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JANUARY 6-12, 2010 · VOL . 25, NO. 45 · SAN JOSE, CA · FREE

Win Wi W Win Wi in in n Dinner at Maceio Brazilian Steakhouse & Thea Mediterranean METROGIVEAWAYS.COM Multiplayer Underground Pirated versions of gaming communities branch off into the gray zone p11

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San Jose’s Edward Hopper, Wayne Jiang, captures a city’s ethereal grace

BY GARY SINGH

P16

[02]

JANUARY 6-12, 2010 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

JANUARY 6-12, 2010

[03]

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[04] CONTENTS

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

Cover Silicon Valley’s Weekly Newspaper

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

JANUARY 6-12, 2010

[05]

[06] LETTERS

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

tell the assigned attorney went out on an emergency medical leave. The assigned attorney discovered the issue several weeks later. That was the delay you refer to, not a “reluctance� to remove myself from the case. A furor followed, mainly because the assigned attorney, Jeff Rosen, decided to run for district attorney and use this case as a campaign issue. The case itself is now in the hands of the Attorney General’s office, which is vigorously prosecuting the homicide charges. The civil lawsuit has settled. My husband ceased working on the civil case and returned all of the money he had earned.

is pushing for a bill provision to create an office within the Department of Energy (DOE) that would have authority to award loan guarantees without congressional review. Senators Jeff Bingaman (D-N.M.) and Lisa Murkowski (R-Alaska) are sponsoring such legislation. Congress so far has given the DOE authority to distribute $18.5 billion in loan guarantees for more nuclear facilities. The nuclear industry wants at least $100 billion in loan guarantees. We taxpayers are about to subsidize the nuclear power industry, if the pending climate bill passes. Philip Ratcliff Cloverdale

Dolores Carr, District Attorney

Climate Cost

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5

Carr Responds This is to set the record straight about your “DA Courts Trouble� blurb in your Dec. 30 (“The Year That Sucked,� Cover Story). Vahid Hosseini was murdered in a bank parking lot after withdrawing $50,000 in cash. His family sued the bank for failure to provide adequate security for its customers. The family’s civil

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lawyer hired my husband, a retired police detective and expert on bank robberies, to consult on their claim. I did not see a conict in my husband taking on that work because no suspects had been identiďŹ ed, much less charged. Further, whether the bank failed to maintain adequate security is totally unrelated to any subsequent prosecution of the killers. In hindsight, I failed to foresee that

in the event the case was solved, people might be concerned that my husband was working on behalf of victims in a case being prosecuted by my office. Months later, when the police made arrests and my office ďŹ led charges, I immediately advised the assistant DA overseeing homicides that my husband was working on the civil lawsuit. Unfortunately, the supervisor who was going to

The United States was criticized for having no climate law enacted before the recent Copenhagen summit. The climate bill pending in Congress includes massive federally backed loans to the nuclear industry. The Congressional Budget Office has determined that the risk of default on the loans is well above 50 percent. The nuclear industry cannot ďŹ nd private-sector ďŹ nancing for its planned reactors. As reported by Mother Jones magazine, the industry

Block That Metaphor To letter-writer Pieter S. Myers (“Metaphor Alert,� Dec. 30): If you’re going to use a baseball metaphor so wantonl y, at least get it right. In baseball, a 2-0 count means two balls and no strikes. Your letter to the president either was built on a shaky foundation or—well, I’ll let you come up with another ingenious metaphor—“wrong.� Peter Perrault Sunnyvale

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Kind Gentleman OK, I didn’t see you, but my mother did. You were the gentleman at Target last Friday night who paid for my mother’s items. She let you go ahead of her because you only had one item, and she had quite a few. She says you were extremely appreciative of this kind gesture. You said nobody had ever done that for you before. You thanked my mother, and gave her a quick hug. You then paid for her merchandise without letting her know. I’m writing because my mother doesn’t know how to thank you. She was so completely amazed by your extremely kind and generous act, but she feels terrible that she didn’t have the opportunity to thank you. She didn’t realize what you had done until after you left. It seems that we are very quick to notice the negative things or make complaints, but hardly anybody takes the time to show appreciation for acts of kindness. On behalf of my mother, thank you! SEND US your anonymous rants and raves about your co-workers or any badly behaving citizen—or about citizens you admire. I SAW YOU, Metro, 550 S. First St., San Jose, 95113, or via email to isawyou@metronews.com.

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

JANUARY 6-12, 2010

[07]

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

Make This Your Year to Excel Set a career goal for 2010 that you can achieve before the year is out! UCSC Extension in Silicon Valley offers more than 40 certificates in high-demand fields, many of which can be completed in under a year. Our programs are designed to equip you for a brighter professional future. Here’s a sampling of the Winter courses starting soon:

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help boost or retool your career. Attend

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[08] SILICON ALLEYS

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SiliconValley

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

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GARY SINGH

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Pigment Power

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HAVE a new appreciation for the color yellow. This week’s cover story, for a moment, calls attention to San Jose’s notorious low-pressure sodium oxide streetlights—you know, those glowing rectangular yellow lamps that give the city a spooky golden aura at night. You can see it when looking down from the hills. While embroidering the threads in my feature story on artist Wayne Jiang (see page 16), I felt driven to spice up my adeptness at all things yellow. Something about the 589.3 nanometer wavelength of those streetlights kicked my already hyperactive mind to overdrive. But where to begin? When one contemplates the color yellow and its connotations and appearances throughout time, a number of things immediately come to mind: yellowtail sushi, the caution flag, that nauseating Coldplay song, the solar plexus chakra, yellow cards in soccer, the foul pole in baseball, banana peels, yellowcake, yellow journalism, egg yolks, autumn leaves and jaundice. And that’s just to name a few. Consider this column “yellow research.” For example, yellow plays a role in Ayurvedic healing, where there exist three energies known as doshas (a common icebreaker among yuppie New Age types is “What’s your dosha?”), and yellow is said to stimulate understanding and intelligence. Its overuse may aggravate the pitta dosha or it may relieve excesses in the vata and kapha doshas. There may be a connection to the streetlights. Perhaps. On the other hand, the seven chakras are your energy vortices, located in ascending order from the base of the spine to the crown of your head. Depending on which interpretation you subscribe to, they are loosely affiliated with certain body parts. The yellow chakra is your solar plexus chakra, also called Manipura, or city of jewels. It deals with your sense of identity, nervous system, ego and self-esteem—the essence of your personality and emotion. Crudely simplified, if your yellow chakra is blocked, then you’re probably lacking selfconfidence and self-esteem and are having trouble finding a direction in life or making decisions. If this chakra is overactivated, one can become domineering, aggressive, overbearing and power hungry. With 65,000 yellow streetlights illuminating the sky, I would say San Jose’s solar plexus chakra is drastically out of whack. San Jose is a pathologically attention-starved city, and as a result, its yellow energy center has gone overboard and is spinning much too fast. In fact, a January 2007 piece in Acupuncture Today by Darren Starwynn titled “Acupuncture Crudely simplified, if and the Seven Hermetic Laws” mentions the Law of Vibration your yellow chakra is and the healing effects of color blocked, then you’re frequencies and vibrations. It probably lacking says: “Insomnia due to overactive self-confidence thinking often is due to an excess of yellow in the head, heart or and self-esteem solar plexus [chakras]. Applying violet, the complementary color to yellow, to the brow or solar plexus chakras can balance this condition and promote sleep and mental peace.” So if you can’t sleep, blame it on the streetlights. Still not satisfied, I grabbed a classic from the library shelf, Ray Buckland’s Practical Color Magick, in which he references an esoteric 1933 treatise called The Spectro-Chrome Home Guide. Yellow is also the color of creativity, so you must be creative to understand how the following relates to the real reason why San Jose has 65,000 yellow streetlights. You see, according to Buckland, yellow energy directed toward the body can act as a digestant, a nerve builder, a motor stimulant or a cathartic. It can also function as a cholagogue, an agent that accelerates the flow of bile, or even an anthelmintic, an agent destructive to worms. Last and certainly least, I fondly recall a time when a company called Progen Aura Imaging showed up at the Metro offices to take our aura photographs. The year was 2002, and I still have the Polaroid in my desk. You see, the left side of my aura was very yellow. Here’s what some of the analysis said: “Left Side (future). The left side is normally the vibration coming into your being. . . . Like the rising sun, yellow brings warmth. . . . Your future is bound to be thought provoking.” I guess I am a product of my hometown: a place soaked in yellow. What did your aura photo reveal? Email me at SiliconAlleys@metronews.com.

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mashup

M E T R O S I L I C O N VA L L E Y JANUARY 6-12, 2010 MASHUP

[09]

best of the local web

A roundup of news, commentary and opinion from around the valley. Opinions expressed do not necessarily reflect Metro’s editorial views.

Major Apple Announcement Set

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SO, that rumored Apple event everyone has been jawing about these past few weeks? It’s on and it’s going to be a big deal.

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Sources in a position to know tell me Apple (AAPL) is indeed planning a media event later this month at which the company will announce a major new product. The gathering is to be held at the Yerba Buena Center for the Arts in San Francisco, a space Apple often uses for media events like this. According to other sources, it will occur on Wednesday, Jan. 27, not Tuesday, Jan. 26, as had been rumored. No definitive word on what that product is, but I think we all have a pretty good idea of what to expect. —JOHN PAZCKOWSKI, DIGITALDAILY.ALLTHINGSD.COM

UPDATE: The Wall Street Journal offers some details—it cites people “briefed by the company” who say Apple plans to ship the tablet in March, and that it will feature either a 10- or 11-inch touch screen. The paper also cites analysts who “currently believe” the machine will cost $1,000, which may include a Kindle-like built-in wireless plan. Incidentally, this won’t be the first time Apple has scheduled a special event on a Wednesday as opposed to Tuesday, which it has historically preferred for such things. The “It’s Only Rock and Roll” iPod event held last September, which was also rumored to be scheduled on a Tuesday, was ultimately held on Wednesday, Sep. 9. Evidently, Wednesday is the new Tuesday. >h i]^h l]n <dd\aZÉh XjggZci hZVgX] i]ZbZ ^h Vc VeeaZ [Vaa^c\ [gdb V igZZ4 KZgn XaZkZg Å9VcV 6h]bdgZ 6XijVaan! i]Z [Vaa^c\ VeeaZ YZcdiZh CZlidcÉh W^gi]YVn Vcc^kZghVgn# ÅiXb]

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M E T R O S I L I C O N VA L L E Y JANUARY 6-12, 2010 NEWS

Santa Clara Valley, California

the

“Getting a Feeling Our iPhone Knows We Want to Cheat on It With Google”

FLY

Giants vs. A’s In San Jose

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GAME BOYS!!Dpefst!xpsmexjef!bsf!tfuujoh!vq!Õqsjwbuf!tfswfstÖ!xifsf!uifzÖsf!iptujoh!!

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No-Pay to Play Online gaming pirates are drawing real-world wrath from the owners of World of Warcraft By Nick Ryan HEY are wanted men. Faceless individuals at threat of constant legal action, part of an underground movement that represents coding and creativity at its most free—or, according to game studios, its most reckless. Welcome to the world of the “private server.” For each and every game requiring an online multiplayer community, it is likely that scores or perhaps even hundreds of private servers exist. These are privately hosted versions of commercially available games. There is no official tally because, to put it bluntly, such servers are usually under threat of closure. But a

T

quick web search will turn up ads for hundreds. Games such as the hugely popular fantasy World of Warcraft have spawned an almost endless number of such pirated worlds. Typically run by amateurs, gamers in a private server can assume powers unavailable in the retail form of the games; they often have one-to-one interaction with individual “games masters” (the owner of the server or his friends); and of course they rarely pay a subscription fee for the privilege of playing. Notoriously buggy, many open and close within a short space of time. Some have just a handful of players, others count adherents in

the thousands. But what remains the attraction of creating your own private world? For South African gamer “Hendrick,” it was a simple decision. “I made my [World of Warcraft] server because the game wasn’t available in the country at the time. It was a few years ago, just after the release. I can program, though it’s not my primary job function. It was a lot of fun.” Called One Shard, the server was advertised through word-of-mouth and had up to 50 gamers online. “”I played GM had a lot of fun creating items and spawning world bosses on unsuspecting players,” he says. “But I only ran the server until

$19.99 Cost of World

$14.99 Price per month

11.5 Million Number

of Warcraft CD

to play World of Warcraft online

of subscribers to World of Warcraft (December 2008)

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January 6-12, 2010 about a week after the WoW launch in the country.” One Shard was free to use, but like many such servers, full of bugs. Hendrick moved on to the retail form of the game fairly swiftly, but for amateur coder “Henri,” living on a farm with his parents in Belgium, there was a very different reason for hosting a World of Warcraft server. “Why? WoW requires friggin’ 15 euros [$22] a month!” he says. “Private servers are completely free. A huge reason if you ask me. In addition, private servers have possibilities that you don’t have on retail.” Part of the attraction was the ability to customize the game world: its characters, buildings, items and so on. Another was the technical challenge of keeping the server running. “Like everything that has to do with computers and programming, it’s not hard at all once you know it. Now I’m familiar with it, it’s a piece of cake.” Private servers can evolve far beyond a teenage playground though. Twenty-one-year-old Swedish musician, novelist and artist “S.” says he had a day job “playing the stock market.” However, he was also creator and owner of the Epilogue server, which—uniquely—was a private role-playing server for World of Warcraft. That is, it had strict codes of conduct and rules, as well as a high degree of customized content (such as new currency, methods of earning experience, the ability to construct buildings and hire nonplayer characters, plus “permanent” player death) unavailable in the retail version of the game. “I would consider Epilogue to be my first serious attempt at a private server,” S. says. “The idea started when I quit playing retail: The almost nonexistent role-playing support from Blizzard [the company behind WoW] was ticking me off. I’m definitely not alone about feeling that way; there are still thousands of role-players out there feeling the same. &'

$1.4 Billion

Worldwide revenue of ‘massively multiplayer online role-playing game’ industry

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NEWS JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

&&

“I wanted Epilogue to be unique. Hated and loved. I think we did quite a good job.” S. says he researched and played on many other private servers before designing Epilogue. He even hired writers to develop an entirely new “lore” for his world, separate to that created by Blizzard Entertainment, and also gathered a team of coders and scripters who used C++ and Lua coding to create some of the special effects he needed. But with it requiring seven to eight hours of his time a day, S. had to choose between Epilogue and his real life: the server recently closed (though others are trying to reopen it).

Backdraft Unsurprisingly, the top games companies have been less than impressed by such developments. In 2008 NCsoft and Blizzard went on the offensive. NCsoft, publisher of massively multiplayer online games such as Guild Wars, Lineage II and City of Heroes, called the existence of private servers “a growing menace of intellectual property theft,” and launched legal action against an Internet cafe chain in Greece it claimed was hosting its games. “Illegal game servers have a hugely negative impact on both NCsoft Europe and its customers,” said Max Brown, NCsoft Europe’s sales and operations director. Blizzard Entertainment, which in addition to WoW also produces Diablo, Starcraft and other titles, similarly launched a legal crackdown last December, issuing Copyright DMCA Notices (in effect cease-and-desist orders) to several private server hosts. “We take pride in the work we’ve created and are committed to helping reduce copyright infringement and software piracy,” said a representative. He claimed that the firm handled many complaints from gamers who had been exposed to malicious software

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or fraud after joining a private server. “We also have a responsibility to our players to ensure the integrity and reliability of their World of Warcraft gaming experience,” he said, “and that responsibility compels us to protect our rights.” Not everyone feels the industry has gotten it right. At least not yet. “The situation has strong parallels to the music industry and file sharing,” said Tom Lingard, senior associate in the intellectual property team at law firm Stevens & Bolton LLP. “Games companies probably know that it is impractical/impossible to take action against every unauthorized server. However, they do need to be seen to be doing something and may also be compelled to take action against particularly popular servers in order to protect their revenues.” “The music industry’s approach to file sharing has varied from targeting major sites like Napster and the Pirate Bay to suing teenagers for downloading a few songs. There is a similar range of legal options open to games companies—including actions for breach of contract and copyright infringement—but the difficult part is striking a balance and picking their battles carefully.” Kate Craig-Wood, managing director of hosting firm Memset and also an MMO player, did not see a significant threat: “Certainly none of my friends and staff who play bother with them,” she says. “Anyway, WoW currently has in excess of 10 million players, each paying roughly $14 per month. That is $160 million a year revenue, and as a server and online services expert I can assure you that their business model is extraordinarily profitable. “Game studios really should not be fretting about a few hacker kids who would probably not want to pay for the real game anyway.” M

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M E T R O S I L I C O N VA L L E Y JANUARY 6-12, 2010 SAN JOSE INSIDE

a look inside san jose politics and culture

Charter Schools Could Revolutionize California’s Public Education System By Joseph DiSalvo

There is a Choice Revolution going on in public education today. Charter schools are at the heart of the increasing number of educational options—and public-school choice is generally a good outcome of the charter movement. The federal program Race to the Top, which makes $4.35 billion available to states, requires that they lift caps which now limit the number of new charter schools. Locally, we are likely to see a huge growth in the number of charter schools without the 100-per-year cap imposed by the state of California.

San Jose Second Best Place to Find a Job Silicon Valley Newsroom

Unemployment may still be above 10 percent, but San Jose still leads the nation as the best place to find a job, just behind Washington, D.C. The results were found by Juju.com, an online job search engine. According to Juju, there are 2.68 unemployed individuals for every advertised job in San Jose, a far cry from Detroit, the country’s unemployment capital, which has 20.76 unemployed individuals for each advertised job. San Jose was also the only major urban area on the West Coast to appear on the site’s Top 5 list, the others being Baltimore, Boston and New York. Æ# # # _jhi WZ]^cY LVh]^c\idc! 9#8# Ç DWVbVÉh \di id ]^gZ i]djhVcYh d[ WjgZVjXgVih id ]Zae ]^b gZY^hig^WjiZ i]Z cVi^dcÉh lZVai] [gdb i]dhZ l]d ZVgc ^i id i]dhZ l]d YdcÉi# Å?d]cb^X]VZa DÉ8dccdg HZaa^c\ eZVcjih VcY I"h]^gih &' YVnh V nZVg ^h cdi jhjVaan YZÒ cZY Vh V _dW# AZiÉh jhZ i]Z hiVY^jb aVcY ^c V bVccZg i]Vi ^h egdYjXi^kZ (+* YVnh V nZVg! VcY l^i]dji i]Z cZ\Vi^kZ Z[[ZXih d[ V hiVY^jb# Å8dbbdc HZchZ

By creating two parallel systems of public education—charter schools and traditional public schools—we could be creating unsustainable competition for limited dollars. Competition can work when the rules the two entities play by are the same. However, the rules for traditional public and charter schools are vastly different. I think the rules should be equal. All traditional public school teachers in Silicon Valley work under a collective bargaining agreement. Thus far, no charter public school teachers in Santa Clara County have unionized, although the employees have the option. It is not likely that traditional public school teachers would give up the option to collective bargaining. The voluminous education code must be adhered to in its entirety by public schools, but charter schools get a lessened burden, with far fewer of the restrictive government codes. Charter schools can require teachers to work a longer school day with their students; traditional public school teachers work under a collective bargaining agreement that dictates their hours of employment.

Many charter schools are paying teachers for merit and performance, while traditional public schools in Silicon Valley are still using the antiquated model based on experience and the gradschool units (“step” and “column”) to determine pay increases—metrics totally unrelated to performance. Nothing precludes traditional public school districts from paying teachers based on performance metrics, but there must be a meeting of the minds at the collective bargaining table. President Barack Obama and Education Secretary Arne Duncan are waging billions of dollars on the successes of charters to create the competition to significantly reduce the number of perpetually low-performing schools and increase achievement for all. Certainly a laudable goal. &)

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SAN JOSE INSIDE JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

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On Saturday, Jan. 30, the Santa Clara County Office of Education and the Board of Education will host an event called “Charter School Summit: Communicate-Collaborate-Coexist.” Ruslynn H. Ali, assistant secretary of Civil Rights, Jack O’Connell, state superintendent of Public Instruction, Glen W. Thomas, state secretary of Education and Carol Barkley, director of the California Charter Schools Division, will headline the community conversation. ?dZ 9^HVakd ^h Vc ZaZXiZY bZbWZg d[ i]Z HVciV 8aVgV 8djcin D[Ò XZ d[ :YjXVi^dc WdVgY d[ Y^gZXidgh#

Rants and Raves: The New Year’s Edition This is a special New Year’s edition of San Jose Inside’s weekly open forum. We [invited] SJI visitors to answer the following question: What would you like to see happen in 2010 to make San Jose a better place? :a^b^cViZ heZZY Wjbeh ^c Vaa eVg`^c\ adih# 8dci^cjdjh! ^ciZgXdccZXiZY W^`Z eVi]h Vadc\ <jVYVajeZ 8gZZ`$G^kZg! Adh 6aVb^idh 8gZZ`! 8dndiZ 8gZZ` VcY Adh <Vidh 8gZZ`# :a^b^cVi^dc d[ =djh^c\ 9Zei#! V[[dgYVWaZ ]djh^c\ egd\gVbh VcY ]^\] YZch^in gZh^YZci^Va odc^c\! i]jh XVjh^c\ egdeZgin kVajZh id ^cXgZVhZ VcY ZVh^c\ dkZgXgdlY^c\ VcY hfjVadg ^c djg a^iiaZ XdgcZg d[ i]Z ldgaY# 9Zh^\cViZ dcZ c^\]i ZVX] nZVg l]Zc Vaa i]Z a^\]ih ^c i]Z X^in l^aa WZ ijgcZY d[[ [dg i]gZZ ]djgh# 9gVhi^XVaan Xji WVX` eda^XZ VcY Ò gZ eZch^dch! [dgX^c\ i]Zb id hVkZ [dg gZi^gZbZci a^`Z bdhi d[ i]Z gZhi d[ jh# 8]V^ga^[i je Bdjci =Vb^aidc# Å?d]c <Vai 6Éh 7VaaeVg` 9dlcidlc# 76GI id Xdbb^i id Xdb^c\ id 9IH? Vh dg^\^cVaan eaVccZY# =^\] HeZZY GV^a =HG Xdbb^ibZci# ;ZlZg Zbein gZiV^a heVXZh VcY d[Ò XZ Wj^aY^c\h >Éb add`^c\ Vi ndj! HdWgVid idlZg # I]Z EjWa^X BVg`Zi# >begdkZY XjaijgVa [VX^a^i^Zh VcY ZkZcih# BdgZ YncVb^X VcY ^ciZgVXi^kZ Vgi i]gdj\]dji HVc ?dhZ I]Z --Éh ^ciZgVXi^kZ A:9 a^\]i^c\ hnhiZb ^h V \gZVi ZmVbeaZ # :Vgi]fjV`Zh HiVY^jb# 6YY^i^dcVa H?8 gdjiZh! i]Z cZl BVj^ VcY @dcV Ó ^\]ih VgZ V \gZVi hiVgi# BdgZ eZdeaZ id VeegZX^ViZ HVc ?dhZ Vh V Xdhbdeda^iVc VcY XjaijgVaan h^\c^Ò XVci X^in# Å?dh]jV HVcidh > ]deZ ndj YdcÉi b^cY bZ VYY^c\ dcZ bdgZ/ Egd\gZhh ^c bV`^c\ <jVYVajeZ G^kZg EVg` i]Z 8ZcigVa EVg` d[ HVc ?dhZ Å?dc NZhiZgYVn > lZci [dg V lVa` Vadc\ <jVYVajeZ 8gZZ` hiVgi^c\ Vi i]Z 6gZcV VcY \d^c\ cdgi]# 6 WZVji^[ja! lVgb HjcYVn V[iZgcddc# Dcan V ]VcY[ja d[ di]Zg hdjah Y^Y lZ hZZ# Di]Zg i]Vc eVn^c\ eZdeaZ id \d i]ZgZ! > YdcÉi `cdl l]Vi ZahZ lZ XVc Yd id bV`Z ^i ^cid i]Z Æ8ZcigVa EVg` d[ HVc ?dhZ#Ç Id eVgVe]gVhZ i]Z \gZVi Nd\^ 7ZggV! Æ>[ i]Z eZdeaZ YdcÉi lVci id XdbZ! ndj XVcÉi hide i]Zb#Ç Å?d]c <Vai I]Z XjggZci egdedhVa [dg i]Z WVhZWVaa hiVY^jb ^h [dg ^i id h^i hbVX` ^c i]Z b^YYaZ d[ l]Vi lVh hjeedhZY id WZ i]Z Adh <Vidh 8gZZ` igV^a! hd ^[ i]Vi XdbZh id eVhh ndj XVc hVn \ddYWnZ [dgZkZg id i]Z ^YZV d[ a^c`^c\ je i]Z igV^ah# I]Z Ò gZ igV^c^c\ [VX^a^in dc i]Z hdji]lZhi XdgcZg d[ EVg` VcY Bdci\dbZgn! cdl haViZY id WZXdbZ V XgZZ`h^YZ eVg`! ldjaY WZ eVkZY dkZg VcY VYY id i]Z hZV d[ eVg`^c\ adih ^c i]Vi \ZcZgVa VgZV# 6ahd EVg` ldjaY WZ cVggdlZY! adh^c\ i]Z W^`Z aVcZ# L]Zc i]ZgZÉh hdbZi]^c\ \d^c\ dc Vi i]Z =E EVk^a^dc! eZdeaZ eVg` dc HidX`idc VcY 8daZbVc Vh [Vg cdgi] Vh IVnadg! h]dl^c\ i]Vi eZdeaZ VgZ l^aa^c\ id lVa` je id &#* `^adbZiZgh id Vkd^Y eVn^c\ [dg eVg`^c\# I]Vi hVbZ Y^hiVcXZ [gdb i]Z WVhZWVaa hiVY^jb ldjaY eji ndj i]Z di]Zg h^YZ d[ BZg^Y^Vc# >ÉkZ cdi^XZY i]Vi eZdeaZ l]d Y^ha^`Z eVn^c\ ]^\] eg^XZh [dg eVg`^c\ Vahd Y^ha^`Z eVn^c\ ^cÓ ViZY eg^XZh [dg WZZg! hd i]Zn Yd i]Z^g Yg^c`^c\ dc i]Z lVn i]ZgZ# Å&% B=o 9Vnh

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

JANUARY 6-12, 2010

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[16] COVER STORY

JANAUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

ROUND MIDNIGHT!!Xbzof!KjbohÖt!311:!bdszmjd!ÕCbczmboeÖ!jt!bt!nvdi!bo!fyqmpsbujpo!pg!uif!jefb!pg!Õuif!puifsÖ!bt!ju!jt!bo!vscbo!mboetdbqf/

Canvas Noir Local artist Wayne Jiang captures the solitude of San Jose by night in his evocative paintings By Gary Singh

F

ROM INSIDE the main corridor at Alameda Artworks Studios, artist Wayne Jiang is pointing toward the open doorway, through which we can see the setting sun. Outside, across the narrow parking lot and behind a squat chain-link fence, sits Park Avenue Preschool, which isn’t actually located on Park Avenue.

Both the preschool and Alameda Artworks Studios sit on The Alameda, just off Race Street, separated by this parking lot we’re gazing across from the studio hallway. Next to the preschool are a playhouse, a jungle gym and a toy sports car popular with the kids.

M E T R O S I L I C O N VA L L E Y JANAUARY 6-12, 2010 COVER STORY

Off in the distance, we see the tops of the palm trees that characterize the ShastaHanchett neighborhood. Immediately in front of us, an exit sign appears at the upper left of the doorway, leading into the parking lot. Using acrylics, Jiang once painted this exact scene and called it Exit to . . . . I feel like I’m in the painting itself. Originally from Guangzhou, China, Jiang arrived in San Jose at age 15 and went to Piedmont High School. He then spent much of the ’90s enrolled in San Jose State University’s School of Art & Design, where he earned a degree in illustration. His paintings exude an ambience that reflects on stillness, solitude and mystery. They combine Western and Eastern sensibilities and beautifully capture the sometimesdreary ambiguity of deserted San Jose side streets, empty storefronts, facades and, at times, people dining alone in local restaurants. Exit to . . . symbolizes a juxtaposition of opposites, a yin-yang combination of exterior and interior, which is why we’re standing in the corridor, staring out the door. Nine years ago, Jiang rented a studio

in this building and lived nearby, so he spent a long time painting scenes from this neighborhood, an old San Jose area named after St. Leo’s Parish, around the corner. First, Jiang would snap a photograph of a desired scene. Then, he would paint back in his studio, using the photo as a reference. He would often walk the area at night, on the hunt for settings to capture. “During that time, I had just broken up with a girlfriend,” Jiang tells me, as we leave Alameda Artworks and amble south across the parking lot. “So I had a lot of spare time. If you live alone and you walk at night, you tend to think a lot.” I ask him how many of these nighttime scenes he painted during that stretch of time. He claims he doesn’t remember. “I did a lot,” he says. “I never really counted, probably 50 to a 100.”

Nightscapes Now 37, married and living in Pacifica, Jiang launched a show last fall at the Leonard and David McKay Gallery at History San José, in Kelley Park. The exhibit, “Everyday San José: Paintings by

Wayne Jiang,” runs until next May. Occupying four rooms in the Pasetta House, the exhibit showcases numerous Jiang works—night settings, panoramas, restaurant scenes and landmarks of San Jose’s underbelly. Another room includes two San Jose street maps, showing the locations of each painting in the show. There’s also an intriguing diagram of Jiang’s eight-step process, in which he begins with a pencil outline and then gradually adds different hues of acrylic until the complete painting begins to emerge. It resembles the different layers of an old-school four-color printing press. When I showed up on a bleak overcast afternoon, the day after Thanksgiving, Jiang was sitting in the gallery office, playing ukulele left-handed. History Park was nearly deserted, with the trolley carrying only two people as it passed by. No one else was around. It was a perfect setting in which to immerse myself in the solitude and stillness that Jiang depicts in his work. For example, in his recent painting 18

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EVERYDAY SAN JOSÉ: PAINTING BY WAYNE JIANG runs through May 30 at the Leonard and David McKay Gallery at the Pasetta House in History Park, 1650 Senter Road, San Jose. (408.287.2290)

[18] COVER STORY

JANAUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

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Night Window 2003, we see the moon illuminating a deserted dead-end street. Two tract homes are distinguished by their front lawns—each with a gallon jug of water placed in the middle of the lawn, apparently to be used to prevent neighborhood dogs from relieving themselves. Another painting illustrates the celebrated Babe’s Muffler statue on The Alameda, viewed from in front of the vacant two-story building next door. The piece highlights the dark empty facade in the foreground while looking down the sidewalk toward the statue of the muffler guy in the background. As of this writing, the painting has sold. Over at the legendary corner of Bascom and San Carlos, one ďŹ nds the Babyland store, the focal point of another painting, simply titled Babyland. Jiang gives us a stretched-out nighttime panorama of that store when viewed from the north—that is, from the corner median in the street. The right side of the painting looks south in the direction of the Pink Poodle, while the left side of the panorama looks east down San Carlos, complete with the Western Appliance sign in the background. In Burbank Shops, Jiang painted the building that houses the now-empty watering hole Club Four, just north of the Burbank Theater, but from an odd angle. A deep blue nighttime sky dominates the scene, while a splotch of light emanates from the bottom right corner, in front of the bar.

Jiang’s night paintings function not as landscapes per se but more as explorations of “the other.â€? They exhibit a sense of dislocation; someone on “the outsideâ€? looking in; someone who doesn’t ďŹ t, trying to identify with and partake in whatever emerges from the scene; a displaced participant longing for something unobtainable but still ďŹ nding beauty in the process of that longing. One could easily make comparisons to Edward Hopper, America’s legendary realist painter of isolation, misery and loneliness. San Jose certainly needs its own Edward Hopper, to say the least. Although Jiang did quite well when working at Adobe as a content designer for Photoshop Elements, he says he deďŹ nitely felt a sense of displacement. He really just wanted to paint full time. “I was working in high tech, and yet I still couldn’t buy a house here,â€? he says. “I felt like I wasn’t part of this world at all. I’m on the outside looking in.â€?

Color-Coded Back at the parking lot outside Alameda Artworks, Jiang and I are ambling south and approaching the driveway that empties onto Garland Street, a narrow road perpendicular to Race Street. The sun has just disappeared over the horizon. Upon hitting the sidewalk, we ďŹ nd ourselves in the middle of a scene Jiang photographed for his painting Sign No. 2. Looking east, with downtown San Jose’s

M E T R O S I L I C O N VA L L E Y JANAUARY 6-12, 2010 COVER STORY

miniskyline off in the distance, we see the exact angle of Garland Street that appears in the painting. Even more notably, now that the darkness has descended, the quiet scene is illuminated by the omnipresent yellow hue of San Jose’s low-pressure sodiumoxide streetlights. It is precisely this murky yellow lighting that Jiang masterfully captures in his paintings. The lights add a gloomy effect to the desolation of this particular neighborhood, especially since we’re the only ones on the street. San Jose’s now-infamous yellow streetlights were installed throughout the ’80s because they reduce light pollution and are easier to filter out by folks at Lick Observatory who are searching for stars, galaxies and other objects in the sky.

Many viewers end up seeing themselves in Jiang’s paintings, thus discovering things they might not have previously considered. Talk about accidental self-realization. This kind of lighting is not unique to San Jose, as other large cities near astronomical observatories also use such street lamps. Fortunately or unfortunately, San Joseans have bitched about these lights for 20 years now, because when drivers look down the road a bit, they often can’t distinguish between streetlights and caution-yellow traffic lights. And since there are 65,000 yellow streetlights, it’s often difficult to identify what color certain curbs are. So people get parking tickets. No one, however, imagined that an artist from Guangzhou, China, would wind up in San Jose and squeeze some artistic inspiration from the street lamps, transforming their yellow glow into a defining characteristic of his paintings. I guess he can thank the astronomers. Also, when it comes to acrylic paints, we’ve already got Payne’s gray, Prussian blue and Venetian red. So why not San Jose yellow? It would help put the city on the map.

“It’s such a distinctive color,” Jiang says. “Warm, yet murky and mysterious. There’s something lethargic about it. You look at this light, and you don’t want to run a marathon.” Jiang speaks with a slight Chinese accent, dresses well and drives a fairly nice car; on his Facebook page, he’s a member of outfits like “Dulcimer Appreciation Group,” “Support Women Artists Now,” “Left-Handed Guitarists” and “Adobe Old Skool User Interface Team.” He met his wife because they were both dulcimer players. That fact alone was enough for me to become a fan. A few minutes later, we’re one block over, on Luther Avenue, behind the Odd Fellows Building, looking at another scene Jiang painted. Billboard at the End of the Street features—you guessed it—a billboard at the corner of Race and Luther. This particular painting, which also can be seen at the “Everyday San José” show, depicts the desolate intersection illuminated only by a yellow streetlight, off-camera and out of the range of the painting. Our nighttime walk then concludes at Eugene Avenue, an isolated, shadowy dead-end lane, one more block down and also perpendicular to Race Street. Clearly, the road is off the beaten path, a street seemingly overlooked and thrown away by civilization. Jiang lived on this block, years ago, and it was here that he photographed the reference shot for Night Window 2003, which now hangs in the Leonard and David McKay Gallery. It was his first nighttime painting. In this work, the full moon emerges from the clouds, up above the horizon, and complements the murkiness of the yellow low-pressure sodium street lamps. When painting the scene, he decided not to include the cars parked along the side of the already narrow street. “This is a neighborhood where everyone knows each other,” he explains. “So I wanted to go for a more close-quarters kind of feel. That’s the good thing about painting. You can romanticize a little bit.”

Solitude These days, Jiang says Pacifica is a much better place for him. Its kooky coastal environs lie somewhere between San Jose and San Francisco—in more ways than one. “In San Francisco, there’s more excitement and danger,” he tells me. “Everyone’s trying to be dramatic and alternative. San Jose is more rural; everyone’s trying to be the same.” As a result, his paintings of San Francisco scenes tend to emphasize crowds, noises, chaos and volume, while his San Jose scenes convey solitude and a sense of all things hidden. “With rural areas, it’s all mystery and 20

[19]

[20] COVER STORY

JANAUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

WAYNE JIANG 19

NOCTURNAL REVERIE!!Kjboh!qfsgpsnt!b!ÕOjhiu!TpohÖ!jo!uijt!311:!tfmg.qpsusbju/

fear,” he says. “There’s not much comfort.” But because Jiang presents and contextualizes his work around the concept of solitude more than anything else, he says he frequently gets comments from armchair psychoanalysts who view his paintings. They just need to know more. “There’s usually two reactions,” he says. “One, they walk by, look at it and then keep going. Two, they stop and ask me questions like, ‘Why are you painting this?’” As a result, many viewers end up seeing themselves in Jiang’s paintings, thus discovering things they might not have previously considered. Talk about accidental self-realization. “They end up volunteering more information about themselves than I do in the paintings,” Jiang says with a laugh. “That’s fine with me.” He continues: “Everyone interprets it differently. Solitude is such a great American theme that many people interpret in many different ways. You’ve got the Hudson River School when they painted these great landscapes with no one there; you’ve got film noir; you’ve got blues music, which is about solitude and other things. It never goes out of style. I feel like I’m in the lineage of those who are reinterpreting that solitude.” At the McKay Gallery, one particular room contains mostly paintings of restaurant scenes, completed by Jiang

during the last few years. Two paintings feature scenes from inside the Dalat Cafe at Ninth and William streets in downtown San Jose. In each one, a nondescript couple dines in the corner of the restaurant, while an empty table occupies the foreground. For Red Chairs, Jiang painted an empty table inside the Dac Phuc restaurant, at the corner of Santa Clara Street and Almaden Avenue. In fact, many of his restaurant pieces feature vacated tables or simple still lifes of the condiment dispensers, rather than actual human figures. “It takes a lot of intensity to paint people,” he says. “I wanted to do something different.” In another room at the gallery, one sees paintings of house facades and interiors, further reflecting on the outside-in theme. One piece shows local art collector Ray Ashley in his home amid the figurines, tools, trinkets and paintings he has amassed. A lamp at the far left of the painting functions as the sole source of faded yellow light in the scene. Again, we see what’s becoming a trademark for Jiang: murky yellow illumination. The work is simply titled Ray. Ashley is part of the backstory in another painting, Sit Down Dinner, primarily because he actually owns it. The scene depicts Jiang’s father and uncle 22

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

JANUARY 6-12, 2010

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[21]

[22] COVER STORY

JANAUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

WAYNE JIANG 20

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getting ready to eat in a home near the Berryessa/Milpitas border. Ashley, a fixture at local art auctions 25 years running, bought the painting when it was being shown at the now-empty D.P. Fong Gallery. “He actually bought it at gallery price,” Jiang recalls. “That’s very rare for him. He usually only buys things at auctions.” Music Break, commissioned in 2000, features an exterior house shot from the Shasta-Hanchett neighborhood. The nighttime scene looks in through the window at a person playing acoustic guitar, while two other guitars hang on the wall. Again, the yellow San Jose sodium-vapor street lamps provide the illumination and we get the feeling that the painter is not just literally looking in from outside but also metaphorically trying to find his place in the entire world he depicts.

MNP010610

Looking past all the solitude and mystery, though, Jiang says that above all else he is a realist. There is no need for abstraction. “With realism you really have to stand

your ground,” he tells me. “Abstract artists are always talking about what they’re against. I like to talk about what I’m for.” And what about the yellow streetlights so prominent in Jiang’s nocturnal paintings? If everything goes smoothly according to Mayor Reed’s Green Vision goal No. 9, San Jose will eventually replace all 65,000 sodium-oxide lamps with smart, zeroemission LED-based fixtures by 2022. The city has already begun pilot programs in certain areas to test out the new lights. So no more yellow murkiness. The scenario is quintessential San Jose in the sense that once an artist comes along and decides to reap inspiration from these particular lights, the city decides to rip them all out and replace them with something else. “My night paintings will never look the same when all the new lights are installed,” Jiang admits. “I will continue to paint night scenes of San Jose regardless. One day, the night paintings of this period will have a time capsule quality to them. When people see these paintings, they will talk about the ‘old days’ when all the street lights were yellow.” M

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

JANUARY 6-12, 2010

[23]

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M E T R O S I L I C O N VA L L E Y JANUARY 6-12, 2010 STYLE

[27]

SHAGADELIC !Uijt!gbvy.gvs!wftu!cz!Sfcfddb!Ubzmps!gfbuvsft!! mpoh-!svhhfe.mppljoh!ibjs!jo!b!ofvusbm!qbmfuuf/

Fur Factor

F

EAR NOT, fluffy woodland creatures: although fur has really taken off this winter, fashion designers and style leaders agree that it’s better to fake it. Mock mink, reproduction rabbit, simulated sable and fabricated fox now pack the racks, not to mention fuzzy, neon-colored interpretations that are obviously meant to look counterfeit. Far from that tacky roadkill look of yesteryear, much of the faux fur on the market today is virtually interchangeable with the real thing. Artificial-fur manufacturers have gotten so good that often, unless one actually runs a hand over the fluff itself, the eye can hardly discern if it’s polyester or the real deal. One of the most versatile new interpretations of this faux-fur trend is the oh-so-hip shaggy fur vest. Boho-chic skeletor G68=:A OD: is credited with reviving this look from its burial ground in the 1960s, but fur vests have still managed to become pretty ubiquitous with the twentysomething set as of late. Almost every designer seems to have his or her own take on this hirsute trend. English label G:A><>DC goes for a rock-chick approach, pairing its flocculent, black studded vest with a satin cocktail dress and artfully ripped black tights. French fashion brand @DD@6> offers an array of elegant faux fur and shearling gilets (that’s what the French call sleeveless jackets) to choose from in its winter 2009 collection, while G:7:886 I6NADG and B>8=6:A @DGH do reproduction mink right. As with any bold garment that adds fluff and volume, one should remember to keep the rest of the look simple. Loud makeup or chunky jewelry paired with a massive fur vest will scream “trying too hard.” If one is going the pants route with this look, stick with a straight or skinny silhouette, or even a pair of leggings for the bold. Avoid bell bottoms like the plague (no one wants to look like Ringo visiting the Maharishi) and keep skirts mini or pencil but for sure fitted. Here’s another layering option for this wearable fake pelt. Remember that flimsy summer dress that hasn’t seen the light of day since the balmy days of last August? Try putting a fitted long-sleeve top under it, slap on a pair of opaque black tights and finish it all off with a shaggy fur vest. With this look, one will be ready to face the winter chill in cozy style. Jessica Fromm

Tattoos!

Bikini Waxing!

[28]

JANUARY 6-12, 2010 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 JANUARY 6-12, 2010 MENU

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[29]

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Stett salutes the best new restaurants in the valley for the year past_31

Torta Reform ;Za^eZ 7j^igV\d

San Jose’s La Casita Chilanga serves the best Mexico City–style sandwiches in the valley By Stett Holbrook

HAVE IT ALL Uif!Upsub!efm!Hpsep!z! Fevbsep!dpnft!xjui! fwfszuijoh/

La Casita Chilanga 6YYgZhh/ &&.. H# @^c\ GdVY! HVc ?dhZ# E]dcZ/ )%-#'*.#)(''# =djgh/ &&/(%VbÄ ./(%eb YV^an# 8j^h^cZ/ BZm^XVc# Eg^XZ GVc\Z/ )#*%Ä &'#.*#

D

RIVE A few blocks east of San Jose’s Little Saigon on Story Road to the intersection of Story and King roads, and you enter Little Guadalajara. And Little Morelia. And Little Guanajuato. This always-crowded crossroads is a focal point of the city’s MexicanAmerican community. The shopping centers that dominate three corners of the intersection seem to have all been remodeled at once with the same pastel stucco facades, a generic look that dominates malls across America. Although the architecture is uniform and unremarkable, the Mexican restaurants tucked into what seems like every third storefront are far more diverse and interesting. My ďŹ rst plan for this review was to eat my way through a halfdozen restaurants, walking from one side of Story Road to the other over the course of several visits. But my ďŹ rst stop happened to be La Casita Chilanga, and I never went anywhere else. The restaurant specializes in Mexico City–style street food: tacos, of course, tortas, quesadillas, but also lesser-known specimens from El Districto Federal like pambazos, alambres and huaraches. A chilango is a slang term for residents of

Mexico’s capital city. Many of the dishes are named after Mexican singers and politicians or refer to inside DF jokes that escape me. There’s also a taco named after Monica Lewinsky. It’s made with beef tongue. The smart and smartass attitude ďŹ ts with a restaurant that’s an ode to the third-largest metropolitan region in the world. I’ve written about the restaurant’s Redwood City location before and trumpeted the superb tortas, and so I was thrilled to learn that La Casita Chilanga has a location in San Jose. I’m going to go out on a limb and say the tortas are the best in Silicon Valley. Everything is in order. The sandwiches are served on toasted slices of telera, a at bread that resembles a hamburger bun but is sturdier and denser. The sandwiches are spread with a smoky, spicy chipotle-infused mayonnaise and piled high with a wide variety of meats. There are 14 different tortas to choose from. The agship is La Cubana ($8.95), a hulking sandwich loaded with pork, ham, chorizo, hot dogs and thinly sliced and breaded beef. Yes, that’s ďŹ ve different kinds of meat plus avocado, pickled jalapeĂąos, queso fresco and tomatoes. As at most

taquerias on the planet, the meats in the sandwich are base-level commodity products. Serving the torta with sustainably raised meats would be the only way to improve on this beast of a sandwich. It’s not possible to eat the entire thing in one sitting. Really, don’t try it. La SoďŹ a ($5.75) seems darn right petite by comparison, but it’s still a substantial torta made with skinless chicken breast pounded thin and fried. While La Casita Chilanga is rightly known for its tortas, there’s more to check out. A pambazo ($6.75) is a torta that gets special treatment. The roll is dipped in a mildly spicy guajillo chile sauce and then toasted on a griddle to lock in the sauce and avoid sogginess. It’s ďŹ lled with potatoes, chorizo and queso fresco and is a substantial sandwich on its own. Quesadillas are standard taqueria fare, but what makes them different here are the ďŹ llings. There’s cheese, of course, but check out La Morenita ($6.75), a gooey mess ďŹ lled with huitlacoche, onions, epazote (a distinctive dried herb), queso fresco and red salsa. Huitlacoche is a beautiful word that’s sounds far better than its English translation: corn smut. It’s a white and black fungus that grows on corn and swells

a kernel to several times its normal size. Think of it as a mushroom. It’s a little funky, but paired with all that cheese and salsa, I like it. Or check out La Flor de Apizaco ($6.75), a quesadilla made with squash blossoms, onions, lettuce, more queso fresco and red salsa. My ďŹ nal dish was a huarache, an oval-shaped Mexican pizza made with masa dough instead of wheat our. You don’t pick it up like pizza; instead, you eat it with a knife and fork. La Thalia Light (named after a Mexican singer, $7.25) is a good entry-level huarache. It’s covered with refried beans, lettuce, cheese, red salsa, onions and avocado. Drinks deserve mention here, too. There’s good horchata with a little cinnamon sprinkled on top ($2.50), Mexican Coke ($1.75) and, most interesting of all, tepache ($2.50). Tepache is made by homefermenting pineapple, rind and all, with spices to yield a faintly effervescent drink that’s a few notches less sweet than straight pineapple juice. The fermentation can yield a little alcohol but not La Casita Chilanga’s version. But there are plenty of other ways to get your kicks here.

[30] DINING GUIDE

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

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Tied House Brewery

954 Villa Street, Mountain View

www.TiedHouse.com

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[31]

mjwf! gffe Best New Restaurants of 2009

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HEN I FIRST set out to compile a list of 2009’s best new restaurants, I ďŹ gured it would be a rather short one. I wanted a nice round ďŹ gure like 10, but I ďŹ gured ďŹ ve would be more likely. Two thousand and nine was a mean year and not conducive to opening new restaurants. And yet, as I looked back at my reviews over the past 52 weeks, I was surprised at how many new restaurants did open and how many of them were quite good. In the end, there were nearly 20 new restaurants to choose from, and I whittled them down to the Top 10. Here they are in alphabetical order.

86H6 9: 8D7G: For me, 2009 was the year that Mexican food got interesting in Silicon Valley, as restaurants delved deeper into Mexican cuisine and celebrated regional specialties. Saratoga’s Casa de Cobre champions the food of Michoacan. Look for dishes like braised chivo (goat), enchilada Michoacana and chile rellenos de puerco, poblano chiles ďŹ lled with braised pork and dried fruit and topped with a roasted-pecan cream sauce. Casa de Cobre also distinguishes itself with the use of organic produce, hormone-free meats and sustainably sourced seafood whenever possible. 14560 Big Basin Way, Saratoga; 408.867.1639. 8DB <6 6C C6B This new restaurant stands out for its singular devotion to one thing: chicken. In particular, the many variations of chicken noodle soup (pho ga) are what really make this San Jose place noteworthy. Bright clean avors, clear, aromatic broth and high-quality ingredients all add up to great bowls of soup. I could use one right now. 348 E. Santa Clara St., San Jose; 408.297.3402. 8NEGJH 7>HIGD Elegant Cyprus Bistro adds to Campbell’s growing food scene. Most of the menu reads like standard Mediterranean stuff: kebabs, babaghanouj, dolmas and tabouli. But Cyprus offers a few lesser-known dishes, such as grilled haloumi cheese, mohammara (a slightly sweet purĂŠe of walnuts, red bell peppers and pomegranate molasses that gives hummus some serious competition in the

vegetable-dip department) and eclectic and delicious soups. All the produce is organically grown and prepared with a light touch that allows the simple but big avors to come through. The eclectic wine list is drawn entirely from organic and biodynamic producers. 379 E. Campbell Ave., Campbell; 408.370.3400. 9DC6ID :CDI:86 Italian food is not Silicon Valley’s strong suit, but Redwood City’s Donato Enoteca is working to change that. Chef/owner Donato Scotti has drawn from all over Italy. Although there are a few standards, like pizza, panini and tiramisu, the bulk of the menu is a fresh breeze of lesser-known dishes that stray from the well-worn ItalianAmerican path. When the kitchen is on target, Donato Enoteca scores with rustic but elegant preparations of pan-Italian cuisine. There’s a great Italian wine list to match, too. 1041 MiddleďŹ eld Road, Redwood City; 650.701.1000. =68=> ?J =68=> A late entry for 2009, Saratoga’s Hachi Ju Hachi further establishes Silicon Valley’s strength in regional and traditional Japanese food. Presided over by chef/owner Suzuki Jin, the restaurant celebrates the food of Osaka with a wide-ranging list of impeccable small plates and block-style sushi unique to Osaka. The long bar and kids’ playroom make it perfect for harried parents looking for a night out with young ones in tow. It was for me. 14480 Big Basin Way, Saratoga; 408.647.2258. =DL>:ÉH 6GI>H6C E>OO6 Another late entry for ’09, Howie’s brings obsessively wellcrafted pizza to Palo Alto. As the former executive chef at MarchĂŠ, owner Howard Bulka has considerably culinary chops and applies it to pizza. Great toppings, including house-made charcuterie, and some excellent appetizers like the roasted shrimp and ricotta-stuffed eggplant rolls add to Howie’s winning ways. 855 El Camino Real, Palo Alto; 650.327.4992. I=: @>I8=:C I67A: This new Mountain View restaurant blazed a trail for California-kosher cuisine served in a bistrolike setting that draws Jew and gentile alike. There’s a lot that’s good, but the knishes and pastrami and corned beef

sandwiches should be your ďŹ rst stops. 142 Castro St., Mountain View; 650.390.9388. G:EDH69D Like Casa de Cobre, Reposado brings a fresh approach to the same old rice and beans. The restaurant is easily one of Palo Alto’s most striking. The soaring, exposed beam ceilings make the dining room feel at once industrial and inviting because of the warm colors, wood accents and dramatic light ďŹ xtures. A beautiful bar and cozy booth seating on one side are complemented by spacious table and banquette seating on the other. The menu takes classics of Mexican cuisine and some unfamiliar known dishes and gives them a smart, urbane spin. While some might quibble with the downtown ourishes and fancy ingredients, I think Reposado pushes Mexican food in delicious new directions. The tequila list alone is worth a visit. 236 Hamilton Ave., Palo Alto; 650.833.3151. H6@DDC Sakoon chef Sachin Chopra pairs traditional Indian food with a menu of exciting and inventive dishes that incorporate ingredients and avors that redeďŹ ne Indian food for the 21st century. Visually, Sakoon is a stunner, too. The luminous bar, ďŹ ber-optic lighting and illuminated oor panels create an ambience to match the modern exploration of Indian food. 357 Castro St., Mountain View; 650.965.2000. H6CIDJ@6 If you’ve never had real Japanese ramen, head straight to Santouka for an education in how good a bowl of soupy, porky noodles can be. Located inside Mitsuwa Marketplace, a Japanese supermarket, Santouka is a mecca for ramen lovers. There’s typically a line even before the place opens. Real ramen is made from a slow-simmered, complex broth poured over springy, fresh-cooked noodles and crowned with an array of delights such as braised pork, pickled bamboo shoots, green onions, soft boiled eggs, ďŹ sh cakes, spinach and dried seaweed. For a trip to ramen heaven, or cholesterol hell, the salt-avored ramen with toroniku is the way to go. 675 Saratoga Ave., San Jose; 408.255.6699. Stett Holbrook (Twitter.com/Stett_Holbrook)

[32]

JANUARY 6-12, 2010 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 JANUARY 6-12, 2010 DINING GUIDE

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[33]

[34] DINING GUIDE

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

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Ask the Sommelier

OUNTAIN VIEW’S 6GI>H6C L>C: 9:EDI is different from most wine shops. The store is hidden behind a roll-top door next to an auto shop in an industrial strip of Mountain View. Inside, the small space is densely packed with domestic and international wines, many of them from lesser-known, small-production wineries. Artisan Wine Depot also sets itself apart in that wine buyer 8=G>HI>C: IG6C is a sommelier. She is able to walk customers through her wine selections and help them pick the right wine.

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Why did you decide to pursue a career in wine?

Drinking wine is an adventure. It can take you on a journey all over the world. The combination of history, art and science is what intrigued me about wine. In addition, the never-ending voyage of exploration and learning motivated me to pursue a career in wine. What makes the wine selection at Artisan Wine Depot special?

The value-to-price ratio for our boutique wine offerings is what makes Artisan Wine Depot’s selection distinctive. . . . It is not difficult to find good wines here in California. The art is to find a good wine at a great value. If you can have a $5 wine that is made properly and tastes like it should be a $20 wine, then that is a terrific value. If you can offer a $50 wine that resembles a wine in the $150 range, then that wine is an excellent value. Artisan Wine Depot offers small-production, limited-quantity wines from around the globe. Small-production wines are like small-batch sauces vs. mass-production sauces. What wine or wines are you passionate about right now?

The 2008 Ottella, Lugana, Le Creete. Made from 100 percent Turbiano grapes, this outstanding Italian white wine has a sumptuous mouthfeel due to the wine’s voluptuous body texture, yet at the same time, it is also crisp and refreshing. The citrus, tropical and mineral-laden character attributes to the exotic, elegant and refined finish of this flavorful white wine. The grape vines are planted on a white chalky soil that gives the wine its brilliant quality. I also like the 2003 Rinaldi, Barbera d’Asti, La Bricca. It’s made from 100 percent Barbera. “Bricca” means the top part of the hill. La Bricca is a deep ruby-red-colored wine with violet hues. The bouquet is intoxicating and powerful with ethereal aromas and scents of ripe black fruits and spices of clove and cinnamon. The wine is full-bodied with very pleasing velvety tannins. The finish is long and harmonious. This wine has fine aging potential. What are some of the best wine values now?

For wine value, I would pick wines from Argentina and Chile. Both countries have made great strides in wine quality through improved winemaking technologies and advanced winemaking skills. My pick for an Argentine wine would be the Cholila Malbec from Patagonia which retails for $11.99. The estate-grown grapes are manually harvested, carefully sorted and destemmed. This wine has luscious black fruits and fig on the palate with touches of smoke and vanilla in both the aromas and taste—a truly powerful yet balanced wine with a persistent finish. It’s great with roasted and grilled meats. For Chile, my pick would be the San Elias Sauvignon Blanc, which sells for $8.99. In the beginning, the Vina Siegel winery sold bulk wines to the leading Chilean wineries, like Concha y Toro, San Pedro and Santa Rita, and in 1997 decided to bottle their own wines under the San Elias brand. The grapes are selected from vineyards in the Central Valley. Brilliant and golden in color with a kiwi bouquet, apple and citrus fruits aromas, and fresh zesty flavor. Serve this wine with salads and seafood. What is your go-to wine for everyday, casual drinking?

I love champagne, although with the current exchange rates, I cannot afford to drink champagne on a daily basis; thus, my go-to wine would be the N.V. Cremant de Loire Brut from Domaine des Varinelles. Anything made outside of the Champagne region in France cannot be called champagne. This sparkling wine comes from the Loire region in France and is made by the méthode traditionelle, the same process used to produce a champagne. The Domaine des Varinelles, in the town of Varrains, is on a four-generation-old family property. This sparkling is a brut, which means it is dry, yet the 15 percent chenin blanc gives this bubbly finesse, elegance and an alluring perception of sweetness. The rest is made from 60 percent chardonnay and 25 percent cabernet franc, which give it its creamy, refreshingly smooth finish. Stett Holbrook (Twitter.com/Stett_Holbrook)

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M E T R O S I L I C O N VA L L E Y JANUARY 6-12, 2010 DINING GUIDE

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[36] CALENDAR CALENDAR

JANUARY J A N U A R Y 6-12, 6 - 1 2 , 2010 2 0 1 0 M E T R O S I L I C O N VA VA L L E Y

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Streetlight Str eetlight Records Records

44 S. S. Almaden Almaden Ave, Ave, San San Jose J se Jo

98 S. S. Almaden Almaden Ave, Ave, San San Jose Jose

925 9 25 Blossom Blossom Hill Rd, Rd, San San Jose Jose

255 25 55 Almaden Almaden Blvd, Blvd, San San Jose Jose

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

408.29.BLANK 408.29 .BLANK

408.995.6220 408.995 .6220

408.363.6900 408.36 3.6900

408.792.4111 40 08.792.4111

408.292.1404 408.29 2.1404

Wed free W ed – 9pm; fr e ee

free Thu – 110pm; 0pm; fr ee

Fri F ri – 7pm;; free free

Sat free S at – 5pm; fr ee

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Albers Trio 408.961.5858

San Jose Chamber Orchestra

Sun – 3pm; $30

Le Petit Trianon

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72 N. Fifth St, San Jose

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My American Heart

The Music of Steve Reich

The Refuge

Dinkelspiel Auditorium

19624 Homestead Rd, Cupertino

471 Lagunita Dr, Stanford University

408.253.0751

650.725.ARTS

Sat– 6pm; $12

Sat – 8pm; $20-$46

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Montalvo Arts Center 15400 Montalvo Rd, Saratoga

Kbo!21

408.295.4416 Sun – 7pm; $10-$45

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[38]

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

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[39]

METROGUIDE

Gjmn A father and daughter ride the rails in ‘35 Shots of Rum’_44

Dickens as Dance Margaret Wingrove turns classic ‘Great Expectations’ into a full-length dance work By Marianne Messina

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HILE VISITING Charles Dickens’ historic house in London, choreographer Margaret Wingrove became “entranced” by the novelist, his Victorian era and particularly Miss Havisham, the cold and crazy spinster of Dickens’ Great Expectations. Shortly thereafter, Wingrove choreographed a solo for Margaret Wingrove Dance Company dancer Lori Seymour that re-created the character of Miss Havisham. In the book, the Miss Havisham who taunts young Pip and raises lovely Estella to be cruel to men is an ancient eccentric. But Wingrove’s dance envisioned a youthful Miss Havisham at the turning point of her life, her wedding day, when she was jilted by her no-show fiance. From this fascinating dance fragment, Wingrove has now built out the entire novel, using voice-overs to guide us through the involved plot; the production runs Jan. 7–10. The Dickens undertaking also builds on Wingrove’s recent successes—including a 2009 Silicon Valley Arts Council Artist’s Fellowship Award for

choreography—at creating full dance adaptations of large literary pieces, like The Glass Menagerie, The Great Gatsby and last year’s The Distant Land of My Father. Pip’s story, according to Wingrove, offers contemporary themes in a period package. When Pip (Robert Raney) goes to London, with help from a mysterious benefactor, he is seeking status and fortune, which he hopes, in turn, will win him happiness and help him “get the girl” Estella (Shaina Leibson). But as Wingrove points out, Pip comes to realize that happiness is rooted in caring and relationships. Wingrove describes the contemporary parallels using the language of movement: “What we face today is finding that center, keeping that moral center if you will, that foundation.” Most likely, “foundation and center” will find literal realization in Wingrove’s dance numbers. As Wingrove sees it, the character of Biddy (Amy Briones), Pip’s childhood friend, has that foundation, and the duet between Pip and Biddy is a dialogue about values. “You can see that he’s a little bit torn,” Wingrove says of Raney’s performance in the

duet. “In the novel, [Pip] says, ‘If only I could love you, Biddy.’ He sees that she is this centered person.” But Pip’s sights are on the very different and distant Estella. And Wingrove points out, “Estella will always be on the fringe, on the edge.” The duets in Great Expectations are ambitious forays into Wingrove’s favorite territory, the collisions, imbalances, exchanges of human relations and their attendant tonal impressions. In a duet between Estella and Miss Havisham, Wingrove explores the question “What would it be like if [Estella] weren’t under that entrapment with Miss Havisham?” Miss Havisham’s centrality is part of Wingrove’s vision. Not only does the embittered spinster spark the choreographer’s imagination, but in her Dickensian world, she’s changed lives. Her grief spills into others’ relationships, and Wingrove has been mindful of this force in creating duets for those affected by her. Wingrove’s Great Expectations ends with such a duet, one of her longest to date, between Pip and Estella. “I didn’t think it was going to be that long,” Wingrove remarks, “but then I saw that it needed to be that long

because it’s a transition from leaving one life and going to another.” Taking place at Miss Havisham’s house, the dance starts with Estella seated in the now-deceased Miss Havisham’s chair. “She’s kind of determined that she’s going to live the same bitter life, and [Pip] comes in and changes all that.” Wingrove wanted the scene to flow naturally, like any good dramatic resolution. “It needed opportunities for transitions, and for them to work together differently.” The arc of the dance is not a straight path but a series of approaches and departures. “It’s not just a regular duet.” This Great Expectations promises nothing short of a Victorian epic. Wingrove’s usual, high-standard examination of relationships will be dressed in period costume, steeped in the aura of Victorian Facades (a related Wingrove work) and accompanied by music of the era from Edward Elgar. GREAT EXPECTATIONS, presented by the Margaret Wingrove Dance Company, plays Thursday–Saturday at 8pm and Sunday at 3pm at the Stage Theater, 490 S. First St., San Jose. Tickets are $25–$40. (408.283.7142)

[40] STAGE/ART/LIT

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

UPCOMING EVENTS AT MONTALVO edy on’s Coom Londe n! ti a s n S

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!

Great for the whole family and students!

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Albers Trio :: Jan 10, 3 pm :: Historic Villa The stellar Albers sisters captivate audiences from Carnegie Hall to Lincoln Center to international concert halls. All Juilliard graduates, violinist Laura is associate concertmaster of the San Francisco Opera; violist Rebecca is a touring member of Mark O’Connor’s Appalachia Waltz Trio; and cellist Julie is currently in the middle of a three-year residency with the Chamber Music Society of Lincoln Center.

:: $30; Members $25

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It’s “So� Reich: U.S. premiere of 2009 Pulitzer-winner’s Mallet Quartet and more—with guest performance by the composer.

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West Coast premiere of collaborative composition A Chinese Home, directed by Chen Shi-Zheng (The Bonesetter’s Daughter); plus Tan Dun’s Ghost Opera.

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[ ] M E T R O S I L I C O N VA L L E Y JANUARY 6-12, 2010 STAGE/ART/LIT

[41]

STAGE PREVIEW ?d]c 9Vj\]ign

Puppet Masters

‘Avenue Q’ puts a profane twist on ‘Sesame Street’ types

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OTHING guarantees a good time like racist puppets. Well, they’re not really racist, just a little bit. As they themselves like to sing, it doesn’t mean they go around committing hate crimes. No, the puppets in Avenue Q mostly like to go to monster school, read WATCH THE HANDS!!Lfssj!Csbdljo!boe!Kbtpo! Ifznboo!nbojqvmbuf!Usflljf!Npotufs!jo!Ă•Bwfovf!R/Ă– totally gay books and sing songs like “Everyone’s a Little Bit Racist,â€? “If You Were Gayâ€? and “The Internet Is for Porn.â€? And of course, they run all over the stage with actors’ arms up their asses, which is how they get around. For those unfamiliar with Avenue Q, it’s sort of like Sesame Street on acid. The Tony Award–winning musical by Richard Lopez and Jeff Marx is being presented by Broadway San Jose Jan. 12–17. Set in an outer borough of New York City and featuring several characters obviously modeled on familiar Sesame Street characters like Bert, Ernie and Cookie Monster, the show basically imagines what would happen if Jim Henson’s classic kid’s program had been aimed at whiny, fairly crass young adults. Instead of learning math, these puppets have to ďŹ nd apartments. Instead of sounding out the alphabet, they swear up a storm. Songs like “It Sucks to Be Meâ€? and “My Girlfriend, Who Lives in Canadaâ€? would have made great emo songs, if Broadway hadn’t snatched them up ďŹ rst. After six years, Avenue Q recently closed on Broadway. Sadly, in this traveling version the role of former child star Gary Coleman is not played by the actual Gary Coleman—and never was. In fact, Coleman threatened to sue the show’s producers a few years ago but never did. Until then, his namesake will be forever ďŹ xin’ toilets on Avenue Q. Steve Palopoli

AVENUE Q runs Jan. 12–17: Tuesday–Thursday at 7:30pm, Friday at 8pm, Saturday at 2 and 8pm and Sunday at 1 and 6pm through Jan. 17 at the San Jose Center for the Performing Arts, 255 Almaden Blvd., San Jose. Tickets are $20–$70. (408.792.4111) hZchjdjh h^YZ d[ e^\bZcih# ;ZVijgZh e^ZXZh Wn 7^hX]d[[! 7gdlc! Dchadl";dgY VcY IVX]V`Va^Vc# I]gj ?jc +# Æ8]jX` 8adhZ Eg^cih/ EgdXZhh VcY 8daaVWdgVi^dc#Ç I]Z Zm]^W^i add`h Vi i]Z lddYWadX` VcY ZiX]^c\ ^ccdkVi^dch d[ i]Z e]didgZVa^hi bdhi [Vbdjh [dg ]^h lVaa"h^oZ edgigV^i eV^ci^c\h# I]gj ?Vc &%# Æ6chZa 6YVbh/ :Vgan Ldg`h#Ç I]gj ;ZW '-# ÆKVg^Vi^dch dc V I]ZbZ#Ç <gdje h]dl Wn XdciZbedgVgn 8Va^[dgc^V Vgi^hih# I]gj ;ZW ,# IjZ"Hjc! &&Vb"*eb! XadhZY Bdc# &&% H# BVg`Zi Hi! HVc ?dhZ! )%-#'.)#',-,#

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San JosĂŠ Chamber Orchestra

2009~2010 19th SEASON Barbara Day Turner, Conductor

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Featuring the Cypress String Quartet Sunday January 10, 2010 7 pm Le Petit Trianon, 72 N 5th St. San JosĂŠ

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String Quartet Opus. 135 in F Major, L. V. Beethoven Trinitas II, Anica Galindo* Paso del Fuego, Quartet and String Orchestra, Pablo Furman*

Tickets $30-$45

*Commission/Premiere $10 student tickets!!!! (age 22 and under) www.sjco.org

tickets www.sjcotickets.org – 408 295-4416 Supported, in part, by a Cultural Affairs grant from the City of San JosÊ.

[42] STAGE/ART/LIT

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

BOOK REVIEW

Norman Conquest

David Thomson’s new book explains how ‘Psycho’ changed the movies

T

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HE GAME-CHANGING thriller Psycho celebrates its golden anniversary this year. Made under relatively modest circumstances with a television-trained crew and with music ALL WET Bgufs!Kbofu!MfjhiĂ–t!fyqfsjfodf-!ju!xbt!! from a string quartet, Psycho was the work ofwfs!tbgf!up!hp!joup!uif!tipxfs!jo!uif!npwjft/ of a sedentary, sixtyish director. The subject matter was not entirely novel, if you took the word of this director, Alfred Hitchcock: “Men kill naked women every day.â€? The ďŹ lm’s rise to epic popularity even left Hitchcock surprised: in Stephen Rebello’s excellent Alfred Hitchcock and the Making of Psycho, screenwriter Joseph Stefano recalled catching sight of Hitchcock after the ďŹ lm’s epic success. The director shrugged his shoulders as if to ask, “How the hell should I know why it’s such a hit?â€? Psycho changed both the way movies were seen and the way they were made. Considered a sick, minor picture by many critics at the time of its release, Psycho has enjoyed a rise in status over the decades as the ďŹ lm has been reinterpreted. When I was lecturing college students at UCBerkeley, for instance, I met some who felt guilty that they hadn’t seen Psycho. This ďŹ lm—at least at one level an entertainment about a knife-wielding monster and a nude lady—might have been as forbidding as an Antonioni movie as far as they were concerned. Large as the opinion sphere is, there are few opinions around as valuable as those of David Thomson, the polymath whose A Biographical Dictionary of Film is as essential to the serious movie watcher as a remote control. Thomson’s new book is The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder (Basic Books, $22.95). In interviews, Thomson—not a wide-eyed fan of the ďŹ lm in question—has been trying to explain why the ďŹ lm was a hit. Thompson believes that Psycho is “half a masterpiece,â€? not a complete artistic success, in that it fails to answer why a killer becomes a killer. I don’t agree, but I am haunted by this passage in F. Scott Fitzgerald’s notebooks: “Fifty years ago, we Americans substituted melodrama for tragedy, violence for dignity under suffering. That became a quality that only women were supposed to exhibit in life or ďŹ ction—so much so that there are few novels or biographies in which the American male, tangled in an irreconcilable series of contradictions, is considered as anything but an unresourceful and cowardly weakwad.â€? Fitzgerald’s time line dated back to the beginnings of cinema, but the matter stands. In the American cinema, a weakwad becomes a man by striking out, and it doesn’t matter to the audience who he strikes. Thomson has also linked the way Psycho opened up the parameters of shock to the cinematic aftereffects of the trauma of Germany through Nazism and war. Don’t know if I agree with that either: essential to the legend of Norman Bates are the “old, weird Americaâ€? capers of Wisconsin’s own Ed Gein, the small-town murderer, cannibal and necrophile who inspired Robert Bloch’s novel Psycho. In essence, Psycho is a frontier story acted out in a bypassed motel, featuring the soulful acting of Anthony Perkins (a bad boy trying so hard to be a good boy)—a story told by an urbane British expatriate who must have been, at least in part, an ogre. Richard von Busack THE MOMENT OF PSYCHO: HOW ALFRED HITCHCOCK TAUGHT AMERICA TO LOVE MURDER, by David Thomson; Basic Books; 192 pages; $22.95 hardback. Thomson will make an author appearance on Thursday, Jan. 7, at 7:30pm at Kepler’s Books, 1010 El Camino Real, Menlo Park. The event is free. (650.324.4321) DI=:G G:69>C<H

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

South Bay Guitar Society

classical guitar

Scott Tennant

presents

Saturday, January 9 8PM Le Petit Trianon Theatre 72 N. 5th St, downtown San Jose Concert Tickets: $25/20/15

on-line: www.sbgs.org or call 408 292-0704

Discover the Arts www.svArts.org

One Man Armed Only With A Mic and Guitar!

KRIS KRISTOFFERSON

WEDNESDAY JANUARY 13 HERITAGE THEATRE

1 WEST CAMPBELL AVENUE CAMPBELL, CA 7:00PM DOORS 路 ALL AGES TICKETS AT HERITAGE THEATRE BOX OFFICE ONLINE AT WWW.CI.CAMPBELL.CA.US/ HERITAGETHEATRE CHARGE BY PHONE 408-866-2700 JOIN THE SQUARE PEG CONCERTS STREET TEAM 路 EMAIL DAN@SQUAREPEGCONCERTS.COM

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JANUARY 6-12, 2010

[43]

[44] FILM

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

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The Bad Lebowski

Jeff Bridges is the main drawing card in ‘Crazy Heart,’ a tale of a drunken C&W singer that loses steam as it sobers up

By Richard von Busack

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HAVEN’T READ Arizona writer Thomas Cobb’s 1987 novel Crazy Heart, although it was praised by both Kinky Friedman and Donald Barthelme. The novel might have provided a key for the failure of guts in the Sundancian movie Crazy Heart. The film plays softball, despite the hefty acting by Jeff Bridges. Crazy Heart gives Bridges’ a bellybaring role, with his slit-eyed Bad Blake as a kind of Bad Lebowski, a morose sweet-talking satyr drinking his way to the grave. Bad Blake is an outlaw C&W musician playing far-apart and none-too-lucrative gigs all over the West. He travels via an ancient 1978 Chevy Suburban, and he slaps together sets with pickup bands that he meets just before showtime. And in his few sober moments, Blake lives with the humiliation of having been commercially surpassed by a country superstar named Billy Sweet (Colin Farrell), who was once one of his backup musicians. Touring in Santa Fe, Bad meets a former Oklahoma newspaper reporter named Jean (Maggie Gyllenhaal), who lets Bad pick her up. Typically, he has a great line for her, cutting off her questions: “What I wanna talk about is how

bad you make this room look. Didn’t realize what a dump it was.” There goes journalistic ethics as far as the movie is concerned; Jean keeps covering his story after she’s slept with him, which bothered me more than the near 30-year-year age difference between them is going to bother some women. Jean is single-parenting a young son. What truly concerns Jean is the question of what kind of influence this charismatic wreck of a man will be on her child. Add a long-distance factor, and the fragile relationship grows even shakier. Robert Duvall, who coproduced, plays a clean and sober bar owner in Houston who is also Bad’s mentor, and like Jean, he’s a character that doesn’t really live on his own terms. He’s there to echo Bad’s legend. Scott Cooper, a first-time director, has some of the musician’s life details right, such as an argument between Bad and a sound man at a show that has just the right amount of tension. Bridges does his own songs. Despite the credited input by T-Bone Burnett, none of the tunes are really memorable, but you sink into them anyway. Bridges sings with the flair of a born performer, and the

encircling camera gives the scenes some rhythm. Cooper also deserves props for a surprise he brings in: the unexpectedly kind way Billy Sweet behaves to Bad— it’s unusual in a movie to find out that a character named Sweet will behave sweetly, especially when played by Farrell, a chronic misbehaver himself. There are other matters Cooper can’t seem to get straight, such as the question of what strata of fame Bad Blake occupies. Bad plays the lounges in bowling alleys and carries his own guitar. But he still has an L.A. manager who loves him and keeps tabs on him. The way Cooper goes in for a close-up on Bad when he’s pounding the drinks back says it all: Crazy Heart tells us that once Bad Blake unplugs his worst habit, all of his problems are over. This is a two-dimensional take on a drunk’s character, as two-dimensional as a drunk’s belief that drinking will solve all his problems. Then there’s the matter of Cooper’s truly banal visualization of Bad’s stab at rehab. It’s a meeting under the aspens, a setting as glossy as the commercials for the drying-out clinics on morning television. Crazy Heart doesn’t scratch the other things that might have

embittered Blake, the way his fortunes changed as the public taste changed, the feeling of fury as age took him over, and the bitterness of not having much to show for himself after years of work. What integrity Crazy Heart doesn’t borrow from Bridges it picks up from the glorious wideopen-spaces cinematography by Barry Markowitz (Sling Blade). Ultimately, it may be that Bridges is more damned fun to watch as a drunkard—his Bad has a hostile, coolly funny mean streak that goes away when he gets dry and sensitive. The role, then, is a conduit to Bridges’ upcoming performance in True Grit, where he will assay a really titanic punisher of the whiskey, Rooster Cogburn. Watching Crazy Heart, though, you think of that story of Greta Garbo leaving the theater after seeing Cocteau’s Beauty and the Beast, and saying “Give me back my beast.”

CRAZY HEART (R; 111 min.), directed and written by Scott Cooper, based on the novel by Thomas Cobb, photographed by Barry Markowitz and starring Jeff Bridges and Maggie Gyllenhaal, opens Jan. 8 at CinéArts Santana Row and CinéArts Palo Alto.

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Reviews by Michael S. Gant, Mel Valentin and Richard von Busack.

New Crazy Heart (R; 111 min.) See review on page 44. Daybreakers (R; 98 min.) This very interesting, ďŹ lmedin-Australia vampire movie provides some ingenious new angles on the old myths. The directors, the Spierig brothers, come up with something unexpected: elements of Malthus and peak oil, and a satire of militarism. In 2019, a vampire plague has left most of the human race devoured. The soldiers are hunting the remaining humans for food. Hungry vampires feeding on each other or their own blood soon devolve into batlike horrors; the vampiric but soulful Dalton (Ethan Hawke) is working ceaselessly on a cure under the direction of evil tycoon (Sam Neill). It turns out that at least one vampire has found a cure on his own: Willem Dafoe (very good and looking a little bit like Charles Manson) plays an auto mechanic who calls himself “Elvis,â€? and who proclaims a particularly noble quote by the King on the likeness of truth and the rising sun. In addition to the evolved politics of this thriller, the Spierigs come up with the capacious blood sprays that’ll keep the core audience contented. (Opens Jan 8.) (RvB) The Imaginarium of Doctor Parnassus (PG-13; 122 min.) See review on page 47. Leap Year (PG; 97 min.) A romance with Amy Adams and Matthew Goode about a woman’s travails as she tries to propose to her boyfriend on Feb. 29. (Opens Jan 8.) The Loss of a Teardrop Diamond (PG-13; 102 min.) See review at far right. A Moveable Feast: The Best of the Bay Area Film Festivals The San Francisco Bay Area has perhaps the most intensiďŹ ed ďŹ lm festival schedule in the world, and this free evening at De Anza College brings in reps from Cinequest, the 48 Hour Film Project, the Arab Film Festival, San Francisco Indie Film Festival, the San Francisco International Jewish Film Festival, the San Francisco International LGBT and the San Francisco International Film Festival. The panel members will show clips from their various festivals and explain how the system works for ďŹ lmmakers anxious to get their work out there. This is a Hollwood North event. (Plays Jan 8 at 7pm in Cupertino at the Visual and Performing Arts Center, De Anza College, 21250 Stevens Creek Blvd, www. hollywoodnorthpodcast.com) (RvB) Youth in Revolt (R; 90 min.) See review on page 46.

Revivals Niles Film Museum Jan 8: Robert Dix memorializes his actor/ father, Richard Dix, at a booksigning event, 3-4:30pm, as well as at the preamble to the evening screening. Richard Dix’s career deserves remembrance. He was a rugged yet trustworthy he-man star of the 1920s and 1930s—“Paramount’s most consistently popular male star of the 1920s,â€? claims historian John Douglas Eames. But Dix was just as interesting in lower-budget movies. Dix went out on a limb in Mark Robson’s unseen-for-years 1943 Val Lewton thriller The Ghost Ship, where he played a ship’s captain slowly going insane. Dix’s son, Robert, also was a notable actor: he was one of the crewmen in Forbidden Planet, the young hothead Chico in Sam Fuller’s superb Forty Guns and as a victim of Dr. Kananga’s assassins in New Orleans funeral in Live and Let Die. His book Out of Hollywood proďŹ les both himself and his father. Dix will introduce his father’s

M E T R O S I L I C O N VA L L E Y JANUARY 6-12, 2010 FILM ďŹ lm The Vanishing American (1925), a hit adaptation of Zane Grey’s novel about the exploitation of Southwestern Indians, ďŹ lmed in Monument Valley. Also: A Dash Through the Clouds (1912), with Mable Normand as a irt courted by both a portly salesman and a skinny airplane pilot, and Charley Chase in Crazy Like a Fox (1926), wherein Chase fakes madness to wiggle out of an arranged marriage. Judy Rosenberg at the piano. (Plays Jan 9 at 7:30pm at the Edison Theatre, 37417 Niles Blvd.) (RvB)

Reviews Alvin and the Chipmunks: The Squeakquel (PG) There is only one reason multiplexes across the United States are ooded with prints of Alvin and the Chipmunks: The Squeakquel, the unnecessary sequel to an unnecessary children’s ďŹ lm, and it can be summed up in one word: money. The sequel picks up a short time after the end of Alvin and the Chipmunks. Alpha chipmunk Alvin (voiced by Justin Long) and his two brothers, the nerdy Simon (Matthew Gray Gubler) and the shy Theodore (Jesse McCartney), have hit the big time, while their surrogate parental ďŹ gure, Dave (Jason Lee), tries to keep them out of harm’s way. After an accident (partly caused by Alvin’s shenanigans) leaves Dave in traction, Alvin

and the Chipmunks head back to L.A., where they end up attending high school. The movie is short on originality, long on pop-culture jokes and slapstick humor. And at under 90 minutes, it’s also quickly forgettable, a perfect, if slightly expensive way to entertain small children and parents eager for a 90-minute nap. (MV) Avatar (PG-13; 162 min.) A victory for people who insist that science ďŹ ction has to be dumb. In the future, Earthling mercenaries are shipped to the planet Pandora, where 9-foottall, blue-skinned noble savages called Na’vi live in a phosphorescent forest full of saurian beasts. Jake (Sam Worthington) is the paraplegic brother of a dead soldier hooked up to a Na’vi shell; the program is under the direction of a chain-smoking biologist (Sigourney Weaver). While it is a maxim of screenwriting that the plot ought to be the longest distance between two points, James Cameron’s terrible script for this putative end-of-the-decade experience really overworks the principle. The politics play it both ways; letting us swoon over the military hardware and still lament for the plundered forests. After an hour, the drugs wear off, and the appeal of synthespianism starts to drag; motion capture isn’t exactly motion release (compare the synthetic Weaver to the real

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[45]

FILM REVIEW

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River Blues ‘The Loss of a Teardrop Diamond’ is lesser Williams, but Ellen Burstyn has a showstopping moment

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HE 1920s-era anti-heroine of The Loss of a Teardrop Diamond is named Fisher Willow; this is the most alluvial name since James Joyce’s Anna Livia Plurabelle. No surprise that Fisher (Bryce Dallas Howard) is drawn to the Mississippi River to sit and take good long stares at its majesty. Like the river, she tends to go crazy and jump the banks. Furthermore, her family name has been skunked by a river-related incident. Her father’s attempts to save his own crop by dynamiting a levee south of his land killed some farmers. (The incident is staged, badly, right at the beginning of the ďŹ lm.) To cope, Miss Fisher parties hearty, dancing by herself at juke joints and coming home in a roadster at dawn. She has spent time away from the Delta in Europe, where she gathers famous names to drop. The heiress to two fortunes, she could have any man who could stand the scandal. Fisher’s real interest, however, is the dirt-poor scion of a once famous line: Jimmy (Chris Evans, useless in the part), whose grandfather was a governor, whose mom is in the madhouse and whose father (Will Patton) is the kind of stage drunk who always carries around a half-empty bottle of whiskey. Fisher feels that Jimmy will clean up good if she slaps a tux on him. However, Jimmy may be poor but he has principles, and Fisher’s unorthodox behavior may be too much for him. Actress-turned-director Jodie Markell is a Southerner. Adapting this neverďŹ lmed screenplay by Tennessee Williams (intended for Elia Kazan, but events intervened), she delivers a great deal of surface on a low budget. The Louisiana locations, captured by Giles Nuttgens (The Deep End, Bee Season), are just what you would expect from this top-drawer cinematographer. He gives us riverbank reveries and moonlit cloudscapes and a haunting subjective view of an opiated Halloween party. He also deserves credit for getting Howard to look so unusually interesting. The tousled brown wig and the air of unnerved sleeplessness make her stand out in ways that she hasn’t in previous ďŹ lms. But 50 years in cold storage was no loss for the script. The arias and crescendos you look for in Williams aren’t here, except, that is, for some shivery passages with Ellen Burstyn. She plays a stroke-paralyzed invalid with balled ďŹ sts, wasting away in her bedroom: “A chamber of horrors,â€? as Burstyn’s Miss Addie calls it. Markell takes a crazy risk that works; she puts an actual theatrical spotlight on the actors in the scene Howard and Burstyn share. We stop to take in a monologue about how Addie had lived in “the tolerant Orient,â€? far away from the cotton ďŹ elds. Addie reaches out to Fisher for a mercy killing: “I could resume my travels . . .â€? This sequence shows Fisher’s unconcern for societal strictures, even the stricture against killing. What it really shows is that this retrieved script had some stirring moments in the midst of a crisis we can’t feel for: ďŹ rst, the problems of a brittle, snubbed and very wealthy woman who hates the South but can’t live anywhere else; second, the problems of a woebegone kid, too high-minded to be a gigolo even to a woman who looks like a million dollars. Richard von Busack THE LOSS OF A TEARDROP DIAMOND (PG-13; 102 min.), directed by Jodie Markell, written by Tennessee Williams, photographed by Giles Nuttgens and starring Bryce Dallas Howard, Chris Evans and Ellen Burstyn, opens Jan. 8 at Camera 12 in San Jose.

[46]

FILM JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

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Que Cera, Cera ‘Youth in Revolt’ is a date movie for people who remember vinyl, the French New Wave and pay phones

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NCE, I GOT called a pseudointellectual by a person who pronounced it “sweedo.” Youth in Revolt is a date movie for all of us movie sweedoes: people who brandish copies of La Strada in the pathetic hope of cinema cred. In Youth in Revolt, a bullying high school kid sees Michael Cera’s Nick Twisp carrying a DVD of the Fellini classic. He snorts, “Do tampons come with that? For your vagina?” However else its chips fall, the writing here is very ticklish. Considering the movie’s retro qualities, about which more in a moment, it’s fair to mention Dobie Gillis and Lord Love a Duck as long-ago models of what director Miguel Arteta (The Good Girl) has in mind. Young Nick is a virgin in the leafier part of Oakland, and he can’t stand it. His mom’s boyfriend of the day, Jerry (Zach Galifianakis), has to leave town suddenly after one of his scams goes wrong. Jerry, Nick and the mom in question (Jean Smart, a cougar’s cougar) go vacationing at “Restless Axles,” a sad trailer park by a lake. There, Nick meets a girl who is too good to be real: Sheeni Saunders (Portia Doubleday), kept under lock and key by her parents, the kind of religious fanatics who use “Rock of Ages” for their doorbell music. Nick is determined to get next to her at all costs—even if it means creating the identity of “Francois Dillinger,” a kind of Big Lots version of the breezy heel Belmondo played in Breathless. Small-scale mayhem follows in Francois’ wake. This reign of minor terror backfires, since Mom’s latest boyfriend is an officer with the Oakland police. Based on a self-published novel by C.D. Payne that used to be plugged in The Nation’s classified ads, Youth in Revolt invokes numerous local sites, from Ukiah to Santa Cruz (though for budget reasons, the movie was shot in Louisiana and Michigan). Animated interludes by Peter Sluszka—ranging from Play-Doh to Ralph Bakshi–style 2-D XXX filmmaking—keep the tone light. The writing (the screenplay is by Gustin Nash) is so crisp that one ignores the incidents of dead air and the jokes that fail to build. We watch Cera, this whey-colored meerkat, pose as a woodsman: “Like John Muir said, ‘I enter the wilderness with nothing more than my journal and a childlike sense of wonder.” Dream girl Sheeni tries to bring things down to a more realistic plane: “Kiss me, you weenie.” Youth in Revolt sports good turns by Steve Buscemi and Adhir Kalyan (for once, the Indian immigrant is a suave Ronald Colman rather than a malapropism-spouting Hindoo). Fred Willard has a fine ’shroom-addled scene studying the nap of a shag carpet, and Justin Long plays a debonair but dangerous stoner. Despite a nod to computers at the beginning, this is a film that carries out its scheme of rebel cool against a background of vinyl LPs, French New Wave references, pay telephones and a thinly veiled version of the book The Joy of Sex. Is Youth in Revolt supposed to be set vaguely in the past, without any historical references—or is this is a vision of non-Internet cool that will define a generation? As Nick says, when asked whether the director of Tokyo Story was Ozu or Mizoguchi, “Who can say?” Richard von Busack YOUTH IN REVOLT (R; 90 min.), directed by Miguel Arteta, written by Gustin Nash, based on the novel by C.D. Payne, photographed by Chuy Chávez and starring Michael Cera and Portia Doubleday, opens Jan. 8. (For movie alerts, follow us at Twitter.com/metronewspaper.)

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FILM REVIEW

thing), and the cobbled-together story of eco-rebellion isn’t be eclipsed by the visuals. If you’re going to see it anyway, see it in 3-D. (RvB) The Blind Side (PG-13) The film focuses on Michael Oher (Quinton Aaron), who overcame homelessness as a teenager to receive a football scholarship to the University of Mississippi and later played in the NFL. Oher succeeded with the help of a wealthy Christian couple, Ole Miss grads Leigh Anne (Sandra Bullock) and Sean Tuohy (Tim McGraw), who took Oher in and made him a part of their family. Most of the attention is on Oher’s experiences as the only African American student at a private Christian school, his homelessness after being abandoned by a caretaker and his relationship with the Tuohy family. In adapting Michael Lewis’ nonfiction bestseller, writer-director John Lee Hancock eliminated the most controversial aspects of Oher’s case: the Tuohys’ motivation for adopting him. Would they have taken him in if he wasn’t athletically gifted and a potential football star at left tackle? Hancock refuses to see or acknowledge any ambiguity, instead leaving moviegoers with a simple, simplistic answer: They did what they did first out of

compassion and later out of unqualified love. (MV) Broken Embraces (R; 127 min.) A sleek, twisty mystery, illuminated by the stunning Penélope Cruz, the new Pedro Almodóvar is also a sprawler. The James M. Cain–style plot involves a blind film director from Madrid (Luís Homar). After losing his sight, the filmmaker took the ballsy new name “Harry Caine” and became a writer. News of the death of a corrupt tycoon sends Caine back to confront unfinished business—to retrieve the moment 16 years previously where he lost both love and sight. The dead tycoo n in question, a cuckolded millionaire named Ernesto Martel (José Luis Gómez), unwillingly shared the love of Caine’s life. Lena, known as Magdalena, was an actress, secretary and part-time prostitute who took as her working-girl name Severine. She, of course, is played by Cruz. No one but Almodóvar knows how to make Cruz really fascinating. She acts out a regular scene we used to see in ’60s movies, an auditioning actress trying on wigs. We see this woman’s modes of glamour. Here are the curves of Sophia Loren, the frailty of Audrey Hepburn. Capped with a tousled platinum wig, Cruz evinces something of Lana Turner in her mankiller parts. The spirits summoned up here aren’t travestied; they’re worshipped.

Do we feel for Lena? The film is all a bit too stylized for that. She’s such an imago it’s hard to think of her as a character, despite the moments of love, anger and regret that Cruz acts out. (RvB) Brothers (R; 110 min.) Jim Sheridan’s dud remake of a 2004 Danish original. It’s shot in wintry New Mexico (which is doubling for Minnesota); the scenes in Afghanistan match the frozen fields there, so the film is all one icy plain filled 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. Grace (Natalie Portman), Sam’s wife, and the mother of his two children, settles down to wait for his return. But Sam’s helicopter is shot down by the Taliban, and he’s taken prisoner and brutalized. In stress mode, wielding a gun and screaming to the heavens, Maguire showboats with all smokestacks belching. Portman looks like a Prius parked outside a honky-tonk. (RvB) An Education (PG-13; 95 min.) Lone Scherfig’s British coming-of-age film ends with a marathon session of tea brewing, but it has its good points. The look is cool—1960ish England may be more interesting than the full-blown and overexposed later ’60s. Twickenhamraised 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) Fantastic Mr. Fox (PG; 87 min.) A real artist learns to turn his limitations into strengths. In switching gears entirely from live action to stop-action 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) Invictus (PG-13; 124 min.) The tunnel-visioned sports movie par excellence. Based on John Carlin’s book Playing the Enemy, Clint Eastwood’s film tells of South African president Nelson Mandela (Morgan Freeman) exhorting the South African Springboks to greatness in the Rugby world cup as a public-relations move to heal the racial divisions. 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

M E T R O S I L I C O N VA L L E Y JANUARY 6-12, 2010 FILM

It’s Complicated (R; 118 min.) In Santa Barbara, Jane, a successful restaurateur (Meryl Streep) hooks up with her ex-husband Jake (Alec Baldwin), despite the fact that Jake is married to a younger woman. Meanwhile, a shy, sad-sack of an architect, Adam (Steve Martin) also shows some interest in her. Classic-era romcom bones are visible under the expensive skin of Nancy Meyers’ newest. Commentators note the too-rich staging in Meyers’ films because often there isn’t enough going on in the foreground. Meyers (Something’s Gotta Give, What Women Want) puts forth the solidly practical, American view of what the kids will think of this affair—even though the kids are grown up. It’s strange to see Meyers’ vision of what it’s like when an older woman gets romantic: it’s a reversion to girlhood with loads of consumption of chocolate. Jane’s good points are her ability to cook, her ability to cultivate very expensive real estate, but these don’t involve what most of us men really like in women past 40—the wisdom, the lack

of coquetry. Baldwin’s willingness to drop his pants for a laugh tends to eclipse the romanticism. And it’s not just the pants that get dropped; the film ends with an audible thud. (RvB) Nine (PG-13, 115 min.) Federico Fellini’s 8 1/2 (1963) is boiled down to a musical series of celebs in pushup bras. An Italian film director, Guido (Daniel Day-Lewis), has announced an ambitious new film project. But Guido has no idea what the film is going to be, and the time to start shooting is coming up. Director Rob Marshall (Chicago) has calmed the camerawork down—he’s previously been an addict of fast cutting to make a group of mostly nonsingers and nondancers to look like lightfooted showstoppers. But only Marion Cotillard, as Guido’s much-spurned wife, delivers a number that leaves an aftereffect. As Guido’s mistress, Penélope Cruz is edible (if slightly self-conscious) sliding down a satin banister. Nicole Kidman is the pedestal girl, inserted into a strapless evening gown that makes her look like a single arrow in a quiver. Kate Hudson is the Yank journalist who only pays attention to the surfaces of Italian film—something else that can be said against this movie. What we see in Nine is not an artist in peril of his soul; what we’re really seeing in these musical fantasies is essentially

the problems of a creatively blocked choreographer. (RvB)

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FILM REVIEW

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) The Princess and the Frog (G; 97 min.) In New Orleans of the 1920s, a hard-working African-American girl,

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Busking Terry Gilliam keeps tilting at windmills in ‘The Imaginarium of Doctor Parnassus’

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OR Terry Gilliam, Don Quixote is still the ur-text. Despite the various stops and starts he endured in adapting the Cervantes classic, Gilliam repeatedly makes films about fantasy as an escape from a cruel world. This is an odd way to look at Don Quixote—it shoves aside the counterpoint: Sancho Panza’s view that the world has its lovable and sensual side that only a stubborn old madman would ignore. The Imaginarium of Doctor Parnassus, a very personal and not-so-coherent fantasy, has Christopher Plummer in the Man of la Mancha role this time, with Verne Troyer (never better, really) as Percy, a dwarf Sancho Panza. Plummer plays Doctor Parnassus, an immortal sage reduced to busking in a horse-drawn Gypsy wagon. He and his crew set up their stand in the streets of modern-day London at its vilest, trying to lure patrons in to a world beyond the doctor’s mirror. (The model for this mystic carney could be found in Charles G. Finney’s novel The Circus of Dr. Lao, or the 1964 film made from it, 7 Faces of Dr. Lao.) On board are the old man’s apprentice, Anton (Andrew Garfield, in an underwritten part), and his daughter, Valentina (the Botticellian Lily Cole). Valentina doesn’t know that she has been promised to the devil on her 16th birthday; Mr. Nick (Tom Waits) is sniffing around already. During their travels, the group rescues a hanged man named Tony (an irresolute Heath Ledger); he may or may not be on the side of Nick, especially since the devil has decided to make a new wager for the souls of five strangers. Certainly, Gilliam’s love for antique theater is true—although the greasepaint and cardboard make one wonder why he didn’t stage this story instead of filming it. The autobiographical angle is plain regarding the showman’s heartbreak—begging for money and coaxing an audience. We can understand why it’s hard for Gilliam when we see his vision of what the audience really is: rich matinee dames; wide-mouthed tarts; a violent little brat with a Game Boy. This kind of misanthropy is a valid stance, but when mixed with the film’s urging us onto the higher plane, it gets wonky. The images of Nick’s red-neoned adultery motel and his Hellmouth pub represent a new kind of finger-wagging in Gilliam’s work. They fit as strangely as the concluding filch from Stella Dallas. Striking images? Certainly. Waits, dressed like a ’30s British politician in bowler hat, cigarette holder and fur collar, brings a common sensual note to this film. Cole is luscious, laid out like Isolde in an Anubis-headed boat. The various added faces Tony grows when he’s in Parnassus’ kingdom belong to Jude Law, Johnny Depp and Colin Farrell, all of whom came to the rescue of a movie suffering from Ledger’s untimely death. Gilliam and co-scriptwriter Charles McKeown make a bald statement of their theme; Parnassus says that his work is to remind us of “the power of imagination to transform and illuminate our lives.” When one looks at the state of the world, the lack of narratives doesn’t seem to be the problem. Most of the planet is lost in fantasy permanently—rapt in idealized pasts, power dreams and invisible worlds. Gilliam could have hinted at a way to create more positive reveries, but that would have been stating an opinion regarding philosophy or religion, and he’s too slippery for that. Trying to puzzle out the theology here is like reading a Dr. Bronner’s soap bottle. Richard von Busack THE IMAGINARIUM OF DOCTOR PARNASSUS (PG-13; 122 min.), directed by Terry Gilliam, written by Gilliam and Charles McKeown, photographed by Nicola Pecorini and starring Christopher Plummer and Andrew Garfield, opens Jan. 8.

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conception of Mandela is such a saint. Team captain Francois Pienaar is not much of a role, but Matt Damon makes it a model of recessive, intelligent interpretation. Rugby is not a game made for screen poetry, though, and the dog piles and all-but-drag-out fights on the field have no shape to them. (RvB)

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FILM JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

DVD REVIEW

On the ‘Mend’ New DVD of ‘Miss Mend’ revives chase-ďŹ lled Soviet silent serial

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HE USUAL SYLLABUS for a class in Soviet silent cinema starts with Eisenstein and ends with Vertov. But as this sterling new release from Flicker Alley proves, Soviet ďŹ lmmakers were as seduced by the pell-mell American style as they were by didactic montage. Miss Mend, a long (285 minute) three-parter from 1926, directed by Boris Barnet and Fedor Ozep, happily borrows from the American adventure serial for a chase-ďŹ lled, slapstick-rich tale. The obvious connection is from the eponymous heroine (a feisty typist played by intensely staring Natalya Glan) to Pearl White, but despite the title, Vivian Mend is just one character among many and hardly the main focus of the ďŹ lm’s breathless narrative. The convoluted story begins in America with a strike at “Rocfeller & Co.â€? that mobilizes the consciousness of Miss Mend and a trio of male admirers: a reporter, a photographer and a factory clerk. It soon turns out that a cabal of nefarious capitalists, under the command of the villainous Chiche (Sergei Komarov), is plotting to use radio transmitters to release a deadly gas in the Soviet Union. The narrative grows increasingly tangled with dual identities, a murdered industrialist, a plague-infested ship and a ďŹ nal showdown in Russia. Keeping up with the plot is a fool’s errand, but the pace is breakneck. The directors often extend dramatic action sequences and chase scenes to the point of comic absurdity. Occasionally, the ďŹ lm undercuts whatever pro-worker, anti-capitalist message it wants to impart with lowbrow jokes. The reporter, stymied at the Russian shore by a quarantine, fusses, “I came all this way to save Russian, and I get stopped by an enema.â€? As is usually the case, the bad guys shine. In the best scenes, Chiche and company don weird rubbery gas masks with sinister oppy proboscises and conduct deadly tests on their nefarious poison gas. Some sharp dialogue helps; early on, a newspaper editor calls in his reporter and snaps out an assignment: “There’s a strike at the cork factory. You’ve got 40 minutes, for 40 lines. The pay is $40. Be sure to show the noble CEO and the heroic policeman.â€? This handsome package comes with a historical documentary and an illustrated booklet. Michael S. Gant MISS MEND; two discs; Flicker Alley; $39.95

),

Tiana (Noni Rose), falls for the myth that a princess’s kiss can turn a frog back to a prince, but the curse turns out to work both ways, and soon the couple—now both frogs—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 centurylong history of cellular animation—the kind smart people were going around saying was redundant. Here, in the villainous Shadow Man (whom I adored) is a tribute to Cab Calloway’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 eeing amphibians, and a spot of Tex Avery’s Red in the physique and crinolines of Tiana’s friend and foil Lotte. Some will be enamored of Ray the Cajun ďŹ rey, who has a Don Marquis–style romance with the unobtainable; me, not so much so. I’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. (RvB) Sherlock Holmes (PG-13; 128 min.) There are moments during Sherlock Holmes when you wish you could hit director Guy Ritchie with his own storyboard; there are bone-crushing ďŹ ghts that you feel like applauding just to celebrate the fact that they’re over at last. Yet all in all, Sherlock Holmes is ripping fun. Robert Downey Jr.’s expert acting reects

Aldous Huxley’s thought that if you could open the doors of perception, you would see the world as it is: inďŹ nite. This insight sums up the mind of the world’s greatest detective—it also sums up the mind of a schizophrenic. Downey’s Holmes is a dandy in high Victorian regalia, smoked glasses, ascots and the kind of slanted hats worn in Oscar Wilde’s circle. But we also see another side of Holmes—a hermit crab in a dank at, huddled under a silk dressing gown so raveled it looks shaggy as a bear skin. Mark Strong’s Lord Blackwood is apprehended by Holmes in mid–black mass and ushered in to a well-deserved hanging. Naturally, Inspector Lestrade (Eddie Marsan) decides that the case is closed. But it seems the grave cannot hold Blackwood. Holmes is approached by two different clients: the ever-troublesome Irene Adler (Rachel McAdams) and the head of a Masons-like group, who are troubled by the specter of Blackwood. The movie keeps coming back to a serene partnership—when Holmes says “The game’s afoot,â€? Jude Law’s formidable Watson picks up the rest of the Henry V quote. (RvB) A Single Man (R; 99 min.) Tom Ford’s adaptation of Christopher Isherwood’s novel, essential reading in the gay canon. Colin Firth plays professor George Falconer, an Englishman in Los Angeles in the early 1960s. He’s a bereaved ďŹ gure; being in the closet, he isn’t permitted to show his sorrow after the death of his longtime male lover in an automobile accident. This grieving single man’s secret is known only to his friend Charlotte, called Charley (Julianne Moore), also a former ame, who has never quite got over George. Falconer has another secret, though: he is putting his affairs in order, with the plan of committing suicide that night. Certainly, Firth looks like a man of the era in question. Moore practically mainlined her eye shadow to get that zonked 1960s aura. Despite the opera on A Single Man’s soundtrack, it couldn’t be less operatic: nothing seems like a matter of life and death. The ďŹ lm is beautiful, but it’s not the kind of beauty one can feel much about. Ford is good with the

placement of actors on a set; he’s a tableau maker. The ďŹ ne clothes don’t make the men. (RvB) Up in the Air (R; 109 min.) As the predatory Ryan Bingham, George Clooney delivers a startlingly good performance. Sadly, the ďŹ lm is compromised by director Jason Reitman, who shows signs of morphing into Cameron Crowe. Bingham is a hired terminator—a man brought in to ďŹ re people; he tolerates this job with beneďŹ ts of an executive life with plenty of travel. Enter a young, seemingly equally callous rival (Anna Kendrick). Having this inexperienced girl along interrupts Ryan’s regularly scheduled no-strings ings with a fellow constant business traveler, Alex (Vera Farmiga). The acrid ďŹ rst half is the best part—Clooney makes us admire Ryan’s gamesmanship. The ďŹ lm wants us to equate two different kinds of toxicities—to draw a line between the corporate bloodletting that juices up stock portfolios and the wrongness of the present-tense sex life that Ryan and Alex enjoy. Too bad that Farmiga and Clooney are such a scintillating pair that you don’t want to see them pay the piper. And as a critique of corporate culture, Up in the Air is about as bold as Connecticut salsa. (RvB) The Young Victoria (PG; 104 min.) Unforgivably static, despite the fascinating subject: the early and often unpopular years of the longest-reigning and most iron-bottomed British royal who ever lived. As Victoria, the lovely and suitably aristocratic Emily Blunt is the best part of this story. Treated with brutal overcaution and surveillance by her mother, the Duchess of Kent (Miranda Richardson), and her friend (perhaps with beneďŹ ts) Lord Conroy, the girl is kept locked up and escorted down all stairs as if she were a brittle-boned child. When she grows older, her cousin Albert (Rupert Friend) comes to court, and this starts a romance, tainted with scheming by the power in Albert’s family, the perďŹ dious Belgian king (Thomas Kretschmann). Director Jean-Marc ValĂŠe slows things down and smooths over the complexities of history; matters get simpliďŹ ed to the point where it seems like nothing is going on in the world outside the problem of Victoria trying to get some time alone with Albert. The sketchy background and the slow pace bring on the familiar PBS-watcher’s narcosis. (RvB)

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Classical Moves_55

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Fly Paper

If Wallpaper’s Ricky Reed didn’t exist, someone would have to make him up. So someone did. By Beau Dowling

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N MC can’t throw a mic in mainstream hip-hop today without hitting mountains of bling, stacks of dead presidents and wallto-wall booty. What was once edgy has become preposterous—and usually hilarious. One of the worst offenders is Wallpaper’s Ricky Reed, a living caricature of hip-hop smarm and excess. He’s so perfect for the part that if he didn’t exist, someone would have to make him up. So someone did. Pairing with drummer Arjun Singh, Bay Area musician and producer Eric Frederic created his alter ego Reed to parody hip-hop’s most outlandish elements. And if that means living the ridiculous dream a little himself, well, what’s a playa to do? “I have a love/hate relationship with pop music and pop stars,” Frederic says. “I created the character of Ricky Reed to, in one sense, to live my ‘white-guy-rap-star’ fantasy, but also to satirize the ideas that are championed by today’s big pop stars; things I disagree with. In a lot of ways, he’s everything I want to be and everything I really hate.” In taking the idea to the stage, as

he will when Wallpaper plays the Blank Club Friday, he knew he ran the risk of offending some people. “A lot of people don’t get it, which is fine,” he says. “For the people that do get it, it’s gratifying enough to take that risk.” Frederic grew up in the East Bay in a small suburb of Berkeley. In conceiving Ricky Reed, he harkened back to his early days listening to pop rap. “I listened to MC Hammer and Dr. Dre on the radio. My mom raised me on a lot of soul and old R&B. Then, I went through a phase where most kids were getting into punk rock music in general. I still very much love rock music.” Besides keeping busy with Wallpaper, Frederic is also the keyboardist, guitarist and vocalist of progressive rock outfit Facing New York. The band put out its latest album, Get Hot, at the end of 2008 and is currently working on a new record. “We don’t really tour that much anymore, but we’re still writing and rehearsing and getting ready to make another album,” he says. As if his plate wasn’t full already, Frederic produces and mixes all the

Wallpaper and Facing New York records himself. He works in what he describes as an intricate web of studios in the Bay Area. He also keeps active in the political world. He’s a massive supporter of Barack Obama and worked during the campaign to gain support for the president. He also champions the decriminalization of marijuana, even though he doesn’t smoke it himself. “I think 75 percent of this generation is smoking it,” he says. “I know cops that are smoking it. I think anyone who is going to be addicted to any drug is going feed their addiction. I don’t think it comes from the drug; it’s the person who has those problems. I know people who got heavily into weed and it was a little phase and they got out of it. I also know who got heavily into it and never moved out of their hometown and will probably be old, lazy stoners. But those people were destined for that lifestyle from the get-go. It wasn’t weed that ruined their life. A lot of the violence from the drug cartels could be muted and it could help out the economy if it were legalized.” Politics aside, Wallpaper is all

about the music and having a good time. Frederic says he loves to perform in San Jose because people are always ready to get down. With songs about getting drunk before hitting the clubs (“Gettin’ Drip”) and going all out on the weekends (“T REX”), Wallpaper is a guaranteed party starter. “In San Jose, we always get a great turn out and the people there are comfortable with getting faded and doing some serious dancing. It’s awesome.” As for the future, Frederic just wants to continue to create the music he loves. “I’m not a huge believer in trying to straighten out your life on the first of the new year and let it go to shit the rest of the time. For me, the goal is the work; the process of creating music. I don’t say, ‘I want to get famous or I want to get rich.’ If I can continue to be able to make music on my deathbed, do the work that I love and eat decently, then that’s the goal.” WALLPAPER plays Jan. 8 at 9pm at the Blank Club, 44 S. Almaden Ave., San Jose. Tickets are $10. (408.292.5265)

[50] GALLERY

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

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[51]

[52] MUSIC

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[54] MUSIC

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CLASSICAL MOVES

City Sounds Symphony Silicon Valley premieres Gordon Lee’s symphonic suite combining Eastern and Western sounds

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[56] MUSIC

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[57]

[58] ADULT ENTERTAINMENT Phone Entertainment

JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

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[60]

ADVICE GODDESS JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

the advice goddess

amyalkon adviceamy@aol.com

Six months ago, after my boyfriend and I had been together a year, we started living together. We’re in our late 20s. Shortly after I moved in, he asked if another couple, his friends, could move in with us so they’d save some money. I said yes—on the understanding that they’d be out by early 2010. My boyfriend soon started hanging with them constantly and ignoring our relationship. I pointed out that we needed our alone-time together. He made excuses, but showed that he had no intention of making time for us. I hid my unhappiness, but finally had to sit him down and tell him what needed to change. Several days later, he said he wanted to take a break, and I should move out—although the problem couple can afford to leave but are using him for cheap rent. He offered to help me move, and into a safe place. I told him I think our situation is fixable with a little effort and understanding. —Hurt When you’ve just moved in with your boyfriend, you should be doing unspeakable things all over the couch, not trying to get on the waiting list for a comfortable seat for Bananagrams. Never mind that your boyfriend’s slacker friends needed a cheap crash pad. Moving in with your girlfriend and immediately moving in your friends is like booking the honeymoon suite and asking, “Oh, yeah, can we get a cot for my mom?” Of course, this ended up working out perfectly for him and his friends. They’re using him for cheap rent; he’s using them for a cheap breakup. It’s the passive-aggressive breakup, where you don’t bother telling somebody their girlfriend or boyfriend services are no longer wanted; you just make them so miserable they stop dreaming of you and start dreaming of U-Haul. Your boyfriend may have “yeah, OK, cool”-ed you on moving in together, but panicked when two toilet brushes became as one. Maybe one small step for man started looking like one giant step toward married-kind: your being the last woman he’ll ever have sex with and trading in his sport package wheels for a minivan. Maybe he’s “just not that into you,” or maybe all he’s good for is picking you up at 7 a

few nights a week. OK, fine, this is stuff a couple have to work through—or discover they can’t. But, thanks to what may have started as a misguided act of charity, he’s always had an out: “Why try to resolve the conflict when I can take advantage of these conveniently located human shields?” Oh, has he offered to help you move? How sweet. You’ll be out of his life in half the time! And do go. It’s possible he’ll miss you and want you back. But, do you really want him? He’s been hostile, unloving and unkind. His “taking a break” is probably another easy way out: “Here, have some false hope!” (Anything to keep from mopping your tears off the linoleum.) Your big concern should be how you treated you. Like many twentysomething women, you were probably too accommodating, from letting these people move in to hiding your unhappiness. The answer isn’t being difficult, but standing firm on what does and doesn’t work for you: Yes, to entering into a more committed relationship, no to managing a very small Holiday Inn. Maybe, to living in a house that’s haunted, but with more traditional “free spirits”—the kind that fly around in bedsheets saying “Wooo!” and when they do make stuff disappear, it isn’t always all your beer.

A friend wants to break up with a woman he’s started seeing because he can’t stand her smell (her natural scent; it’s not a hygiene issue). Friends say he’s being too nitpicky, and this is not a reason to break up. P.S. He isn’t someone who normally goes around being put off by people’s smell. —Sympathetic It’s hard enough to apply latex before sex without breaking the mood. Try telling your girlfriend that you just have to hose her down with Febreze. This friend of yours could love this woman’s heart, mind, and spirit, but that isn’t going to cut it if, for him, “a rose by any other name” is pretty much “goat vomit.” His friends shouldn’t blame him. Chances are, his genes make him do it. Research by biologist Claus

Wedekind and others suggests we evolved to prefer the smell of a partner whose immune system is quite different from ours, probably so we’ll produce children with a broader set of defenses from parasites and diseases. Your friend needs to end it before this woman gets attached and, especially, before he loses it and blurts out, “What the hell’s that perfume you’re always wearing, Eau Did Your Septic Tank Back Up Again”?

©2010, Amy Alkon, all rights reserved. Got a problem? Write Amy Alkon, 550 S. First St., San Jose, CA 95113, or email adviceamy@aol.com.

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

JANUARY 6-12, 2010

CLASSIFIEDS

metro CLASSIFIEDS CLASSIFIED INDEX 59 61 61 61

PLACING AN AD 61 63 61 62

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Jobs

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

Engineer

Intersil Communications Inc., TEACH ENGLISH leader in the design and manuABROAD! facture of high performance Become TEFL certified. 4-week analog semiconductors, has course offered monthly in openings in Milpitas, CA for Prague. Jobs available worldSr. Design Engineer, Sr. Field wide. Lifetime job assistance. Application Engineer, Design Tuition: 1300 Euros. Engineer, and Product www.teflworldwideprague.com Marketing Engineer. Mail info@teflworldwideprague.com resume to: Intersil, (AAN CAN) 1001 Murphy Ranch Road, Milpitas, CA 95035 $$$HELP WANTED$$$ (Attn: C. Aguirre). Extra Income! Assembling CD cases from Home! No Activists Experience Necessary! Call our Wanted throughout Bay Area!! Live Operators Now! Help qualify California 1-800-405-7619 EXT 2450 Initiatives. $12-$25 Hourly. www.easywork-greatpay.com Flexible hours. Please call (AAN CAN) 408-679-8462

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System Analyst

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Lapha & Company, Inc. seeks a Senior Consultant for Business Intelligence (SAP BI System) in various unidentified job sites in the U.S. Send resume to 111 W. St. John Street, Suite #1270, San Jose, CA 95113.

Oudist Mark Bradlyn is offering a four-class workshop for beginning Arabic oud players at Halanda Dance Studio in San Jose. January 10, 17, 24, and 31. $100 for all four classes. Mark Bradlyn at 831 688-8961 or 831 345-9220 (cell) or Hala at 408-246-1129 or 408-369-1304

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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.

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Notice To Readers California law requires that contractors taking jobs that total $500 or more (labor or materials) be licensed by the Contractors State License Board. State law also requires that contractors include their license number on all advertising. You can check the status of your licensed contractor at www.cslb.ca.gov or 1-800321-CSLB (2752). Unlicensed contractors taking jobs that total less than $500 must state in their advertisements that they are not licensed by the Contractors State License Board.

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SUMMONS (CITACION JUDICIAL) NOTICE TO DEFENDANT: (Aviso a Acusado)] MIKE RICHMOND YOU ARE BEING SUED BY PLANTIFF: (A Ud. le esta demandando) CHRISTOPHER E. WALKER CASE NO. 109CV155611

You have 30 CALENDAR DAYS after this summons is served on you to file a typewritten response at this court. A letter or phone call will not protect you; your typewritten response must be in proper legal form if you want the court to hear your case. If you do not file your response on time, you may lose the case, and your wages, money and property may be taken without further warning from the court. There are other legal requirements. You may want to call an attorney right away. If you do not know an attorney, you Bands may call an attorney referral service or a legal aid office (listed in the phone book). Lil Wayne, E-40, de que le entreguen Snoop Dog, San Quinn Despues esta citacion judicial usted Thug World Records explotiene un plazo de 30 DIAS sive label features lil Wayne CALENDARIOS para presentar Snoop dog E-40 G-unit and more. Free Downloads, MP3s, una respuesta escrita a maquina en esta corte. RingTones, videos. Una carta o una llamada telewww.thugworldrecords.com fonica no le ofrecera protec408-561-1255 cion; su respuesta escrita a maquina tiene que cumplir Rehearsal/Recording con las formalidades legales apropiadas si usted quiere Genuine Analog que la corte escuche su caso. 24 Track Analog. 24 Bit Si usted no presenta su Digital. Stout Recording respuesta a tiempo, puede Studio. Randy Burk, perder el caso, y le pueden Producer/ Session Drummer. tras cosas de su propiedad 510-567-8572 Oakland. sin aviso adicional por parte StoutRecordingStudio.com de la corte. Existen otros requistos The Metropolitain legales. Puede que usted quiera llamar a un abogado Palo Alto inmediatamente. Si no Monthly and hourly music conoce a un abogado, puede rehearsal space. Music llamar a un servicio de referinstrument (fretted and vintage keys) and amplifier ser- encia de abogados o a una oficina de ayuda legal (vea el vice. 650.279.1793 directorio telefonico). The name and address of the Need Music? court is: (El nombre y direcGot Music? cion de la corte es) Check out Metro's music sec- Superior Court of California tion. Call 408-200-1300 County of Santa Clara Be seen by one of the largest, most active audiences in the South Bay! Your ad will appear in both print and online. A Powerful Combination for one great price. To advertise visit metroactive.com or call 408/200-1300.

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Employment

[61]

191 North First Street San Jose, CA 95113 The name, address and telephone number of plaintiff’s attorney, or plaintiff without an attorney is: (El nombre, la direccion y el numero de telefono del abogado del demandante, o del demandante que no tiene abogado, es) ANDREW V. STEARNS SBN 164849 IGNASCIO G. CAMARENA SBN 220582 BUSTAMANTE, O’HARA & GAGLIASSO 333 W. SAN CARLOS STREET, 8TH FLOOR SAN JOSE, CA 95110 408-977-1911 408-977-0746 Date: OCTOBER 26, 2009 /DAVID YAMASAKI/County Clerk (Actuario) /HAHARA/, Deputy (Delegado) (Pub 12/23, 12/30/2009, 1/6, 1/13/2010)

FICTITIOUS BUSINESS NAME STATEMENT #531985 The following person(s) is (are) doing business as: Luxury Estates & Development, 6120 Hellyer Avenue, Suite 100, San Jose, CA, 95138. This business is conducted by a Corporation. Above entity was formed in the state of California. Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. /s/Eric Tan, Chief Executive Officer #3260063 This statement was filed with the County Clerk of Santa Clara County on 12/14/2009. (pub Metro 12/23, 12/30, 1/06, 1/13/2009)

FICTITIOUS BUSINESS NAME STATEMENT #531933 The following person(s) is (are) doing business as: Kidport, 19121 Portos Drive, Saratoga, CA, 95070, Bryan Knysh. This business is conducted by a individual. Registrant began transacting business under the fictitious business name or names listed herein on 12/09/98. Refile of previous file #436615 with changes. /s/Bryan Knysh This statement was filed with the County Clerk of Santa Clara County on 12/11/2009. (pub Metro 12/16, 12/23, 12/30, 1/06/2010)

[62]

ASTROLOGY JANUARY 6-12, 2010 M E T R O S I L I C O N VA L L E Y

real estate

g Real Estate Services Services

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,

Los Gatos Mountains

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Boulder Creek 40 acres. Timber Preserve Zoning. Creek frontage. Wild and serene. Off grid. Private Road. Small ridge top site. Good owner financing offered. $295,000. Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc., Broker at 408/395-5754 or www.donnerland.com

Boulder Creek 3 acres. Harmon Gulch. Creek. Private road. Quiet. Sunny possible site. Owner financing. Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/395-5754 or www.donnerland.com

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Notice All real estate advertised in Metro Newspapers is subject

Highland Way. 5 acres. Double wide with wrap around deck. NICE. Spring and creek. Sunny. Private road. Off-grid. Possible owner financing. $289,000 Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/395-5754 or www.donnerland.com

Boulder Creek 10 acres. Rough and rugged and a beautiful spot right on top! Long private bumpy road. Private road association. Good owner financing. $215,000. Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/395-5754 or www.donnerland.com

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

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6g^Zh (March 21–April 19): According to my

reading of the astrological omens, it’ll be a hairon-fire kind of week for you—and yet also a heartin-repose kind of week. In other words, you have the potential to be fierce and relaxed, vigorously ambitious and sublimely poised. In fact, this might be one of those rare times when you can be both a justice-dispensing warrior and an enlightenmentseeking magician. Want to turn water into wine when the pressure’s on? Find the pearl of great price in the heat of the battle? Feats like these are quite possible.

IVjgjh (April 20–May 20): Can you pull off a midcourse correction while hurtling through the air across a chasm during a leap of faith? If anyone is capable of such a feat, you are. However, I’d prefer it if that wasn’t necessary. I’d rather see you prepare a little better, like by procuring the help you’d need to create a safety net or sturdy bridge that will stretch across the chasm. Or by getting one of those jet packs to strap across your back and allow you to fly. Or by taking as much guesswork as possible out of the details about how you’re going to get from the edge of one cliff to the edge on the other side. <Zb^c^ (May 21–June 20): This is one of those rare times when you can get abundant access to insider secrets, unauthorized information, taboo knowledge and forbidden wisdom. Proceed carefully. As much as I’m an advocate of you getting to the whole truth and nothing but the truth, it’s also my duty to remind you that it could be disruptive to find out all of the truth in one big swoop. You should ask yourself if you’re fully prepared to change what needs to be changed once the previously hidden stuff emerges. If you’re not, it might be better to wait until you are. 8VcXZg ( June 21–July 22): Which metropolitan areas in America have the most brainpower? Not the best sports teams or the richest businessmen or the most powerful politicians, but the smartest people? “The Daily Beast” did a study and declared that the top two were the Raleigh-Durham area in North Carolina and the San Francisco Bay Area. Now it so happens that those are the two places where I’ve spent much of my adult life. It doesn’t mean I’m brilliant, but it does suggest I have an instinct for knowing where the brilliant people congregate. And I’m quite sure that they have been a very good influence on me. My recommendation to you in 2010, Cancerian, is to cultivate this knack. Gravitate toward genius. Surround yourself with deep thinkers and innovative dreamers. Hang out in the vicinity of brainstorms.

or the intention to make any such preference, limitation, or discrimination. State and locate laws forbid discrimination in the sale, rental, or advertising of real estate. We will not knowingly accept any advertising for real estate which is in violation of the law. All dwellings advertised are available on an equal opportunity basis to the best of our knowledge.

AZd

( July 23–Aug. 22): “The more you complain,” says an old adage, “the longer God lets you live.” If that’s true, I hope you will be adding many years to your lifespan in the coming week. Would you like to live to the age of 100? There are many rich and colorful opportunities for you to lodge protests right now. You have cosmic permission to rouse a ruckus in the name of improving the way everything works. But try to concentrate on constructive criticism that really helps transform what’s stuck. The Divine Wow is more likely to give credit for that approach than for mere narcissistic grousing.

K^g\d (Aug. 23–Sept. 22): A reader calling herself Rebellioness collaborated with me to come up with five revolutionized approaches to the art of rebellion. I present them here for your use, as they identify the kinds of behavior that will be most nurturing for you to cultivate in the coming weeks. 1. Experimenting with uppity, mischievous optimism. 2. Invoking insurrectionary levels of wildly interesting generosity. 3. Indulging in an insolent refusal to be chronically fearful. 4. Pursuing a cheeky ambition to be as wide-awake as a dissident young messiah. 5. Bringing reckless levels of creative intelligence to all expressions of love.

408.298.8000

ROB BREZSNY

A^WgV (Sept. 23–Oct. 22): I want to tell you about Harj, a character in Douglas Coupland’s novel Generation A. He’s an enterprising young Sri Lankan man who sells “celebrity room tones” over the Internet. Each hour-long recording purports to convey the sound of the silence that pervades the homes of luminaries like Mick Jagger and Cameron Diaz when they’re not there. I think that you Libras are now primed to learn from Harj’s example.

Like him, you have the power to capitalize on nothingness and absence and emptiness.

HXdge^d (Oct. 23–Nov. 21): A guy I know broke

up with his girlfriend recently. He used a timehonored strategy: making it sound as if he wasn’t worthy of her. “It’s like you’re a grandmaster at a chess tournament,” he told her, “while I just got my first checkerboard and am still figuring out how to play checkers.” He was implying that she was much more skillful than he was in the arts of relationship. I have a feeling that there’s a situation like this in your world, Scorpio—an alliance in which the two parties are at different levels of maturity. I’m not necessarily saying you should sever the connection. But you should at least acknowledge the gap and decide what to do about it.

HV\^iiVg^jh (Nov. 22–Dec. 21): In a million years, I would never authorize you to unleash your naked greed and give it unconditional license to careen through the world gobbling and acquiring and appropriating. However, due to an odd blip in the astrological configurations, I am at liberty to give you permission to unleash your discerning, elegant greed and grant it a temporary dispensation to sample more than usual of anything that captivates your ravenous imagination. 8Veg^Xdgc (Dec. 22–Jan. 19): “You are what you

love, not what loves you,” says the character Charlie Kaufman in the film, Adaptation. (Kaufman is played by Nicolas Cage, who has three planets in Capricorn.) I urge you to work hard to make that perspective your own, Capricorn. Ideally, it will become a permanent addition to your philosophy of life. But please at least try to install it as your primary words to live by for the next three weeks. To do so will smooth out a distortion in your energy field, making it easier for people to love you.

6fjVg^jh ( Jan. 20–Feb. 18): I suspect you have

to go down into the underworld for a while. But you have a choice about how it will play out. You shouldn’t wait for some random goblin to come along and pull you down into the miserable abyss. Instead, be proactive. Shop around for a more useful abyss—a womblike pit with halfdecent accommodations and a good learning environment—and go there under your own power. That way you won’t have to slog your way through musty fogs and creepy pests and slimy muck. You’ll keep your suffering to a minimum and attract adventures that are more intriguing than demoralizing.

E^hXZh (Feb. 19–March 20): When my

acupuncturist pushes a needle into my chest, my feet sometimes twitch involuntarily. A jab in my earlobe can cause my hand to leap off the table; when she pokes the bridge of my nose, my liver may throb. The lesson for me is that parts of the body are linked in ways that aren’t obvious. I invite you to expand this principle as you use it to evaluate the interconnections between different areas of your life. How do your attitudes about love affect your ability to attract money? (And vice versa.) Are there any ways in which your capacity for happiness is affected by your political views? How do your judgments about other people impact your physical health? More than even you farseeing Pisceans imagine, everything’s linked to everything.

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This was the occasion of another argument between me and my assistant Una. I reasoned along the same lines as you, Dave—cats have been climbing trees and presumably getting down from them for millions of years without the intervention of fire departments. What seems more likely is that we now have neurotic cat owners who see their pets climbing trees, leap to the assumption that the cat can’t get down and figure the answer to all of life’s problems is to call the fire department. Una didn’t see it that way. She observed that cats have curved claws and strong back legs that facilitate climbing upward but are less useful when it’s time to return to earth. Indeed, cats must often back their way down or jump from the lowest branch, which Una knows from personal observation is both ungainly and hazardous. Me: I’m sorry, I’m not buying this. You’re suggesting that, for cats, tree-climbing is a oneway street, and that if we examined the fossil record we would find vast strata of fossil forests with fossil cats crammed in the upper branches, futilely awaiting human beings, urbanization, combustible buildings, the hook and ladder, the telephone and other necessities whose emergence was still eons off. I respectfully suggest that neurotic cat owners is the more parsimonious explanation. Una: I’m not saying all cats get stuck in trees. On the contrary, there are more than 80 million domestic cats in the United States, the overwhelming majority of whom get into and out of trees without assistance. However, some cats clearly do get stuck in trees, including some nondomesticated ones, as demonstrated by this YouTube video (tiny.cc./stucktiger) showing a tiger stuck in a tree at a zoo. Me [watching]: Huh. That’s one confusedlooking tiger. Even so, if I’m a fireman and the call comes in to get it out of the tree, I’m hoping it’s my day off. Una: You see the tiger’s problem. It’s trying to climb down the tree headfirst. This is not a graceful spectacle. Me: OK, I revise my view of the situation. Cats have an easier time getting up than down, no doubt because as carnivores one reason they climb trees in the first place is to spot prey upon which they then pounce, thereby

simultaneously solving the problem of where their next meal is coming from and how they’re going to get down. We know further that even without some hapless herbivore underfoot to cushion the blow, cats are capable of surviving jumps from great heights without injury. However, some trifling number of cats is either too decrepit, timid or dumb to jump, and it’s these cats that fire departments are called upon to rescue, although from a Darwinian standpoint they’re probably not doing the family Felidae any favors to return these specimens to the gene pool. The question remains whether fire departments rescue cats from trees in statistically significant numbers, or whether one fire department rescued one cat from one tree, which has given rise to the subsequent legend. Una: The fact remains that they do it. I found news accounts of cat rescues in 34 states, the most impressive of which involved a tabby that was brought down safely from 100 feet up an evergreen tree in Hayward, Calif. However, it would be unwise to assume that the fire department is going to use advanced cat-rescue techniques. Firefighters in Okinawa, Japan, earlier this year decided the best way to deal with a feline up a 60-foot tree was to grab a chain saw and lop off the section the cat was clinging to. When a Tennessee woman’s cat was stuck in a pine tree, firefighters gave her two options: they could blast it out with a hose or shake the tree until the cat fell out. When asked how option B was any different from the cat’s just falling out on its own, one firefighter answered, “Neither is real different, ma’am. Just quicker.” So there you go, Dave. Cats do in fact get trapped in trees, and if you ask the fire department to do something about it, well, “rescue” might not be the best description of the ensuing operation. But they’ll probably show up.

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M E T R O S I L I C O N VA L L E Y JANUARY 6-12, 2010 STRAIGHT DOPE

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