0949_MT by Weeklys

DECEMBER 9-15, 2009 · VOL . 25, NO. 41 · SAN JOSE, CA · FREE

Win Wi W Win Wi in in n Ballet San Jose’s ‘Nutcracker’ tix | Dinner at Red Lantern METROGIVEAWAYS.COM Rock R ock S Scene cene e Squar Squared red Milpitas Milpit tas b band and the Albe Albert rt S Square quare ﬁnds ssweet weet spot bet between ween lyricism and nois noise se p5 p59 9

Big Stick Stiick Strategy Strate egy Police chief talks softly while controversy continues over big stick incident p11

Stretching the deﬁnition of yoga for a new new age p14

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[02]

DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

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[03]

DECEMBER 9-15, 2009

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HARRY POTTER YEARS 1-6 DVD BOXSET #6067528

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[04] CONTENTS

DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

Cover Silicon Valleyâ&#x20AC;&#x2122;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 9-15, 2009

[05]

[06] LETTERS

DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

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Tuna Time Thanks once again for your informative and honest review of he BlueďŹ n restaurant (â&#x20AC;&#x153;Sushi and Beyond,â&#x20AC;? MetroMenu, Nov. 25). However, I really, really appreciate your comments about following the Seafood Watch programâ&#x20AC;&#x2122;s sustainable ďŹ shing guide. I have been doing so for years and applaud your willingness to speak out on this important topic. It is a no-brainer even if one does not want to get environmentally

involved: how would ďŹ sh eating be changed if there were no ďŹ sh or at least the types one is used to? Since I believe strongly in voting with my (limited) dollars I always ask in eateries where the ďŹ sh comes from and try to share this information with the waitstaff if they are clueless. Unfortunately this is the majority of the time. Hopefully they will speak with the chef or owners, too. Daniel Goldsmith Sunnyvale

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Feel the Magic Thank you for the thoughtful feature story about Magic (â&#x20AC;&#x153;Minded With Science,â&#x20AC;? Cover Story, Dec. 2). I am glad to see you spreading Magicâ&#x20AC;&#x2122;s crucial message of fulďŹ llment through awareness, independent thinking, community spirit and scientiďŹ c inquiry into our moral values. I ďŹ rst encountered Magic over 10 years ago, and my deeply fulďŹ lling conversations there

helped me get through some important struggles in my personal life. Those conversations and the books recommended to me also inďŹ&#x201A;uenced the way I taught and mentored students as a professor of economics at the University of Arizona. I noticed many young people merely going through the motions of life, doing what they think theyâ&#x20AC;&#x2122;re supposed to do, and I have learned to challenge students to think harder about what they really want in life and how they can achieve it. I lived at Magic for two years, and while there I beneďŹ ted from many deeply meaningful conversations over the dinner table. Discussions about ecology, emotions, language, medicine, architecture, population growth, love relationships and child-rearing have all sharpened my ability to think about what I want to do with my life, and how I want to go about it. I recently made the difficult decision to resign my job as a tenured professor at a major research university, because I feel I can currently achieve more of my goals by taking advantage of the opportunities afforded me as an economic research scientist at Yahoo! My connection with Magic has strengthened my ability to make bold, independent decisions,

such as giving up tenure, a decision that shocked many of my academic colleagues. I encourage anyone who wants to live life more fully to drop by Magic for dinner. Open your mind, allow your beliefs to be challenged and question what life is all about for you. You wonâ&#x20AC;&#x2122;t be brainwashed into living exactly the way the residents live, but you will learn a lot of new ideas and sharpen your ability to make better choices about what kind of life is right for you. David Reiley Principal Research Scientist Yahoo!

Bitter Ex? Iâ&#x20AC;&#x2122;m sure thereâ&#x20AC;&#x2122;s more to this story (â&#x20AC;&#x153;Kiss and Lie,â&#x20AC;? I Saw You, Nov. 25) than what was published: speciďŹ cally, that this wasnâ&#x20AC;&#x2122;t the ďŹ rst time your girlfriend has lied to you. Take it from someone whoâ&#x20AC;&#x2122;s been there . . . divorce is worse emotionally than breaking off an engagement and certainly more expensive. You should send your (hopefully) ex-ďŹ ancee a big thank you card for doing you a favor and move on. You deserve better, if you believe you do. Kristy from ISawYou@ Metronews.com

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Ends to Innuendos

You hover by my work station and make subtle yet unmistakable comments of a sexual nature. â&#x20AC;&#x2DC;Grunt this, heh heh hmm hmm that, you know what you need is . . . this,â&#x20AC;&#x2122; and the like. Itâ&#x20AC;&#x2122;s getting old, stale and increasingly annoying. If I say something to HR, then it will make a hassle and drama, and youâ&#x20AC;&#x2122;ll just lie about it and make it out as if I am â&#x20AC;&#x2DC;imagining itâ&#x20AC;&#x2122; like you did when I ďŹ rst mentioned my discomfort with your behavior. Iâ&#x20AC;&#x2122;m not â&#x20AC;&#x2DC;out to get you,â&#x20AC;&#x2122; but I would like you to stop acting like an immature asinine sex-starved creep. Since my assertions that you are over the line have proved ineffective at shutting-youthe-f-up, you leave me no choice but to â&#x20AC;&#x2DC;accidentallyâ&#x20AC;&#x2122; place and amplify the PA mike so that the whole company will hear your next bevy of inane innuendos. SEND US your anonymous rants, raves, gripes and diatribes about your co-workers, bosses, enemies or any badly behaving citizen who rankles your ireâ&#x20AC;&#x201D;or about citizens you admire. Send to: I SAW YOU, Metro, 550 S. First St., San Jose, 95113, or via email to isawyou@metronews.com.

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

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

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

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

PHOTO: ALANNA WILLIAMS

DECEMBER 9-15, 2009

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mashup MASHUP MASHUP DECEMBER D E C E M B E R 9-15, 9 - 1 5 , 2009 2 0 0 9 M E T R O S I L I C O N VVAA 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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Secrets Are for Filthy People ERIC Schmidt suggests you alter your scandalous behavior before you complain about his company invading your privacy. That’s what the Google CEO told Maria Bartiromo during CNBC’s big Google special last night, an extraordinary pronouncement for such a secretive guy.

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The generous explanation for Schmidt’s statement is that he’s revolutionized his thinking since 2005, when he blacklisted CNET for publishing info about him gleaned from Google searches, including salary, neighborhood, hobbies and political donations. In that case, the married CEO must not mind all the coverage of his various reputed girlfriends; it’s odd he doesn’t clarify what’s going on with the widely rumored extramarital dalliances, though. Schmidt’s philosophy is clear with Bartiromo in the clip below: “If you have something that you don’t want anyone to know, maybe you shouldn’t be doing it in the ﬁrst place.” The philosophy that secrets are useful mainly to indecent people is awfully convenient for Schmidt as the CEO of a company whose value proposition revolves around info-hoarding. Convenient, that is, as long as people are smart enough not to apply the “secrets suck” philosophy to their Google passwords, credit card numbers and various other secrets they need to put money in Google’s pockets. —RYAN TATE, VALLEYWAG.GAWKER.COM

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

DECEMBER 9-15, 2009

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MASHUP MASHUP DDECEMBER E C E M B E R 99-15, - 1 5 , 22009 0 0 9 M E T R O S I L I C O N VVAA 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 9-15, 2009 NEWS

Santa Clara Valley, California

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“When Is a Tiger Also a Cheetah?”

December 9-15, 2009

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Police, Press and Perception Debate turns to media bias in racial profiling controversy By Jessica Fromm S complaints about the San Jose Police Department’s use of force play out in both the traditional and the social media spheres, calls continue for the resignation of “the man we all love to hate,” as state NAACP president Alice Huffman introduced San Jose’s police chief at a community event on Saturday, Dec. 5. For Rob Davis, who is ﬁghting to keep his job, winning this latest round means shifting attention away from the actions of his officers and towards a more nuanced discussion about public policy, community attitudes, media missteps and the ambiguity of grainy video clips. Billed as a “Courageous Conversation on Race,” Saturday’s forum was organized by the NAACP’s San Jose/Silicon Valley chapter, the same group whose

president, Pastor Jethroe Moore II, called for Davis to step down in a Nov. 18 newspaper opinion piece. Panelists at the Mexican Heritage Plaza event included District Attorney Dolores Carr, San Jose Councilmember Ash Kalra, former councilmember and ex–NAACP president Forrest Williams, educator Wiggsy Silversten and Victor Garza, who chairs the county’s coalition of Latino organizations. Moderating the afternoon discussion on the crisis in relations between the police force and the city’s ethnic communities, Huffman read a statement submitted by 2008 Independent Police Auditor Advisory Committee members Alfredo Villaseñor and Soﬁa Mendoza: “There seems to be a perception in the minority community that the SJPD have caused serious harm, many arrests

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and fatalities to the people of color in San Jose.” A round of applause greeted the statement. Davis then took the mic and launched into an eloquent, empathetic response, the kind that will buy him time until the next YouTube video, his retirement eligibility or another high proﬁle law enforcement job. “Let’s be very clear,” he said, “We are not perfect. We are not perfect, and this is not an easy job that we ask our men and women to do. “There is no other job that receives as much scrutiny as that of being a police officer in this country. None. We accept that, and we continue to do our jobs because we know that there are those moments where we can help make a difference in our community. “It concerns me, obviously, when people say there has

been a breakdown, that there are members of the minority community who do not trust us. But, I also have to say that we are doing what we can to try and address those issues.” SJPD’s troubles date back at least a year, when the San Jose Mercury News published a series of articles concluding that Latinos were disproportionately impacted by discretionary drunk-in-public arrests. That was followed with another series this September deconstructing the department’s practices. The conﬁdence gap grew in October, when the Merc posted a cell-phone video to its website showing officers whacking Phuong Ho with batons on the hallway ﬂoor of his apartment as the unarmed, clueless, crying college student begged to pick up his glasses. A roommate called police after Phuong earlier brandished a kitchen knife in a soap-splashed steak squabble. The Merc followed with another series of articles that attempted to show that the SJPD initiates force during an inordinate number of arrests. Week after week, the newspaper has unveiled new allegations against the department, most recently on Nov. 29 in an examination of Steven Payne Jr., one of the officers in the Phuong Ho case. As activists and daily newspaperdom seem to want nothing less than a head on a stick, city government has responded in the way it frequently does: memorandums, reviews, task forces and hearings. At last week’s council meeting, Davis presented a report laying out current efforts to review his officers’ use of force, which include a task force review of 200 resisting-arrest reports by the city auditor, the city manager and the independent police auditor.

Spin Patrol Bobby Lopez, president of the San Jose Police Officers Association, became so convinced that the force was receiving unfair coverage from the daily newspaper, he took the unusual step of paying &'

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a political consultant to launch a website, ProtectSanJose.com. A week after the publication of the Merc’s October use-of-force series, which nostalgically referred to former Police Chief Joseph McNamara, the former chef himself wrote a opinion piece for Protect San Jose taking aim the newspaper’s drumbeat of criticism. “Recent coverage of the San Jose Police Department was biased and unfair to what is probably the best largecity police department in the nation,” McNamara wrote. The Merc ran the piece on its op-ed page. “They are stirring the fire, they are throwing the gasoline on it, then they are blaming the person who got burned,” says Lopez. “We are being unfairly scrutinized, and the San Jose Mercury has been wrong. “My fear is that with the activists and the Mercury News continually bombarding us, if you say something enough times, people begin to believe it. And that’s the problem with what’s happening.” San Jose District 2 Councilman Kalra, who has led the council charge to examine use-of-force issues, says he and his colleagues have had to work around the coverage of the issue in order to get the real facts. “It’s been one-sided in the sense that all the news that’s been coming out and all the facts that have been highlighted are the negative facts, that’s for certain,” Kalra, a former public defender, says. “At the same time, those facts and those numbers we should be concerned about. Not necessarily because of what they say about our police department, but because of the perception that they may leave with the community.” Following the Mercury News reports, the City Council brought in the Consortium for Police Leadership in Equity (CPLE) to research claims of police bias against minorities. UCLA social psychologist Phillip Goff, who helps direct CPLE, presented his quarterly findings to the San Jose Public Safety Committee on Nov. 19. His early findings uncovered no bias in the San Jose Police Department. Goff ’s remarks surprised many at the meeting and drew the attention of the City Council, the POA and others tracking the debate. Raj Jayadev, a journalist and activist who attended the Public Safety Committee, expressed amazement at Goff ’s conclusions. “The CPLE parachutes in and says, ‘Actually, you know what, there was never a problem, no racial bias.’” Jayadev says. He calls the CPLE’s findings so preliminary and incomplete that they should not have been introduced to the committee at all. The Merc, for its part, did not focus on the CPLE’s preliminary findings. Instead, reporter Sean Webby noted that the group’s research “showed a ‘significant concern’ among black and Latino residents . . . that the police department was ‘a haven of racially biased police.’” Lopez believes that the newspaper, in spotlighting the most negative aspects

of a mostly positive report, once again revealed its anti-cop slant. Mercury News managing editor Bert Robinson defends the newspaper’s coverage. “I think we’ve been very fair,” Robinson says. “We’ve bent over backwards to put the police perspective on the public drunkenness issues, on the use-of-force issues. But I think that there are certainly people who would prefer we don’t write about these issues at all.”

The Chief Makes A Vow At last Tuesday’s meeting, the City Council approved a $97,500 settlement to two men, Ascension Calderon and Samuel Santana, who contended that they’d been the victims of excessive force and false arrest at the hands of the SJPD in 2006. La Raza Roundtable chairman Garza says he supported the two men in their claim. At Saturday’s Conversation on Race, Garza weathered criticism for not joining the San Jose/Silicon Valley NAACP chapter, the Asian Law Alliance, Silicon Valley DeBug, La Raza Lawyers and other local groups in calling for Davis’ ouster. “I believe we should try and make every effort to work within the system and with the system by having meetings on a regular basis and following up,” Garza says. “My experience has been that we are much more successful doing that than by attempting to embarrass [the police department] publicly.” “How can you be impartial with the police chief and the mayor when it appears you have a close, personal relationship with them when they attend and support you at the Raza Roundtable meetings?” Villaseñor and Mendoza asked Garza, via written question. Davis jumped in to give a response to the pointed question. “Victor does not always agree with Rob Davis,” the chief said. “I guarantee you there have been a number of times where he’ll say, ‘I disagree with you, chief.’ But what Victor Garza also will do is say, ‘How is [it] that the two of us can sit down and try to ﬁgure out a way to solve the problem.’” Davis went on to praise his officers but stopped short of denying that a problem exists. The problem, in Davis’ eyes, is one of perception. “That doesn’t mean that at any given moment, based upon videotaped incidents or a particular crime or statistics that may come out, that the community won’t question what we do,” he said. “But I’m going to challenge the people of the community to recognize that it is not just the police department that has a responsibility to address the issues of racism. It’s not good enough to simply do the complaining. You’ve got to do more. Sit down at the table. You’ve got to be part of the solution. We’re willing to do that. We’re all ears. We will be there. That’s what we do.” News Editor Eric Johnson: eric@metronews.com

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Fantastic Mr. Fox

FEW WEEKS AGO, one of downtown San Jose’s most visible developers, Jim Fox, sadly passed away. It was a stunner to say the least, as local denizens will no longer see the guy walking around with his trademark cigar. He was a fixture. Fox was one of the characters who helped make the Hotel De Anza renovation happen 20 years ago. An opulent art deco property when it opened in 1931, the San Jose hotel boasts quite a star-studded history. By the time the early ’80s had rolled around, however, the building had long since deteriorated into a boarded-up flophouse and a halfwaycondemned eyesore. Many people, including some high-profile figures, wanted it torn down forever. But wiser heads prevailed and now it remains a shining star once again. The Hotel De Anza is the stuff of legend, and quite a few eyebrow-raising historical tidbits can be found in an unpublished history included in some of the hotel employees’ handbooks. Originally penned by former Mercury News reporter John Lindblom when the hotel reopened in 1990, the eight-page document contains lurid yarns about celebrities who stayed at the De Anza, plus numerous passages highlighting the role the prestigious property played in San Jose culture throughout the decades. For example: Cab Calloway was the first African American ever to stay at the property. Eleanor Roosevelt was a big tipper. Heavyweight champs Jack Dempsey and Max Baer were also heavyweights at the hotel bar, El Capitan, whenever they were in town. A young Mickey Rooney once attempted to get friendly with “a load of screaming schoolgirls” by commandeering the elevator and jamming it between two floors, resulting in the elevator operator nearly losing his job. And this: Fifty years ago, El Capitan was the unofficial home of the Mercury News editorial staff, since their building at the time was located across the street. In the document, Lindblom quotes another Merc scribe, Betty Barnacle, recalling what it was like: “If the city editor was looking for one of his assistants, he’d start yelling, then send the copy boy over to the bar. Usually, he’d find the assistant there. That bar was always full of people.” Apparently, those were the days before alternative weeklies and before happy hours at roach-infested rock & roll bars down the block. The Hotel De Anza was also the home of radio stations KEEN and KBAY, both of whom broadcast from the hotel decades ago. KEEN actually began its entire operation at the hotel in 1947, with Hollywood star Red Skelton making a special appearance for the kickoff Jim Fox was one of ceremonies. But by the end of the ’60s, the characters who unfortunately, the hotel had declined helped make the right along with downtown in Hotel De Anza general, due to the mass exodus of renovation happen retail to the suburbs that took place across America. By then, the hotel 20 years ago was essentially a haven for unsavory types. The Mercury News eventually left downtown for north San Jose, and both the radio stations bailed as well. The golden days were over. That is, until Jim Fox—along with Barry Swenson, the RDA and Rodrigues & Associates Architects—brought the faded lady back to life in 1990. The De Anza will now live on forever. This Saturday, in particular, the third annual Swingin’ With Sinatra bash erupts again. A live band as well as a few DJs will feature Rat Pack–era stuff. Over the years, the San Jose Downtown Association issued Jim Fox its annual Golden Nail Award a couple of times, for his dedicated work in helping renovate several other major downtown buildings besides the De Anza. He has left a staggering legacy. Swingin’ With Sinatra organizer Andrew Pejack works as a security guard at the De Anza and compares the passing of Jim Fox to a ship’s crew losing its captain in a sudden unexpected demise. “We’re a bit unnerved about Jim’s death,” he laments. “It reminds me of when Capt. Cook was killed by Hawaiians in 1779. His crew was almost maddened by the loss.” Do have a memory of Jim? Let me know at SiliconAlleys@metronews.com

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SiliconValley

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

[14] COVER STORY

DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

Yin

The

M E T R O S I L I C O N VA L L E Y DECEMBER 9-15, 2009 COVER STORY

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Discovering the antidote to contemporary life

UST LAST WEEK, I found myself in a rather cute studio in downtown San Jose, a remodeled warehouse with brick walls and highly polished wooden ﬂoors. The color scheme was earth tones, and the whole effect was very calming and soothing. Soft music played in the background. Veronica Cruz, a small, young-looking woman, gracefully moved through a variety of different yoga poses as if she were doing a slow dance. Cruz is the owner of San Jose’s Downtown Yoga Shala, which opened its doors on South First Street a few months back. On this early Thursday afternoon there were only ﬁve students in the class, ranging in age from mid-20s to late-50s. A wide range in experience was obvious as well. I was the undoubtedly the newest arrival to the world of yoga, as anyone could tell from my wobbly legs—and the fact that Cruz came by every few minutes to adjust my stance or give me a few tips.

As we stood in position—some strongly, others awkwardly, all breathing deeply— I kept thinking to myself: “Just a little longer. You can do this. Your leg won’t really fall off. How nice and relaxed Veronica looks while she tortures me!” After a little over an hour, my whole body felt like it had gotten a serious workout. Although there were no quick movements or jumping around, I was tired and a bit sweaty. But it was also soothing. I left feeling pretty good about myself. I woke up the next morning in complete pain. My back and neck hurt, and my legs felt like I’d run a marathon. I guess it’s a good pain. Cruz says San Jose is just now catching on to the yoga scene that is becoming more and more popular. In California and elsewhere, yoga has taken the ﬁtness movement a few levels deeper. “The breath is the connection between your mind and your body,” Cruz says, explaining the most fundamental truth of the discipline. “The health beneﬁts are more than just physical. They’re also

mental, emotional and spiritual. Because when you have a calm mind, you take that out into the world and deal with whatever is thrown at you.” Afterward, I did feel calmer. I felt very relaxed. Cruz offers different types of yoga at her downtown studio, and gets a very wide type of clientele. She was surprised that few San Jose State students show up, but she gets a lot of local residents and downtown workers. “When they’re constantly bombarded with stress they find yoga a way to counteract that stress. “But the ultimate benefit is holistic,” she says. “Your whole being changes— including how you relate to people, how you view your world, how you deal with things that come up in your daily life. Because you’re coming from a calmer place. Because you’re coming from a state of being that is centered and grounded. There’s clarity. What it brings is beyond the physical benefits.”

YOGA

Crowd By Colleen Watson

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DECEMBER 9-15, 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 9-15, 2009 COVER STORY

YOGA 15

Holding Strong Gentle yin yoga takes a few poses a long way to go deep By Janet Kinosian SOFTER, gentler form of yoga seems to be quietly on the rise. From Los Angeles to London, so-called yin yoga is increasingly being taught at studio classes and yoga retreats, not to mention via books and DVDs. The power or “yang-styled” yoga forms so popular in the West, with their fast shifts between poses and emphasis on sweat, have left a gap for more meditative, longer-held stretches, says Paul Grilley, a martial arts and yoga practitioner who helped develop the yin yoga style along with fellow proponent Sarah Powers. He says yin yoga is not a new form, but rather a return to more meditative, traditional yoga. Slower forms, such as restorative yoga, already exist, he

acknowledges, relying on props to aid with poses and encouraging students to stop when they start to feel discomfort. But with yin yoga, he says, the emphasis is not on a lack of pain, but rather on how to feel discomfort, stay with it and move through it. Yin yoga relies on several core poses that, on ﬁrst look, do not appear difficult. Most focus on the lower half of the body, such as the hips, pelvis, inner thighs and lower spine. The difficulty lies in the length of time the poses are held without shifting or movement. Each pose is held from two to 20 minutes, and long, deeply held breaths coincide with the stretches. This provides 18

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[18] COVER STORY

DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

YOGA 17 for a meditative and mind-clearing practice that helps practitioners learn how to focus on the moment, proponents say, thus reducing anxiety, tension and stress. Some of the names and yin poses are similar to their yang counterparts, such as “corpse pose” and “child’s pose,” though most have been altered and renamed.

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‘The fourth minute [of a stretch] is not like the ﬁrst. If you pull something fast and hard, you don’t get a beneﬁt. But if you keep applying moderate, slow and longer pressure, it will eventually relax.’

MNP120909

—Kelly McGonigal The faster-paced yang-style yoga, such as ashtanga or vinyasa, targets lengthening and strengthening the muscles, says the Oregonbased Grilley, who teaches yoga nationally and internationally and wrote Yin Yoga: A Quiet Practice in 2002. Taoist-based yin yoga targets the connective tissues, ligaments, joints and synovial fluid and the energy channels or meridians that the philosophy hypothesizes runs through them. Adds the San Francisco–based Powers, “This means that instead of coming into a pose for a short amount of time and hugging the bones close together by engaging our muscles, [one] needs to pull the skeleton apart nonaggressively and with appropriate pressure, and then remain stationary a while, allowing the muscles to remain stretched but without engaging them.” Yin poses are not an attempt to stretch the ligaments and connective tissue but to load them appropriately, she says. Kelly McGonigal, a yoga instructor and psychologist at Stanford University and the editor of the International Journal of Yoga Therapy, elaborates. “The fourth minute [of a stretch] is not like the first,” she says. “If you pull something fast and hard, you don’t get a benefit. But if you keep applying moderate, slow and longer pressure, it will eventually relax.”

Yin yoga’s proponents say the physical effects can have a profound emotional component as well, by teaching practitioners how to handle discomfort and strong sensations. For that reason, yin yoga is being used in some addiction- and trauma-recovery programs. Dina Amsterdam, a San Francisco–based yoga teacher who teaches yin retreats nationwide, says she’s found that this form of yoga has emotional and spiritual benefits that “really outweigh what you’d think the benefits could be for a seemingly simpler practice like yin.” The centered and contemplative breathing seems to help release emotion, much like thawing ice, she says. Also, because much of the stretching is done when the body is cooler, as opposed to yang yoga, in which the muscles have been warmed up, the resulting discomfort helps train the nervous system to be less reactive to the stress of a stretch, McGonigal says. Molly Lannon Kenny, founder and executive director of the Samarya Yoga Center in Seattle, says this form of yoga is especially rewarding for eager-torecover addicts and trauma survivors because of the need to work through the discomfort—basically waiting it out. “For addicts, when they feel that overwhelming, I-have-to-have-that sensation—i.e., I have to have that cigarette, food, drink, drug or whatever— they learn to feel it, sit with it and see how this challenge unfolds, and see that it [both the physical discomfort and the emotional tension] can indeed pass safely,” she says. As for the injury potential in muscles that aren’t warmed up, South Bay yoga instructor Via Page says, “Yin yoga poses are long, held stretches, so no warming up is necessary. Actually, the yin yoga poses themselves are essentially a warm-up practice.” As for those emotional benefits, they’re not limited to those who have suffered trauma, Page says. “I’ve had many students tell me it’s helped them learn to become more deeply relaxed and less angry and stressed-out all the time,” she says. That doesn’t mean yin yoga stress on inner de-stressing will overtake the hotter, sweatier yang. “Yin yoga might be a hard sell in an environment where students want a real cardio experience,” Page says, “but despite this, yin is growing and will continue to grow. Once students get started, they can easily see the benefits of adding yin yoga to the mix.” It’s important to remember that we need both yin and yang, she points out. “Yin makes us very flexible and helps us with a more spiritually meditative way of doing things, but we need strengthbuilding, as well. We need them both.” M

YOGA

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

DECEMBER 9-15, 2009

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DECEMBER 9-15, 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 9-15, 2009 COVER STORY

YOGA 18

Some Like It Hot Bikram yoga turns up the heat By Jackie Johansen

HE BOTTOMS of my feet are sweating, and I have only been here for a half-hour. “Keep breathing,” I tell myself. “You can get through this.” I reach my arms up into half-moon pose, stretching out my spine while breathing into the space between my vertebrae. It is hard, but it feels good. I stretch down, chest flat against my thighs, pulling forehead to feet. “How can I make it for an hour and a half ?” I think to myself. “It is only getting hotter.” Just as I think the heat is working against me, it does just the opposite. The warmth penetrates my skin and my muscles. I am able to stretch farther than I expected. Bikram yoga, known as “hot yoga,” is a series of 26 postures with two breathing exercises that are done in a 105-degree room softened with 40 percent humidity. The heat is there for a purpose: to cleanse the skin, protect the muscles by keeping them warm while stretching and to detoxify the body from the inside out. The class is designed for everyone from beginners who have never entered a yoga class to the most meditative and flexible yogis. Bill Butcher, owner of Bikram Yoga Studio of Santa Rosa, explains, “Bikram [Choudhury] designed this series to work every part of the part, every muscle, tendon and internal organ, whereas someone can practice a different type of yoga and leave not having worked the entire body.” Now 63, Choudhury started doing yoga at the age of 4 in Calcutta, India. After winning the National India Yoga Championship at age 13 and being undefeated for three years, he was injured by a weightlifting accident and told he would never walk again. By continuing to practice yoga, he not only was able to walk again but was completely recovered in six months. Convinced of yoga’s healing power, he developed his unique series of postures designed for optimum benefit, opened schools in India and eventually brought his series to the United States. When Butcher took his first Bikram class in 2001, he had been a runner for many years and had his own knee problems. After discovering Bikram, he strengthened his knees

and lowered his blood pressure and stress. “This is a challenging workout,” Butcher says, “but when I am done, I feel better, less stressed.” He has now been teaching for six years and continuously still practices. Choudhury has been criticized and dubbed the “bad boy of yoga” for declaring that his classes are “torture chambers.” He has also been viliﬁed for copyrighting his series of postures, for his net worth of $7 million and for suing teachers who don’t adhere to his regimen. But Butcher argues that “any person who becomes successful has critics. The fact is that Bikram has more people doing yoga all over the world than anyone else; he is teaching yoga to the masses, because he is teaching yoga that anyone can do. It is not tricky. “The fact that he copyrights his series is good,” Butcher continues. “It protects what he is doing and prevents people from teaching his method who have not had the proper training.” As I am in the hot room sweating through every pore of my body, stretching my spine backward, which I rarely do outside of a yoga class, there are times when I feel nauseous and exhausted. I wonder why I am putting myself through this. This class is hard, really hard, but it leaves me wanting more. The nausea and exhaustion pass, and I am proud of myself for sticking it out. Energy surges through my body as I push myself through the discomfort. As an alchemist might say, we need the heat to break up what has become concrete and solid within us. With the heat, I am able to move my body in ways I had not expected, I feel rejuvenated and clean from the inside out, calm and relaxed. Butcher says, “Bikram is trying to get as many people as possible to do yoga, because when we practice, we are nicer, and those around us are affected by it. “Yoga makes the world a better place.” M

YOGA

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M E T R O S I L I C O N VA L L E Y DECEMBER 9-15, 2009 COVER STORY

YOGA 20

Law of Yoga Is teaching yoga a vocation or an avocation? By Tori Masucci

EACHING yoga can seem as easy as slipping on a pair of hempen pants and directing others with confident mastery in downward dog. Or it was, until the government became involved. In January, government regulators in over a dozen states began sifting through an online national registry of yoga training schools created by the nonprofit Yoga Alliance, looking at the industry as a trade group that should be regulated like the vocations of massage, truck driving, dental assisting and others. In April, uproar on the East Coast continued as the New York State Education Department warned 80 schools that they would face a $50,000 fine if their teacher-training programs were not directly suspended. On July 4, passionate New York–based yoga educator Leslie Kaminoff launched his own form of Independence Day for yoga when he founded the Independent Yoga Educators of America. To back himself, Kaminoff wrote “A Declaration of Independence for Yoga Educators,” which lays claim to protecting the rights of the nation’s yoga teachers to independence from any authority that chooses to impose its regulations upon “the yoga community.” But why the push for regulation in the first place? The culture of yoga has changed in the past decade. No longer is it practiced only by the earth-loving offspring of the hippie movement. Yoga is a full-fledged popculture sensation, joining an outstretched arm to the green movement and creating a $6 billion industry that has yuppies, toddlers and retirees alike among the estimated 16 million people in the United States who practice yoga. The 200 hours a student needs to become a certified yoga teacher is standard throughout the nation, but the lines between regulating different types of yoga instruction are hazy. Jean Sutton, founder of BodyWorks Yoga in Petaluma, explains that many yoga studios and health clubs are now employing “gym yoga” in their classes, which can be taught by instructors who have not necessarily had formal yoga training. “This style of yoga is approached as strictly exercise, which isn’t what the yoga system is about, and many injuries have occurred,” Sutton says. “The need for regulation may have stemmed from this.” Soon after the New York debacle,

California put mandatory licensing for yoga training schools into question and began scrutinizing the curriculum and refunding policies that these schools use, in an effort to ensure they are legit. The state does not currently regulate or license proprietary vocational schools at all. As a certified yoga instructor, Sutton understands the concern. “I was pleased to hear that certain states were looking into using guidelines,” she says. “They’ve done a lot of work trying to get standards set, and I think they’ve done a good job of trying to accommodate many different styles and philosophies. I feel like many schools have already set these policies for themselves, though.” Like many of her counterparts, Sutton remains a yoga purist. “By all means, being a yoga instructor is a lifelong learning experience,” she says. “It’s an interesting dilemma for the whole yoga industry. The rebellious side of me feels that just because yoga has taken a big boom, the government wants to regulate it. But how do you regulate this 5,000-year-old practice?” As states continue to crack down on yoga schools, it is likely they may begin to weed out small programs and studios who cannot live up to teaching standards, or who simply cannot afford to. “I’m registered through the Yoga Alliance for the particular interactive yoga therapy program that I run for teacher training,” Sutton says. “I’m really pleased with what we offer, and it does provide a really thorough 10-month training. In my case, it would probably work out OK and my studio wouldn’t be affected.” For now, in light of hovering government policies, wannabe yoga instructors will need more than taut muscles and adept flexibility to earn their certifications and gain credibility. But state bureaucrats had better believe that yoga enthusiasts won’t go into a corpse pose over this one. M

YOGA

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[24] COVER STORY

DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

YOGA 23

Renewbie Even karma gets stretched when one returns to the mat By Suzanne Daly STRAGGLED out of the cold, foggy morning into the cavernous gymnasium and blinked as my eyes adjusted to the buzzing fluorescent lights glaring overhead. Along with the other students, I aimed for the island of athletic mats grouped on the scuffed wooden floor, then arranged myself on a towel to distance myself from the odor of sweat lingering on the maroon plastic. Dressed in an array of T-shirts and cutoffs with long johns underneath, baggy sweats or the occasional leotard and tights with legwarmers, we took note of each other and of the pretty, blond thirtysomething teacher who awaited us. Linda, who preferred to be called “Devi,” sat in a perfect lotus position, an air of serenity around her. She lightly tapped her Tibetan gong, sending a low clear note echoing through the frigid gymnasium. I was 18, just entering nursing school at the local community college, and needed the morning class to calm my fears before learning to give injections and enemas, to insert tubes into bodily orifices. We started off with deep cleansing breaths, inhaling positive energy and exhaling the negative. “Rock and rolls” followed, as we curled up on our backs like little pill bugs and rolled the kinks out of our spines. We saluted the sun, gracefully dipping and breathing, stretching our lithe bodies as Devi’s soft voice called out the pose. I could easily bend forward with legs straight, head to knees, palms flat on the mat. As Devi instructed us to go deeper into the stretch, my breath carried away whatever tension I may have acquired at that tender age. No sweating was involved, and most of the strain I experienced was to keep from laughing at the young male students attempting to squat past a deep knee bend while keeping their footing on the slick mat. I knew that comparing our agility wasn’t the righteous yogic thing to do, but I was young and always looking for the fun in life. We concluded the class either with a relaxation exercise, tensing then releasing each individual body part, or an asana to energize us for the day. One morning we ended with the “woodchopper.” Holding imaginary axes high overhead, we forcefully swung them downward

while squatting, making contact with our imaginary log. A loud ha! accompanied the movements, expelling any remaining tension. As my friend Vicki went down for her third chop, we heard a loud tearing sound, and she quickly stood, red-faced, her pants ripped down the seam. Luckily, her fringed poncho was long enough to cover her mishap, and the ha!s dissolved into laughter. Fast-forward three kids, 30-plus years and pounds later, and I find myself heading to a yoga studio for a class, courtesy of a gift certificate. Feeling reasonably fit due to the aerobic classes I have been devoted to for five days a week for years, I know the beginner’s class will be a breeze. The studio is intimate, with polished bamboo floors and wall lights thoughtfully covered in gauzy lavender fabric to soften the glow. A full wall of cubbies is filled with jewel-toned yoga “props”: green foam blocks, blue wedges and mats, purple blankets, beanbags, bolsters and straps. The students mosey in, unrolling their mats from hemp shoulder bags, collecting props and greeting the petite, highly toned teacher. Dressed in an array of yoga apparel made from breathable, organic bamboo jersey with natural antibacterial and deodorized elements, they choose their spots and start to stretch. My worn spandex sticks to me, as does the mat beneath my feet; I can almost hear the suction noise as I position myself. We start with deep breaths and then are instructed into an asana that sounds foreign to me, due to the teacher’s quiet voice and the Sanskrit name. I crack my eyes, trying to follow along by watching what’s going on around me. “Hold the pose,” we are told. “Tighten your core.” Very specific instruction regarding each muscle and its corresponding energy path is given as rivulets of perspiration course down my back. I struggle to keep my knees straight while my palms dangle inches off the ground. I have never sweated so much while holding still. My yogic karma has caught up to me as I remember my mirth at those poor, unlimber guys in the gym 30 years before. I stick out the rest of the class, both literally and figuratively, and breathe a deep sigh of relief when it ends. Namaste, indeed. M

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[29]

[30]

DECEMBER 9-15, 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 9-15, 2009 STYLE

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Angoraphilia

HEY MAY look like fluffy tribbles, but 7:IIN 8=J’s English angora rabbits are prizewinners. Chu, a Morgan Hill–based bunny enthusiast and maker of handmade angora knitwear, is the foremost breeder of English angora rabbits in the country. Chu’s snow-white, year-old bunny Susie is the reigning No. 1 English angora rabbit in the United States, taking top honors last November at the American Rabbit Breeders Association (ARBA) convention in San Diego. Chu started raising her warren of rabbits in 1981. With so much luxurious fur lying around (English angora rabbits can grow up to 2 ounces of fluff a month), Chu decided to found her own small angora wool knitwear company. She now sells raw angora wool, hand-spun and dyed yarns and handmade scarves and hats on her website ?JHI6HD;I>: (etsy.com/shop/justasoftie). Before she retired to focus full-time on the care, grooming and breeding of her bunnies, Chu spent more than two decades as an economics professor at San Jose State University. “I retired quite early, but my heart was more in rabbits than in teaching by that time,” Chu says. “With my breed of rabbit, the most important thing is you have to have the discipline to keep up with the grooming every single day. I really know how to take care of them. Most people don’t know how because it’s very time consuming.” Ready to be groomed, the rabbits go limp in Chu’s arms when she takes them out of their large hutch in her back yard. Sprawled on her lap, the bunnies lie motionless as she combs their fur, that is, except for the twitching nose peeking out from the fuzz. Through selective breeding Chu has been able to achieve a rabbit that can grow huge amounts of fur and still hold onto its coat without shedding excessively. Female rabbits tend to have the best coats, she says, and their long, surprisingly durable fur is ideal for knitting. Though Chu’s rabbit’s themselves are relatively small at under 7 pounds, when groomed properly and fluffed up, they can achieve the ideal look of a gigantic, plump powder puff. But with so much bunny fur, we had to keep wondering: Which end does one give the carrot to? Jessica Fromm

[31]

[32]

DECEMBER 9-15, 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 9-15, 2009 MENU

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[33]

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Tofu to the Rescue ;Za^eZ 7j^igV\d

Vegetarian Di Lac Cuisine in San Jose provides a break from heavy, meaty holiday dishes By Stett Holbrook

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HE WEEKS after Thanksgiving and before Christmas offer a respite from feasts, a period of relative gastronomic calm between the twin food storms of the holidays. For me, this is a good time to eat less and take a break from all that turkey, ham and roast beef. Itâ&#x20AC;&#x2122;s a good time to go to Di Lac Cuisine in San Jose. Di Lac is a vegetarian Vietnamese restaurant with a few veggie Chinese dishes thrown in for good measure. Itâ&#x20AC;&#x2122;s one of those places that serve tofu and textured vegetable protein recomposed to look like meat. I like Di Lac a lot, but I just donâ&#x20AC;&#x2122;t get the fake meat thing. If youâ&#x20AC;&#x2122;re going to eat vegetables, eat vegetables. Why dress them up to look like meat? I think vegetables can stand on their own without making them facsimiles of meat. Di Lac is the Vietnamese name for the image of the â&#x20AC;&#x153;happy, chubby Buddha,â&#x20AC;? and the restaurant is adorned with all kinds of Buddhist imagery and statues. Thereâ&#x20AC;&#x2122;s even a bubbling fountain. I saw a Buddhist

monk eating a plate of rice and vegetables on my ďŹ rst visit, and I thought the restaurant might be affiliated with a local Buddhist temple, but Di Lac is simply an expression of the ownersâ&#x20AC;&#x2122; beliefs. I doubt that everyone who eats here is a Buddhist, but it is a popular place and was quite full on my visits. Di Lac is really two restaurants in one. Thereâ&#x20AC;&#x2122;s a takeout bar loaded with all sorts of things, as well as a separate menu for dining in. I went for the latter. As far as fake meat goes, I would have loved to see if I could have fooled a dining companion with the â&#x20AC;&#x153;crispy golden chicken nuggets with spicy sauceâ&#x20AC;? ($7.95). The sweetish sauce wasnâ&#x20AC;&#x2122;t particularly spicy, but the nuggets sure were chickeny. Lightly battered and fried, the faux meat had the texture and ďŹ&#x201A;avor of chicken breast and was compulsively edible. Bun bo Hue is one of my favorite Vietnamese noodle soups, and the vegetarian version here (bun bo Hue chay, $5.95) did not have me missing the beef and

pork. The noodles were a little soggy, but the spicy, tangy broth and various simulated meats made for a respectable, vegetarian version of the dish. Iâ&#x20AC;&#x2122;m also a big fan of com tam, or â&#x20AC;&#x153;broken rice,â&#x20AC;? dishes. Made from shattered or fractured grains of rice, com tam is traditionally the rice of the poor, but I ďŹ nd the ďŹ&#x201A;avor and texture more appealing than that of whole-grain rice. Itâ&#x20AC;&#x2122;s more delicate and somehow creamier and richer. At Di Lac, com tam is served with three kinds of faux meat: grilled pork, shredded tofu and patty meat that looks something like a fried meatball. All are good, especially the fake pork. Itâ&#x20AC;&#x2122;s served with a light, rice-vinegar-based sauce that you pour over the top. My favorite dish of all was the â&#x20AC;&#x153;nirvana gourmet saladâ&#x20AC;? ($7.95), a heaping mound of crunchy cabbage and greens, fresh herbs and lotus roots topped with amazingly shrimplike fake shrimp and shredded fake pork. The salad is served with a tangy, bright vinaigrette and is just great. The addition of real meat would not

make it any better. Not everything leads with the fake meat. The spicy lemongrass tofu ($7.50) doesnâ&#x20AC;&#x2122;t hide its tofu identity, nor should it. Fat triangles of stir-ďŹ red tofu are tossed with vegetables in a delicious lemon-grass-spiked glaze. Eggplant with sweet basil ($7.50) is just what it says it is, plus carrots and bell peppers in a savory, garlic-inďŹ&#x201A;ected sauce. Itâ&#x20AC;&#x2122;s a good side dish for all the â&#x20AC;&#x153;meatâ&#x20AC;?-heavy main courses. For dessert, I tried the almond tofu jelly ($2.25). Itâ&#x20AC;&#x2122;s better than it sounds but is really just a piece of green, almond-ďŹ&#x201A;avored jello, minus the gelatin (which comes from beef bones, donâ&#x20AC;&#x2122;t you know). Better are the array of fresh-fruit smoothies with marble-size black tapioca pearls ($3.50). In spite of all I ate on my visits, I left with a lightness of belly that will serve me well as we hurtle toward the end-of-December craziness. Maybe Iâ&#x20AC;&#x2122;ll take a cue from Di Lac and make a tofurkey this year.

[34] DINING GUIDE

DECEMBER 9-15 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

All You Can Eat Pork or Beef

SPARE RIBS

Wed.—Fri. 4pm–9pm

Includes: • 2 Side Dishes • Garlic Bread • Bottomless Soda

CHAR-GRILLED STEAKS & CHOPS

Rib Eye, New York & Pork Chops Baby Back Ribs • Spare Ribs • Meatballs Tri-Tip • Buffalo Wings • Burgers • Dogs BBQ Chicken • Sandwiches & Salads!

15466 Los Gatos Blvd. (Next to Trader Joe’s) Los Gatos • (408) 356-5768 M-F 11am-9pm • Sat. Noon-9pm • Closed Sun.

DECEMBER 9-15, 2009

[35]

[36] DINING GUIDE

DECEMBER 9-15 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 9-15 2009 DINING GUIDE

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[37]

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Hit the Christmas Tree Trail

EVERAL LOCAL local wineries have teamed up to create a â&#x20AC;&#x153;Christmas tree wine trailâ&#x20AC;? that lets you get into the spirit of things by cutting a Christmas tree, sipping some wine, buying a few gifts and having lunch all on the same trip. Several Summit Road tree farms, wineries and local restaurants hope to lure you out of the mall and into the Santa Cruz Mountains for some holiday fun. Iâ&#x20AC;&#x2122;m sold on the idea. Trees and wreaths are available at G69DC>8= G6C8=! ;GDHINĂ&#x2030;H IG:: ;6GB and E6I8=:C 8=G>HIB6H IG:: ;6GB (two locations: on Old Summit Road and Melody Lane and on Old Santa Cruz Highway). Before or after you fell your tree, nearby wineries, including 7JGG:AA H8=DDA K>C:N6G9H! <:C:GDH6 L>C:GN! =JCI:G =>AA! ADB6 EG>:I6 L>C:GN! ED:I>8 8:AA6GH! G:<6A: L>C:GN and K>C: =>AA L>C:GN, will open their doors for wine tasting and shopping for small gifts. Travelers on the Christmas trail will receive one free ornament per winery with a purchase of wine. Each winery is also offering custom gift tags if you chose to give the gift of wine. All of the participating businesses will be selling a custom ďŹ re-truck ornament to beneďŹ t the Loma Prieta Fire and Rescue volunteers. And if you happen to be a ďŹ reďŹ ghter, Patchen Tree Farm is offering you a free Christmas tree as a thank you for your service. As for what to eat, the HJBB>I GD69=DJH: on Highway 17 will be laying out a free happy-hour buffet from 4 to 7pm. Sunday brunch features an all-you-can-eat buffet for $10.95. Or stop by the Summit Store for a sandwich as well turkeys and hams, cheeses, pies and cookies. CDCCDĂ&#x2030;H >I6A>6C 86;w in the mountain town of Redwood Estates, just off Highway 17, chips in with breakfast, lunch or dinner, including wood-ďŹ red pizza. Finally, if you picked up a bottle of wine at one of the participating wineries, the 86A>;DGC>6 86;w in Los Gatos extends free corkage with lunch or dinner. The Christmas Tree Wine Trail runs until Dec. 24. For more information go to www.christmastreewinetrail.com.

Authenti c O axacan Cuisine H appy H our M on-Thu 3-7pm Fr |i 3-6pm

Stett Holbrook (be sure to follow me at Twitter.com/Stett_Holbrook)

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[38] DINING GUIDE

DECEMBER 9-15 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 9-15 2009 DINING GUIDE

mjwf! gffe The Ethical Diner

T WAS an ad for a bluefin tuna butchering “performance” a co-worker left on my desk that put me over the edge. Last month, San Jose’s Mitsuwa Marketplace, one of Silicon Valley’s premier Japanese supermarkets, hosted a public demonstration of how to butcher a bluefin tuna. For a split second, I thought it would be cool. As a sushi lover and student of Japanese culture, my first impression was that it would be fascinating to watch a couple of expert fishmongers slice and saw at a 400-pound fish with 2-foot blades that look like short samurai swords. The picture on the ad showed a guy with a traditional headscarf working up a sweat he worked his knife through a tuna carcass. But my fascination quickly turned to disgust. Because of the world’s rapacious appetite for bluefin tuna and the high prices they fetch, the fish have been nearly driven to extinction. It’s estimated that a mere 3 percent of the fish’s population remains. It’s only because of dereliction of duty that U.S. and international regulators haven’t declared the fish an endangered species. Yet Mitsuwa decided to offer the dismemberment of a mighty fish that could quite possibly disappear from the face of the earth as entertainment? Why not hack up imperiled species like the great panda bear or mountain gorilla and make a real show out of it? I felt as if I should have dressed up like a bloody tuna or something to protest the event. Instead, I started to reconsider the role of a restaurant critic or at least my role. Readers of this column have heard me rail against food’s connection to climate change, the poor treatment of farmworkers in America, the sorry state of school lunches and links between swine flu and the pork industry. Yet I’ve tried to keep my views on the environment and other pressing social issues out of my reviews. But given the significant role food plays in the health of the planet, I’m questioning that separation now. The duties of a restaurant critic are pretty clear. Evaluate the quality and execution of meals. Comment on service and décor as they apply to the dining experience. Educate readers about culinary history, ethnic cuisines and ingredients when appropriate. Entertain. A restaurant review is a wholly subjective work. My reviews are my educated opinion. So why not include my opinions about the ecological impact of what a restaurant puts on the menu? At its root, a restaurant review should be a work of consumer service to help diners decide whether they should eat at a particular restaurant or not. But with the world on fire due in part to the way we produce and distribute food, limiting myself to quibbles about dry chicken, overdressed salads and overzealous waiters strikes me as a little, I don’t know, irrelevant. Or worse, complicit. I believe we no longer have the luxury of oblivious eating lest we eat ourselves into oblivion. Indeed, I think the failure to call attention to these issues when food is discussed contributes to the problem. To spend one’s days eating and writing about eating is a privilege. But to write about food yet refrain from discussing the environmental effects of food production not only misses a source of important stories, it is, I believe, immoral. Just last month a new report from two current and former World Bank environmental advisers concluded that beef production and distribution contribute 51 percent of climate-warming gasses. Fifty-one percent! Until now, the accepted figure was 18 percent as reported by the United Nations three years ago. “If this argument is right,” the authors write, “it implies that replacing livestock products with better alternatives would be the best strategy for reversing climate change. . . . In fact, this approach would have far more rapid effects on greenhouse gas emissions and their atmospheric concentrations than actions to replace fossil fuels with renewable energy.” That means we could save the planet by giving up industrialfarmed beef and still drive Hummers. I can’t help think about that now each time I see a hamburger on the menu. But how to address these issues in a restaurant review and not come off as a crank? I’m not sure. Since 99.999 percent of Silicon Valley restaurants pay no attention to the ecological impact of the food they serve, my reviews would quickly turn into a tired diatribe against yet other environmental offender. Who would want to read that? Last month’s review of Blue Fin restaurant and its reliance on overtaxed fisheries was something of a warm-up. But I’ll be figuring this out as I go, and I invite your feedback at sholbrook@metronews.com. Stett Holbrook (Follow me at twitter.com/stett_holbrook)

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[40] DINING GUIDE

DECEMBER 9-15 2009 M E T R O S I L I C O N VA L L E Y

Tied House Brewery We look forward to seeing you this holiday season. Celebrate with good friends, family, great beer & pub grub.

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Taking Refuge

HE REFUGE in San Carlos is indeed a refuge of delicious food and drink. It’s more a pub than a restaurant, and its claim to fame is ridiculously delicious house-made pastrami. And Belgian ale. And lots of other good stuff, too. The pastrami steals the show. The sandwiches are packed with thickly carved slices of meat that spill out from the great rye bread. This is a premium product that has become increasingly hard to find. The pastrami with mustard goes for $13. The flagship Reuben is $16. They are worth it. The sandwiches 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. Desserts deliver, too. The chocolate pot de crème ($6) is as thick as tar but infinitely more delicious. The butterscotch version ($6) is not as dense but just as good. We need more butterscotch desserts. The only one that missed 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 figure it out. Just make sure you go. Stett Holbrook (Twitter.com/Stett_Holbrook)

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Saratoga S aratoga Community Community Center Center

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The Avalon Avalon

Allendale 119655 9655 A lle endale Ave, Ave, Saratoga Saratoga

44 4 S. S. Almaden Almaden Ave, Ave, San San Jose Jose

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

408.868.1249 408.868.1 1249

408.29.BLANK 40 08.29.BLANK

408.241.0777 408.2 41.0777

Fri F ri â&#x20AC;&#x201C; 6pm; 6pm; $12

Fri F ri â&#x20AC;&#x201C; 9pm; $16 $16 adv/$18 adv/$18 door

Fri F ri â&#x20AC;&#x201C; 8pm; $20 $20

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Kenny Neal

Hockey

Little Fox

The Blank Club

2209 Broadway, Redwood City

44 S. Almaden Ave, San Jose

650.369.4119 Sat – 8pm; $14

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Kingston Trio

408.29.BLANK

Wayne Wallace Latin Jazz Quintet

Sat – 9pm; $12

Senzala Stage and Restaurant

Sun – 2 and 7:30pm; $20-$65

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250 E. Java Dr, Sunnyvale

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408.734.1656 Sat – 7:30pm; $10

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[44]

DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

UPCOMING EVENTS AT MONTALVO For This Day: A Christmas Suite of Poetry and Song: Nils Peterson, Santa Clara County Poet Laureate, and Elena Sharkova conducting the Symphony Silicon Valley Singers

:: Dec 13, 7 pm :: Historic Villa Celebrate the season with Santa Clara County Poet Laureate Nils Peterson. Performing in concert with the Symphony Silicon Valley Singers, Peterson brings to life poems by Walt Kelly, T.S. Eliot and Peterson’s own Christmas Suite of poems, For This Day. A reception follows the program.

:: $15; Members $10 edy on’s Com Londe n! S nsatio

The Complete Works of William Shakespeare (abridged) :: Feb 4, 7:30 pm :: Carriage House Theatre Praised by the Los Angeles Times as “wildly funny” and by the Montreal Gazette as “the funniest show you are likely to see in your entire lifetime.” This irreverent, fast-paced romp through the Bard’s plays was London’s longest-running comedy – 10 years at the Criterion Theatre. All 37 plays in 97 minutes! Original London cast!

:: $35/30; Members $31/27

All tickets available through the Montalvo Box Ofﬁce, 408.961.5858 M-F, 10am-4pm :: montalvoarts.org

San Jose Wind Symphony presents

Chicago My Kind of Town Sunday, December 13, 3 PM Barber: Andante and Tranquillo from Symphony No. 1, Op. 9 Mackey: Aurora Awakes Pann: Hold This Boy and Listen R. Strauss: Rondo from Concerto No. 1, Op. 11 Alicia Telford, French horn Warlock: Tranquillity from “Capriole Suite” Lington: Open Evidence The Aaron Lington Quintet Timothy Harris, guest conductor Nixon: Centennial Fanfare-March

McAfee Center, 20300 Herriman Ave, Saratoga Tickets: $20/15/5 on-line: www.sjws.org 408 927-7597

Discover the Arts JOIN NOW :: montalvoarts.org/membership

www.svArts.org

M E T R O S I L I C O N VA L L E Y DECEMBER 9-15, 2009 ARTS

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[45]

METROGUIDE

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For ‘Afterlife’ show at SJICA, artists create fresh statements from throwaway materials By Michael S. Gant

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O MUCH JUNK, so little art. One way to redress the balance is for artists to pass on exotic, nonsustainable materials like cochineal dye harvested from scale insects or Carrera marble and to choose recyclable materials instead to realize their visions. Collage and assemblage artists have being taking this tack for decades, but now such eco-friendly methods are showing up all over the place. Recycling is chic. Such is the impulse driving the fascinating group show “Afterlife,” now at the San Jose Institute of Contemporary Art. The show, curated by Kathryn Funk, who was the institute’s director some 20 years ago, brings together nine artists who hold back the engulﬁng tide at the landﬁll by “repurposing” society’s leftovers. In aggregate, of course, the effort won’t save us from drowning in our own trash, but the pieces do give pause for thought and might even spur us on to some more sensible and manageable consumer strategies. Mark Fox-Morgan, a recent SJSU MFA grad, takes up the center of the gallery with the frame of a one-room

house fashioned from beams and two-by-fours. The structural elements look like very rough-textured wood, but closer inspection reveals that they are recycled cast paper solidified with acrylic and glue. The shack appears almost sturdy enough to really work. When the forests are gone, we may have to turn to such novel shelter, although fireplaces will be out of the question. The same confusion of materiality informs Lisa Kokin’s floor installation of “rocks.” These seemingly solid objects are actually made from compacted pulped paper gathered from old self-help books. Here and there, encouraging words for readers bent on improvement can still be read (“How to obtain and practice the ideal sex life”), as if they were quartz veins in a chunk of granite. Kokin also rescues thousands of multicolored, variously shaped buttons, fasteners and belt buckles and carefully strings them together to create, if you stand far enough away, a full-length portrait of a woman in a red dress arm in arm with a man in gray and black shirt and trousers. They appear to be long settled into middle age, and it is easy

to imagine that these are a marriage’s worth of lost, detached and mended fasteners—an impression heightened by the large clock face sewn into the mix. (Don’t miss her website, www.lisakokin.com, which features a shamelessly appealing video about her dogs.) Probably every poor student has owned an overupholstered monstrosity of a discarded easy chair like the one Scott Oliver has dissected for The Valley. Oliver peeled back the faded green cloth from the damaged foam and large coil springs of the seat and spread them out like wings on the wall. The underside, dotted with tufts of green fabric and tan stuffing, is cut across the top in the outline of a mountain range, perhaps the peaks surrounding Hetch Hetchy Valley before its inundation with dam waters. Working at the opposite end of the scale, Santa Cruz artist Robert Larson uses the Surgeon General’s warnings cut out from Marlboro cigarette packages as miniature mosaic pieces. Carefully, obsessively, Larson pastes thousands upon thousands of these dire missives into a meticulous grid on three enormous

linen panels (it’s no wonder the piece is dated 1995–2002). The result is an expanse of white broken up by rectangular passages of light and dark stained and crumpled papers that provide some gradations for the eye to follow. The actual point of the warnings disappears unless you peer closely: “Smoking causes lung cancer, heart disease and emphysema,” “Cigarette smoke contains carbon monoxide,” etc. Beverly Rayner’s works bristle with menace; she uses leftovers for sinister purposes, commenting on society’s increasing penchant for spying on its citizens 24/7. Surveillance Apparatus Inﬁltration Network Cell, made from plastic mesh sleeves, wire and old lenses, conjures up a biomechanical spybot. A translucent ovoid shape like a beetle’s body with raised veins made from insulated wires exudes seven twisting tubular tentacles that end in sockets with images of staring eyes. Here is a piece of art that would rather look than be looked at. AFTERLIFE runs through Jan. 23 at San Jose Institute of Contemporary Art, 560 S. First St., San Jose. (408.283.8155)

[46] STAGE/ART/LIT

DECEMBER 9-15 2009 M E T R O S I L I C O N VA L L E Y

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SWEET TREAT!!ÖUjt!uif!tfbtpo!gps!Ovudsbdlfst/!Tboub!Dmbsb!Cbmmfu!

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M E T R O S I L I C O N VA L L E Y DECEMBER 9-15 2009 STAGE/ART/LIT

STAGE REVIEW

[47]

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TICKETS MAKE GREAT GIFTS! CHRIS BOTTI 50TH ANNIVERSARY TOUR

ONE SHOW FIFTY YEARS A MILLION LAUGHS

AMERICA'S GREATEST COMEDY THEATRE SAT. JAN. 30, 2010 • 8PM

THINGS ARE LOOKING UP!!Uif!Qpqujnjtut!bsf!fufsobm!pqujnjtut!bu!Ubcbse/

Pop High Tabard’s ‘The Poptimists’ pokes gentle fun at Up With People singers

HE ROOT idea behind Tabard Theatre’s new show, The Poptimists, is a clever one. Writer, director and composer Ted Kopulos based the play on a teenage memory of his from the early 1970s. Pulled into assembly at San Jose’s Leigh High School, he and his classmates were subjected to the musical stylings of a traveling troupe of young, clean-cut multiracial performers, who sang unflaggingly upbeat American pop tunes while plugging their sponsor, Chrysler-Plymouth (may they rest in peace). In the vein of Up With People, the red-white-and-blue-clad The Poptimists aims to re-create and poke fun at the ’70s musical phenomenon of these perky, short-haired, necktied kids singing insipid songs about patriotism and the merits of capitalism. Putting “the hoot in hootenanny,” the group is brought to you by the fictional clean nuclear power provider DynoSunCo. Unfortunately, The Poptimists does not take the joke far enough into the realm of satire, and the result is a production that could really only be truly funny to the people it’s making fun of. The script and songs poked fun when they should have skewered, and relied too heavily on lyrical puns that lose their novelty in the second half. Backed by their own live band—which, granted, was a nice touch—the nine-member group is made up of Mimi (Jennifer Aguilar), Andy (Ben D’Angelo), Billy (Nes Fragoso), Stacy (Tori Klaben), Michael (John Eubank), Derek (Shawn Miller), Wanda (Lonnique Genelle), Julie (Breigh Zack) and Kim (Denise Lum). Playing on the fact that the troupe is predominantly white and middle-class, the only truly witty number they perform is “Not So Different,” in Act 2, in which the token brainy Asian Kim, soul sister Wanda and vaguely ethnic Billy are shunned to the rear of the stage. Miller as the group’s prancing closet case Derek generated some genuine laughs, as did Klaben’s dim and slutty Stacy. Now, when I first read of the concept of this production, it made me think of the recent Slamdance documentary Smile ’Til It Hurts: The Up With People Story. That film presents the evolution of the real-life singing group as a counter to the hippie subculture, showing culty leanings rooted in right-wing politics, as well as funding by corporate entities like Halliburton and Exxon. The Poptimists could have mined this sort of documentary for more laughs but instead chose a more straightforward, deadpan tone that just doesn’t live up to the Mighty Wind approach it was going for. In the end, this world-premiere production was just too nice, much like its cheesy source material. Still, the idea is a good one, and would benefit from some rewriting and a little more bite. Jessica Fromm THE POPTIMISTS, a Tabard Theatre Company production, plays Tuesday–Friday at 8pm, and Saturday at 3 and 8pm through Dec. 12 at the Theatre on San Pedro Square, 29 N. San Pedro St., San Jose. Tickets are $10–$24, call 800.838.3006.

WED. FEB. 10, 2010 7:30PM

SAT. MAR. 6, 2010 • 2:30 & 5:30PM

ONLY SOUTH BAY ENGAGEMENTS! VISIT THE FLINT CENTER BOX OFFICE, ALL OUTLETS, TICKETMASTER.COM

800.745.3000

For the Performing Arts

SUBSCRIBER AND GROUP DISCOUNTS AVAILABLE - CALL 408.864.5885 WWW.FLINTCENTER.COM

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DECEMBER 9-15 2009 M E T R O S I L I C O N VA L L E Y

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Theatreworksâ&#x20AC;&#x2122; holiday production has a whole different set of ideas about the meaning of Christmas

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NYONE who reads the title of Theatreworksâ&#x20AC;&#x2122; latest production, A Civil War Christmas, and thinks Santa Claus is marchinâ&#x20AC;&#x2122; through town with Gen. Sherman is in for a shock. This is surely one of the bleakest musicals ever written about the holidays, rife with frank talk about executions, bridges made of fallen soldiers, slavery, presidential assassinations and typhoid fever. Ho ho ho! But then, Pulitzer Prizeâ&#x20AC;&#x201C;winning playwright Paula Vogel has never gone easy on any subject. She got her college scholarship revoked for writing a drama that basically compared the university experience to Lord of the Flies. Sheâ&#x20AC;&#x2122;s written about pedophilia, prostitution and pornography. Not exactly a prime candidate for visions of sugar plums, but then, maybe the Christmas setting of any play that follows the weary, bloodied last days of the Civil War is bound to seem incidental at best. Not here, though. Thereâ&#x20AC;&#x2122;s little joy in the serious and sometimes harsh tone of the proceedingsâ&#x20AC;&#x201D;one soldier sings his mantra â&#x20AC;&#x153;take no prisonersâ&#x20AC;? as he works, to express his hatred for the Confederatesâ&#x20AC;&#x201D;but itâ&#x20AC;&#x2122;s the hope that the season brings that makes it essential to the story. Indeed, the refrain of Vogelâ&#x20AC;&#x2122;s piece is that â&#x20AC;&#x153;the hope for peace is sweeter than peace itself,â&#x20AC;? and hope is what all of these characters are starved for. There are many characters, in fact, and several intersecting stories, which occasionally lead into songs. Vogelâ&#x20AC;&#x2122;s device of having characters sometimes narrate their own story in the third person is distracting, and pulls the audience right out of the action, but in general the narration trade-offs are a creative and effective way to tell a complex story, and remind the audience how important folk storytelling was to our memory of historical events. The characters range in stature from Abraham and Mary Lincoln to a young African American girl lost on her own in Washington, and everything moves so fast that the internal geography of where and when everyone is supposed to be doing all of these things becomes a blur. And yet, none of that really detracts from the raw emotional power of the play. Lives hang in the balance here, as soldiers face their estranged countrymen, families search for their lost loved ones and leaders try to bring some healing to the people. And yet the biggest strides come in the smallest moments, a sudden decision or a twist of fate. The talented cast plays multiple parts, and can sing, as well. Director Robert Kelley and musical director William Liberatore bring TheatreWorksâ&#x20AC;&#x2122; trademark professionalism to this musicalâ&#x20AC;&#x201D;the sets are ingeniously designed to change up quickly and seamlessly, multiple subplots switch back and forth within seconds and the choral arrangements add a stunning visual element as well as an aural one. The songs, like â&#x20AC;&#x153;O Come All Ye Faithful,â&#x20AC;? â&#x20AC;&#x153;God Rest Ye Merry Gentlemen,â&#x20AC;? â&#x20AC;&#x153;The Yellow Rose of Texasâ&#x20AC;? and a fascinating cross-cultural mashup of â&#x20AC;&#x153;Silent Nightâ&#x20AC;? with â&#x20AC;&#x153;Mournerâ&#x20AC;&#x2122;s Kaddish,â&#x20AC;? remind the audience of the role this traditional music plays in our heritage. And the message reminds us to have our own hope for peace, which while indeed sweet, is really just one step on the road to peace itself. Steve Palopoli

A CIVIL WAR CHRISTMAS, a TheatreWorks production, plays Tuesdayâ&#x20AC;&#x201C;Wednesday at 7:30pm, Thursdayâ&#x20AC;&#x201C; Friday at 8pm, Saturday at 2 and 8pm and Sunday at 2 and 7pm (no shows Dec. 24â&#x20AC;&#x201C;25) through Dec. 27 at Lucie Stern Theatre, Palo Alto. Tickets are $24â&#x20AC;&#x201C;$62. (650.463.1960)

M E T R O S I L I C O N VA L L E Y DECEMBER 9-15 2009 STAGE/ART/LIT

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DECEMBER 9-15 2009 M E T R O S I L I C O N VA L L E Y

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[51]

Flyover Country

Jason Reitman’s ‘Up in the Air’ takes George Clooney’s corporate hit man for a bumpy ride By Richard von Busack

T IS the almost-greats that give you the gray hairs, and Up in the Air, with its occasionally amoral look at a predator’s life, sometimes deserves its advance word. Mostly, it is a movie about George Clooney in motion. Jason Reitman’s Up in the Air shows Ryan Bingham (Clooney) packing for his journeys, zipping up a leather carrying case for his ties as if it were a gunman’s holster. You can’t underestimate the appeal of watching a man in charge, moving through the crowds in a good-looking suit. If you don’t count Jon Hamm, Clooney is the last movie actor alive who looks macho in a jacket and tie, instead of fussy or metrosexual. Clooney even makes the reliable humiliation of removing shoes for the TSA’s plastic buckets look like a dance step. This is Bond stuff, after all—the turbulence-free jet porn that’s been attractive ever since Sean Connery crossed a concourse in Dr. No. But Up in the Air means to dig in a bit deeper, and that’s where the film starts to get infuriating. Ryan is on the road 51 weeks a year. He works for a company that hires hatchet men to dispatch employees and hand them a glossy folder with their exit benefits. One day, he reports to his boss (Jason Bateman) in Omaha and discovers that the company has decided to save money by doing the firings online. This technological approach is the

brainchild of a pert new employee named Natalie (Anna Kendrick). Ryan argues that the business needs a personal touch; the two are paired up, in the familiar old-cop, young-cop dynamic. Having this inexperienced girl along interrupts Ryan’s regularly scheduled no-strings flings with a fellow constant business traveler, Alex (Vera Farmiga). You’ll forgive a real star any crimes, even if his character is by most definitions (including mine) scum. The acrid first half is the best part— Clooney makes us admire Ryan’s gamesmanship and understand his loftiness. The titles (titles are always carefully wrought in a Reitman film) show the cities and plains of America from 30,000 feet, scored to a gospel version of “This Land Is Your Land.” I agree with Peter Keough of the Boston Phoenix that a sharper film might have accessed that anthem’s answer song, “The Big Country” by Talking Heads, with its chorus “I wouldn’t live here if you paid me to.” This early sellout—picking Woody Guthrie over the sarcastic rejoinder— forecasts how Reitman will lose his nerve. Reitman’s first movie, Thank You for Smoking, turns out to be a fluke. It’s dismaying to watch a talent who seemed like an ace satirist turning into a Cameron Crowe–level moralizer. A banal Wisconsin wedding sequence—meant to be this movie’s heart—shows us how Clooney’s character crumbles, the winter light

hitting him bright and hard as he sits in one of the tiny chairs in a children’s Sunday school classroom. This is the perfect spot for the lesson we’re going to get. Ryan counsels his brotherin-law-to-be (Danny McBride); the runaway groom needs to hear about the pleasures of home and family. Notoriously, in real life Clooney has been doing bloody ﬁne without a wife and kids—though every television interviewer alive believes that he or she has a right to ask Clooney how this can possibly be. Consider Up in the Air as the actor’s mea culpa for being single; that confession will probably win this magnetic performer a Best Actor Oscar (for this, considered along with similarly classic yet idiosyncratic work in Men Who Stare at Goats and Fantastic Mr. Fox). But how do you tolerate it when Ryan gets to the part of the sermon about how one’s happiest moments are never solitary? Isn’t even watching movies often a solitary pleasure? The ﬁlm wants us to equate two different kinds of toxicities—to draw a line between the corporate bloodletting that juices up stock portfolios and the present-tense sex life that Ryan and Alex enjoy. Too bad these two performers make it look like so much fun. Farmiga is mainly used for her air of anxiety, and this is a holiday for her. She has grown succulent with the years; she’s dreamy and accommodating. But Reitman insists

that there is a price to be paid for zipless fucking, whether it’s the lousycomedy humiliation of Ryan falling into the water with his clothes on or the emotional reckoning when he realizes how much he feels for Alex. Reitman really falls for Ryan’s line that being laid off en masse can be a positive thing, just as the director argued that teen pregnancy can be a stabilizing force for a giddy girl in Juno. In the firing montages, Reitman blends amateurs with established actors. Zach Galifianakis plays, as always, a helpless slob; J.K. Simmons’ Bob is a shrewd employee fobbed off by Ryan’s line about how good a career change can be, how it can help Bob get in touch with youthful aspirations he long ago forgot. Actual unemployed Midwesterners are part of the firing line, so to speak. Brought in via a casting call, they wrap up the film by celebrating the help their families gave them after they got dumped from the workplace. Of course they’re putting a good face on the experience—they’re in front of a movie camera. Who wants to hire an embittered exemployee? Reitman’s inane faux populism ought to chill the spine, but instead it’s going to win all kinds of awards. UP IN THE AIR (R; 109 min.), directed by Jason Reitman, written by Reitman and Sheldon Turner, based on the novel by Walter Kim, photographed by Eric Steelberg and starring George Clooney and Vera Famiga, opens Dec. 11.

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FILM DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y AdgZn HZWVhi^Vc

FILM REVIEW

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

New Brothers (R; 110 min.) See review at left. Invictus (PG-13; 124 min.) See review on page 56. La Danse: The Paris Opera Ballet (Unrated; 159 min.) A documentary by Frederick Wiseman about the inner workings of the famed ballet company. (Opens Dec 11 at Camera 3 in San Jose.)

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Familial Pain Two brothers and a wife cope with war and remembrance

NE HOPES thereâ&#x20AC;&#x2122;s a way to pan a movie while simultaneously honoring the troops, but seeing the dud Brothers on the day that Obama announced the surge just added to the numb horror of the day. Jim Sheridanâ&#x20AC;&#x2122;s remake of Suzanne Bier and Anders Thomas Jensenâ&#x20AC;&#x2122;s 2004 Danish original is shot in wintery New Mexico (which is doubling for Minnesota); the scenes in Afghanistan match the frozen ďŹ elds there, so the ďŹ lm is all one icy plain ďŹ lled with familial pain. Tommy (Jake Gyllenhaal) is just out of the joint after three years for bank robbery; his brother, Sam (Tobey Maguire), is a captain in the Marines about to head back for another stint overseas. Grace (Natalie Portman), Samâ&#x20AC;&#x2122;s wife, and the mother of his two children, settles down to wait for his return. But Samâ&#x20AC;&#x2122;s helicopter is shot down by the Taliban, and heâ&#x20AC;&#x2122;s taken prisoner and brutalized. Meanwhile, back in the States, black sheep Tommy becomes better friends with Grace than his brother would like. Portman is gorgeous as always but far out of her depth as an actress here. David Benioffâ&#x20AC;&#x2122;s script owes something to the original but probably more to The Deer Hunter. (Not to spoil the revelation of the atrocity, but these foreigners never seem to realize itâ&#x20AC;&#x2122;s a bad idea to arm a prisoner of war.) Itâ&#x20AC;&#x2122;s up to Maguire to animate the role of the soldier. In post-traumatic-stress mode (as seen in the trailers) wielding a gun and screaming to the heavens, heâ&#x20AC;&#x2122;s showboating with all smokestacks belching. Brothers wonâ&#x20AC;&#x2122;t make the troops feel better, and it wonâ&#x20AC;&#x2122;t do the homefront much good either; itâ&#x20AC;&#x2122;s hoped that the acting will be convincing enough to touch some nerve about the endless war. It would take a more delicate touch than this movie has to get the desired reaction. As for authenticity, Portman and Maguire look like a pair of Priuses parked outside a honkytonk. Certainly Gyllenhaal is touching, but beside him thereâ&#x20AC;&#x2122;s not much relief from Mare Winningham and Sam Shepard as the brothersâ&#x20AC;&#x2122; stepmother and violent father, respectively. Sheridanâ&#x20AC;&#x2122;s deftness with the less het-up moments (some expert kid-wrangling, some horsing around amid house painters) demonstrates the ďŹ lmâ&#x20AC;&#x2122;s only connection with the real. Richard von Busack BROTHERS (R; 105 min.), directed by Jim Sheridan, written by David Benioff, photographed by Frederick Elmes and starring Jake Gyllenhaal, Natalie Portman and Tobey Maguire, plays valleywide. (For more reviews and showtimes, see Movietimes.com)

Showtimes

for all the local theaters are available online 24/7 at www.movietimes.com

Lâ&#x20AC;&#x2122;orfeo A ďŹ lm of the La Scala, Milan, production of Verdiâ&#x20AC;&#x2122;s opera. (Plays Dec 13 at 11am and Dec 16 at 7pm at Camera 7 in Campbell.) The Maid (Unrated; 95 min.) See review on page 55. The Princess and the Frog (G; 97 min.)In New Orleans of the 1920s, a hard-working African-American girl, Tiana (Noni Rose), falls for the myth that a princessâ&#x20AC;&#x2122;s kiss can turn a frog back to a prince, but the curse turns out to work

both ways, and soon the coupleâ&#x20AC;&#x201D;now both frogsâ&#x20AC;&#x201D;are running for their lives from a voodoo conjurer (voiced by Keith David, reprising the malevolent silkiness of his Cat in Coraline). This 2-D cartoon supervised by John Lasseter of Pixar is slightly overstuffed and slightly redundant on the subject of the importance of work (the virtue of hard work is beaten by life into nine out of 10 knaves, as George Bernard Shaw said). The disappointing soundtrack by Randy Newman is instant Creole, just add swamp water. (Better they should have called Chris Strachwitz and asked him what he had in his collection.) That said, the attempt to make a multiculti story is suitably enchanting. The full-length cartoon is a tribute to a century-long history of cellular animationâ&#x20AC;&#x201D;the kind smart people were going around saying was redundant. Here, in the villainous Shadow Man (whom I adored) is a tribute to Cab Callowayâ&#x20AC;&#x2122;s ghostly gambler in Betty Boop; the blindness of Mr. Magoo is seen in a benign swamp witch; there are paintbrush traces of both Michigan J. Frog and Pepe Le Pew in the ďŹ&#x201A;eeing amphibians, and a spot of Tex Averyâ&#x20AC;&#x2122;s Red in the physique and crinolines of Tianaâ&#x20AC;&#x2122;s friend and foil Lotte. Some will be enamored of Ray the Cajun ďŹ reďŹ&#x201A;y, who has a Don Marquisâ&#x20AC;&#x201C;style romance with the unobtainable; me, not so much so. Iâ&#x20AC;&#x2122;m more rapt by the lambency, smoothness

and stained-glass colors of this supposedly dead medium, restored to life. Likely it will be a success; it deserves to be. (Opens Dec 11.) (RvB) Thrillville (1974) Itâ&#x20AC;&#x2122;s amusing that Bob Clarkâ&#x20AC;&#x201D;later to be a sort of king of Christmas cinema because of his adaptation of Jean Shepherdâ&#x20AC;&#x2122;s A Christmas Storyâ&#x20AC;&#x201D;made this original slasher ďŹ lm before his betterknown cult classic. But thatâ&#x20AC;&#x2122;s all thatâ&#x20AC;&#x2122;s funny about Black Christmasâ&#x20AC;&#x201D;a hardedged, genuinely scary movie about a Canadian town menaced by a homicidal obscene-phone caller during the depth of winter. â&#x20AC;&#x153;It predates Halloween (1978) by four years, and moreover it kicks its ass,â&#x20AC;? 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 inďŹ&#x201A;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) Up in the Air (R; 109 min.) See review on page 51. (Opens Dec 11 at Century 20 Oakridge in San Jose and the AMC Mercado in Santa Clara.)

M E T R O S I L I C O N VA L L E Y DECEMBER 9-15, 2009 FILM

Revivals Babes in Toyland (1934) An afternoon with Mr. Laurel and Mr. Hardy. Quaint is the word for this color feature based on the Victor Herbert operetta—the little people in rubber pig suits give this reporter the willies—but it has loads of antique charm. Shorts include: Mabel’s Willful Ways (1915), the one about the dog and the mean landlord, Laughing Gravy (1931), and Mama’s Little Pirates (1934) with Our Gang. Also on hand is Monterey County Sheriff ’s Department Sgt. Bill Cassara, a dedicated Son of the Desert who has written a biography of Edgar Kennedy. Oh, icon of Irish wrath, always trying to stomp some sense into his hat. He was the judge in Tilly and Gus, the angry street vendor whose lemonade stand is turned into a wading pool by Harpo Marx—it turns out that Kennedy was not just reliable support for dozens of big name actors (and a Preston Sturges irregular) but also the star of a two-reeler series at RKO for 17 years. (Plays Dec 13 in Fremont at the Edison Theater, 37417 Niles Blvd. Book signing at 3pm, screening at 4pm.) (RvB) Funny Face/The Band Wagon (1957/1953) Fred Astaire plays a fictionalized version of fashion photographer Richard Avedon. During a photo shoot in a New York bookstore, he is taken with the offbeat beauty of the store assistant (Audrey Hepburn) and sweeps her into the Paris fashion world. Songs include “How Long Has This Been Going On?” and “S’Wonderful.” BILLED WITH The Band Wagon. Wish you could see another movie as good as Singin’ in the Rain? You can’t, but The Band Wagon is the next best thing. The first image is of Astaire’s top hat and cane about to be put under glass in a museum, while Astaire (playing Astaire, pretty much) prepares to be put out to pasture. He leaves Hollywood and returns to 42nd Street, finding what once was a sea of black coats and white ties is now a riot of color: Times Square is in the process of becoming what it was going to be when Travis Bickle found it. Thanks to the help of a young actress (Nanette Fabray), this tuxedoed, genteel figure of the Art Deco 1930s finds harmony with the widescreen brassiness of the 1950s. The highlight is the show-stopping Mike Hammer–themed “Girl Hunt” number, in which Astaire has his best duet with longlegged Cyd Charisse. (Plays Dec 15-17 in Palo Alto at the Stanford Theatre.) (RvB) KFJC Psychotronix Film Festival Yellow matter custard, dripping from a dead projector’s eye. A plate of 16 mm headcheese, chopped, broasted in Mukkanese spices and refrigerated in aspic, a substance of alchemic strangeness given that is neither fire, water, earth or air. Served warm and reeking to an audience of malcontents, who utter strange ghostly barking sounds of appreciation like that crowd of dead Scotties in Coraline. Dang, I love that movie. Live music by actor/ activist/singer/songwriter/male escort Joaquin Wounded. (Plays Dec 12 at 7 at Los Altos Hills at Foothill College’s Room 5015. Doors open at 6, bring $2 for parking.) (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 9-10 in Palo Alto at the Stanford Theatre.) (RvB) My Fair Lady (1964) The ﬁlm of the beloved stage musical is oversize, but it boasts Rex Harrison as the snide elocutionist Prof.

Henry Higgins, who transforms a cockney flower peddler into a society lady. Audrey Hepburn, no one’s idea of a mudlark, costars as Eliza. (Plays Dec 13-14 in Palo Alto at the Stanford Theatre.) (RvB) Niles Film Museum Regularly scheduled programs of silent films. Dec 12: Author Bob Birchard’s new book, Early Universal City, profiles the movie factory’s silent days, with a program of films: The Goose Woman (1925) with Louise Dresser, and shorts Behind the Scenes (1915), He Married Her Anyhow (1914) and

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FILM DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

The Black Masks (1913). Judy Rosenberg at the piano. (Plays Dec 12 at 7:30 in Fremont at the Edison Theatre, 37417 Niles Blvd.) (RvB) Sabrina/Roman Holiday (1954/1953) Audrey Hepburn plays the daughter of a chauffeur on a Long Island estate. She has nursed a crush on the family’s younger playboy son (William Holden), but the responsible elder brother (Bogart) eventually turns her head. Billy Wilder’s mix of the mordant and the playful was just about right here. BILLED WITH Roman Holiday. Hepburn stars as a Ruritanian princess; reporter Gregory Peck is on her trail. This triﬂe is energized by the location photography of Rome—a great novelty at the time and a feat to pull off during the middle of a heat wave. (Plays Dec 11-12 in Palo Alto at the Stanford Theatre.) (RvB)

Reviews Armored (PG-13; 88 min.) What did they always say in film noir? You can’t pull off an armored-car theft unless it’s an inside job? Columbus Short, Matt Dillon and Laurence Fishburne star in a heist film built on that time-honored premise. 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 meet-cute is deft and Olivia Williams bears all the movie’s spine as a deliberately drabbed-down English teacher. Nick Hornby’s screenplay, from Lynn Barber’s memoir, might have meant he had input on the film’s excellent pre–Swinging London soundtrack. Singer Beth Rowley steals the show as the breathy canary at one nightspot. (RvB)

Everybody’s Fine (PG-13; 100 min.) Minor but honorable remake of the Giuseppi Tornatore movie. Robert De Niro expertly downplays the lead role of an upstate New York widower named Frank, trying to investigate what became of his family. Left in solitude, Frank comes up with a bad plan: he’ll surprise his four children in the cities where they live. He ﬁnds disenchantment in Chicago (staying with distracted successful daughter Kate Beckinsale), in New York and in Denver (where Sam Rockwell plays a disillusioned classical musician). The movie seems slightly anachronistic, as if it had been in development forever. But it has an essential dignity: in the light conversations on a train with a stranger and in the rich welcome that Rosie (Drew Barrymore) gives her traveling father. British director Kirk Jones (Waking Ned Devine) is a little myopic when it comes to class in America, but one cuts holiday movies slack. Everybody’s Fine makes the sensible choice to wrap the action around snow, Christmas trees and good old C-9 Christmas lights. (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) 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.

M E T R O S I L I C O N VA L L E Y DECEMBER 9-15, 2009 FILM

Ninja Assassin (R; 99 min.) The shiny Orientalism of Ninja Assassinâ&#x20AC;&#x2122;s dialogue is more of a treat than the ďŹ ght scenes, which consist, basically, of a lot of whipping razor chains and purĂŠed 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 ďŹ&#x201A;ashbacks, we see the savage training: kidnapped children are beaten into the ninja lifestyle under the glare of Lord Ozuni (venerable martial artist ShĂ´ Kosugi). When McTeigue slows down the camera, the violence has an effect, and thereâ&#x20AC;&#x2122;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

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fool and tomato sauce splotching on a paper dish of Berlin-style curlywurst. The Wachowski brothers developed this comicbook-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. Pirate Radio (R; 135 min.) Director/writer Richard Curtisâ&#x20AC;&#x2122; 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 BBCâ&#x20AC;&#x2122;s ban on rock

music during the 1960s. Taking this interesting David and Goliath story, Curtisâ&#x20AC;&#x2122; inspiration was to put pontoons under Animal House and ďŹ&#x201A;oat it. Kenneth Branagh plays the John Cleeseâ&#x20AC;&#x201C;like fussy inspector, who determines to use the British government to shut down the musical madcaps aďŹ&#x201A;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 kidsâ&#x20AC;&#x2122; ďŹ lm. When an earth astronaut (voiced by Dwayne

[55]

FILM REVIEW

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Servant Problem In Chilean drama â&#x20AC;&#x2DC;The Maid,â&#x20AC;&#x2122; Catalina Saavedra gives a powerful, unprecious performance

HERE IS a smart clichĂŠ in todayâ&#x20AC;&#x2122;s movies: to get a tracking shot started, the hero will tell some assistant, â&#x20AC;&#x153;Walk with me,â&#x20AC;? and heâ&#x20AC;&#x2122;ll give up some plot as he does, looking very proactive in the process. We do almost nothing but walk with Raquel (Catalina Saavedra), the antiheroine of The Maid, as she takes care of a large family in Santiago, Chile. The movie is a procedural, accumulating its evidence. We follow Raquel, a hard-faced servant pushing 40, as she watches the family she works for. The nominal paterfamilias is Raymond, called Mundo (Alejandro Goic), a pleasant nonentity most obsessed with the golf course and his three-masted-ship models. The mom, Pilar (Claudia CeledĂłn), is too distracted by her own career to pay attention to Raquelâ&#x20AC;&#x2122;s increasingly ominous moods, and she underestimates the cold war between Raquel and Pilarâ&#x20AC;&#x2122;s daughter, whom the maid loathes. The thrilling yet nuanced performance by Catalina Saavedraâ&#x20AC;&#x201D;a highlight of the year in ďŹ lmâ&#x20AC;&#x201D;makes The Maid everything that The Powers That Be claim that Precious is. Precious is bound to be more popular, though, because it ignores the principal expressed by the poet Auden: â&#x20AC;&#x153;Those to whom evil is done, do evil in return.â&#x20AC;? Director SebastiĂĄn Silva is a member of the maid-hiring classâ&#x20AC;&#x201D;the ďŹ lm is dedicated to two of his former servants, whose photographs appear on the end titles. Yet he doesnâ&#x20AC;&#x2122;t patronize his subject, whom he tracks with such admirable intimacy. The Maid trusts us to discover the cause of Raquelâ&#x20AC;&#x2122;s anxieties. Sheâ&#x20AC;&#x2122;s weary, solitary and headache prone. At the same time, she bullies the servants brought in to help her. She misunderstands the favors done for her, but her suspiciousness is completely understandable. We discover that she is sweet on Lucas (AugustĂn Silva), the young master of the house, the only one she calls by an affectionate nickname. It is with no forethought that Raquel turns against Lucasâ&#x20AC;&#x201D;ďŹ nking on him for masturbatingâ&#x20AC;&#x201D;when Raquel thinks Lucas is infatuated with a younger rival, a Peruvian country girl who is retained to clean up the kitchen. About halfway through, youâ&#x20AC;&#x2122;re certain that The Maid can only end in violence. Iâ&#x20AC;&#x2122;m fond of the servants-gone-psycho genre from either a political or a grindhouse angle, but The Maid delivers an unexpected development: the newest assistant maid, Lucy (Mariana Loyola), arrives; sheâ&#x20AC;&#x2122;s a bohemian type, who likes jogging and sunbathing. Lucy is more perceptive than she looks, though; she takes Raquel to the country for a ďŹ&#x201A;yblown, homey Christmas with lots of drinking. And Raquel gets a moment to show that she remembers how to ďŹ&#x201A;irt. These moments of unexpected happiness are no more strained than the quality of mercy itself. So much comedy is based on the idea of a servant being about three-quarters of a real human being; this movie gives you the full weight of manual labor and the sense of relief in genuine acts of kindness. Lucy says something describing the farm she grew up on. Itâ&#x20AC;&#x2122;s almost true of the world: â&#x20AC;&#x153;if it werenâ&#x20AC;&#x2122;t for the hard labor, it would be paradise.â&#x20AC;? Richard von Busack THE MAID (Unrated; 95 min.), directed by SebastiĂĄn Silva, written by Silva and Pedro Peirano, photographed by Sergio Armstrong and starring Catalina Saavedra, opens Dec 11 at Camera 12 in San Jose and the Guild in Menlo Park. (Read more Richard von Busackâ&#x20AC;&#x2122;s reviews and see trailers at MovieTimes.com)

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The Messenger (R; 105 min.) Woody Harrelsonâ&#x20AC;&#x2122;s Capt. Stone is a CNO (Casualty NotiďŹ cation OfďŹ cer), one of the pair of soldiers who turn up on doorsteps to regret to inform. Stoneâ&#x20AC;&#x2122;s new partner, Sgt. Montgomery (Ben Foster), is a simmering, tattooed fan of punk rock; heâ&#x20AC;&#x2122;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. Thatâ&#x20AC;&#x2122;s when the ďŹ lmâ&#x20AC;&#x2122;s previous deathâ&#x20AC;&#x2122;s-head irony starts to grow domestic. One canâ&#x20AC;&#x2122;t stop watching Harrelson, whoâ&#x20AC;&#x201D;despite cartoony work this yearâ&#x20AC;&#x201D;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 ďŹ rst shot of Sgt. Montgomery, putting eye drops in his wounded eye, all but says, â&#x20AC;&#x153;This man cannot weep.â&#x20AC;? The locations, in New Jerseyâ&#x20AC;&#x2122;s aluminum-siding belt, give the story some kind of realism. Inside this movie is a much harsher and bigger ďŹ lm, and Harrelson, who is excellent, might have shown the way to it. (RvB)

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FILM DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

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Field of Dreamers Morgan Freeman’s Nelson Mandela and rugby star Matt Damon try to heal a nation in ‘Invictus’

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 “Gabby” Sidibe) makes her way through life. She has intelligence, but she can’t focus, and we learn why in flashback; 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 film 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 film 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) Red Cliff (R; 148 min.) Carved from a two-part movie of nearly five hours, John Woo’s humongous Chinese hit 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-gauge spears and arrows, but I couldn’t tell you for certain which side they were on. In 200 C.E., the powermad 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.

The Road (R; 119 min.) Two figures, half-starved on a perilous road to the sea, are the survivors of some thorough but indefinite holocaust. All civilization has broken down utterly; long-pig consumption is on the rise. The film offers a serious vision of a world without warmth, humor or sex, and only a lightweight, one thinks, would flee 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 guys” to his son. The son is called, as in Tarzan movies, “Boy” (Kofi 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 film 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 films blend harmoniously in this terrific tale of comedic woe and horror. Minneapolis, 1967: a meek professor Larry Gopnik (stage actor Michael Stuhlbarg, looking like a dispirited Harold Lloyd) teaches physics at a small college. Gopnik is tantalized with the possibility of tenure, betrayed by his wife with their neighbor Sy Ableman, a clammy, polyester-clad swine (Fred Melamed, brilliant). Gopnik’s son Danny (Aaron Wolff) has a cowlike indifference to his father’s plight. And Larry must take charge of his unemployable brother Arthur (Richard Kind), an obese holy fool. The postmodern moments give A Serious Man a vaudeville kick: a prologue about the appearance of a demon in the old-time Jewish ghetto is staged like a lost episode of Mario Bava’s Black Sunday. In another of this film’s parables, a Hebrew message is carved by God into the teeth of a gentile to teach—what? some indecipherable lesson, like the physics equations on Larry’s chalkboard, like the Hebrew letters Danny is too dumb to learn. Photographer Roger

Eakins and composer Carter Burwell do outstanding work making these episodes coalesce into a fever dream of persecution and encroachment. (RvB) 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) 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)

Showtimes

INVICTUS (PG-13; 124 min.), directed by Clint Eastwood, written by Anthony Peckham, based on the book by John Carlin, photographed by Tom Stern and starring Morgan Freeman and Matt Damon, opens Dec. 11.

Johnson) arrives on an alien planet, he causes a panic among the cozy suburban inhabitants.

Kaneshiro is one of the coolest presences in the movies in 2009. The very end, of course, is a reprise of Woo’s most famous contribution to cinema, the multi-angle Hong Kong standoff. (RvB)

for all the local theaters are available online 24/7 at www.movietimes.com

HE TUNNEL-VISION sports movie par excellence, Invictus (a title based on Timothy McVeigh’s favorite poem) tells us that South Africa was healed of its racial divisions by the Rugby world cup of 1995. Invictus is not inept. Whatever you can say about his repetitiveness and his willingness to grind corn, Clint Eastwood knows how to focus our attention where he thinks it belongs and how to underscore a private moment without dialogue. This is called “craftsmanship.” It’s also called craftsmanship when it’s in a TV commercial, and that’s what you think of in a series of dialogue-free scenes where an African boy gathering aluminum cans befriends a pair of white cops. But Eastwood doesn’t take his audience for granted; he knows we have eyes. We can pick out the fact that the 1995 South African Springboks rugby team has only one black member, that the game of rugby was, in the early days of Nelson Mandela’s presidency, a sport favored by the white Afrikaaners and mostly ignored by the African majority. Eastwood stocks his screen with the kind of faces and bodies that let that hatred of the blacks seep into us. Based on John Carlin’s book Playing the Enemy, Invictus contrasts Mandela’s heroism after 27 years in federal police custody with the divisions in the country he led. With an eye on unity (and being a former rugger himself) Mandela exhorted the South African team to greatness in the quadrennial championship. Invictus drills down the insistence that this one game brought the nation together. As Mandela, Morgan Freeman gives us noble, cautious acting; it’s obvious Freeman could do the role in his sleep. It’s the kind of part where someone says of Mandela “He’s not a saint!” because this conception of Mandela is such a saint. Matt Damon’s performance as the Springboks’ team captain, Francois Pienaar, is a tribute to Damon’s plasticity. It’s not much of a part, but Damon makes it a model of recessive, intelligent interpretation. And Pienaar is physically exactly the opposite of who Damon was in The Informant! Unfortunately, the role doesn’t offer much; Pienaar picks up greatness from Mandela’s strength of character by a tour of the great man’s prison cell. Rugby is not a game made for screen poetry, and the dog piles and all-butdrag-out fights on the field have no shape to them. Screenwriter Anthony Peckham is clever to stress the nickname of the Springboks’ opponents in the World Cup—the “All Blacks”—to make the New Zealanders sound like blackclad villains and to beguile the tragically Americo-centric viewer who can’t see the epochal drama in a contest between South Africa and the Kiwis. Invictus stresses Mandela’s regime as “balancing black aspirations with white fears.” So I suppose if Invictus has particular relevance, it’s as a message to the Obama presidency. The film counsels triangulation, mildness and reconciliation with the enemies of the kind of pluralism both politicians represent. One is less in a mood to receive that message when one considers not just the state of the United States in general but of South Africa in particular, which, despite the great rugby match, is still solidly in a world of hurt. Richard von Busack

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FILM REVIEW

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M E T R O S I L I C O N VA L L E Y DECEMBER 9-15, 2009 MUSIC

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Square Pegged Milpitas’ Albert Square have found a balance of ego, melody, noise and lyricism By Steve Palopoli

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N THE mid-’80s, posthardcore bands like the Replacements and Hüsker Dü changed what it meant to be a singer/songwriter. At their core were rock poets who wanted to get their lyrics across. But they had grown up on the first wave of punk rock and wanted a band around them to deliver the adrenaline rush that only high-volume blasts of guitar distortion could provide. They laid down a blueprint that a whole generation of loud-quietloud bands would build on, but it wasn’t easy. For one thing, the sound could easily overwhelm the lyrics. And unlike the singer/songwriters of previous generations, they suddenly had to work in the (theoretically) democratic band structure of the DIY ethic. “Because I say so” wasn’t always enough anymore. Those bands recorded some of the best music in rock history but burned out quickly in a flare of egos, self-destruction and infighting. Sim Castro is trying to avoid the same fate. A talented and prolific singer/songwriter who has earned himself comparisons to Elvis Costello, he started the Albert Square as a solo act, accompanying his guitar with a drum machine. For a while, he added fellow songwriter Meredith Edgar, with whom he’s still good friends and

who continues to write and perform in San Francisco. But Castro had grown up on groups like the Pixies and Neutral Milk Hotel and quickly gave into the lure of a band, drafting his fellow Milpitas natives Byron Yue and Spencer Taplin on bass and drums, respectively. It wasn’t an easy transition, at first. “Definitely in the beginning, it wasn’t too democratic,” admits Castro. “I was kind of a Nazi about ‘this is what we’re going to do, this is how it’s going to sound.’ Those were my own control issues I had to get over. But they started bringing so much more to it then I could envision. I had a very clear vision for the Albert Square, but very quickly that started stripping away.” The evolution of the Albert Square, who perform Saturday at Homestead Lanes, can be traced through their EP releases. The first, from February 2008, is an uneasy mix of instrumentation and lyrics. Every song showcases Castro’s intriguing lyrics and catchy melodies, but there’s a sense that the band is holding back, tiptoeing around the tunes. By October of last year, however, they had already evolved into one of the most interesting bands on the South Bay scene. Their split with Hard Girls showcased a sharpened instrumental

attack, with vicious layers of sounds washing over and under the vocals. On “Lion’s Roar,” they sounded not unlike Hüsker Dü, while “Peace My Son” echoes It’s a Shame About Ray–era Lemonheads and could have been a postgrunge radio hit. Their newest, soon-to-be-released EP sounds just as aggressive in some ways, but the signal-to-noise alchemy has been perfected. The lyrics jump out on “Holding Patterns” without interrupting the flow of hooks and crashing rhythms underneath. “It’s really a delicate balance, finding the melody, but making it messy,” says Castro. “We’ve finally found some kind of middle ground.” “Even though we’ve been playing for two years, we’re only just now finding a groove,” says Yue. “It kind of evolved to where everyone brought in their ideas, and the sound changed.” Even the way the songs are written has changed. “Lately we write all the instrumentation, and I piece together the lyrics based on that. Now I can bring in half a melody, and we’ll build a song around it,” says Castro. The trick, though, is not messing up the chemistry between three friends who enjoy making music together. “I feel like we have something that not a lot of bands have. It’s so rare to find,” he says. “I felt lucky coming into it, because I had a ton of songs written

and Byron and Spencer had been playing together, and just knew how to speak to each other musically.” People ask Castro all the time about his hyperactive stage presence, which includes a lot of jumping and bouncing, but like his brief and hideous experiment growing a handlebar mustache, it’s part of not letting everything get too damn important. “I played in a couple of emo bands,” says Castro. “We were so serious, it was just this depressing thing. If you’re not having fun onstage, people watching you can’t be having fun.” With the band’s constant evolution, who knows what could be next? Castro says don’t count out Cuban fusion or didgeridoo. OK, not likely, but even putting horns and strings on the new EP, which they really are doing, is an unexpected development. “Who knows, maybe we’ll eventually be doing Dashboard Confessional VH1 Storytellers,” he says. “And if that ever happens, please shoot me in the fucking face.” THE ALBERT SQUARE perform Saturday (Dec. 12) at 8pm at Homestead Lanes, 20990 Homestead Road, Cupertino, opening for Kevin Seconds, Kepi Ghoulie and Greg Attonito from Bouncing Souls. Admission for the all-ages show is $8.

[60] GALLERY

DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

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CONCERT FILE

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SOXV The Cataracs DOVR Sincere DQG Alyssa Kayne

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Irie Christmas

LEE â&#x20AC;&#x2DC;SCRATCHâ&#x20AC;&#x2122; PERRY

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'HF The Devil Makes Three (Ages 21+) -DQ The Jacka (Ages 16+)

Tom Russell

-DQ Jackie Greene (Ages 21+) -DQ Rebelution/ Soja (Ages 16+)

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'HF Joe Purdy Atrium (Ages 21+)

RUSSELL-MANIA !Ufybo!Upn!Svttfmm!uvsot!tpoht!joup!qpfusz/!

TOM RUSSELL performs Thursday (Dec. 10), at 8pm at the Little Fox theater, 2209 Broadway, Redwood City. Tickets are $24 advance/$26 at the door, (650.369.4119)

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-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

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[66] MUSIC

DECEMBER 9-15, 2009 M E T R O S I L I C O N VA L L E Y

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CONCERT REVIEW

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LOOK OUT, PIRATES!!!Nfubmmjdb!jt!dpnjoh!gps!zpv"

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[67]

[68]

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>ÉkZ WZZc hZZ^c\ V \jn [dg h^m bdci]h# >iÉh [gjhigVi^c\ WZXVjhZ > ^cî^ViZ djg \Zi"id\Zi]Zgh! VcY ]Z gZijgch bn XVaah Wji gVgZan XVaah bZ! VcY lZÉkZ dcan WZZc ^ci^bViZ V [Zl i^bZh# =Z lZci VlVn [dg ÒkZ lZZ`h! VcY WZXVjhZ > b^hhZY ]^b! > Vh`ZY ^[ ]ZÉY ZbVâ V e]did! l]^X] ]Z Y^Y# LZaa! VWhZcXZ bV`Zh i]Z ]ZVgi \gdl [dcYZg! VcY > eg^ciZY i]Z e]did! [gVbZY î VcY eaVXZY î dc bn c^\]ihiVcY# Ild lZZ`h V[iZg ]Z \di WVX`! ]Z XVbZ dkZg VcY cdi^XZY i]Z e]did! l]^X] > aZ[i dji id hZZ ]^h gZVXi^dc# =Z hZZbZY gZVaan iV`Zc VWVX`# I]Z [VXi i]Vi ]Z Y^YcÉi aZVkZ! VcY lZ ZcYZY je ]Vk^c\ hZm! \^kZh bZ hdbZ Xdb[dgi# 7ji! >Éb hiâa ldgg^ZY VWdji ]^h gZhedchZ# 6ai]dj\] lZ YdcÉi hZZ ZVX] di]Zg gZ\jaVgan a^`Z bdhi XdjeaZh! >ÉkZ \di cd gZVhdc id WZa^ZkZ ]ZÉh hZZ^c\ hdbZdcZ ZahZ# 7ji! lZ Vahd ]VkZcÉi ]VY ÈI]Z IVa`#É EZg]Veh i]Z e]did lVh V \ddY lVn id ^cî^ViZ î# ÅGZhiaZhh If absence makes the heart grow fonder, what would you say a restraining order will do? Seeing the framed photo had to make this guy wonder . . . no, not what the children will look like, but where’s this whack job hiding the rest of her obsession kit: the butt of that cigarette he smoked, the fork that once touched his lips, the steel door handle he pushed entering the hardware store? This is a guy you know about three shades better than the guy who makes your latte at Starbucks. Turning your nightstand into Shrine of the Guy You’re Kinda Sorta Seeing isn’t clever or flattering, it’s creepsville. Don’t kid yourself that it’s a good sign he stuck around to knock boots. For a guy, sex is like a bag of chips. If it’s in arm’s reach, he’ll help himself to some. There’s an old line, “Chase a man until he catches you,” meaning it’s a woman’s job to flirt, to let a guy know she’s open to him asking her out. And while some guys will tell you they love when women chase them, men tend to devalue women they don’t have to work to get. They might date you, and even get serious with you, but not necessarily because they’re really into you, but because hey, you asked, and why not?

To weed these guys out, never do the asking. The most forward sort of thing you should do is maybe tease a guy by leaning in and whispering that he’s hot, then continuing on your way. That’s his cue to chase you—if he’s interested enough—as opposed to lying down to make it easier for you to drag him back to your lair. This advice shouldn’t be news to you because you emailed me about this guy six months ago, and I told you he didn’t show enough initiative, and you should drop him. Perhaps I didn’t make myself clear. That was “drop him,” not “drop him off at the photo processing desk at CVS.” You need to pull together a sense of self-worth. If you had it, you’d be looking for evidence a guy has feelings for you, not planting it in your bedroom. Consider this thing blown. Just as it’s easy to creep somebody out but nearly impossible to uncreep them out, you probably can’t make a guy want you after throwing yourself at him. In the future, if you love something, set it free. If it forgets about you until you call to ask it to dinner, have the self-respect to quick-quick put on a foreign accent and blurt out, “Hello, Mahatma? Your goat has been repaired and is ready for pickup.”

6 ldbVc > lVh YVi^c\ ÈXdjaYcÉi ]VcYaZ V gZaVi^dch]ê!É Wji lZ aViZg WZXVbZ È[g^ZcYh lî] WZcZÒih!É VcY ZcYZY je \gdl^c\ XadhZg# >Éb ]Veen! Wji lVci djg [g^ZcYh]ê id WZ a^`Z di]Zg [g^ZcYh]êh/ ]VkZ bjijVa [g^ZcYh! ZiX# =dlZkZg! h]ZÉh Èidd ZbWVggVhhZY id ZmeaV^c djg gZaVi^dch]ê id eZdeaZ#É AVhi lZZ`! > idaY ]Zg îÉh ^bedgiVci [dg bZ id [ZZa ^cXajYZY ^c i]Z a^kZh d[ eZdeaZ ^c bn a^[Z# H]Z VXiZY d[[ZcYZY VcY ]VhcÉi hed`Zc id bZ h^cXZ# Å9^higZhhZY

This girl made it clear how far she was willing to go with you—all the way, just not all the way outside. You agreed to that, then got a glint in your eye and tried to upsell her. She again made it clear that she just wants the basic sex-only plan. It doesn’t matter that having more is important to you. Extending yourself

for what’s important to your partner is relationship territory. That’s territory you can get into—that is, if you’re up for the hard work required to ﬁnd a woman who wants you to take her to fancy restaurants, meet all her friends, and bond with her cat before she’ll be ready to use you for sex.

'%%.! 6bn 6a`dc! Vaa g^\]ih gZhZgkZY# <di V egdWaZb4 Lg^iZ 6bn 6a`dc! **% H# ;^ghi Hi#! HVc ?dhZ! 86 .*&&(! dg ZbV^a VYk^XZVbn5Vda#Xdb#

DECEMBER 9-15, 2009

ADVICE GODDESS

[71]

[72]

CLASSIFIEDS DECEMBER 9-15, 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

MOVIE EXTRAS NEEDED ENGINEERING

Earn $150 to $300 Per Day. All Looks, Types and Ages. Feature Films, Television, Commercials, Print. No Experience Necessary. 1-800-340-8404 x2001 (AAN CAN)

Software Engineer

Hair Studio Station For Rent

Employment Jobs

M.S. in Comp. Sci./Eng. or rltd. & 2 yrs. exp. & exp. w/ Postgresql database; DBI & Pear DB database abstraction; and debugging in PAM, glibc & Squid. CV to: HR, Abaca Technology Corp., 1010 Rincon Circle, San Jose, CA 95131

Music Director develop & conduct performing band & orchestra & teach music theories, techniques, performance & explorations in music. Res to Chinese Performing Artists of America, 6148 Rollinger Rd, San Jose, CA 95129. Attn: HR

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

Engineering Sr. Process Development Engineer (San Jose) Drive process dvlpmt. Dsgn MEMS process modules. Resume to R. Reilly, Cavendish Kinetics, Inc, 3833 N. 1st St, San Jose, CA 95134.

Bartender / Cocktail Servers Full Time or 6 AM Part Time shift available. Alex’s 49er Inn, San Carlos & Bascom. Apply mornings only.

Callidus Software, Inc. has the following job opportunities available in San Jose, CA: Integration Consultant (KVIC) Work with customers to gather data integration requirements and define system architecture. Staff Software Engineer (STSSE) - Responsible for the design and development of TrueComp server-side component. Position may require travel. Send resume to: Staffing Manager at Callidus Software, Inc., 160 W. Santa Clara St. Ste, 1500 San Jose, CA 95113. Must reference job title and job code to be considered.

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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

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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.

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

≈

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.

g Classes & Instruction

Classes & Instruction

High School Diploma! Fast, affordable and accredited. Free brochure. Call Now!. 1-888-532-6546 ext. 97 www.continentalacademy.com (AAN CAN)

g General Notices Announcements

Summerdale Elementary Winter Boutique! 12/12

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

Come join us to celebrate the winter holidays with the Summerdale Elementary Winter Boutique! A variety of local artisians and vendors with handcrafted and other gift items available to purchase! Join our raffle to win great prizes!! Saturday, December 12th from 9am to 4pm Berryessa at Summerdale, 95132

Tell A Friend

534,311 People

You saw it in the Metro Classifieds!

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

Bartenders Needed

g Employers

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

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FICTITIOUS BUSINESS NAME STATEMENT #531344 The following person(s) is (are) doing business as: AMD General Construction, 3409 Cedardale Dr., San Jose, CA, 95148, Johnathan T. Truong. This business is conducted by a individual. Registrant began transacting business under the fictitious business name or names listed herein on 1/29/2004. Refile of previous file #439312 after 40 days of expiration date /s/Johnathan Troung This statement was filed with the County Clerk of Santa Clara County on 11/23/2009. (pub Metro 12/09, 12/16, 12/23, 12/30/20009)

FICTITIOUS BUSINESS NAME STATEMENT #529989 The following person(s) is (are) doing business as: Cafe

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

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6g^Zh (March 21–April 19): “Indignation is one of

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)

DECEMBER 9-15, 2009

the most rewarding of emotions,” writes Theodore Dalrymple, “as well as one that automatically gives meaning to life . . . There is nothing like irritation to get the juices circulating and the mind working.” Of all the ideas that have made me irritable and indignant in recent weeks, this one steams me the most. I disagree so completely that I am practically beside myself with paralyzing rage. And as I plunge my attention further and further into his ridiculous proposal, I feel the tension coursing through my body. I sense my mind becoming swampy, my perceptions distorted. There’s a good chance that I am inducing in myself a state of stressed out stupidity. Please don’t follow my example, Aries. It’s possible that sour fury could be useful to you at other times, but right now you should avoid it. If you want your intelligence to work at peak efficiency in the coming days, you’ll need long stretches of tender, lucid calm.

IVjgjh (April 20–May 20): The evidence is

incontrovertible: You have deﬁnitely acquired more power in 2009. Whether that means you are now sitting in a corner office bossing around a gaggle of subordinates, I don’t know. What I do know is that you are in greater charge of your own destiny. You know yourself much better, and are smarter about providing yourself with what you need, when you need it. You have gained access to enormous new reserves of willpower, in part by harnessing the energy of your obsessive tendencies. Blind fate just doesn’t have the same control over your life as it used to. More than ever before, you’re making decisions based on what’s really good for you rather than on your unconscious compulsions.

<Zb^c^ (May 21–June 20): I trust you’ve traveled all over creation in 2009—or have at least exposed yourself to a wide range of novel sights and sounds near your home turf. I pray that you’ve escaped one shrunken niche, two narrow perspectives, and three low expectations. I’m also hoping that in these last 12 months, you have regularly sought out pleasant jolts and breathtaking vistas that have inspired you to see the big picture of your unfolding destiny. If you haven’t been doing these things with the eager abandon you should have, please take the next flight to the other side of the world. Eat unfamiliar food, meet people who are very different from you, listen to strange music, climb a mountain and get your mind blown. 8VcXZg ( June 21–July 22): So how are you doing with your year-long resurrection project, Cancerian? Have you been taking care of the finishing touches these past few weeks? If not, do so soon. It’s high time for you to officially and definitively rise from the dead. Your wandering in the underworld is at an end. Your mourning for broken dreams should be complete. In January, the age of exploration will begin; make sure your reborn spunk is ready for action by then. AZd ( July 23–Aug. 22): I bet your relationship

life will be a source of revolutionary teachings in 2010. Adventures in intimacy and partnership will draw you into some highly educational fun and games. You will be invited to dramatically expand your understanding of the nature of commitment. You will also be asked to dig deeper to discover your real desires, which up until now have been partially camouﬂaged by more superﬁcial longings that were grafted onto you during the darker days of adolescence. How should you prepare for the interesting tests of the next 12 months? How can you get yourself in shape to earn the demanding gifts that will be within reach? Now is an excellent time to start thinking about those questions.

K^g\d (Aug. 23–Sept. 22): Whenever the tide goes

out, the creek I live next to loses a lot of its water to the bay. It becomes a narrow trickle surrounded by stretches of mud. From a distance the mud looks like a wet black desert, but if you get up close you’ll see it’s covered with tiny furrows, pits and bulges. This is evidence that many small creatures live there, although only the hungry ducks and egrets know exactly where to look to ﬁnd them. Be like those birds, Virgo. As you survey your version of the mud ﬂat, ignore anyone who tells you that it’s barren. Go searching for the rich pickings.

A^WgV (Sept. 23–Oct. 22): It seems to me that in 2009 you’ve learned to love the fact that all the world’s a stage. You’ve found roles that have been

fun to play, and you’ve expressed yourself with the nuanced zeal of a skilled actor in an elaborate theatrical production. I have very much enjoyed seeing you reveal the full range of your inner riches. If I were going to award Oscars to the astrological signs, you Libras would get the prize for “Best Performance of One’s True Self.”

HXdge^d (Oct. 23–Nov. 21): “The nature of the

work is to prepare for a good accident,” said ﬁlmmaker Sidney Lumet. He was talking about the craft of creating movies, but he could have also been advising you on how to make the most of the coming week. Your task, as I see it, is to set in order everything that can be set in order. Get very organized. Make sure you’re well-rehearsed. Be warmed up and highly alert. That way you’ll be ready to respond with graceful intensity when serendipitous opportunities arise within the framework you’ve put in place.

HV\^iiVg^jh (Nov. 22–Dec. 21): One of your top

accomplishments in 2009 is the way you have united parts of yourself that had not previously been very well connected. It seems you decided that you were tired of being split up into fragmented subpersonalities that had different agendas. Somehow you managed to convince them all to work together in a common cause. Now I’m quite impressed with the new spirit of cooperation that’s at work in your depths. I predict it will lead to an unprecedented singleness of purpose in 2010.

8Veg^Xdgc (Dec. 22–Jan. 19): In his book The Way

of Transition, William Bridges deﬁnes the “neutral zone” as “that in-between time, after you’ve let go of your old life and before you have fully discovered and incorporated your new life.” Sound familiar? Maybe the neutral zone where you’re currently simmering isn’t as dramatic as that—maybe you haven’t been stripped of every single certainty and you’re not wandering in limbo. But I suspect you have at least let go of one aspect of your old familiar rhythm and have yet to ease into the one that’ll be familiar in the future. My advice? Don’t rush it. Get all you can out of this unique and educational time in the neutral zone.

6fjVg^jh ( Jan. 20–Feb. 18): In 2009, the

cosmic powers-that-be have been conspiring to get you to expand your self-image and enlarge your understanding of your place in the world. So I trust that in these last 12 months you have started a business or organized a support group or reinvented your physical appearance or begun your masterpiece—or done something to initiate a new phase in your long-term cycle. If for some reason you’ve been remiss about doing this work, I suggest you scramble to make up for lost time. And if you have been taking advantage of the abundant cosmic help, it’ll soon be time to move on to phase two: consolidation.

E^hXZh (Feb. 19–March 20): To prepare for his

turn to hit, a Major League baseball player slips a donut-shaped piece of metal over the top of his bat, making it a few pounds heavier than it normally is. He then takes a number of practice swings. The theory is that when he removes the donut and strides up to home plate to actually hit against a pitcher who’s throwing the ball at 90 miles per hour, the bat will feel lighter and he’ll be able to swing faster. As you prepare for your own equivalent of going up to bat, Pisces, I urge you to use this as your operative metaphor.

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Two approaches we could take here. The first is we just stick to the facts. Lotta fun that is. The second is we wave gaily at the facts en route to a more entertaining sociopolitical perspective. This is the Fox News system, and you can see it works for them. Let’s see what we can come up with based on the following: • Botanically, marijuana equals hemp. As we’ve established in the past, these are basically two names for the same plant. • Useful for rope, paper and clothing, hemp was long promoted in Virginia as an alternative cash crop to tobacco. Tobacco depleted the soil, and gluts sometimes drove prices down. In two Virginia counties, folks were allowed to pay their taxes in hemp. • Both Washington and Jefferson tried growing hemp on their Virginia farms. However, U.S. hemp exported to Britain often was of such poor quality that it couldn’t be sold, and Washington was never able to turn a profit on the crop despite sustained effort. Jefferson also seems to have grown hemp strictly for local consumption, from which we deduce he couldn’t make money at it either. • Notwithstanding their failure to make a fortune from hemp, Jefferson and Washington kept at it. Washington continued to tout the crop after he became president. Jefferson invented a better “hemp brake” to separate the fibers from the stalks, something he thought was so important agriculturally that he refused to patent it. This tells us two things. First, Jefferson ran an advanced marijuana processing facility. Second, he was a socialist. • Both Jefferson and Washington traded seeds and plants with other farmers on a regular basis. Jefferson wrote of receiving hemp seedlings from someone in Missouri, and it would have been only neighborly to send some Virginia seedlings back. Chances are Washington did the same. Couple this with the fact that the two men did at least attempt to sell their hemp crops and we’re obliged to conclude: Washington and Jefferson weren’t merely marijuana farmers, they were marijuana dealers. Were they marijuana smokers, though? Let’s continue our review.

• No great social stigma was attached to smoking pot in the late 1700s and early 1800s—pot use wasn’t considered a problem until the early 1900s. • Thomas Pynchon’s novel Mason & Dixon (1997) features a scene in which George Washington shares a blunt with the eponymous surveyors while Martha dutifully supplies them with donuts and other munchies. This doesn’t prove anything, of course, being fiction and all. But it’s reassuring to know that whenever an opportunity presents itself to combine historical revisionism and pot jokes, Pynchon is all over it like a wetsuit. • Despite the above, I couldn’t find any contemporary accounts suggesting either Washington or Jefferson ever indulged in, advocated or even mentioned smoking pot. The National Organization for the Reform of Marijuana Laws simply notes that Washington and Jefferson grew hemp for economic reasons. • But let’s not give up too quickly. In his diary for Aug. 7, 1765, Washington writes, “Began to separate the Male from the Female hemp . . . rather too late.” Female marijuana plants are the ones that contain enough THC to be worth smoking. Of course, two days later Washington says he put the hemp in the river to soak and separate out the fibers, and later in September that he started to harvest the seed. That suggests he divided the plants because the males made stronger fiber while the female plants produced the seed needed for next year’s crop. Jefferson in his Farm Book wrote that a female plant would produce a quart of seed, and a bushel of seed was enough to plant an acre. Do these guys sound like midnight tokers? No, they sound like farmers. Which just shows how clever they were at covering their tracks.

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Notice All real estate advertised in Metro Newspapers is subject to the State and Federal Fair Housing Act, which makes it illegal to advertise any preference, limitation, or discrimination based on race, color, religion, sex, handicap, family status (the presence of children), or national origin, or the intention to make any such preference, limitation, or discrimination. State and locate laws forbid discrimination in the sale, rental, or advertising of real estate. We will not accept any advertising for real estate which is in violation of the law.

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