wanted a way to keep in touch and decided to rent a post office box. When they trudged over to apply for one, a man working there with multiple American flag tattoos told them friends couldn’t share a PO box. What about an organization? Schrom asked. That’s OK, the tattooed man said. What’s your group called? “Magic,” Schrom said, making up the name on the spot. “And this will be our magic box.” Years later, when Magic incorporated to become a nonprofit organization, the group considered a more formal, serious 24

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[24] COVER STORY

DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

MAGIC 23 ;Za^eZ 7j^igV\d

and lovers of every shape and form. It needs people who live well in their places. It needs people of moral courage willing to join the fight to make the world habitable and humane. And these needs have little to do with success as our culture has defined it.” That’s incendiary stuff to set before Stanford students, young men and women who are well on their way to becoming “successful” people in the traditional sense of the term.

Stanford Controversy

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name. But conforming to social standards of conduct wasn’t very appealing and the Magic name stuck. Schrom and other Magic members teach a class in Valuescience in Stanford’s psychology department. Schrom has been teaching versions of the class since 1979. Initially the course was called “Ecology and Economics,” but as Schrom’s thinking has evolved so has the class. It still includes readings on the environment and the economy’s impact on it, but it has expanded to include material on biology, philosophy, linguistics, psychology and other disciplines to reflect Schrom’s conviction that there is a thread of knowledge that connects all fields of scientific inquiry. The full title of the class is “Valuescience: Shedding Illusion to Live Better.” It’s a strange class to find at a university. It sounds more like a self-help course, which it is. The course description is a lengthy one: “Apply scientific methods and principles to better discern and more fully realize value. Read history, philosophy, ecology, economics, sociology, linguistics and psychology pertinent to scientific and cultural revolutions with which people around the world are making Valuescience a foundation

for an increasing range of human behavior. Study perceptual, cognitive, and cultural impediments to Valuescience; strategies for overcoming these; personal and social consequences of doing so.” It’s indicative of how college education has changed that a wide-ranging, interdisciplinary inquiry into how we might better identify our values so that we may live better lives is seen as outside the scope of a “normal” university course. Indeed, during the first week of this fall’s class students read a provocative essay about the purpose of education by David Orr, an environmental studies professor at Oberlin College. “The truth is that many things on which your future health and prosperity depend are in dire jeopardy: climate stability, the resilience and productivity of natural systems, the beauty of the natural world, and biological diversity,” Orr writes: “It is worth noting that this is not the work of ignorant people. It is, rather, largely the result of work by people with BAs, BSs, LLBs, MBAs, and PhDs.” Later he adds: “The plain fact is that the planet does not need more ‘successful’ people. But it does desperately need more peacemakers, healers, restorers, storytellers,

Because of its iconoclastic approach and sharp critiques the class has fallen in and out of favor with Stanford’s administration several times. It has appeared and reappeared under several different departments. It is offered now in large part because of the support of Dr. Jed Black. Black is a psychiatrist currently on leave from Stanford’s medical school where he ran Stanford’s Sleep Medicine Clinic for the past 10 years. Black also lives down the street from Magic. Years ago he helped the group in a tree planting project and got to know Schrom and Magic’s community service work. He and his family lived on campus in a cottage near a student dorm for several years where he served as a “residential faculty” to students in the dorm. The post put him in charge of extracurricular academics for the dorm residents, planning things like trips to the symphony, art exhibits and visiting lectures. Black invited Schrom to speak to students and those talks evolved into the Valuescience class now offered to upperlevel undergraduate and graduate students. Since Black is on leave, psychiatry and behavioral science professor William Dement now sponsors the class. At Stanford, professors may sponsor lecturers to teach noncore classes and this encourages a diverse catalog of courses. Black admits that the Valuescience class is “unique.” It’s also wildly popular, according to student evaluations. As a bright student, Brian Scoles, 23, was always told he’d go far but he never questioned where that might be. After taking the Valuescience course and spending time at Magic, he found that the idea of a high paying career no longer held such appeal. “I put assumptions aside I didn’t know I had,” he said. “Those things just fell away. He also came to regard the American ideal of independence instilled in him as unhealthy. “Instead, I seek dependence because I want to belong and feel needed,” he said. He now lives at Magic and helps administer a mentoring program at a K–8 school in East Palo Alto. Black says he’s impressed by Magic’s community service ethic and challenge to conventional wisdom.

“I continue to be intrigued by the folks at Magic and their approach to life,” he says. “[Valuescience] can lead to a more enriched life. I don’t think it will change the world, but it’s something for a lot of people that is very meaningful.” As for Schrom, Black wonders where his wellspring of passion comes from. “I’m fascinated by that. I’m also very appreciative of it.”

‘Goodbye religious authority. Goodbye political authority. Valuescience is extremely liberating and also extremely destabilizing. It is revolutionary.’ DAV I D S C H R O M

Grassroots Work In addition to the people who spend time at Magic or attend Stanford’s Valuescience class, one of Magic’s lasting legacies will be its tree planting work on the university’s hills west of campus. Schrom, who taught himself to be an arborist in his typical autodidactic style, first started “guerrilla planting” 30 years ago as a kind of thank you to the university that had been so generous to him. He spent countless hours in conversation with professors about the subjects that interested him. He remembers the incredulous looks on many of their faces when they learned he wasn’t a student, researcher or a journalist, but just someone who wanted to learn from them. “You mean you just want to know?” they asked, not sure what to make of the inquiring man before them. In time Stanford got wind of Schrom’s clandestine tree work and ultimately hired him and the volunteers he leverages to oversee 1,000 acres of rolling hills. The money helps support Magic’s work, reforests what was once cattle-trampled grasslands and perhaps in a small way helps fight against climate change. But Schrom says the work is more personal than environmental. “The work we’re doing here is more inside people’s heads and hearts.” And he’s encouraged by what he sees. “The world is waking up.” M

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

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[30] STYLE

DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

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GREEN WARE!!Dfsbnjdt!bsujtu!Nbsz!Epstdi!vompbet!uif!ljmo!bu!ifs!Sptf!Hbsefo!tuvejp/

Guilt-Free Pottery

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ORGET Pottery Barn. The exquisite handmade teapots, bowls and vases that San Jose ceramics artist Mary Dorsch creates are unique and original, not to mention almost entirely waste-free. With an official Santa Clara County Green Business Certification proudly displayed on the wall of her Rose Garden studio, Dorsch is exceptionally aware of every carbon emission she makes in the creation of her graceful, utilitarian pottery and ceramic artwork. To minimize energy use, most of the items in her studio are recycled and reused. She purchases wind power yearly to offset the electricity used by her kiln and studio lights and hand-makes her own glazes. She reuses the water in which she soaks her reclaimed clay, and even smashes up her imperfect fired works to be donated to local mosaic artists and schools. Running an environmentally responsible pottery business is of utmost importance for Dorsch, who has been working as a professional potter for almost 10 years and holds a ceramics degree from the University of Central Florida. In fact, for the past two months, she has even stopped using her car all together, choosing instead to tote her works around town using her own power. “I’m trying to minimize my impact by seeing what I can do by bike,” Dorsch says, noting her plans to buy a bike trailer to haul bigger loads. Besides being green and guilt-free, her functional artworks are also exceptionally beautiful. Using a combination of wheel throwing and hand building, Dorsch shapes sloping lines and elegant forms that are then glazed with bold colors to give them a fanciful look. Dorsch’s creations vary from quirky squared teapots ($120) to flowing floral vases ($80–$110) to whimsical cruets ($150) and asymmetrical bowls ($60). “Fun, elegant and simple. All of those together is where I hope I’m going,” she says. “My goal is for the elements of each piece to flow together to create a sculptural and functional vessel. I aspire to create a sense of movement and personality in all of my work.” Mary Dorsch’s pottery is currently being sold at Pacific Art League in downtown Palo Alto and at her website, www.marydorschpottery.com. Jessica Fromm

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M E T R O S I L I C O N VA L L E Y DECEMBER 2-8, 2009 MENU

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A tale of two turkeys raises questions about how we eat _37

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In San Carlos, the Refuge takes the time to do pastrami the right way By Stett Holbrook

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Y TERRITORY as a restaurant critic extends from Redwood City to Fremont and down to Gilroy. It’s a huge area, and I rarely feel the need to stray outside it, but for the Refuge I gladly crossed the border. Three times. The Refuge is in San Carlos. I’ve never had a reason to go to San Carlos, but now I do. I happened to have an appointment in Burlingame the other day, and the ďŹ rst thing I thought was, “Perfect, I’m going to swing by the Refuge when I’m done.â€? The Refuge is an uncommon eatery that makes uncommonly tasty food. It’s more a pub than a restaurant, and its claim to fame is ridiculously delicious house-made pastrami. Pastrami is to deli meats as Zeus is to Greek deities. I don’t know what they eat on Mt. Olympus, but if the Refuge delivered I’m sure there would be a couple dozen Reubens headed that way. I’ve been on a Silicon Valley pastrami bender lately, which isn’t easy to do, since few restaurants or delis have the know-how or will to make pastrami, an elaborate process of brining and smoking spice-crusted brisket. But I have found a few outposts of pastrami craftsmanship. The folks at the Refuge say they make theirs from a small section of brisket known as the “heart of navel.â€? It’s the leanest pastrami I’ve had—and yet wonderfully tender.

The sandwiches are packed with thickly carved slices of meat that spill out from the great rye bread. I found myself switching from enjoying a bite of the sandwich to just eating a slab of pastrami all by itself to appreciate its singular charms. The sandwiches don’t come cheap nor should they. This is a premium product that has become increasingly hard to ďŹ nd. The pastrami with mustard goes for $13. The agship Reuben is $16. It’s worth it. Unless you’ve spent time hanging out in the right delis in New York or L.A., you’ve never had anything like this. They are truly great sandwiches. They look like they are too much to eat, and you’ll tell yourself you’ll only eat half and save the rest for later, but if you’re like me, you won’t. My only complaint, and it’s small one, is that the sauerkraut is rather weak. But pastrami isn’t all that the Refuge does well. There’s the beer. Belgian ale to be speciďŹ c. Eighteen brands on tap. The Refuge says it has more Belgian ale on draft than any place in the Bay Area, but the Trappist in Oakland checks in with 20 rotating taps, although all aren’t always Belgian brews. But anyway, the important point is that there is a lot of great brew here, and the short but descriptive tasting notes make perusing the many ales a pleasure. I’m willing to bet that you’ve never had the pleasure of a St. Feuillien Saison served alongside

a hulking Reuben sandwich. This is the place to do remedy that situation. The Refuge also makes some great burgers. The beef is ground fresh daily, and you really can taste the difference and remember that hamburger is really chopped steak. The half-pound cheddar burger ($14) is cooked a pretty pink unless you request otherwise. I wasn’t sure the squishy, untoasted bun would hold up, but it did so right to the end. If you wanted to commit suicide by arteriosclerosis, the pastrami burger ($17) would be great way to go out. The half-pound patty shares the bun with sliced pastrami, Swiss cheese, sauerkraut and mustard. It’s almost like eating a Reuben sandwich and a hamburger. Had enough beef yet? No? There are cheesesteaks, too. I confess I was beefed out at the time and ordered my O.G. Philly Joe ($12, provolone and meat only) with pulled roasted chicken. Very satisfying. The pastrami, sandwiches, burgers and cheesesteaks are the heart of the menu, but I’d be remiss if I didn’t tell you about the great appetizers, too. These items are more cosmopolitan and reect a kitchen (chef/owner Matt Levin and chef de cuisine Michael Greuel) that seems to relish concocting gilded, outlandishly delicious combinations such as the seared duck breast with cherry demi-glace and melted onion purÊe

($12), or the seared sea scallops with mushrooms, bacon, grainy mustard and “beer blancâ€? sauce ($15) or the perfectly cooked haricots verts with sautĂŠed wild mushrooms and ďŹ ngerling potatoes in a luxurious amandine sauce. The garlic fries with chile mayo ($6) are also pretty great. If that weren’t enough, there’s a choice selection of charcuterie (pâtĂŠs, prosciutto, salumi) and great cheese (mainly French and Spanish). This is the kind of food a couple of line cooks might make if they let their food fantasies run wild and the boss was away. Levin and Greuel have that same exuberance except now they’re running the show. They met while cooking at Viognier in San Mateo. It’s also where they conceived the idea for the Refuge. The desserts deliver, too. The chocolate pot de crème ($6) is as thick as tar but inďŹ nitely more delicious. The butterscotch version ($6) is not as dense but just as good. We need more butterscotch desserts. The only dessert that missed the mark was the roasted butternut scotch crepe au rhum ($6). Taken as a whole, the eclectic menu reads like someone’s favorite things. Classic American food expertly prepared. Pastrami. Some wildly delicious starters plus a lot of delicious Belgian ale and a bunch of good salumi and cheese to with it. You ďŹ gure it out. Just make sure you go.

[32]

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[34] DINING GUIDE

DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

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Cab Style Standoff

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HE HOLIDAYS usually offer some unique tasting experiences, and San Jose’s JCL>C:9 is hosting two over the next week that have inďŹ nite possibilities to compare and contrast cabernet styles. On Wednesday, Dec. 2, at 6:30pm, Unwined will be pouring Napa’s H>AK:G D6@, and on Wednesday, Dec. 9, at 6:30pm, Saratoga’s own @6I=GNC @:CC:9N L>C:GN. The most important thing to note ďŹ rst is that KKW’s continued success with their excellent wines was clouded by a sad note in August when founder Kathryn Kennedy died of cancer, at age 82. She was a true innovator, who after graduating from San Jose State in the late ’60s, planted seven acres of grapes in Saratoga with the idea of making cabernet in the classic French tradition. Her son, B6GIN B6I=>H, has been KKW’s winemaker since 1981 and continues to produce vintages that rank among the ďŹ nest of local wines. “As far as I’m concerned, they and Ridge are the tops in terms of quality in the Santa Cruz Mountains,â€? says Unwined owner 96C E6H86A. The KKW event is particularly intriguing, as it will feature a pouring of the 2001 Estate cab, which runs in the neighborhood of $150 a bottle. The 2006 edition of Kathryn Kennedy’s popular Lateral blend will also be featured. Pascal is also a fan of Silver Oak, which couldn’t be more different from KKW in terms of winemaking style. As big and bold as Kathryn Kennedy wines are subtle, Silver Oak is a quintessential example of Napa winemaking, which is a favorite here in the South Bay. “They’re one of the iconic Napa Valley wineries,â€? says Pacal. “They have such an incredible following.â€? The Silver Oak tasting will feature the winery’s 2005 Alexander Valley cab, and its 2004 Napa Valley cab, along with a 2005 merlot from its sister winery, Twomey. Steve Palopoli UNWINED’s Silver Oak tasting on Wednesday, Dec. 2, is $25, and the Kathryn Kennedy tasting on Wednesday, Dec. 9, is $30, at 6946 Almaden Expwy., San Jose. For info call 408.323.9463; www.unwinedshop.com.

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

DECEMBER 2-8, 2009

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[36]

DECEMBER 2-8, 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 DECEMBER 2-8, 2009 DINING GUIDE

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HIS THANKSGIVING, my extended family and I gathered in the Sierras, and we had a battle of two turkeys. Being the opinionated eater that I am, I insisted on a bird that didn’t grow up on an overpopulated factory farm and wasn’t fed a diet of antibiotics to combat the unhealthy conditions. I chose a Diestel turkey, a free-range tom raised in the rolling oak hills of a family farm just 30 miles away from our gathering. My dad, traditionalist that he is, insisted on a good old-fashioned Butterball, 49 cents a pound of frozen industrial poultry that’s a product of a decrepit agribusiness system that’s harmful to animals, humans and the environment. I visited the Diestel farm a few years ago. Diestel raises Broad-Breasted White, Broad-Breasted Bronze and small proprietary turkeys without antibiotics in a freerange environment. They also raise ocks of organically fed birds and a small number of “heritageâ€? turkeys, heirloom breeds that predate the Broad-Breasted White turkeys that dominate the market. Because the turkeys spend time trotting around outdoors, they develop more muscles, which makes for better-textured meat. They also live two months longer than conventionally raised turkeys, allowing the birds to put on more fat and develop better avor. The slower growth rate and simple diet stave off the stress and disease that can plague turkeys grown in industrial settings. Diestel turkeys are raised to taste better than the “traditionalâ€? Butterball. Butterball’s are just raised to be cheap. We cooked our turkeys in separate ovens. They both looked and smelled delicious. But when it came time to eat, I didn’t go on about how agribusiness has turned the much-feted fowl into a feeble, mass-produced, genetically engineered, bland-tasting, doped-up turkey that is anything but traditional. Nor did I bend my family’s ear about how the industrialization of the turkey business concentrated production in the hands of an increasingly small number of large corporations. The top three turkey producers in the United States are Cargill Inc., makers of Shady Brook Farms and HoneySuckle brand turkeys; ConAgra Foods, makers of Butterball turkeys; and Jennie-O Turkey Stores, producers of JennieO turkeys. The companies hire contract labor to raise their turkeys at operations throughout the United States; most are in the South. Instead, I kept my story about the turkey simple: It’s a free-range bird. It was raised on beautiful farm close by. It’s shipped fresh, not frozen. Which turkey do you think everyone ate? Granted, I carved the turkey and placed it in a prominent place on the buffet table, but everyone knew my dad’s turkey was an option. It was no contest. My turkey had been picked clean with nary a scrap of meal left for sandwiches. My dad’s turkey had just one side of the breast removed (my dad’s portion) but otherwise sat untouched. It was kind of sad, really. In truth our dueling turkeys didn’t taste much different (my dad likes his turkey as dry as chalk, so that didn’t help his cause), but once they heard the backstory on the turkeys, the choice was obvious. I didn’t need to moralize or guilt anyone into eating my turkey. Good food—food produced with respect for the product and the environment—just has a better story to tell, and people eat it up. Stett Holbrook (Follow me at Twitter.com/stett_holbrook)

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[38] DINING GUIDE

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[39]

[40] DINING GUIDE

DECEMBER 2-8, 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 DECEMBER 2-8, 2009 DINING GUIDE

[41]

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Seafood

Premium Aged Steaks

Seasonal Specialities

Holiday To-do List: Deck the Halls Book Holiday Party at Steamer’s! Roast Chestnuts on Open Fire Buy Paul’s Present (size 42) Private Parties

Corporate Events

Holiday Catering

31 UNIVERSITY AVE. | OLD TOWN LOS GATOS | 408.395.CRAB

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954 Villa Street, Mountain View 650.965.2739 Open 7 Days a Week www.TiedHouse.com We’re on Facebook & Twitter

[42] CCALENDAR ALENDAR

DECEMBER D E C E M B E R 2-8, 2 - 8 , 2009 2 0 0 9 M E T R O S I L I C O N VVAA L L E Y

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AC Civil ivil War War Christmas C hristmas

Richard Richard Thompson T hompson

John Lennon John Lennon Anthology A nthology

Michael M ichael Osborn Osborn Band B and

Lucie L ucie Stern Theatre Theatre

Montalvo Montalvo Arts Arts Center Center e

Campbell C ampbell Heritage Heritage Theater Theater

Streetlight St treetlight Records Records

Middlefield Road, 1305 Middle field R oad, Palo Palo Alto Alto

Montalvo 15400 Montalv o Road, Road, Saratoga Saratoga

W.. C Campbell 1W amp pbell Ave, Ave, Campbell Campbell

980 98 80 S. S. Bascom Bascom Ave, Ave, San San Jose Jose

650.463.1960 6 50.46 463.11960

408.961.5858 408 961 5858 408.961.58

408.866.2700 408 866.2 408.866 2 00 27

408.292.1404 40 08 292.1404 08.29 2 1404

Previews Dec P reviews D ec 2-4, opens Dec. Dec. 5, 5, shows shows

Fri-Sat 7:30pm; F ri-Sat – 8pm, Sun Su un 7 :30pm; $35/$40

Fri 8pm;; $39 F ri – 8pm

Sat free S a – 4pm; fr at ee

Tue-Wed 7:30pm, Thu-Fri T ue-Wed u e –7 :30pm, Thu-F Fri – 8pm, Sat S at – 2 and 8pm, Sun – 2 and 7pm through Dec. $24-$62 thr ough D ec. 27; 27 7; $2 4-$6 62

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Holiday Parade

Willie Nelson

Homestead Lanes

Downtown San Jose

San Jose Civic Auditorium

20990 Homestead Road, Cupertino

408.794.6200

135 W. San Carlos St, San Jose

408.255.5700

Sun – 8:30am; free

408.792.4111

Sat – 7pm; $8

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Sun – 7:30pm; $58/$88

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Not So Silent Night Pre-Event

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VooDoo Lounge 14 S. Second St, San Jose 408.998.TIXS Tue – 9:30pm; $10

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[44]

DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

South FIRST FRIDAYS an eclectic evening of arts and culture in downtown San Jose’s SoFA District on the First Friday of every month

DECEMBER 4th ART WALK - 8pm ’til late The SoFA District is So. First Street between San Carlos and E. Reed streets

Anno Domini

Caffé Trieste

MACLA

366 So. First Street

315 So. First Street

510 So. First Street

FRESH PRODUCE

Color, Form, Motion by Gary Coleman

On view: Cultural Disjuncture featuring contemporary nomads, cultural disparity and invisible labor explored in this group exhibition which features sculpture, works on paper and installation. This exhibition includes work by Monica Canilao, Diana Cristales-David, Betty A. Davis, Jaime Guerrero, Alejandro Oliva, Mitsy Ávila Ovalles and Rio Yañez in collaboration with Maya Escobar.

9th Annual Invitational Group Exhibition and Art Sale! 50 artists from around the world have created hundreds of works of art for this highly anticipated annual exhibition and sale. Each artist has submitted up to 10 works of original art, all affordably priced at $250 or less.

Gary Coleman will be exhibiting samples of both his abstract and landscape paintings, showing that an artist does not have to limit himself to one genre in producing his body of work. Music by: Opera

San José

Institute of Contemporary Art

SLG Art Boutiki & Gallery

560 So. First Street

577 So. Market Street

Afterlife: Artists transform collected and recycled materials into works of art. Guest curated by Kathryn Funk. Theodora Varnay Jones: Manifold: A solo exhibition of two and three dimensional works that represent the artist’s exploration and interpretation of form, space and repetition.

The Boutiki celebrates its first anniversary with a show called The Signs of the Holidays. Seasonal themed signs by Scott Saavedra will dot the gallery as well as pieces from some of the last year's worth of shows. Live music by the C-List.

Art Glass Center of San Jose 465 So. First Street Break out the Santa suit and pour a glass of nog!The Art Glass Center is ready for the holiday season with an amazing collection of new and affordable original works by over 30 local artists. Lionel Chapital will be demonstrating blown glass ornaments starting at 8:00 p.m. The public is invited to participate in a "hands on" experience making a fused glass ornament (minimal fee required).

So. First Billiards

KALEID Gallery

420 So. First Street

88 So. Fourth Street

Heart of Chaos Holiday Art Sale continues. Also, join the celebration to raise funds for San Jose State's Chicano Commencement tradition. Live music, live art, auction. 21+ venue

7-9pm Opening Reception 2nd Annual Ornament Show and Sale The SJGAA presents a unique array of hand made one-of-a-kind glass ornaments affordably priced for holiday gift giving (or keeping!) Also on view: 60 regional artists’ original art and creative gifts.

Metro Photo Exhibit 550 So. First Street (All In The Family) photos by the First Street Photo Collective. 22 photographers exhibit their interpretation of this month’s theme.

Phantom Galleries

386 South First Street- Everybody's Happy Nowadays new paintings by Kyle Pellet 388 South First Street- We Are Not From Here/ here we are an exhibit of large oil paintings by Kate Stewart

San Jose Museum of Quilts & Textiles 520 So. First Street

Exhibits on view: Still Crazy explores the glorious Victorian crazy quilt and Reincarnation: The Crazy Collage Aesthetic of India & Japan explores how two different cultures have interpreted the 'crazy collage aesthetic.' Special event this month: Come for a unique opportunity to buy beautiful Indian embroidered textiles from Shobha Textiles like those on exhibition.

Works San José 451 So. First Street

noon2noon is a 24 hour art marathon to raise money to support your community art center! Artist teams compete to raise money marathon style. You can pledge in person or online at www.workssanjose.org Come at midnight for our First Friday Afterparty when we celebrate the halfway mark with music and refreshments.

The South FIRST FRIDAYS art walk is FREE and open to the public!

For full listing of events and information:

visit www.SouthFirstFridays.com or call 408-271-5155

M E T R O S I L I C O N VA L L E Y DECEMBER 2-8, 2009 ARTS

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[45]

METROGUIDE

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City Lights’ ‘Another Night Before Christmas’ does holiday spirit right By Steve Palopoli

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HE Grinch would have a field day with all the cheeseball Christmas tales that have been churned out for modern audiences. They’re all trying to slide into classic status, but to do so they have to find that sweet spot between the agony and the ecstasy of the holidays. Just look at the stuff that’s been accepted as the modern Christmas canon: It’s a Wonderful Life? Aw, suicidal impulses and financial meltdown, how sweet! A Christmas Story was once too sarcastic and irreverent for holiday audiences, pulled from theaters after three weeks. Then The Simpsons became a cultural phenomenon, and now Bob Clark’s former cult gem plays 24 hours a day on television this time of year. Most people don’t trust sap, nor should they. But crass bitterness coated with a hard sentimental shell doesn’t work either, it just sinks to the bottom with junk like Deck the Halls, Surviving Christmas and Jingle All the Way. If there’s one modern story that nailed that money spot between tidings of discomfort and joy, it’s the original Miracle on 34th

Street. Is there any more powerful counterpoint to Scroogeism than when Maureen O’Hara says, “It’s not just Kris that’s on trial, it’s everything he stands for”? Well, Kris is on trial once again, in a way, in City Lights Theater Company’s production of Another Night Before Christmas. He even calls himself Kris, though his character’s official name is “The Guy.” Yes, Virginia, he claims to be Santa Claus. And yes, there are plenty of references, in-jokes and other tributes from playwright Sean Grennan to let the audience know that he is using Miracle as his guide—even more so than the original Clement Clarke Moore poem, although that gets the nod, too. This is the West Coast premiere of Grennan’s two-person musical, and thanks to entertaining performances from the leads, some madcap holiday funny business and just the right dose of feeling—not to mention a knockout ending—it manages to do that rarest of things: find exactly the right Christmas spirit. This time, the would-be Santa is a homeless man that lonely Karol Elliot encounters outside

her apartment. Later he shows up inside her apartment, leading to a massive freak-out on her part, as she assumes he’s a burglar. After a bit of a slow start, it becomes obvious that he’s way too jolly to be a burglar, and her line of thinking goes straight to crazy person. He insists that he’s Santa, and when the subject of her holiday hangups arises, he begins his funny and endearing campaign to make her care about the season again. Those are two key words, funny and endearing. This setup could definitely be played wrong, in fact it’s sort of a minor miracle it comes off. But the key is Michael Johnson as the imperturbable, impossibly upbeat stranger. Johnson is like Edmund Gwenn on steroids. He is so purely good, so charming and so relentlessly chipper that he removes any weirdness from a scenario that is basically home invasion. And doesn’t the real Santa do the same thing? Which isn’t to say Johnson’s Guy isn’t the real Santa, just to point out that his wonderful performance makes you want to believe that he is. Lisa-Marie Newton as the angsty Karol has a tough role. She can’t

play it like Scrooge, because the audience has to be able to identify with her, and see the potential underneath the hard edges. She does a fantastic job, and when Kris begins to have an effect on her, she conveys the possibility of a transformation at just the right speed—subtly at first, and not too quick. The songs, with music by Leah Okimoto, are mostly ornamental. This didn’t have to be a musical, exactly, but the numbers work best when Kris uses them as a way to get through to Karol. Johnson runs away with his opportunities to ham it up on “The Big Guy’s in the House,” “Santa Claus Is Goin’ to Town” and “Kill Der Bingle,” and Newton gets swept up in the ride. It’s too early to predict whether Another Night Before Christmas will be a holiday classic, but families and all other true believers should seek it out immediately. It’s one Santa Claus story that really delivers. ANOTHER NIGHT BEFORE CHRISTMAS runs through Dec. 20 at City Lights Theater, 529 S. Second St., San Jose. Tickets are $28; 408.295.4200.

[46] STAGE/ART/LIT

DECEMBER 2-8 2009 M E T R O S I L I C O N VA L L E Y

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Whiskey Ways

San Jose Stage Company looks at the ways men use alcohol to hide their pain in โ The Seafarerโ

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HE SEAFARER may be a modern-day Faustian fable, but alcohol and its abuse is the real central character of this whiskey-soaked Irish tale. Written by Conor McPherson, one of the BOTTLE BROTHERS!!Kvmjbo!Mย qf{.Npsjmmbt!boe! top contemporary playwrights in his Sboebmm!Ljoh!xippq!ju!vq!bt!uif!Ibsljo!cspuifst/ native Ireland, the play explores both the kinship and the crushing misery of alcoholism through a fateful Yuletide visit from the devil himself. The second production of the San Jose Stage Companyโ s 2009โ 10 season, The Seafarer centers on two middleaged, working-class alky brothers living together in a ๏ฌ lthy ๏ฌ at. The younger and more timid James โ Sharkyโ Harkin (played by Stage co-founder and artistic director Randall King) is shakily trying to remain off the bottle for the holidays. On the other hand, his blind brother Richardโ s (an excellent Julian Lรณpez-Morillas) sole aim in life is to get increasingly violently tanked with his buddy Ivan Curry (Colin Thomson) and to ๏ฌ ll the Christmas Eve emptiness with a game of poker. But the stakes get raised when their moocher friend Nicky Giblin (Donald G. Emmerich) stops by with a mysterious friend in tow. Considering that the themes of this holiday tale are based in McPhersonโ s own feelings as a recovering alcoholic, the angst and desperation of Sharkyโ s tentative sobriety and his kinsmenโ s raging drunkenness grate on and sting the audience, as they should. Kingโ s pathetic Sharky is sensitive, like an open wound wincing at every one of his brotherโ s demands but soldiering on, head hung low. Every other line, the sloppy Richard is pushing another drink or opening up another bottle, he and the other characters becoming increasingly infantile in their inebriation as the night wears on. When Mr. Lockhart, the business-suit-clad stranger, enters, the cards come out. But heโ s there for something much more eternal than a few Euros. Lockhart reveals himself to Sharky as none other then Satan himself, there to make a bet for his soul for past misdeeds. Itโ s a simple plot, but one that has been part of European lore for ages, and it still makes for good theater. Played by San Jose Stage Company regular Kevin Blackton, Lockhart frequently sidles up to the stove on the right side of the stage for warmth, the ๏ฌ reโ s red light cast up onto his face for a dramatically evil effect. Lost inside the many, many bottles and trash littering the dingy set (designed by Michael Palumbo), the ๏ฌ ve characters, Old Scratch included, are really obliterating themselves to escape the pain of their wasted existences. As this moving play reaches its climax, Blackton delivers one long, passionate speech about the true nature of hell, revealing that Satan is actually jealous of his human game matesโ or maybe itโ s just the booze talking. Jessica Fromm THE SEAFARER, a San Jose Station Company production, plays Wednesdayโ Thursday at 7:30pm, Fridayโ Saturday at 8pm and Sunday at 2pm through Dec. 20 at the Stage, 490 S. First St., San Jose. Tickets are $20โ $35. (408.283.7142)

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M E T R O S I L I C O N VA L L E Y DECEMBER 2-8 2009 STAGE/ART/LIT

STAGE REVIEW @Zk^c 7ZgcZ

WORDS OF ADVICE!!Uif!dpxcpz!)Ebo!Ijbuu*!ifmqt!zpvoh!Sbmqijf!Qbslfs!)Hbssfuu!Nfzfs*!

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‘Story’ of Our Lives Rep’s new production backs up new classic status of ‘A Christmas Story’

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AN ANYTHING stop A Christmas Story? Perhaps the most unlikely of Christmas success stories, the original 1983 film was based on the ’60s short fiction of Jean Shepherd. It was a cult movie lover’s dream, for sure—narrated by cult writer Shepherd, directed by B-master Bob Clark (whose biggest movie had been Porky’s) and starring former Kolchak: The Night Stalker star Darren McGavin. It disappeared in no time flat from theaters, but eventually the rest of pop culture caught up to its dysfunctionalfamily humor, and it became pretty much the Christmas classic of our time. Now it’s on its way to becoming its own industry. Besides the 24-hour Christmas Story marathons on TV, it was adapted into a play by Philip Grecian in 2000. When the Rep staged it a couple of years ago, it was the most successful production in their history. Perhaps inevitably, it’s back, and what is there really to say? It’s A Christmas Story, for chrissakes! We all know the plot from endless viewings of the movie, and it’s mostly the same here. Adult Ralphie reminisces about his younger years, his crazy family, and first and foremost, the Christmas that he desperately wanted a Red Ryder 200 Shot Carbine Action Air BB gun. We know the gags by heart, from the tongue on the flagpole to the leg lamp to what has become a classic line of cinema: “You’ll shoot your eye out.” They’re all here, too. In other words, the genius of A Christmas Story as a holiday production is that it’s almost impossible not to like. It’s absolutely critic-proof. Luckily, the Rep’s version is as light and fun and practically guaranteed to please as it ought to be. However, there are a few standout elements that should be given their due. For one thing, this is a play that requires a majority of child actors, and thankfully they are all good here. Many of them are making their theatrical debut, and kudos to casting director Bruce Elsperger for finding such a talented bunch. Also, the play’s major deviation is that it has older Ralphie—the narrator—walking through the set and interacting with the action (though the other characters can’t see him). This puts some extra pressure on the narrator, but Dan Hiatt pulls it off flawlessly. He’s sarcastic and wistful and is able to show his genuine affection for these memories and people not just in his tone but in his face. Lastly, there’s Howard Swain as Ralphie’s dad. Before seeing him, it was hard to imagine anyone but McGavin in that role, but Swain wins the audience over by putting his own stamp on it. He’s lighter on his feet, bringing even more physical comedy and screwball energy to the role. Director Chris Smith, a new addition to the Rep’s fold, keeps things extremely simple, except for a rotating ring around the living-room/house exterior set that gets some good moments. And he pulls off the fantasy sequences, which, let’s face it, have already been the best parts. Steve Palopoli A CHRISTMAS STORY, a San Jose Rep production, plays Tuesday at 7:30pm, Wednesday at 11am (Dec. 2 only) and 8pm, Thursday–Saturday at 8pm, Saturday at 3 and 8pm and Sunday at 2pm through Dec. 20 at the Rep, 101 Paseo de San Antonio, San Jose. Tickets are $35–$69. (408.367.7255)

[47]

[48] STAGE/ART/LIT

DECEMBER 2-8 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

1011 PACIFIC AVE. SANTA CRUZ 831-423-1336 7KXUVGD\ 'HF ‡ $*(6

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Ryan

SITDOWN SHOW $GY 'UV 'UV S P 6KRZ S P 6XQGD\ 'HFHPEHU ‡ $*(6

NUMBSKULLSHOWS.COM presents

All That Remains

SOXV The Devil Wears Prada DOVR Story of the Year DQG Lovehatehero

$GY 'UV ‡ 'UV S P 6KRZ S P :HGQHVGD\ 'HFHPEHU $*(6

Palo Alto Philharmonic

Orchestra Concert II Saturday December 5, 8 PM Carmen Suite No. 1 - Georges Bizet Symphony No. 2, Op. 30 (“Romanticâ€?) Howard Hanson Fanfare from La PĂŠri - Paul Dukas Double Concerto in A minor, Op. 102 Johannes Brahms Violin Soloist: Claudia Bloom Cello Soloist: Thomas Shoebotham

Cubberley Theatre, 4000 Middlefield Road, Palo Alto Tickets:$18/15/8 order on-line: www.paphil.org

San Jose Symphonic Choir You Sing It Messiah Monday, December 7, 7:30

$GY 'UV 'UV S P 6KRZ S P 'HF Joe Purdy Atrium (Ages 21+) 'HF Andre Nickatina (Ages 16+) 'HF Lee ‘Scratch’ Perry (Ages 16+) 'HF The Devil Makes Three (Ages 21+) -DQ Jackie Greene (Ages 21+) -DQ Rebelution/ Soja (Ages 16+) -DQ AFI (A Fire Inside) (Ages 16+) )HE Y & T (Ages 21+) )HE BadďŹ sh A Tribute to Sublime (Ages 16+) 8QOHVV RWKHUZLVH QRWHG DOO VKRZV DUH GDQFH VKRZV ZLWK OLPLWHG VHDWLQJ Tickets subject to city tax & service charge by phone 866-384-3060 & online

www.catalystclub.com

California Theater, 345 S. 1st Street downtown San Jose Tickets: $20 Students & groups of 10 or more: $15

on-line: www.ticketmaster.com or call 408 286-2600 X23

Discover the Arts www.svArts.org

DECEMBER 2-8, 2009

[49]

[50] STAGE/ART/LIT

DECEMBER 2-8 2009 M E T R O S I L I C O N VA L L E Y

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THE HOLIDAYS ARE LOOMING!!B!hjbou!Tboub!xpoĂ–u!mfu!vt!gpshfu!bu!TMH!Cpvujlj/

South First Fridays HE DECEMBER installment of the gallery walk extravaganza known as South First Fridays brings the ever-popular indie-art gift mart Fresh Produce to town at Anno Domini—a perfect way to pick a unique present. The Art Glass Center of San Jose also features seasonal gifts in blown glass. Singers from Opera San Jose will show up at CaffĂŠ Trieste for the opening of Gary Coleman’s show of abstract and landscape paintings. Downtown Yoga Shala shows photos of India by Andrea Ewald. Slave Labor Graphics’ artists will take a look at “The Signs of the Holidaysâ€? (pictured) at the SLG Art Boutiki. MACLA, the San Jose Museum of Quilts & Textiles, South First Billiards and the Institute of Contemporary Art also participate. And don’t forget to stop by the Metro lobby for our latest local photography exhibit, “(All in the Family),â€? and some DJ sounds.

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Michael S. Gant SOUTH FIRST FRIDAYS takes place in downtown San Jose along South First Street on Friday (Dec. 4) all evening. Free. Call 408.271.5155 for details.

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Seething Bull Robert De Niro plays a lonely father trying to connect with his scattered kids in ‘Everybody’s Fine’ By Richard von Busack

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ITHIN ITS LIMITS, Everybody’s Fine is an honorable holiday entertainment, sweetened by a happy ending. Robert De Niro expertly downplays the lead role of an upstate New York widower trying to investigate what became of his family. The affectionately viewed American landscapes (mountains by day, lonely streets by night) fit in with the holiday mood of yearning, displacement and dashed hopes. Everybody’s Fine is a loose remake of the Giuseppe Tornatore/Marcello Mastroianni film of 1990 about an aging man’s realization that his dreams of his family’s prestige are an illusion. Over the titles, De Niro’s Frank is puttering around the lawn of his house in Elmira, N.Y. He is a widower getting ready for a summer barbecue, and he is so slightly out of it that he’s inflating a kiddy pool: he’s forgotten he has no grandchild under the age of 5. Unfortunately, every single one of his four children cancels out of the family reunion via the telephone, citing work and other stresses. Left in solitude, Frank comes up with a bad plan: he’ll surprise his four children in the cities where they live. He’ll travel by land; his lungs, scarred from years with working with polyvinyl chloride, won’t let him fly. Frank arrives in New York City, but David, his eldest son, is nowhere to be found—the only evidence the son has been there is one of his paintings in the window of a local gallery.

Moving on to Chicago via Amtrak, the old man interrupts the life of his high-powered advertising executive daughter Amy (Kate Beckinsale in a very unglam performance) and his grandson Jack (Lucian Maisel). There isn’t room for Frank there, either, so he heads off to Denver, where he’s told that his son Robert (Sam Rockwell) is conducting a symphony orchestra. En route, Frank is proud to see the telephone wires passing his train window, because it was his job to oversee the weatherizing of cables with PVC. He doesn’t know that the buzzing wires are carrying worried messages between his children. They have the word out that the old man is trying to surprise them. Worse, the missing elder son, David, is in serious legal trouble in Mexico. Everybody’s Fine, then, illustrates the proverb that one father can support four children, but four children can’t support one father. De Niro looks well—he’s not doddering. An aura of anachronism surrounds this performance that goes beyond the brown Members’ Only jacket he wears throughout the film. Frank is naive about how to conduct himself in cities; he gets mugged helping a junkie sleeping in an Amtrak station. How long has this remake been in development? The Internet doesn’t figure in this story; if Frank had done a little Googling, he would have seen what his children were up to and learned that some of the stories he had heard about their

successes were falsehoods. What saves this drama is the lowkeyness. The rapport between Frank and his grandson Jack is particularly well played; neither is intimidated by the other nor overwhelmed by any big emotions. In the Denver scenes, Frank tours a vintage symphony auditorium, where it turns out Robert is a soloist instead of a conductor, and director Kirk Jones gets some pleasure out of the gilded wooden surroundings there, too. In Las Vegas, where Frank stays with the Cordelia of the bunch, the film is at its warmest. Drew Barrymore plays daughter Rosie, picking Frank up and making him welcome, although her own story of success is just as false as the other offspring’s. Barrymore’s anti-glamour and the cozy richness of her flesh are, as always, appealing. And after watching a likable, untroublesome man being passed off from child to child, it’s only human to want to see someone welcome him. However, when you watch someone as comfortable-looking as Barrymore, it’s hard to imagine why she would lie to a working-class father. We’re wrapping up a decade of diminished hopes and expectations, a decade when a father might find any child “fine” who has a job and a roof over their head. De Niro’s efforts to make Everybody’s Fine appealing also mean that the role was beefed up for him as a movie star. Frank is virile enough to fight off the mugger, for

instance, and he gets flirted with by a truck driver played in a cameo by the superb Melissa Leo. We don’t see something essential in Frank—the push in him that made his children decide that they would rather lie to him than admit that they haven’t lived up to his expectations. This sounds like I’ve torn the film apart. Actually, I was amused by its essential dignity: the light conversations on a train with a stranger, the rich welcome Rosie gives her traveling father. British director Jones (Waking Ned Devine) is a little myopic when it comes to class in America—blue-collar men don’t necessarily push their children into the arts. Mastroianni’s character in the original film had some cultural pretensions: I had remembered him as a retired professor, having seen the film 19 years ago, but it turns out he was a civil servant with a grand manner. One cuts holiday movies slack— and Everybody’s Fine makes the sensible choice to wrap the action up around snow, Christmas trees and good old C-9 Christmas lights. We will forgive the film’s open ends when we ponder the family and how it inexplicably grows apart. EVERYBODY’S FINE (PG-13; 100 min.), directed by Kirk Jones, written by Jones, Masimo De Rita, Tonino Guerra and Giuseppe Tornatore, photographed by Henry Braham and starring Robert De Niro and Drew Barrymore, opens Dec. 4.

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FILM DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

FILM REVIEW

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

New Armored (PG-13; 88 min.) What did they always say in ďŹ lm noir? You can’t pull off an armoredcar theft unless it’s an inside job? Columbus Short, Matt Dillon and Laurence Fishburne star in a heist ďŹ lm built on that timehonored premise. (Opens Dec 4.)

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‘Bye Bye Bin Laden!’

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AYS local director Scott Sublett: “It’s a feature-length, satirical animated musical comedy about Osama, George and Jenna Bush and a postapocalyptic roachboy, battling for world supremacy with TV parodies.â€? In the year 8012, a ghost of doomed Flight 93 helps a futuristic mutant ďŹ gure out how the world ended. This means a history lesson via TV of the rivalry between three oafs: Osama bin Laden, Mullah Omar and George W. Bush, who get into game shows and musical specials to push their messages. The much-missed W gets his lumps through tautological speech (“In a time of sacriďŹ ce, people must sacriďŹ ceâ€?) and gaffs (“Maybe some of the soldiers will get scraped knees, but really, they’re soldiers. And soldiers are poor people.â€?) This SJSU-made animated musical cartoon is in the tradition of the Firesign Theater and the school of South Park; often it surpasses the latter in visual sophistication and political pungency. Originally a stage musical, it became a ďŹ lm when Sublett and his students turned it into a 72-minute long cartoon. According to Sublett, “The inspiration for the ďŹ lm was a concern for the treatment of women by the Taliban, but it grew into a full-length musical stage review about the dangers of theocracy everywhere.â€? Since Bye Bye Bin Laden!’s release, “The reception has been great. It’s selling well, and it’s on Netix, and its YouTube trailer has gotten more hits than any other ďŹ lm they’ve released. And we won Best Feature at the South Beach International Animation Festival in Miami.â€? Richard von Busack BYE BYE BIN LADEN!, Cinequest, $24.99; check www.bye-byebinladen.com for details. Got a locally made ďŹ lm? Get in touch with Metro by emailing mgant@metronews .com with details.

Brothers (R; 110 min.) Back in the United States after being a POW in Afghanistan, Tobey Maguire ďŹ nds himself in an emotional triangle with his wife (Natalie Portman) and his nefarious brother (Jake Gyllenhaal). Directed by Jim Sheridan. (Opens Dec 4.) Everybody’s Fine (PG-13; 100 min.) See review on page 51. Red Cliff (R; 148 min.) See review on page 55. (Plays at Camera 3 in San Jose and the Guild in Menlo Park.)

San Jose Short Film Festival A ďŹ esta of short ďŹ lms. (Plays Dec 5-6 at 7:30 in San Jose at Camera 3). (RvB) Thrillville It’s amusing that Bob Clark—later to be a sort of king of Christmas cinema because of his adaptation of Jean Shepherd’s A Christmas Story—made this original slasher ďŹ lm before his better-known cult classic. But that’s all that’s funny about Black Christmas (1974)—a hard-edged, genuinely scary movie about a Canadian town menaced by a homicidal obscenephone caller during the depth of winter. “It predates Halloween (1978) by for years, and moreover it kicks its ass,â€? critic Michael Monhanan says; for that matter, the rage (rather than insinuation) in the crank calls is so malevolent that the ďŹ lm may have had an inuence on the psychos of David Lynch, Co-starring Olivia Hussey and Keir Dullea, and the ever-bland John Saxon. 35 mm print! Rocket to Rio provides live music for this hosted evening by Thrillville. (Plays Dec 10 at 8pm in San Jose at Camera 3.) (RvB) Transylmania (R; 92 min.) Some college students end up in traditional vampire country in a spoof of the blood-sucking genre. (Opens Dec 4 at the Oakridge Cinema and the Century 20 Great Mall in Milpitas.)

Revivals All About Eve/Double Indemnity (1950/1944) Bette Davis plays veteran theater actress Margo Channing, stalked by a disingenuous ingĂŠnue (Anne Baxter). George Sanders plays vinegar-blooded critic Addison De Witt, who introduces himself with the ďŹ rst of a series of impieties, paraphrasing Matthew 6:28: “I toil not, nor do I spin.â€? Marilyn Monroe has a small part as a naive ready for the picture business, and six-time Oscar nominee, always-a-bridesmaid Thelma Ritter co-stars as the moral center of the ďŹ lm, a maid who sees through the false lovey-doveyness of the theatrical crowd. BILLED WITH the deathless ďŹ lm version of James M. Cain’s steel-trap mystery novel in which a hustling insurance salesman outsmarts himself, a heartless blonde loses an unwanted husband and a worn, fatherly little troll almost ďŹ gures the scam out. It’s an unusually graceful tale of murder directed by Billy Wilder with Barbara Stanwyck, who excels in everything the role requires, from the harsh chemical allure to the serious-as-cancer underpinnings. Fred MacMurray is the perfect sucker who narrates the story from the edge of the grave; Edward G. Robinson plays his smart, sad boss, who gives him a light for his last cigarette. (Plays Dec 1-3 in Palo Alto at the Stanford Theatre.) (RvB) An American in Paris/Father of the Bride (1951/1950) The Gershwin score is the salient feature of the Gene Kelly/Leslie Caron musical An American in Paris, which introduced America to French impressionism. Nina Foch and Oscar Levant co-star. BILLED WITH Father of the Bride. Spencer Tracy stars as a solid middle-class dad facing the life-disrupting wedding of his daughter, with all the ruinous expense and uncomfortable hobnobbing with strangers the ritual entails. Elizabeth Taylor plays one radiant bride; the cast also includes Joan Bennett (as a good girl for a change) and Billie “Glinda the Good Witchâ€? Burke. (Plays Dec 6-7 in Palo Alto at the Stanford Theatre.) (RvB) A Christmas Story (1983; 98 min.) Peter Billingsley, Darrin McGavin and Melinda Dillon star in a perennial holiday favorite based on Jean Shepherd’s memoir about a boy’s Christmas mishaps in the 1940s. The ďŹ lm skillfully skirts the sentimentality that usually sinks this kind of seasonal treat. (Plays Dec 5 at 2pm at Camera 12 in San Jose.) Gigi/The Reluctant Debutante (Both 1958) An elderly French rouĂŠ (Maurice Chevalier) thanks heaven for little girls, particularly the fresh schoolgirl Leslie Caron, groomed for his embrace. The unlikely story (from Colette) was the source of one of the most honored of all screen musicals by Lerner and Loewe (My Fair Lady, Camelot). Louis Jourdan and Hermione Gingold co-star. BILLED WITH The Reluctant Debutante, Vincente Minnelli’s comedy about an American stepdaughter getting the works in London society. Stars Rex Harrison and his wife, the ill-fated comedian Kay Kendall, and Sandra Dee— the 1950s’ answer to Reese Witherspoon? (Plays Dec 4-5 in Palo Alto at the Stanford Theater.) (RvB) The Great Nickelodeon Show Re-creation of the vaudeville of yesterday, with cinematographic novelties and live interaction: Greg Tiede (in the role of Winsor McCay) feeds Gertie the Dinosaur. Also: illustrated songs, The Great Train Robbery, Pathe’s 1907 The Dancing Pig and Melies’ A Trip to the Moon, among others. Frederick Hodges is the pianist and host. Admission is $15 general, $12 museum members. (Plays Dec 5 at 7:30 in Fremont at the Edison Theatre, 37417 Niles Blvd.) (RvB) The Legend of Pancho Barnes/ Hell’s Angels (2009/1930) Amanda Pope’s documentary

M E T R O S I L I C O N VA L L E Y DECEMBER 2-8, 2009 FILM on barnstorming pilot Florence Loew “Pancho” Barnes; Chuck Yeager and Buzz Aldrin are among the interviewed parties. Writer/producer Nick T. Spark will be on hand to present the film. BILLED WITH the aviation epic that Barnes worked on, Howard Hughes’ Hell’s Angels—the astonishing dog-fight scenes from this vintage film were appropriated for Scorsese’s The Aviator. Jean Harlow co-stars in an early but impressive role. (Plays Dec 6 at 12:30pm in Fremont at the Edison Theatre, 37417 Niles Blvd.) (RvB) Meet Me in St. Louis/The Wizard of Oz (1944/1939) A pinnacle of American moviemaking. Vincente Minnelli’s cherished musical about the 1903 World’s Fair in St. Louis—and a family that may be leaving their home forever—is a species of nostalgia. Yet its nostalgia that still bears the shadows of the bleak year it was made. It has a multitude of charms and textures: not just the pleasure of watching unruffled lives but a Halloween sequence that’s a highlight of 1940s film. Minnelli described it as “an almost a wistful longing for horror; [it] wasn’t the sweet and treacly approach so characteristic of Hollywood.” Includes Judy Garland’s best performance as a daughter pining for the boy next door. BILLED WITH The Wizard of Oz. The movie is life itself, for so many people on the outskirts of life. It’s famous for the unquenchable yearning in Judy Garland’s voice, for the witty Tin Pan Alley songs that never could have been written with such enviously easy panache if the composers had known what the film was going to mean to the world 50 years later. It’s salted with pure horror: the winged monkeys and the disappearance of the Wicked Witch. (Plays Dec 8-10 in Palo Alto at the Stanford Theatre.) (RvB)

Reviews Bad Lieutenant: Port of Call New Orleans (R; 122 min.) Werner Herzog’s shaggierthan-shaggy restatement of Abel Ferrara’s nouveau-grindhouse Bad Lieutenant of 1992. Karl Marx could have guessed it: first time tragedy, second time farce. Nic Cage’s Terence McDonagh walks with one shoulder hunched like Richard III, and he’s further impeded by the immense .44 handgun jutting out of the polyester waistband of his suit. Cage is on the case of a murderer who took out five African immigrants. He trails a drug dealer significantly named “Big Fate” (Xzbit). It’s

hard work, and the lieutenant needs lots of fortification from evidence-room cocaine and pills. Mostly, he’s a kind of flaneur of squalor, sticking his head through tattered screen doors or spending some relaxation time with his high-priced honey Frankie (Eva Mendes, never sweeter). Fine supporting work abounds, with Jennifer Coolidge as a frowz, soaking up all the beer in the bayou. She’s given a makeover at the end, so Coolidge can show off the finest prow this side of the USS Constitution. And the criminally underused Fairuza Balk is a dirty state trooper who can’t seem to keep the lieutenant awake for a tryst. Cage’s electric enthusiasm is bound to be downgraded by some. Truth is, he’s so much damn fun no one wants to see him shift gears and get into the soulfulness of the role, as he must. In short, it’s another movie that would be heralded as deeper if there had been subtitles. (RvB) The Blind Side (PG-13) A well-off family discover a homeless teenager and help him make the football team. Stars Sandra Bullock, Tim McGraw and Quinton Aaron. 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. 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

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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) Fantastic Mr. Fox (PG; 87 min.) A real artist learns to turn his limitations into strengths. In switching gears entirely from live action to stopaction animation, director Wes Anderson has created his most consistently enjoyable film. Anderson has softened his typical aura of disappointment with a sense of rejuvenating play. Based on a short Roald Dahl children’s book, Fantastic Mr. Fox is a fairy tale, but it’s a realistic, slightly bleak one. Fox (voiced by George Clooney) is living a straight life with his wife (Meryl Streep). A midlife crisis rouses the beast; he decides to turn hunter once again. Retaliation comes fast and hard: the Fox is robbed of his tail by a shotgun blast. In the war that follows, Fox and his family—and, soon, all the creatures in the woods— become refugees. Clooney is a fox in full: we see both the humorous suavity and the realization of possible failure. Clooney is our Cary Grant, but what people forget about the original Grant is something that this superbly compelling Clooney remembers: the buried fears that a suave man harbors of being out of control. (RvB)

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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.

but says, “This man cannot weep.” The locations, in New Jersey’s aluminum-siding belt, give the story some kind of realism. Inside this movie is a much harsher and bigger film, and Harrelson, who is excellent, might have shown the way to it. (RvB)

The Messenger (R; 105 min.) Woody Harrelson’s Capt. Stone is a CNO (Casualty Notification Officer), one of the pair of soldiers who turn up on doorsteps to regret to inform. Stone’s new partner, Sgt. Montgomery (Ben Foster), is a simmering, tattooed fan of punk rock; he’s scarred from the war and is boiling with his own contempt for the civilians around him. The two-man team keep the pity for themselves and not for the survivors. But we start to see celebrity actors playing the bereaved: Steve Buscemi as a spitting, furious father; Samantha Morton, plumped and cushiony, with hair swept back to look like late-period Ann-Margret. That’s when the film’s previous death’s-head irony starts to grow domestic. One can’t stop watching Harrelson, who—despite cartoony work this year—seems on the verge of something great. Writer-turneddirector Oren Moverman did the research; the slang sounds right. He also uses ideas and symbols that could have been done without: the first shot of Sgt. Montgomery, putting eye drops in his wounded eye, all

Ninja Assassin (R; 99 min.) The shiny Orientalism of Ninja Assassin’s dialogue is more of a treat than the fight scenes, which consist, basically, of a lot of whipping razor chains and puréed ninjas, who go up in what look like explosions in a Ragu factory. James McTeigue, of V for Vendetta, tells of an apostate ninja named Raizo (Korean pop star Rain), who turned against the Clan of Black Sand and is hiding in Berlin. Suffering nobly, he tries to protect an Interpol-like investigator (Naomie Harris) from the wrath of his seemingly hundreds of fellow warriors. In flashbacks, we see the savage training: kidnapped children are beaten into the ninja lifestyle under the glare of Lord Ozuni (venerable martial artist Shô Kosugi). When McTeigue slows down the camera, the violence has an effect, and there’s the odd sick-artistic effect, like the calligraphy of blood sprawling on paper screens. More often, we get grotty stuff: an edit between a bisected fool and tomato sauce splotching on a paper dish of Berlin-

*)

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FILM DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

*(

style curlywurst. The Wachowski brothers developed this comic-book-like ďŹ lm. Despite the playfulness of scripters Matthew Sand and J. Michael Straczynski, the story gets stuck up in origins; the fountains of gore are not so much nauseating as lulling. (RvB) Old Dogs (PG; 88 min.) John Travolta and Robin Williams star in a kid-friendly comedy about two old buddies who must care for 7-year-old twins. Co-stars Kelly Preston, Bernie Mac, Matt Dillon and Ann-Margret.

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Paranormal Activity (R; 99 min.) This is being touted as “the next Blair Witch Projectâ€?—meaning, essentially, horror’s new runaway phenomenon—but there are very important differences that should help it avoid the dreaded Blair backlash. There are similarities, sure. Writerdirector Oren Peli made this for $15,000, and the plot is about what you can expect anybody to get out of $15,000. It has a young couple, played by Katie Featherston and Micah Sloat using their real names (in what seems like an homage to Blair Witch), believing something unusual and disturbing is going on in their house. Micah buys a handheld camera to try to capture it on ďŹ lm, recording day and night. This leads to the movie’s biggest aw, also a weakness in Blair Witch, CloverďŹ eld 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 ďŹ lm this if that was happening?â€? 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) Pirate Radio (R; 135 min.) Director/writer Richard Curtis’ ďŹ lm wastes a roster of ďŹ rst-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. Taking this interesting David and Goliath story, Curtis’ inspiration was to put pontoons under Animal House

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and oat it. Kenneth Branagh plays the John Cleese–like fussy inspector, who determines to use the British government to shut down the musical madcaps aoat on a boat, broadcasting in the North Sea. 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. Hoffman is the legend-in-his-own mind American DJ called the Count. Some rivalry is established when a fellow Yank DJ arrives on the boat: repeat-offender Rhys Ifans playing the silky Gavin Cavanaugh. (RvB) Planet 51 (PG) An animated kids’ ďŹ lm. When an earth astronaut (voiced by Dwayne Johnson) arrives on an alien planet, he causes a panic among the cozy suburban inhabitants. Precious: Based on the Novel Push by Sapphire (R; 110 min.) Much lauded, but it’s a bulldozer. It’s 1987, during some of Harlem’s most suffering years. A girl of immense girth, 16-year-old Claireece (Gabourey “Gabbyâ€? Sidibe) makes her way through life. She has intelligence, but she can’t focus, and we learn why in ashback; she was serially raped by her mother’s boyfriend. Her scathing, angry mother, Mary (Mo’Nique), blames Precious for this and her resulting pregnancy), urging her to stop this foolishness about school and go on welfare. Watching Sidibe, we see something of what this movie could have been if it hadn’t been so overcooked. The ďŹ lm is practically a pre-Clinton-era dream of the need for welfare reform: here, welfare is a generational evil that Precious might fall heir to. As you’ve heard, Mo’Nique is great, but the ďŹ lm has a judgmental streak that won’t quit. And that’s been essential to a success worthy of its sensationalism. By the end of the movie, you know who all the heroes and all the villains are, and you can go home comfortable. (RvB) The Road (R; 119 min.) Two ďŹ gures, half-starved on a perilous road to the sea, are the survivors of some thorough but indeďŹ nite holocaust. All civilization has broken down utterly; long-pig consumption is on the rise. The ďŹ lm offers a serious vision of a world without warmth, humor or sex, and only a lightweight, one thinks, would ee from it. The Road’s postapocalyptic center is a moral struggle: even as his strength wanes, Vigo Mortensen’s Man tries pass on the spirit of “the good guysâ€? to his son. The son is called, as in Tarzan movies, “Boyâ€? (KoďŹ Smit-McPhee). My problem is that I’ve seen the same movies novelist Cormac McCarthy saw. The us vs. them aspect is the same as in any video game, or any of the previous dozen movies about zombies or hillbilly ogres. The ďŹ lm has its moments. Mortensen’s real-to-the-pith suffering is unimpeachable, and a sightless Robert Duvall’s tales of apocalypse have some genuine weight to them. There isn’t a moviegoer alive that can take The Road as seriously as it wants to be taken. (RvB) A Serious Man (R; 105 min.) All the themes in the Coen brothers’ previous ďŹ lms blend harmoniously in this terriďŹ c 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.

M E T R O S I L I C O N VA L L E Y DECEMBER 2-8, 2009 FILM

FILM REVIEW

The Twilight Saga: New Moon (PG-13; 130 min.) Visually, New Moon improves on Twilight—the forest primeval is a little more natural (the better to shelter the supernatural). More of the same, though: the troubled True Love Waits romance of Bella Swan (Kristen Stewart) with the vampire Edward Cullen (Robert Pattinson), interfered with by the formerly geeky, now studly Native American werewolf Jacob Black, called Jake (Taylor Lautner). Modeling Bella on the Jane Austen heroine—“loving longest . . . when hope is gone”—director Chris Weitz makes the mistake of letting the goods simmer until they’re soggy. Playing Bella, Stewart is consistently interesting. She has a very ambiguous mouth, and she plays everything way, way down, particularly her incrementally tiny reactions to the supernatural: “You’re not the first monster I’ve met.” The contrast here is flesh vs. spirit—Jake the werewolf wears few clothes and has muscles in his ears, and Edward is a pale, sulky stripling. One is more creeped out by the passage about the fiancee Emily (Tinsel Korey), who had her face disfigured by her werewolf lover, yet she still serves the wolfman and his buddies the muffins she bakes herself. In Stephenie Meyer’s world, men never mean it when they lash out; the girl wants consummation, but the sensitive man delays it, and a father can still ground his daughter, even when she’s past 18. (RvB) 2012 (PG-13, 158 min.) Nutty but not crunchy ripoff of When Worlds Collide. A few minutes 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. 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), and the ex-wife’s new squeeze, an expendable plastic surgeon (Thomas McCarthy)—better the whole world be inundated than one American nuclear family should be sundered. No surprise, 2012 is a film of sequences and of wildly uneven tone. (RvB)

[55]

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Winds of War John Woo pulls out all the old action stops for warrior epic ‘Red Cliff’

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ARVED FROM a two-part movie of nearly five hours, John Woo’s humongous Chinese hit Red Cliff seems to be either too short or too long. Promising subplots keep trying to break out. Emotional moments rise out of nowhere, only to have their force dissipated by yet another battle scene. Thousands die, most of them impaled by wide-gage spears and arrows, but I couldn’t tell you for certain which side they were on. Woo thrusts us down into the middle of scrimmage, his camera following the thrusts of spears and the slashing of swords. Woo takes men and horses charging up to an extreme not seen since the 1960s. When he adds explosives to the mixture, after a very funny montage of a general roaring that the fire bombs need to be bigger, bigger!, there is no arguing that the scope of this movie flabbergasts. But Red Cliff is People’s Republic gigantism, the exuberance of a puritan culture. As for woman-warrior power, the subplot about a general’s sister, Shangxiang (Zhao Wei), who joins the army and becomes a spy, was cut down for this Western edition. Women hardly hold up half of the movie’s lowering skies. In 200 C.E., the power-mad Prime Minister Cao Cao (Fengyi Zhang) has bled China into a kind of peace. But some of his former enemies are restless: a pair of them, Liu Bei (You Yong) and Sun Quan (Chang Chen) hole up at the Yangtze River fortress of Red Cliff to wait for the attack by sea. Among this cliff-side assembly of royals and generals are the warrior Zhou Yu (Tony Leung) and the most fascinating figure of all, the Confucian paragon Zhuge Liang (Takeshi Kaneshiro). His tactics save the entrenched rebels from the vaster force. Whenever this calm, white-robed strategist enters, some particularly exciting business develops. Kaneshiro is one of the coolest presences in the movies in 2009. Zhuge figures in an ingenious way to collect weapons, using fog and decoys. He also engineers a way in which an attacking cavalry is lured into a maze of iron-shielded phalanxes, as cleverly synchronized as a football half-time show. The flaming finale is his greatest gambit, involving the flickering of candles, the ultra-close-up shots of drops of water falling from a water clock, and one man’s assurance that a handful of seagoing people can take on the ridiculously huge armada of landlubber Cao Cao. The very end, of course, is a reprise of Woo’s most famous contribution to cinema, the multi-angle Hong Kong standoff, so famous that it’s being parodied on AT&T commercials right now. Cutting Woo’s epic down to size was a fool’s game, and it makes me wonder what it would have been like if the only comparable epic, Lord of the Rings, had been similarly shortened, with Aragorn out of it or with Gollum as a walk-on. Richard von Busack RED CLIFF (R 148 min.), directed by John Woo, written by Woo and others, photographed by Yue Lü and Li Zhang and starring Tony Leung and Takeshi Kaneshiro, plays at Camera 3 in San Jose and the Guild in Menlo Park. (Be sure to follow us online for movie alerts at Twitter.com/metronewspaper)

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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)

[56]

FILM DECEMBER 2-8, 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 DECEMBER 2-8, 2009 MUSIC

[57]

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How a pioneering rock band recovered from helping to start ‘Jackass,’ setting a guy on fire for MTV and imploding in a San Jose hotel room By Steve Palopoli

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LOT of people remember what they were doing on Aug. 9, 1995. That’s because it’s the day Jerry Garcia died. The Grateful Dead was never Joe Sib’s thing, but he still remembers all too well what he was doing that day. He was on tour with Wax in San Jose, about to get whacked by his band in a hotel off the 280. “I walked into the room, and I knew,” he remembers. “It was like a scene out of Goodfellas.” It happened just as Wax seemed primed to break in a big way. When they released their first album in 1992, the mainstream didn’t get their Pixies-infused-with-Ramones sound. But now the era of Green Day and the Offspring had dawned. Wax was signed to Interscope, its major-label debut 13 Unlucky Numbers was just out and it already had a popular video for its song “California,” in which upand-coming director Spike Jonze had lit a guy on fire. Their song “Mallrats” was on the soundtrack for Kevin Smith’s film of the same name. Their second single was about to drop, and all indications were that it could be a huge hit. But Sib’s biggest hopes and dreams for Wax ended with the closing of a hotel door on that day the tie-dye music died. Almost 15 years later, with Wax

newly reformed and about to return to the scene of the crime with a show at the Blank Club on Friday, lead vocalist Sib has no hard feelings. “I can sometimes be a real ass to deal with,” he admits. “I’m a very take-action, let’s-make-it-happen guy. When you’re first in a band, that guy’s great, ’cause stuff gets done. After a while, you start to hate that guy.” In fact, Sib already had some experience getting thrown out of bands in San Jose. He grew up here, and hung with the tight-knit South Bay skate community in the early ’80s. His experiences with that nowlegendary scene are the subject of a one-man show Sib put together called “California Cargo” (he calls it “broken word” rather than “spoken word”) that he’ll be bringing back to his hometown next year. Back in the ’80s, Sib was in a San Jose punk band called Front-Line. “We played with the Factor. We played with Ribsy. We were part of the whole scene with Frontier Wives, what was called the Laundry Works scene,” he says. When Front-Line gave him the boot in 1990, after a five-year run, Sib moved to Los Angeles, where he formed Wax with guitarist Tom “Soda” Gardocki, bassist Dave Georgeff and drummer Loomis Fall. Fall would go on to be known

as a member of the Jackass crew. In fact, Sib saw one of the earliest moments of Jackass’ genesis when Spike Jonze—who would go on to be closely involved with the show—was directing their video for “Hush.” “Loomis rides his bike into the front of a car in that video,” says Sib. “The whole night they were like ‘Let’s do stunts!’ Spike nailed his head and they had to take him to the hospital.” Far more infamous was their video for “California,” in which Jonze, who the band had met skateboarding, set a man on fire and filmed him running through the streets for about 40 seconds. Reduced to slow motion, the shot was made to last almost the entire length of the two-minute, 15second song. The end result disturbed so many people that MTV banned it from daytime airplay. The video became legendary, and the song became a minor hit, but despite their success, Wax broke up not long after firing their vocalist. Sib stayed in L.A. and founded Sideonedummy Records, which now includes bands like the Gaslight Anthem, Flogging Molly, Gogol Bordello and Anti-Flag on its roster. Oh, and of course Wax. After getting together to play earlier this year—the first time they’d been in a room together in 14 years—the

band booked some gigs and released a vinyl 7-inch on Sideonedummy featuring four unreleased songs from the 13 Unlucky Numbers sessions. The proceeds are being donated to UCP Wheels for Humanity, a group that provides wheelchairs to children and adults with disabilities in Third World countries. Sib is very serious about his support for the organization—after the Dec. 3 benefit he’s organized in San Francisco featuring headliners NOFX, he’ll have helped to raise over $100,000 for them in four years. “What they do is so punk,” he says. Wax has benefited from a little support, as well. One of their biggest fans is Weezer’s Rivers Cuomo, who played his first show opening for them. This year he returned the favor, booking Wax to play with Weezer at the Hollywood Palladium. “It was so nice to have someone go, ‘Hey, take a listen. This band is important.’ It was just us and them, and 4,500 people. You couldn’t put another person in there,” says Sib. “It felt like it had come full circle. If you’d told me when they kicked me out of the band in ’95 that I would ever play with these guys again, let alone at the Palladium, I wouldn’t have believed it.” WAX performs Friday, Dec. 4, at 8pm at the Blank Club, 44 S. Almaden Ave., San Jose. Tickets are $10. (408.292.5265)

[58] GALLERY

DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

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DECEMBER 2-8, 2009

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Club VIP Lists!

[67]

[68]

DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

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Adult Entertainment

Susan’s Massage

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Beautiful Girls

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18+

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> ]VkZ V hj\\Zhi^dc [dg i]Z ldbVc ldcYZg^c\ l]Zi]Zg ]Zg Wdn[g^ZcY gZVaan ]Vh bdcZn dg ^h XVggn^c\ V b^aa^dc ^c YZWi/ gjc V XgZY^i X]ZX`# 6 [g^ZcYÉh YVj\]iZg Vabdhi bVgg^ZY V ldcYZg[ja \jn l]d ijgcZY dji id WZ V \VbWa^c\ VYY^Xi# 6[iZg i]Vi! bn [g^ZcY hiVgiZY gjcc^c\ XgZY^i X]ZX`h dc ZkZgn \jn ]^h YVj\]iZg hiVgiZY \Zii^c\ hZg^djh l^i] h]Z lVh dkZg (% Vi i]Z i^bZ # HdbZ d[ jh VgZcÉi i]Z \gZViZhi X]ddhZgh! VcY iVaZciZY a^Vgh e^X` eVgicZgh l]d XVcÉi dg ldcÉi Xdc[gdci i]Zb! hd V a^iiaZ haZji]^c\ ^hcÉi jcgZVhdcVWaZ# Å7ZZc 7^iiZc There are some good liars out there, but even the craftiest can’t hide everything all the time. Something will eventually slip through the cracks. Sometimes, a femur. Remember, Scott Peterson didn’t have a gambling problem. And sure, a credit check would probably pick up on a man who does. Unfortunately, it’s illegal to do one without permission. And since the credit check, and who ordered it, will likely show up on the person’s credit report, what you’re suggesting is like throwing a brick through somebody’s window, but taping your business card to it first. Your friend apparently fails to see the irony in taking the devious approach to helping his daughter avoid the devious. He probably tells himself he’s just protecting his little girl—his little girl of 30-plus, who he never managed to teach to vet men for herself. He could really mess things up for her, should some nice guy find out Daddy’s been feeling up his finances. Being in a relationship isn’t license to gallop through a person’s privacy. “Make yourself at home” means “my fridge is your fridge,” not that you should feel free to scoop up hair and nail clippings and bribe somebody at the crime lab to run them through “Trace.” If you’re continually ending up in the arms of con boys, you don’t hire Nancy Drew; you work to change that. Don’t assume you’re a poor chooser. You might be an excellent chooser—excellent at choosing the best partner to replay whatever number Mommy Dearest did

on you. But, chances are, you’re desperate for love—making you desperate to ignore pesky inconsistencies that scream “That isn’t his yacht, he doesn’t work for the CIA,” and in worst cases, “Get out before somebody has to get you out—by digging between the rose bushes for your remains.” Of course, most bad guys you’ll meet are serial jerks, not serial killers. To avoid them, lose any romantic notions about “love at first sight,” which is really idiocy at first sight: deciding somebody’s “the one” because they have a cute cowlick and broad shoulders and you haven’t had sex for six months. This doesn’t mean looking for love should give way to looking for evidence, just that you should reserve judgment until you’ve had ample time to see somebody’s true character, which comes out in those little moments when they think nobody’s looking. To catch particularly clever cons, Dr. Barbara Oakley, author of Evil Genes, advises talking to “the little people”—a receptionist, the janitor, someone who knows them in passing: people they aren’t trying to win over. You should also meet the medium-sized people—their friends, family and co-workers—and see if you all seem to be talking about the same guy. But, most important, you have to be comfortable enough being alone to want to know who somebody really is—before they steal your heart, then head over to the pawn shop to see what they can get for your iPod and widescreen TV.

> ]VkZ V Xgjh] dc bn cZ^\]Wdg d[ ild nZVgh# > YdcÉi gjh] ^cid YVi^c\Å> a^`Z id \Zi id `cdl V \^ga hd > hZZ lZÉaa WZ V \ddY Òi# Ine^XVaan! > ZcY je bV`^c\ bdgZ [g^ZcYh i]Vc \^ga[g^ZcYh# > cdl hZZ i]^h \^gaÉh ZkZgni]^c\ >Éb add`^c\ [dg# Jc[dgijcViZan! h]Z cdl ]Vh V Wdn[g^ZcY# > YdcÉi lVci id WgZV` VcndcZ je! Wji >ÉY hi^aa a^`Z id hVn hdbZi]^c\# ÅAViZ It is wise not to rush into asking a woman out. At least wait until she turns around so you can see that she’s a woman—one you happen to be attracted to—and not a guy with really pretty hair. Be honest: You’re yet another guy floating what he hopes is a plausibly deniable wimpout—a creative excuse for being too big a weenie to risk

rejection. You get to know a girl by dating her. If you don’t like what you get to know on the first date, you don’t ask for a second one. If you must say something now, try this: “Got any cute friends?” Should you meet one, see that you ask her out before you’re so far into the friend zone that you’re French-braiding each other’s hair.

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DECEMBER 2-8, 2009

ADVICE GODDESS

[71]

[72]

CLASSIFIEDS DECEMBER 2-8, 2009 M E T R O S I L I C O N VA L L E Y

metro CLASSIFIEDS

CLASSIFIED INDEX 70 72 72 72

PLACING AN AD 73 74 74 75

Single Services Employment Family Services Music

Legal & Public Notices Automotive Home Improvement Real Estate

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

√

Fax your ad to the Classified Department at 408.271.3520.

@

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

±

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

≈

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

.

Engineering

g Employment Jobs

$$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800405-7619 EXT 2450 www.easywork-greatpay.com (AAN CAN)

JDS Uniphase has the following job opportunities available in San Jose, CA (1) and Milpitas, CA (2): * Test Engineer (TE1) * Hardware (R&D) Engineer (HWE2) Mail resumes to 430 N. McCarthy Blvd., Milpitas, CA 95035, Attn: VJ/2.1.1067. Must reference job title and job code (i.e. TE1) to be considered. EOE. www.jdsu.com

Electronics

Studio Glam in San Jose has 2 stations for rent, please call 408-260-5001 for more details, and ask for Liz

Strategic Account Analyst for electronic connector mftr in Cupertino, CA. Refer to www.hiroseusa.com for full reqmts. Res: Hirose Electric (USA), Attn: Stapf, jobs@hirose.com

Engineering

Computers

Hair Studio Station For Rent

NVIDIA Corporation, market leader in graphics and digital media processors, has engineering opportunities in Santa Clara, CA: ASIC Design Engr (ASICDE61): Support custom CAD framework; Systems SW Engr (SSWE61): Design multimedia drivers; HW Engr (HW60): Perform physical layout for high speed analog mixed-signal ICs; Physical Design Engr (PDE08): Implementation of graphics processors; Hardware Engr (HW53): Establish CAD; ASIC Design Engr (ASICDE62): Perform emulation for technical ASIC development; Systems SW Engr (SSWE51): Write & maintain databasedriven automation tools; Hardware Engr (HW54): Work on 2D & 3D graphics; Systems SW Engr (SSWE62): Develop compiler back-end optimizations. If interested, ref job code and send to: NVIDIA Corporation. Attn: MS04 (L. Molina). 2701 San Tomas Expressway, Santa Clara, CA 95050. Please no phone calls, emails or faxes.

Sr. Software Engineer (Multiple Openings): Software dev. & design of advanced network security products. SUNNYVALE-CA. Mail ResumePalo Alto Networks, Inc. 232 East Java Dr., Sunnyvale, CA 94089-1318

Bartender / Cocktail Servers

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Do you dislike your job? Come in for vocational checking. You may have talents you don’t suspect. Contact Scientology Test Center. 408-383-9400

**BODYGUARDS WANTED**

Feel the Fear and Do It Anyway Workshop

FREE Training & Job Placement Assistance for members. No Experience OK. Excellent potential $$$. Full & Part Time. Traveling expenses paid.. 1-615-228-1701. www.psubodyguards.com (AAN CAN)

Does anxiety and fear impact your job, your relationships, your ambitions? 2-day Fear Mastery workshop in the South Bay February 5-6. Visit the website at www.erikworkshops. erikcomm.com for more information

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

ggg Family Services

Self Help

Music

Adoptions

Miscellaneous

Bands

Pregnant? Considering Adoption? Talk with caring agency specializing in matching birthmothers with families nationwide. Living expenses paid. Call 24/7 Abby’s One True Gift Adoptions. 866/413-6293 (AAN CAN)

ggg Business Opportunities

Attention Readers

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

General Notices Miscellaneous

Gain National Exposure

Reach over 5 million young, active, educated readers for only $995 by advertising in 110 weekly newspapers like this one. Call Jason at 202/289-8484. (AAN CAN)

gg Classes & Instruction

Classes & Instruction

For Sale Estate Sales

High School Diploma!

Fast, affordable and accredit- New & Used CoinOp ed. Free brochure. Call Now!. Cocktail Arcade 1-888-532-6546 ext. 97 Games www.continentalacademy.com Special offer, limited time (AAN CAN) only, please call (888)378-9416 or email Eskrima/Serrada sales@coinopstore.com

Classes in Redwood City!!

Learn Self Defense! Classes begin on December 12th 2009 at Red Morton Community Park, 1400 Roosevelt Ave., Redwood City, Ca. at 1pm. Punong Guro Elicio Benetua with IESAc. (408).896.7508. email: efbenetua@yahoo.com Visit: www.tribe-iesa.com

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

¬

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Miscellaneous

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Marriage breakdown because of Consultants incompatible perWe SOLVE Computer sonalities? If you and your partner are having trouble come in and get your personalities checked, as this may be the reason for your disputes. Call 408-383-9400

Problems!! Mention Metro Ad For $20 “Express Computer Tune-Up”

Computer Repairs for Desktops, laptops, home networks, virus, slow/dead systems, data recovery. Be seen by one of the largest, Microsoft Certified. most active audiences in the Call for free quote!!! Free pickup and delivery. South Bay! 408-734-3123. Visit metroactive.com or call 408/200-1300.

Advertise Your Services

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

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SessionDrummer.net Real drum parts online. Real tape sound. Digital formats include: WAV, AIFF, Sound Designer 2. $160.00 per song. Randy Burk, Producer/ Session Drummer. Oakland, 510/567-8572

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Thug World Records exploMiscellaneous sive label features lil Wayne Snoop dog E-40 G-unit and more. Free Downloads, MP3s, Free Singing Lessons! Join Bay Area Showcase RingTones, videos. Chorus’ January Guest www.thugworldrecords.com Program. Thursdays, Jan. 14 408-561-1255 thru Feb. 11, Time:7 - 9:00 PM Location: SES Hall, 1375 Rehearsal/Recording Lafayette Santa Clara, CA, 95052 Genuine Analog

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Run Your Ad In Metro's Classified Section Be seen by one of the largest, most active audiences in the South Bay! Your ad will appear in both print and online. A Powerful Combination for one great price. To advertise visit metroactive.com or call 408/200-1300.

Need Music? Got Music?

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

Legal g Legal Notices

Legal & Public Notices

FICTITIOUS BUSINESS NAME STATEMENT #529989 The following person(s) is (are) doing business as: Cafe One, 1 Almaden Blvd., San Jose, 95110, Maria Olvera, 988 Summerplane Dr., San Jose, CA, 95127, Jose Luis Orduna. This business is conducted by a joint venture. Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. /s/Maria Olvera This statement was filed with the County Clerk of Santa Clara County on 10/14/09. (pub Metro 11/11, 11/18, 12/02, 12/09/2009)

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)

FICTITIOUS BUSINESS NAME STATEMENT Run Your Ad In #530799 Metro's Legal Section The following person(s) is (are) doing business as: Union Local 13, 4200 Dove Rd., San Jose, CA, 95111, Kevin DeLang.

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Post Post your your event event ... ... for for free! free!

[73]

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ROB BREZSNY

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Schneeman was a kid, her extravagant adoration of nature earned her the nickname “mad pantheist.” Later, during her career as a visual artist, she described her relationship with the world this way: “I assume the senses crave sources of maximum information, that the eye benefits by exercise, stretch, and expansion towards materials of complexity and substance.” I hope that you’re attracted to that perspective right now, Aries. To be in most productive alignment with the cosmic rhythms, you should be in a state of nearly ecstatic openness, hungry to be stretched—like a mad pantheist.

FICTITIOUS BUSINESS NAME STATEMENT #530660

ASTROLOGY

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6g^Zh (March 21–April 19): When Carolee 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/Kevin DeLang This statement was filed with the County Clerk of Santa Clara County on 11/05/2009. (pub Metro 11/11, 11/18, 11/25/, 12/02/2009)

DECEMBER 2-8, 2009

IVjgjh (April 20–May 20): “Dear Rob: Last night my son and I were star-gazing. When we focused on the constellation Cassiopeia, an owl started hooting. Then a brilliant shooting star zipped by as a huge bat flew right over our heads. Was this a bad omen? Bats are creepy—associated with vampires. And in Greek mythology Cassiopeia got divine punishment because she bragged that she and her daughter were more beautiful than the sea god’s daughters. But I don’t know, maybe this blast of odd events was a good omen. Owls are symbols of wisdom and shooting stars are lucky, right? What do you think? Are we blessed or cursed?” —Spooked Taurus Dear Spooked: The question of whether it’s good or bad luck is irrelevant. Here’s what’s important: You Tauruses are in a phase when the hidden workings of things will be shown to you—the mysterious magic that’s always bubbling below the surface but that is usually not visible. <Zb^c^ (May 21–June 20): The week ahead will be a ripe time to pull off magic reversals. May I suggest that you try to transform dishwater grays into sparkling golds? Or how about recycling the dead energy of a lost cause in such a way as to generate raw fuel for a fresh start? I’m confident, Gemini, that you’ll be able to discover treasure hidden in the trash, and that you’ll find a way to unleash the creative zeal that has been trapped inside polite numbness. Now ponder this riddle, please: Do you think there’s any mystical significance in the fact that the word “stressed” is “desserts” spelled backward? 8VcXZg ( June 21–July 22): Lately you remind me of the person Robert Hass describes in his poem “Time and Materials”: “someone falling down and getting up and running and falling and getting up.” I’m sending you my compassion for the times you fall down, and my admiration for the times you get up, and my excitement for the times you run. It has probably become clear to you by now that the falling down isn’t a shameful thing to be cursed, but rather is an instrumental part of the learning process that is teaching you marvelous secrets about getting back up and running. AZd ( July 23–Aug. 22): “I burn for no reason, like

a lantern in daylight,” writes poet Joseph Lease. I think that’s a succinct formulation of one of your central issues, Leo. Burning for no reason, like a lantern in the daylight, can be the cause of either failure or success for you, depending on subtle differences of emphasis. This is how it can be failure: When you’re mindlessly and wastefully burning through your prodigious reserves of fuel without any concern for the benefits it may provide you and others. This is how it can be success: When you are exuberant and self-disciplined in shining your light and radiating your warmth just because it feels so good and so right and so healthy, and without any thought about whether it’s “useful” to anyone.

K^g\d (Aug. 23–Sept. 22): In one of his short poems, John Averill (twitter.com/wiremesa) describes a scene that I think captures the essence of your current astrological omens: “Today is the day of the photo of moonrise over Havana in a book on a shelf in the snowbound cabin.” Here’s a clue about what it means: The snowbound cabin is where you are right now in your life. The moonrise over Havana is where you could be early in 2010. How do you get there from here? A^WgV (Sept. 23–Oct. 22): An estuary is a bay where the salt water of a sea mixes with the fresh water of rivers. These days you remind me of such a place. You are two-toned, Libra. You’re dualpurpose and double-tracked. You’re a hybrid blend

of the yes and the no, the give and the take, the extravagant and the traditional. And somehow this has been working out pretty well for you. You’re not so much a dysfunctional contradiction as an interesting juxtaposition. You’re not being crushed by a squeeze of opposites so much as you’re getting massaged by the oscillating throbs of complementary influences. Keep doing what you’ve been doing, only more so.

HXdge^d (Oct. 23–Nov. 21): Big shiny egos with

flashy tricks may be mucking around in everyone’s business, calling narcissistic attention to themselves as they pretend to do noble deeds. Meanwhile, I hope you’ll be doing the hard, detailed work that must be done to serve the greater good—quietly and unpretentiously improving people’s lives without demanding major tribute. That approach will stir up some sleek, silky karma that will come in handy when you undertake the building of your masterpiece in 2010.

HV\^iiVg^jh (Nov. 22–Dec. 21): “Dear Rob: I

love to be proven wrong. That’s not an ironic statement. I actually get excited and feel creative when I acquire new information that shows me I’ve been operating under a misunderstanding. One of my very favorite life moments occurs when I am convincingly liberated from a negative opinion I’ve been harboring about someone. As you can tell, I’m quite proud of this quality. The way I see it, emotional wealth and psychological health involve having so much self-respect that I don’t need to be right all the time.” —Sagittarian Freedom Fighter Dear Freedom Fighter: Thanks for your testimony. The capacity you described is one that many Sagittarians will be poised to expand in 2010. And this is an excellent week for them to start getting the hang of it.

8Veg^Xdgc (Dec. 22–Jan. 19): In an early version of

the tale of Pinocchio, friendly woodpeckers chiseled his nose back to its original size after it had grown enormous from his incorrigible lying. From a metaphorical perspective, Capricorn, a comparable development may soon occur in your own life. A benevolent (if somewhat rough) intervention akin to the woodpeckers’ assistance will shrink an overgrown, top-heavy part of your attitude, allowing you to proceed to the next chapter of your story with streamlined grace.

6fjVg^jh ( Jan. 20–Feb. 18): “There is light

enough for those who wish to see,” wrote French philosopher Blaise Pascal, “and darkness enough for those of the opposite disposition.” I’m hoping you will align yourself with the first group in the coming week, Aquarius. More than ever before, what you choose to focus on will come rushing in to meet you, touch you, teach you, and prompt you to respond. Even if all the smart people you know seem to be drunk on the darkness, I encourage you to be a brave rebel who insists on equal time for the light.

E^hXZh (Feb. 19–March 20): White dwarfs are

small and extremely dense stars. They’re typically no bigger than the Earth but as heavy as the sun. You currently have a resemblance to one of those concentrated balls of pure intensity. I have rarely seen you offering so much bang for the buck. You are as flavorful as chocolate mousse, as piercing as the scent of eucalyptus, as lustrous as a fireworks display on a moonless night. Personally, I’m quite attracted to your saucy and zesty emanations, and I think most people with strong egos will be. But some underachievers with lower self-esteem may regard you as being more like astringent medicine. My advice: Gravitate toward those who like you to be powerful.

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L]ViÉh i]Z higV^\]i YdeZ dc igji] hZgjbh4 L]Vi VgZ i]Zn4 L]Vi ZmVXian Yd i]Zn Yd4 9d hdY^jb eZcidi]Va VcY i]Z a^`Z gZVaan bV`Z l^icZhhZh he^aa i]Z^g \jih4 >[ hd! l]n YdcÉi lZ jhZ ^i [dg Xdjgigddbh VcY eda^XZ ^ciZggd\Vi^dch4 EaZVhZ ]jggn! bn hjheZXi ^h lgZhia^c\ ]^h lVn dji d[ i]Z ]VcYXj[[h# Å?#;# Truth serums are based on a phenomenon known since ancient times, when Pliny the Elder coined the phrase in vino veritas: “in wine, truth.” He meant anything that lowers your inhibitions is likely to cause you to say things you’d normally keep secret. Unfortunately for cops and CIA interrogators, what you spill isn’t necessarily the truth. Although people have been plying one another with liquor for centuries, the earliest confession induced using something stronger was reported in a 1903 criminal case involving a New York cop. He admitted under ether that he’d faked insanity when accused of killing his wife. The first drug to catch on as a truth serum was scopolamine, a depressant and sleeping agent. Mixed with morphine, it was used to put women in labor into a “twilight sleep” so they’d forget the pain. To gauge the dose, the doctor would ask the patient questions until she could no longer remember anything. The pioneer of truth serum research, a small-town Texas obstetrician named Robert House, claimed his patients always answered truthfully during these times, and from this concluded the drug rendered them unable to lie. In 1922 he tried the technique on two prisoners in a Dallas jail, helping to exonerate both. The age of truth serum investigation, also called narcoanalysis, had been born. Although truth serum caught the fancy of some reporters and scientists, it was never widely accepted as a way of extracting criminal confessions. Several early cases produced a variety of results. In 1924, five men in Birmingham, Ala., reportedly confessed under the influence of an unspecified truth serum to eight ax murders, then confirmed their guilt after the drug had worn off. A few years later a chauffeur in Hawaii confessed under scopolamine to writing the note in a kidnap-murder case but repudiated his statement afterward; ultimately the crime was pinned on someone else. By the mid-1930s, scopolamine had been largely abandoned in favor of safer drugs such as sodium amytal and sodium thiopental (of which Pentothal is a brand name). But the theory stayed the same: once you’re in a trance and have thus lost the complex brain functions needed to sustain a lie, you’re reduced to telling the truth. Drugs were also said to be helpful in dredging up lost memories. Sometimes they

probably were. The problem with truth serums is the results can’t be depended on. It’s easy to find case reports of people recounting detailed stories under the influence of drugs of which they have no recollection afterward—and the stories check out. But researchers also admit despairingly that they know of just as many confessions that were demonstrably false. Drugs reduce some subjects to unintelligible babbling. Other subjects are suggestible and will tell you whatever they think you want to hear. Plus, just because somebody thinks something is true doesn’t mean it is. But hope lives on in the shadowy corners of government. During World War II, the Office of Strategic Services, forerunner to the CIA, tried using cannabis extract to make people talk. Later generations of spies wondered whether they could get results with mescaline and LSD. In the 1950s the CIA launched a covert research program called MK-Ultra to explore the possibilities of truth serums and behaviormodification drugs; it’s said to have run at least through the late ’60s. The U.S. Supreme Court has ruled that confessions obtained using drugs are inadmissible as evidence, on the premise that the practice violates the constitutional protection against self-incrimination. The European Court of Human Rights has likewise prohibited the practice. Nonetheless, drugs continue to be used to extract confessions in some parts of the world. After 9/11, some in the U.S. argued that truth serum ought to be used to extract information from terrorism suspects. Nothing so far suggests American authorities tried it, although it’s possible we turned suspects over to intelligence services in other countries with fewer scruples. Though I don’t make light of ethical considerations, the argument likely to carry more weight in these nervous times is the practical one. Let’s say out of 100 bits of data forcibly extracted using drugs or other means, five are legitimate. How do you know which five?

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