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JANUARY 20-26, 2010 · VOL . 25, NO. 47 · SAN JOSE, CA · FREE

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John Mayer & Cirque du Soleil’s OVO tix

Dispensary Free-for-all Will San Jose ban or tax cannabis cooperatives? p11

METROGIVEAWAYS.COM

Gypsy guitarist Django Reinhardt helped start a jazz revolution; local concerts celebrate his 100th birthday

Gypsy Genius BY RICHARD VON BUSACK P16 NEWS F NEWS Foreclosure o oreclo e sure Sale Salee Merc’s Mer c’s now now a bank-owned bank-owned asset asset p11

DINING E DINING Evvia vvvia E Endures ndures Palo P alo Alt Altoo spot spoot de defies fies do downturn wnturn p3 p31 31

MUSIC Hono MUSIC Honor or Among Ma Maids aids Lifee aft Lif after er Smashmouth Smasshmouth and Survivor Survivor o p53

[02]

JANUARY 20-26, 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 20-26, 2010

[03]

[04] CONTENTS

JANUARY 20-26, 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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Features

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A locally owned company

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Dining

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

JANUARY 20-26, 2010

[05]

[6] LETTERS

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

Where would you cut funding and where would you raise money to close a $6 billion gap? I suspect you won’t answer this, and if you do you just resort to calling me some type of stereotypical name. “Bush-loving, warmongering, middle-aged cracker, hates everybody but white man.� But if you can spend a few minutes and really think what you would do if you were governor, please let me know. John Rogers Manteca

Looking Up

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Powerful Hold I am a parent of this OxyContin war: I have three children, all young adults who have struggled with this drug for years; two of my children are still addicted. I read your article (“Opium War,� MetroNews, Dec. 30), and it made me cry because I’ve done everything to try and help them. I’ve been a teenager and went through the ’60s and ’70s, and I’ve never seen any drug take such a

powerful hold on people in my life! I’ve printed the article and plan on delivering it to my son’s doorstep tonight, Marilyn Sebastopol

Name Calling I see nothing in your paper but rants against the political party or person you hate, and raves for, well, anything in style, or a person that is in your current favor. And

Outstanding story, Jessica! (“The Art of the Deal,� MetroNews, Jan. 13). Make this happen San Jose! I love the old Bank of America building. To me, that building represents our great city. I still remember, as a young boy in the early ’70s, taking the bus from the East Side to downtown with my mom and getting off the bus and looking upward at that beautiful structure. Question: Is the Academy looking at expanding into San Jose or relocating its San Francisco operation entirely to San Jose? The last paragraph threw me off a bit. Tony D. From SanJoseInside.com

Active Use You have developed the most intriguing story of the New Year. It

that’s OK. It’s your paper. But, why not just once offer an alternative suggestion that is feasible for something that is objectionable to you. For example, you bashed the governor for his proposed cuts (“SanJoseInside,â€? Jan. 13). So be it, but what would you do?? Please be speciďŹ c. Raise taxes on the rich, middle class or anyone else who can afford it? What programs would you cut? I don’t think California has a socialist program that supports rich whites.

James Rowen From SanJoseInside.com

Don’t Mess It Up The majestic Bank of America building deserves to be used and loved. Yet I fear that our city politicos will somehow f*** up this opportunity, as they quite often do. Let’s keep our ďŹ ngers crossed and hope that this situation somehow slips under their radar and comes to fruition. Greg Howe From SanJoseInside.com

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shows a lot of creativity and good old-fashioned journalism. What I am most impressed about is that you emphasize the selection of the old Bank of America building as the cornerstone of the story. The Bank of America building is one of the best landmarks for San Jose, but it has fallen on very hard times. Once a site for the Bank of Italy, the building is a shell of its former self. Someone has to do something with it. OK, so the Academy of Art is a little aggressive with historic building conversion, so what! An active use for the old building may just be the right thing for it. Use of a historic building is more of a preservation tool than leaving it in decline. Mission Santa Clara was saved due to Santa Clara University, and Academy of Art University may just be the savior of one of the most stunning pieces of terra cotta architecture in California.

Vidiot I saw you last Thursday night, hovering over my shoulder as I tried to relax on my short break and forget about my surroundings by focusing on a simple video-game puzzle. I was making ďŹ ne progress until you came along, interrupted my thought process by blabbering at me and then proceeded to show me what moves I should make next, which I could have ďŹ gured out more quickly had you not interrupted me in the ďŹ rst place. Look, mister, I paid the quarter. If you want to play the game, then put your two bits in another machine instead of my ear. 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 20-26, 2010

[07]

Courses Starting in February

[08] SILICON ALLEYS

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

Make the Right Move This Year Get the latest skills and expand practical knowledge in your current field, or explore new career directions. If you’re ready to make your next move, get a head start at UCSC Extension in Silicon Valley. Here’s a sampling of the courses starting in February at our new, conveniently located facility in Santa Clara.

ALL COURSES AT OUR NEW LOCATION:

2505 Augustine Drive, Santa Clara Q Business and Management Decision-Making Tools and Techniques, 5990-027 Role of the Project Manager, 0306-154 Finance I, Fundamentals, 3636-048 Behavioral Economics, 22633-001 Compensation Management, 4506-070 Power of PR, 1158-015 Strategic Marketing Management, 0104-057 Web 2.0: Social Media Marketing, 19357-005

Q Biosciences Case Report Forms Development, 5544-019 Good Manufacturing Practices, 6328-019 Nanotechnology, Introduction, 4820-007 Bioscience Product Marketing, 1654-016

Q Engineering and Technology Programming with Java for Beginners, 5185-042 Developing Facebook Applications Using PHP, 22625-001 Adobe Flash ActionScript for the Web, 5496-054 Mobile Linux for Embedded Design, 22626-001 DSP for Audio, Imaging, and Communications, 0516-011 Designing with Cascading Style Sheets (CSS) I, 6673-012 Software Quality Assurance and Testing, 3396-042 Digital Baseband: Fundamentals of PHY, 22628-001

Q Education ECE 1: Development in Early Childhood, 1185-037

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

SiliconValley

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

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GARY SINGH

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Digital Doings

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HE YEAR 2010 will be a breakout year for the 01SJ Digital Art Biennial, the tech-related art festival that began in 2006 and now erupts every two years in downtown San Jose. The first one kicked off with digital artist Akira Hasegawa’s nightly scroll-like abstract illumination on City Hall. In 2008, Craig Walsh turned the Rotunda into a nighttime display of 3-D psychedelic tentacles. They were only two of many works exhibited during the multidisciplinary, multivenue event of visual and performing arts, the moving image, public art and interactive digital media. Just as the Salzburg Festival uses the backdrop of that city as an integral component in the goings-on, so does 01SJ. For 2010, the official biennial doesn’t occur until September, but events are already starting to emerge, beginning next week with the inaugural Z-Salon at the ZER01 main headquarters at 152 N. Third St. in downtown San Jose. Every last Wednesday of the month for the rest of the year, salons will take place with artists presenting and discussing their work, as well as encouraging dialogue and discussion. Everyone is invited to attend and join the conversation. People held these types of salons in the Baroque era, so they may as well have them now. Now, before anyone gets confused, allow me to clear up a few tidbits. ZER01: The Art and Technology Network, or ZER01 for short, is the organization that produces the festival, which is called the 01SJ Biennial. The ones and zeroes reflect the base-2 binary number system that all computers and digital circuitry are based on. Other elements related to the festival are also titled with some sort of play on that theme. For example, the SubZERO Street Fair takes place during off years when the biennial isn’t happening. And during the biennial, that same street fair occurs, but it’s now called AbsoluteZERO. Got it? I know you do. As of 2010, ZER01 will have a permanent year-round presence in San Jose, one element being the new monthly Z-Salons. Next Wednesday, Jan. 27, from 5:30 to 7:30pm, everything kicks off with the three finalist teams who are competing for a chance to build a gargantuan project: The San Jose Climate Clock. This will be a major public work of landmark art incorporating Silicon Valley’s measurement, data management and communications technologies to gather and display massive amounts of complex climate-change data for the next 100 years. To be installed at the Diridon Station, possibly the future site of high-speed rail and BART connections, the project will unite media artists, climatologists, physicists, statisticians, anthropologists, programmers, network engineers and industrial fabricators—all to help people understand climate change. Those who show up next week will get to meet the teams that are competing to design this project, as well as see the images and schematics of their preliminary ideas. Again, everyone is invited to join the discussion. The teams will be in town all next week, solely to network with potential collaborators in local academic, cultural and technology sectors to help develop their final proposals, which will be presented For 2010, the official during the 01SJ Biennial in September. biennial doesn’t occur If you’re an unemployed statistical until September, but consultant, you just might get a gig out events are already of this. emerging, beginning The three finalists are: “Wired Wilderness” by Greenmeme (Freya next week with the Bardell working with Brent Bucknum); inaugural Z-Salon “Organograph” by Chico MacMurtrie working with Geo Homsy, Bill Washabaugh and Gideon Shapiro; and “Huey-Dewey-Louie Clock” (an homage to the film Silent Running by Usman Haque and Robert Davis. An explanation of each one is far outside the scope of this column, so you can view the three preliminary proposals in advance at: http://sj-climateclock.org. It’s safe to say that the first one includes growing an oak and lichen grove; the second one involves a spectacular clocklike system of interconnecting orbs, liquid flows and mechanical movement; and the third one includes accretion mounds, an autonomous cubic data packer and hermetically sealed samples of genetically identical daffodils. When people use phrases like “the intersection of art, science and technology,” this is precisely what they’re talking about. Even better, the goal is to eventually build these projects all over the world. San Jose’s will simply be the first implementation. Send me your tips and topics: 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 20-26, 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.

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The president has finally tweeted. Barack Obama’s firstever personally issued tweet concerned disaster relief in Haiti. It’s a worthy topic for any sort of communications debut, so we’re sure Obama wasn’t trying to reward Twitter Inc. for spanking Karl Rove.

TWITTERER IN CHIEF Pcbnb!bu! uif!ED!Sfe!Dsptt!pgß!df!Npoebz-!xjui! uif!vojefoujß!fe!nbo!xip!bduvbmmz! uzqfe!uif!ijtupsjd!uxffu/

Of course, Obama is still using a ghostwriter for his microblogging, he just “pushed the button” on a tweet for the Red Cross, unlike on the White House Twitter where interns (Robert Gibbs) push the buttons: This action is, of course, simultaneous evidence that Obama loves Haiti more than America, for whom he is too good to tweet, and that he’s indecisive and weak, for tweeting when he should be saving lives or at least bombing something. Also, sacrilegious, since Muslims belong on the Red Crescent Twitter. That about covers it, right? Oh, except it should be noted that former George W. Bush henchman Karl Rove had his rare and precious “Verified Account” badge taken away for three days this past week, cutting him off from precious Twitter groupies. So maybe Obama is rewarding Twitter for punishing his enemies, mmm? Sadly, Rove’s badge was restored this afternoon after we emailed Twitter Inc. asking why they had done this awesome thing. You can thank us via PayPal, Karl. —RYAN TATE, VALLEYWAG.GAWKER.COM

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Barack Obama’s First Tweet

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MASHUP JANUARY 20-26, 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 20-26, 2010 NEWS

Santa Clara Valley, California

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“Like You’re Wearing Nothing at All.””

January 20-26, 2010

FLY

Merc Owner’s Bankruptcy Blindsides Newsroom I]Z cZlh i]Vi i]Z B:G8JGN C:LH ldjaY ]VkZ ^ih [djgi] dlcZg ^c [djg nZVgh XVbZ Vh V h]dX` id BZgXjgn CZlh ZbeadnZZh! i]dj\] cdi Zci^gZan V hjgeg^hZ# BZY^VCZlhÉ YZWi hZgk^XZ ^hhjZh lZgZ lZaa `cdlc! VcY V Òghi fjVgiZg gZhigjXijg^c\ lVh Vci^X^eViZY# Jca^`Z eVhi VccdjcXZbZcih! ]dlZkZg! i]Z h]dZ"Ygdee^c\ XVbZ l^i]dji lVgc^c\# ÆI]^h i]^c\ Wa^cYh^YZY ZkZgndcZ ^c i]Z cZlhgddb!Ç dcZ `cdlaZY\ZVWaZ ^ch^YZg hV^Y# I]Z VccdjcXZbZci Vgg^kZY! Vadc\ l^i] Vc ;6F! Vi )/(%eb ;g^YVn! Vh i]Z hiV[[ lVh \Zii^c\ gZVYn id ]ZVY dji [dg V i]gZZ" YVn lZZ`ZcY# I]ZgZ lVh aVj\]iZg ^c i]Z BANKRUPT!Tjohmfupo cZlhgddb Vi i]Z i^b^c\# >i ldjaY ZchjgZ i]Z gZedgi ldjaY aVcY ^c i]Z HVijgYVn ZY^i^dc! i]Z XaVhh^X lVn id Wjgn WVY cZlh# I]ZgZ lVh cd deedgijc^in [dg lg^iZgh id bV`Z XVaah dg XdcYjXi WVX`\gdjcY gZhZVgX]# L]^aZ i]Z BZgXjgn CZlh Vhh^\cZY V kZiZgVc gZedgiZg id Y^hXjhh ^ih egZk^djh dlcZgh]^e \ngVi^dch! ZY^idgh YZX^YZY id _jhi gZejWa^h] i]Z 9:CK:G EDHIÉh hidgn! l]^X] ]VY ÆV adi d[ XVgZ VcY [ZZY^c\Ç [gdb XdgedgViZ! l^i]dji VYY^c\ V h^c\aZ eVgV\gVe]# >i gVc dc i]Z Wjh^cZhh eV\Z! jcYZg V hbVaa ]ZVYa^cZ! VcY hd[i"eZYVaZY i]Z hidgn Vh V Got a Tip for The Fly? fly@metronews.com

STICKY SITUATION !Qibsnb-!b!nfejdbm!nbsjkvbob!dmvc-!xbt!ubshfufe!jo!b!nfnp! gspn!uif!djuzÖt!dpef!fogpsdfnfou!pgßdf!uisfbufojoh!up!tivu!epxo!ejtqfotbsjft/

Medi-Pot Crackdown? City threatens to shutter medical cannabis dispensaries, while City Council considers a proposal to regulate and tax them By Jessica Fromm MEDICAL marijuana patient sits on a leather sofa in the waiting area of San Jose Medicinal Group in downtown San Jose, a clipboard perched on his lap, filling out his medical history. A medical cannabis cardholder since 1997, the patient says that pot is the only thing that has been able to help him with his chronic back pain for the last 13 years. He used to have to drive up to Oakland to get his medication, he says, but now that dispensaries like this have opened up in San Jose, he is relieved that he doesn’t have to make that long trip. This is the first time he’s ever been to the San Jose Medicinal

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Group, he says, but so far he likes what he sees. With hip-hop softly thumping in the background, this medical marijuana club at 52 S. First St., upstairs from the popular Temple Bar, has the air of a hip, newly opened doctor’s office: spotless hardwood floors, art on the newly painted deep purple walls, aroma therapy candles scattered around permeating a sweet, fruity scent. A red, blown-glass bowl of Milky Ways sits on one table, next to complimentary minibottles of water. Only two beefy, intimidatinglooking security guards that screen people at the door would seem out of place at a posh medical office. San Jose Medicinal Group (SJMG)

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opened just two weeks ago, and, according to director Raul Galvan, the dispensary is trying to run its business as legit as possible. With all the medical marijuana centers that have recently sprung up around the city, Gavlan says, SJMG sees it as its duty to create a professional atmosphere with appropriate procedures. “For us, we’re trying to bridge the gap,” Gavlan says. “A lot of dispensaries or clubs in the industry, they lack a certain direction. We’re trying to set a higher standard.” Gavlan says he and Medicinal Group operating director Shannon Rocha are scared for their business right now, since the city of San

Jose issued a memo last Thursday threatening to shut down a handful of pot clubs. But, Galvan understands where the city is coming from. “I don’t blame those people who are worried or not sure about us, because it’s just not being aware,” he says. “I was totally against [medical marijuana] at one time, and I’m surprised I even got into this business. But, I’ve been surrounded by people who have all these complications in their life, and the only thing that helps them is medicinal marijuana.” The memo, released Thursday afternoon by Joseph Horwedel, director of the Department of Planning, Building and Code Enforcement, states that the department has received complaints and is in the process of investigating Pharmers Health Center Cooperative Inc., San Jose Cannabis Buyer’s Collective and Medileaf Collective. The memo says: “If it is determined that these businesses are dispensing medical marijuana/ cannabis for a fee, which is neither permitted nor a conditional use under the City of San Jose’s Zoning Ordinance, Code Enforcement Division staff intends to issue compliance orders to both the property owner and business owner requiring that the unpermitted businesses cease operating within 30 days.” According to code enforcement official Michael Hannon, who is in charge of the case, code enforcement officers visited the pot clubs late last week to issue the compliance order. He says the memo was originally written on Jan. 5, and that he has received complaints about a total of seven medical cannabis dispensaries in San Jose. Hannon says that if the clubs do not cease operating in 30 days, the department will proceed to administrative hearings that could result in fines of up to $2,500 a day. However, he says that his department is choosing to view the case as strictly a land-use issue, which is why the city is not sending law enforcement in. “We’re not going to litigation right from the get-go,“ Hannon &'

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NEWS JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

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says. “We’re not seeing a lot of crime or nuisance activities specifically associated with these businesses. They are just like any other business, at least from the standpoint of code enforcement. They are simply operating in the city of San Jose without a permit. They can’t get a permit, so rather then order an immediate closure, we’re going to give them 30 days.” Hannon says his department has gotten complaints from nearby businesses. “If people read the news, they know that the mayor has made it real clear that marijuana dispensaries are not legal in the city of San Jose,” he says. “So there is probably a heightened awareness, so folks are going to bring them to our attention.” During a meeting of the San Jose Downtown Association last Friday, Mayor Chuck Reed reiterated these sentiments. “Right now [medical marijuana dispensaries are] not an allowed use under San Jose zoning code,” Reed said. “Right now we don’t need a moratorium. A lot of the ones I’ve heard about are operating illegally. If we get complaints, we’ll deal with them like any other not-permitted business.” The memo specifically states that the code enforcement office is issuing the compliance order for dispensaries that are charging a fee. However, the San Jose Cannabis Buyers Club, San Jose Medicinal Group and others have stated that they are nonprofit institutions. “Well, I haven’t come across one yet that is,” Hannon says. “The ones that I’ve been to or seen are selling it for anywhere from $55 to $65 an ounce, so they’ve made it real clear to us that it is a business venture and they are looking to sell either to co-op members or folks who simply have the doctor’s recommendation.”

Regulate and Tax Councilmember Pierluigi Oliverio, who has proposed an ordinance to regulate and tax pot clubs, said he expected this response. “It was only a matter of time,” he said. “I thought it would happen sooner, because code enforcement is based on people calling and complaining. The complaints are from one of two parties: people who are jealous that they are open, like competition, or it’s people who are adamantly opposed. “If we had my proposed ordinance in place, we wouldn’t have some of the concerns that people have, because I support

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a limited number of dispensaries in limited places that are regulated and taxed.” As it happens, the issue of regulation of medical marijuana dispensaries was supposed to be discussed at the Rules Committee meeting last Wednesday, but according to Oliverio, city staff mysteriously forgot to post the notification. The meeting has been rescheduled for Jan. 27. “We were supposed to discuss this, and that’s what was told to everyone: Nov. 18,” he says. “And then by some weird event, someone forgot to post it, which is really strange, especially when you look at the timing of this memo. It’s like, ‘Did you purposely not post it because you knew you were coming out with a memo?’ “I showed up and spoke at the public portion of the meeting, and 20 people showed up. And only three or four of them spoke, because a lot of that crowd is pretty shy. So, here was the thing: there was no notification of the meeting, yet 20 people showed up. So, it sort of looks bad when you’re like, ‘Oh, sorry, whoops! It was a mistake, we forgot to post it. I think. I guess.’” Oliverio anticipates that the dispensaries may decide to sue the city. He says it’s conceivable that because the city does not have an ordinance barring their activity, and state law says they are allowed to operate, they might decide to take the city to court and let the judge decide. “So it depends if one of those folks has deep pockets or strong convictions,” he says. Erika Taylor Montgomery, who represents the San Jose Cannabis Buyers Collective, said that two San Jose city code enforcement officers stopped by Cannabis Buyer’s Collective last Thursday. She said they briefly inspected the premises at 373 S. Monroe St. and asked the owner questions about policies, but did not issue any compliance order. Oliverio believes the correct course of action is clear: “If the voters have approved this by state law, and the president’s attorney general says, ‘I’m not prosecuting people in states that are doing it,’ what I’m saying is, let’s have a policy or ordinance that says there can be a limited number of places, and we’ll tax it. It’s pretty simple.” Raul Galvan says that all San Jose Medicinal Group and other medical marijuana collectives in San Jose want is direction from the city. “We need to come together and have a meeting of the minds,” he says. M

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M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 SAN JOSE INSIDE

a look inside san jose politics and culture

Merc Creditors Seize Control Silicon Valley Newsroom

THE San Jose Mercury News’ owner will seek bankruptcy protection in a major restructuring of the company’s ownership and debt, news agencies reported Friday night. The Chapter 11 filing will slice holding company Affiliated Media’s debt from $930 million to $165 million. The negotiated transaction will cost executives Dean Singleton and Jody Lodovic ownership control. Controlling equity in the struggling newspaper group will be issued to 116 creditors, a group led by Bank of America Corp. Hearst Corp., which owns the San Francisco Chronicle, will see its $400 million investment in MediaNews wiped out in the proceedings, according to the Wall Street Journal. Hearst declined comment, the Journal said. Singleton said that for advertisers, vendors, employees and subscribers, “it is business as usual,” Singleton and Lodovic will retain control of the board, despite their diluted ownership, under the reorganization plan. On Aug. 2, 2006, MediaNews bought the Mercury News from McClatchy Corp. following McClatchy’s purchase of Knight-Ridder’s newspapers. Pummeled by the economy, the Internet and debt service obligations, the Mercury News under Singleton has shrunk its staff and page counts while consolidating operations and coverage with its other Bay Area publications.

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SAN JOSE INSIDE JANUARY 20-26, 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 20-26, 2010

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[16] COVER STORY

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

Django’s For anyone in Silicon Valley who knows Django as an Internet platform, here’s a look at the Gypsy genius whose guitar twists and turns resonate to this day By Richard von Busack

M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 COVER STORY

“Django the Frenchman was untouchable, like God”

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THE DJANGO REINHARDT FESTIVAL takes place Monday (Jan. 25) at 7 and 9pm at Kuumbwa Jazz Center, 320-2 Cedar St., Santa Cruz. Tickets are $25–$28. (831.427.2227)

Jazz —James Jones, From Here to Eternity

HE FLOURISH of strings fans out into an exquisite patter of notes as sharp as icicles. Then a sad violin takes up the refrain. The music is age-old yet fresh, accessible yet mysterious. The sound is a mélange of musics. It’s made up of the essence of jazz: that blend of Civil War–surplus brass instruments, of Armstrong and Ellington, of African roots and snazzy New York Jewish songwriters. As played by guitarist Django Reinhardt, violinist Stéphane Grappelli and the Quintet of the Hot Club of Paris during the 1920s and 1930s, it was a music that enraptured the world.

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Jan. 23 is the centenary of the birth of Jean Reinhardt, dit Django; the date will be celebrated on Jan. 25 in Santa Cruz with a tribute concert at Kuumbwa Jazz Center. Later, on Feb. 28, the San Jose Jazz Winter Series will present the Hot Club of San Francisco in a salute to Reinhardt and Grappelli.

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san jose jazz winter series presents the Hot Club of San Francisco performing the music of Django Reinhardt and Stéphane Grappelli on Sunday (Feb. 28) at 2pm at the Improv, 62 S. Second St., San Jose. Tickets are $28–$30. (408.280.7475)

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JANUARY 20-26, 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 20-26, 2010 COVER STORY

DJANGO REINHARDT The Hot Club was the main jazz conduit between the New World and the Old World. Historian and bassist Brian O. Torff, who will be playing at the Kuumbwa show, calls the members of Hot Club “the ďŹ rst important European jazz musicians.â€?

His instrument had a specially shaped sound hole—a sideways D like a cartoon frog’s mouth—to make the bass notes thunder; it was about as loud as an acoustic guitar could be Among the local fans of Hot Club–style jazz is Jim Nadel, artistic director of the Stanford Jazz Workshop. “Django was very signiďŹ cant in the development of jazz guitar,â€? Nadel comments. “He was one of the ďŹ rst people to play a stringed instrument percussively. He brought a fresh lyricism to the guitar that hadn’t been heard to that point, and he also brought a cross-cultural inuence to jazz— quite common today, something new then. He blended European music with the Gypsy-style impressionist qualities of Ravel and Debussy.â€? (“Maybe Debussy comes closest to my musical ideal,â€? Reinhardt once remarked.) The Stanford Jazz Workshop is in its 38th year as a nexus of residency and jazz camps for younger children; it will put on its own Django tribute in late July, with guitarist Julian Lage, Victor Lin on violin and Jorge Roeder on bass. The music is worth celebrating. According to Nadel: “The Hot Club was a departure for jazz. Prior to this band coming together, everything had been focused on brass and African American percussion. But the Hot Club were string-instrument players, and they still swung strongly. There was a lot of forward motion mixed with the lyricism. No room for clichĂŠ in Django’s music! And he was a fascinating character. He couldn’t read music: in fact, he couldn’t read at all. There are great legends about him, great lessons for persevering through adversity and limitations.â€? Reinhardt’s sound and iconic image

17

have turned up on soundtracks, been referenced in literature and inspired Woody Allen’s ďŹ lm Sweet and Lowdown. Further aďŹ eld, there is even an open-source web application called Django. A prime for information on Django’s life is the biography by Charles Delaunay, a journalist and the Hot Club’s promoter. The book seems a bit lordly in the way it characterizes the Romany people as wild children, but the ďŹ gure Delaunay paints seems real. Reinhardt was a big man physically, an avid, sometimes ruinous gambler, a amboyant dresser, “a despot at homeâ€? with his women. Grappelli once said that Django was fascinated by the gangsters in American movies. Reinhardt never lived with a real roof over his head until he was age 20. When he was 18, the caravan that Django shared with his pregnant wife caught ďŹ re, badly injuring him and paralyzing two of his ďŹ ngers. Later, like Jerry Garcia, Reinhardt ummoxed the world by playing better then men with complete hands. After his recovery, Django moved from the banjo-guitar he had previously played to a standard guitar. Eventually, Reinhardt played a bespoke guitar, with an extra-wide fretboard. Reinhardt used the ďŹ rst cutaway guitar, with a scalloped body to enable him to play the highest notes up the neck. His instrument had a specially shaped sound hole—a sideways D like a cartoon frog’s mouth—to make the bass notes thunder; it was about as loud as an acoustic guitar could be. “Like a church on Sunday morning,â€? one guitar maker says of the Reinhardt-style Selmer-Maccaferri guitar.

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Torff has been in our area previously, playing with George Shearing and the San Jose Symphony. He will be among the performers celebrating Django’s centennial with a tour that leads from Kennedy Center in New York to the small yet sacred Kuumbwa Jazz Center in Santa Cruz. The ensemble in this tribute show includes guitarist/violinist Dorado Schmitt and his son Samson, along with renowned violinist Pierre Blanchard and ace accordionist Marcel Loeffler. Schmitt is one of the most celebrated players of jazz manouche, Gypsy jazz. He’s a striking ďŹ gure who resembles Django, with his debonair ’stache, pointed chin, high cheekbones and half smile. “Dorado is a great technician on the instrument,â€? says Torff by phone from New York, “but he’s not overly technical. Not every virtuoso makes contact with the audience, but he does. I love working with Dorado. He’s one of the best guys

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[20] COVER STORY

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

DJANGO REINHARDT

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I’ve heard. And he’s got his own ideas, he’s doing his own thing.” Schmitt appeared in key scenes in Tony Gatlif ’s 1993 movie Latcho Drom, playing his guitar at the annual May festival honoring the Romany’s patroness, St. Sarah la Kali, whose statue stands in Saintes-Maries-de-la-Mer, a small French town where the Rhône hits the Mediterranean. Gatlif made an important point in his unnarrated documentary. The source of jazz manouche can be traced a long ways away, both in time and space; it’s a road that leads all the way to India’s Rajasthan. One can hear India in the Hot Club’s notes: the same roots can be felt in the throb and drone of Hungarian violin and in the repetition of Andalusian arpeggios. Over the years, Gypsy jazz went in and out of style. Grappelli weathered the rockdrunk 1960s playing violin at the Paris Hilton. When he made his 1973 London appearance with guitarist Diz Disley, it revived interest in the Hot Club’s music and led to a Carnegie Hall date. (For that matter, Dan Hicks and his Hot Licks brought newbies to the sound through the manouche-ish hit “I Scare Myself.”) Manouche jazz never went silent, though.

Charles Delaunay noted that the Hot Club’s music could be heard “in the jukeboxes of Texas, in the cinemas of Chile and on the radio networks of Cairo or Saigon.” “It’s a very joyous, ebullient sound, and people just love that spirit,” Torff says. “Every large city in the world has its own Hot Club today.” Torff once toured with Grappelli and recalls, “The audience we got were both jazz fans and people who weren’t particularly jazz fans . . . people drawn not just by the music but by the warmth of the acoustic sound.”

Legends Torff ’s recent memoir, In Love With Voices, is a salty yet humble account of playing alongside luminaries like Dizzy Gillespie and Benny Goodman. Torff also describes the problems and rewards of teaching jazz; he currently teaches appreciation for the music at Fairfield University in Connecticut. Born in the Midwest, Torff studied at Berklee College of Music and had a turbulent apprenticeship with Harlem pianist Mary Lou Williams. Torff was

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JANUARY 20-26, 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 20-26, 2010 COVER STORY

DJANGO REINHARDT also apparently the last bassist to play live with Erroll Garner. The bass player writes of his ďŹ rst encounter with the Hot Club music, seeing Grappelli at Carnegie Hall in the early 1970s. Later, he was hired to accompany Grappelli on the road. The partnership lasted an aggregate of four years; the friendship that lasted longer than that. To prepare to play bass for Grappelli, Torff writes that he “made a desperate attempt to learn every tune ever written in musical history before Meet the Beatles.â€?

When he was 18, the caravan that Django shared with his pregnant wife caught fire, badly injuring him and paralyzing two of his fingers. Later, like Jerry Garcia, Reinhardt flummoxed the world by playing better then men with complete hands. He met Grappelli in a budget hotel room, where the rest of the band was hanging out. Clad in a bath towel, Grappelli brought out his violin and played “I Can’t Give You Anything But Love,â€? giving Torff a chance to follow. “I do not like rehearsing,â€? Grappelli added, concluding the audition on the spot. Grappelli’s career lasted decades, and yet his legend isn’t as bright as Django’s—likely because he didn’t die young. Torff notes, “Grappelli behaved himself and showed up on time, so he didn’t make good copy. He was a natural. It was like watching Michael Jordan, you think, ‘He’s got it—don’t know what it is, but it’s there.’ He was an effortless musician on violin and piano, and I never saw him strain once. I love and respect Django, but StĂŠphane was an equal master, and you can ask any jazz violinist, and they’ll tell you the same thing.â€? One incident about the relative fame

20

of Reinhardt and Grappelli turns up in Torff ’s book. “StĂŠph always had a good sense of humor about . . . his love/hate relationship with Django . . . whom he would often have to fetch from a bar or a pool hall just as he was about to perform. Sometimes onstage he would announce to the audience, ‘Ladies and gentlemen, we would like to play a composition by my dear late partner, Django Reinhardt.â€? “Then,â€? Torff continues, “this charming, dear and grandfatherly elder man would lean over to me with a smile on his face and whisper in a voice only I could hear. “That . . .â€? Shall we insert here the French word “conâ€?? I think so.

The SetList Django died early, at age 43, of a stroke. The last “Djangologyâ€? recordings, made 1949–50 and released as The Indispensable Django Reinhardt, collected almost all of the 50 tunes recorded by Django, Grappelli and some Italian session musicians. It shows the musicians conversant with bebop. Django’s late-period experimentation with an electric guitar also suggests that he was looking toward the future. Says Torff, “Django was always seeking something else. Unfortunately, some Djangophiles imagine him encased in ice like a woolly mammoth. He wasn’t like that. Nothing’s pure; we’re all seeking new inuences.â€? The Django tribute at Kuumbwa, Torff notes, is “probably going to include ‘Minor Swing’ and probably ‘Nuages.’ In addition to the typical Hot Club thing, we’ll do some original tunes, likely Dorado’s song ‘Bossa Dorado.’ ‘Souvenirs’—ah, we’ll probably be doing that. “At some point, there’ll be a bass feature—likely the song ‘Manhattan Hoedown’ I did with George Shearing. Every show is different. We don’t call the tunes, and we don’t have a format, just like it was with Grappelli. Whatever is happening in the dressing room, we’ll bring it to the stage.â€? In concluding, Torff urges jazz students to go back to the roots of the music, to spend time with the still-living innovators of jazz: “There’s something unique there. And that’s not to say there aren’t some American musicians who play it well. But jazz comes from the black Baptist gospel church, and you’ve got to go back to that, or you’ll sound like a voyeur, a tourist. “It’s the same thing with the Gypsy jazz. It’s deeply imbedded; it is their blues. Dorado Schmitt is one of those people who did live on a caravan and did start playing a guitar at about 3 years old around campďŹ res. The audience will be able hear those traditions in Dorado and his son Samson. And I’m sure Samson will teach his son, and it’ll go on and on.â€? M

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[25]

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JANUARY 20-26, 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 20-26, 2010 EVENTS

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JANUARY 20-26, 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 20-26, 2010 STYLE

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Scent of a City

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ENLO PARK, Napa, Carmel, Berkeley, San Francisco, Lake Tahoe, Orange County: to most people, these are just places. But to ?6C: 86I: and H6G6= AJ7>C, the mother/daughter team behind Menlo Park–based fragrance company 6 L>C< 6 EG6N:G E:G;JB:H, they are aromas all their own. Inspired by the local culture and ora of individual California cities, Cate and Lubin have developed a line of natural-oil perfumes named after the olfactory offerings of these civic muses. A Wing & a Prayer’s Carmel perfume, for instance, a scent made up of oak moss and juniper berry, is meant to invoke the wind and surf of the small beach town. Napa, a mix of lavender, chamomile and other essential oils, was inspired by Cate’s wedding and honeymoon in the wine country. Berkeley, a light concoction of jasmine, frankincense and patchouli, is a throwback to the city’s hippie roots. Menlo, a blend of ylang-ylang, lemon grass and tangerine, is a citrus scent that simulates their tree-lined city. “It’s our hometown, and we have a lot of lemon trees around town, and there is a lot of citrus,â€? Cate says. “It’s the tree city, so that’s how I came up with the scent for Menlo; it smells like a lemon gum drop,â€? Cate says. Cate, a self-professed “perfume junkie,â€? started mixing essential oils and ingredients seven years ago and fell in love with discovering and blending new natural and organic fragrances. She and her daughter, Sarah Lubin, started their small company out of her Menlo Park home in 2008. Besides their California Scents line, they also hand-make and sell solid perfumes and home diffusers in scents like Dusk, Lemon Ice, Filoli Rose, Pink Pamplemousse and Sunday. Cate handles the creative end of creating and combining scents, while Lubin, a laid-off tech worker, takes care of the business aspects of the small perfume company. “Cooks have a way of creating a recipe. Some people think in color. I think in olfactory fragrances,â€? Cate says. “One of our big sellers is called Sabra Coco, which is a mixture of orange and chocolate. That one was from my childhood. Sabra was something my parents used to serve on special occasions. It was a liqueur, and I thought it just brought back really fond memories.â€? Cate and Lubin stress that they do not test their fragrances on animals, and Cate says her dog even helps her when she’s mixing up new scents. “My little dog Mackenzie, he’s my biggest critic,â€? Cate says with a laugh. “When I’m mixing, and things don’t smell too well, he walks out of the room. But, when I was creating the Sabra Coco and trying to get the ingredients right, he stayed around all day. He thought it was something to eat.â€? A Wing & a Prayer Perfumes, a vegan company, is currently available at Tangerine Gifts and Accessories in Sunnyvale, and at the Sam’s Chowder House gift shop in Half Moon Bay. Their line can also be bought at their online shop at www.etsy.com/shop/ wingandprayerperfume. Jessica Fromm

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M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 MENU

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Evvia in Palo Alto ďŹ lls up early and often with diners who appreciate both its Greek specialties and its warm, friendly staff By Stett Holbrook

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HE FIRST TIME I walked into Evvia was 5:30pm, and the restaurant had just opened. The place was empty, and when the hostess asked if I had a reservation, I conďŹ dently, and a little bit irritably, said no. The restaurant was empty! She told me they were booked and that no tables were available. I didn’t believe her. But then a gracious manager saw that one of my dining companions was very pregnant and said pregnant women are never permitted to wait, and we were promptly shown a table. I would say that I should bring her with me more often, but then this is Silicon Valley, and reservations are almost never needed. But they are necessary at Evvia, a 15-year-old Greek restaurant in Palo Alto. Sure enough, shortly after we were seated, the restaurant started to ďŹ ll up. By 6pm, every table was packed. It was a Tuesday night. This just doesn’t happen in Silicon Valley. I went back for lunch a few days later. I didn’t have a reservation that time either, but I ďŹ gured, it’s lunch—who needs a reservation

for lunch? I did. This place was booked solid, but I managed to squeeze in at the bar, unfortunately sending my wouldbe dining companion back to work without lunch. (Sorry about that, Fritz. Next time.) So what’s the deal with Evvia? Why is this restaurant so busy while elsewhere busboys outnumber customers? I’ll tell you why. Evvia not only serves supremely satisfying upscale Greek food anointed in olive oil, oregano and authenticity, but the restaurant also offers something else: a genuine feeling of conviviality backed by a oor staff that’s knowledgeable, friendly and thoroughly professional. For example, during my almost failed lunch visit, the manager saw my friend and me standing out front talking about what to do, and he came outside to ask how he could accommodate us. That kind of thing just doesn’t happen very often. Same goes for the effort to seat my pregnant friend. Visually, Evvia is easy to love. The scent of the wood-ďŹ red grill and the sight of the slowly spinning rotisserie meats from the open kitchen greet you as

you arrive, creating a feeling of homey warmth. Hanging pots and pans, Greek cooking implements, study wooden beams, old wine barrels and beautifully backlit bottles ďŹ lled with colorful blue, yellow and green liquids add up to an inviting, lived-in look. Evvia was closed for eight weeks after a ďŹ re in the kitchen last year. The owners took the opportunity to freshen the place up but wisely didn’t change the overall look. As for the food, let’s start with the lamb. Evvia is known for its lamb—and rightly so. Spit-roasted or cooked in the wood-ďŹ red oven, the stuff is superb. On my dinner visit, the rotisserie special ($32) was Napa Valley spring lamb—chops and loin blistered a beautiful dark, crackling brown. Served simply with half a lemon and remarkably delicious roasted potatoes, this is as succulent and avorful as lamb gets. Some people complain about lamb’s gamey tang but not here. It was so mild (too mild?), it could pass for veal. Fish is another standout. Halibut was the special of the night ($32) on one of my visits. When our waiter told us it had

been caught that morning, I couldn’t say no. The ďŹ llet spent a few minutes in the loving woodďŹ red oven and emerged perfectly crusted, and snowy white and moist inside. The white bean and arugula ragout served with it made a great accompaniment. The lamb and ďŹ sh dishes garner the most attention, but the unassuming rotisserie chicken ($21.75) is a sleeper hit. Marinated with lemon and oregano and slow-roasted a crusty, bubbling golden brown, it’s juicy and wonderful. I don’t think of pasta when I think of Greek food, but the cheese-ďŹ lled ravioli ($19.50) are the real deal and offer a vegetarian option on a meat-dominated menu. The plump ravioli are ďŹ lled with Manouri and feta cheese and the subtle bite of erbette, a bitter winter green. What really sets the dish apart—visually and avorwise—is the scattering of sliced artichoke hearts, fennel fronds, roasted red bell peppers, green onions, feta and Kalamata olives, the last of which contrast deliciously with the creamy, rich cheese. ('

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Appetizers score as well. On one of my visits, fresh, wild oven-roasted chanterelles tossed with chunks of Haloumi cheese was one of the specials of the night, and special it was. I don’t know how Greek roasted Brussels sprouts with bacon and lemon peel ($8.25) is, but who cares. It’s very good and a perfect example of Evvia’s hearty, upscale-peasant approach to cooking. The artichoke and eggplant skewer ($12) and wonderfully tender grilled octopus with lemon, oregano and olive oil ($11.75) are two other winners.

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As for the food, let’s start with the lamb. Evvia is known for its lamb—and rightly so. Spit-roasted or cooked in the woodďŹ red oven, the stuff is superb. For dessert, there’s a good house-made baklava ($8.25) served with a scoop of vanilla gelato that’s a few notches less sweet than the walnut-honey puffed phyllo dessert is typically made. The real star of the dessert menu is the galaktoboureko ($8.25), vanilla-custardďŹ lled tubes of aky phyllo with a generous scoop of pistachio ice cream on the side. The dessert is a good match for a glass of ouzo, Greece’s anise-avored liquor. Evvia has nearly a dozen brands of ouzo to choose from, and they range from dry to syrupy sweet. I chose a glass of one right in the middle, Ouzo Plomari ($9). Ouzo is traditionally served over ice with a splash of water. It’s good stuff, and the water turns the clear liquid a milky white. Even at 84 proof, it’s surprisingly smooth. Too smooth. There’s also a well-traveled wine list that features a few Greek wines worth checking out, such as the 2005 Tsantali Rapsani ($13 a glass), which features the big and bold Xinomavro grape, a wine midway between pinot noir and cabernet sauvignon. Good food, good drinks and good people who make you feel good about being there—it is no wonder you need a reservation to get in here.

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M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 DINING GUIDE

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Pinot Prizewinners

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HE RESULTS of the 2010 San Francisco Chronicle Wine Competition are in, and perhaps the most fascinating trend for Silicon Valley wine watchers is the showing that Santa Cruz Mountain wineries made in the upscale ($50 and up) pinot noir category. Simply put, they cleaned up, with far more winners than Napa or Anderson Valley and exactly as many decorated wines as California’s hallowed pinot territory, the Russian River Valley. The signiďŹ cance of that equity shouldn’t be underestimated. The Chron competition is the world’s largest showdown of American wines, and this year’s results have got to be a big boost for the region’s rep. Remember, great pinot in California is still a relatively new phenomenon, and anybody’s game. First up among local winners was Soquel Vineyards, taking home a gold medal for their earthy, blackberry-toned 2006 Lester Vineyard pinot. Owners Peter and Paul Bargetto are no doubt particularly psyched for their double-gold win in the cab category (for the 2007 Garvey Family cab), but I think their total of four medals for pinots this year is even more impressive. Los Gatos’ own Loma Prieta Winery took home two silver medals in this category. A small production winery that has been bringing home big awards for its Saveria Vineyard and estate pinots for several years now, Loma Prieta is another example of the varietal’s rising stock in this region—they started out making cabernet exclusively, and once made a merlot, but for the last couple of years seem to be releasing only pinots. Both their Saveria and estate pinots took silver this year. Among the bronze winners was one of the Vine Hill Winery labels, Cumbre, for its 2007 pinot. Winemaker Sal Godinez’s best grapes took home an award for the second year in a row—the 2006 Cumbre pinot was a big winner last year. Steve Palopoli

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[33]

[34] DINING GUIDE

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

mjwf! gffe Fast-Food Dreams

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ID YOU SEE the new Domino’s Pizza commercial in which the company admits that its pizza tastes like garbage and it’s trying to do better? Now the company says it is taking bold steps, like using real cheese, sauce that doesn’t taste like ketchup and a crust that tastes better than the box it comes in. Radical stuff. It’s a novel bit of PR that must have been fueled by same really poor sales. “The old days of trying to spin things simply doesn’t work anymore,â€? Domino’s president Patrick Doyle told the Associated Press in an interview. Translation: We’ve been lying to you for years that our pizza was ďŹ t to eat, but now we’re going to make pizza without the cheapest low-grade ingredients we can ďŹ nd. We hope you suckers will buy it. There’s a wealth of better pizza out there, and there’s no reason to try the “newâ€? Domino’s, but I appreciate the company’s candor. Imagine if other fast-food companies were equally forthcoming. Imagine further if they not only fessed up to inferior-tasting food but also to the environmental damage and animal suffering they cause. Here are a few scenes taken from my wildest dreams. “Let’s face the facts,â€? says a chief McDonald’s officer in a catchy new ad. “The production and transportation of beef are major sources of climate-warming carbon emissions. The grain fed to the cattle destined for our Big Macs and Quarter Pounders could eliminate starvation around the world. We all live on this planet. Happy meals? Who are we kidding?â€? What’s the Colonel have to say? “You’d think that for a company that prides itself on its chicken that we would require our suppliers to treat their birds more humanely,â€? says a contrite Col. Sanders in a somber new ad campaign. “Sadly that’s not the case. The 750 million chickens raised for KFC are crowded into ammonia- and feces-choked warehouses where they must suffer beak cuttings and broken bones because they are bred to gain so much weight so quickly their bones just snap. I won’t even get into how many of these growers go about slaughtering the chickens. Chickens of America, I apologize.â€? And the king of burgers? After being hounded by People for the Ethical Treatment of Animals (PETA) and its “Murder Burgerâ€? campaign, Burger King agreed to a series of animal welfare improvements. The company now requires that 2 percent of its eggs come from hens that are not conďŹ ned to battery cages and now buys 10 percent of its pork from farms that don’t use cruel gestation crates where pregnant pigs are immobilized. The company also rewards suppliers that use more humane methods for slaughtering chickens. “We want to be doing things long before they become a concern for consumers,â€? said Steven Grover, Burger King’s vice president for food safety, quality assurance and regulatory compliance. So far did Burger King go that PETA gave the company its “most improved national food chainâ€? award in 2008. Actually, I didn’t dream up that bit about Burger King. It really happened. And the fact is if more of us started to look at the real costs of cheap food and made our decisions accordingly—as Burger King’s Grover acknowledged, our “concernsâ€? actually do matter—my dream scenarios for fast-food chains and other restaurants might not be so far off. 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 20-26, 2010

[35]

[36] DINING GUIDE

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

EjofsĂ– hvjeft

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[38] DINING GUIDE

JANUARY 20-26, 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 20-26, 2010 DINING GUIDE

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Upcoming Events

• February 13, Meat the Brewers: Local Micros & Meaty Grub for San Francisco Beer Week (More Info at SFBeerWeek.org) • Super Bowl Sunday: Pool With Prizes, HOppy Hour During Game •$1 Half Pint Night: Thursdays, 8 ‘til You Close Us Down

Tied House Brewery & Cafe www.TiedHouse.com 954 Villa Street, Mountain View Open 7 Days from 11:30am

[40] CCALENDAR ALENDAR

JANUARY J A N U A R Y 20-26, 2 0 - 2 6 , 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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Caravan C aravan L Lounge ounge

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

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

408.29.BLANK 408.29 .BLANK

408.995.6220 408.995 .6220

Wed free W ed – 9pm; fr e ee

free Thu – 110pm; 0pm; fr ee

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Morphoses/ M orphoses/ Wheeldon W heeldon Company C ompany

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Fri F ri – 8pm; free free

Stanford Campus St tanford C ampus

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Borders B orders O Oakridge akridge Mall 925 9 25 Blossom Blossom Hill Rd, Rd, San San Jose Jose 408.363.6900 408.36 3.6900

M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 CALENDAR

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We Stand United Bay Area Thrash Stevie Ray Nickel City Revival Vaughan Tribute

19624 Homestead Rd, Cupertino

1711 Branham Ln, San Jose

408.253.0751

408.448.3323

Fri – 6:30pm; $10

Sat – 6pm; $8

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The Venuez

JJ’s Blues

3546 Flora Vista Ave, Santa Clara

3439 Stevens Creek, San Jose

408.512.6197

408.243.6441

Sat – 6pm; $15

Sat – 6pm; $15

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[42]

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

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[43]

METROGUIDE

Gjmn ‘The White Ribbon’ focuses on a small village to make a large point_47

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Acid Flashback Don Lattin’s new book tells the twisted tale of how LSD changed everything By Gary Singh

J BEEN THERE THEN Cbcb!Sbn!Ebtt!! ipmet!dpvsu!jo!b! hbsefo!bu!Ibswbse!! jo!uif!nje.Ö81t/

UST WHEN everyone thought the ol’ Timothy Leary spectacle from the drug-addled ’60s had been finally laid to rest, the late psychedelic philosopher returns to the vanguard yet again, thanks to journalist Don Lattin. Based in the East Bay, Lattin has penned a plethora of work on both mainstream and alternative religious movements for 20 years now. His latest book enlightens us with a fine-looking circus of a title: The Harvard Psychedelic Club: How Timothy Leary, Ram Dass, Huston Smith and Andrew Weil Killed the Fifties and Ushered in a New Age for America. Most people already know the crux of the story: In 1960, Tim Leary and Richard Alpert ran the Harvard Psychedelic Club, a school-sponsored drug-research project. They dosed grad students, professors and religious scholars with a new drug called LSD, which was then legal. They thought it could give people mystical and religious experiences. They even thought it could help cure alcoholism.

Huston Smith, to this day a widely read expert on world religions, took part in the initial experiments, but ultimately went his own way, having no use for the ’60s drug hysteria that Leary helped accelerate. As Leary went on to milk the publicity about LSD in and out of prison, Alpert also eventually bailed from the hoopla, but he went to India and came back as Ram Dass. He is still a world-renowned spiritual guru spending his final days in Hawaii. The fourth and final title character is none other than Andrew Weil, everyone’s favorite beaded holistic-health honcho. But here’s the part never before told: Weil was an undergraduate working for the Harvard school newspaper when Leary and Alpert first unleashed their drug-research project. Weil wrote the original articles denigrating the two and played a significant role in getting their operation booted out of Harvard. To this day, Dass has never forgiven Weil for what he did. Neither has Harvard Divinity School graduate and Santa Cruz

resident Paul Lee, who also took part in some of the same drug experiments. Lee appears throughout the story, including one scene where he tells the author that Weil is someone he’d like to punch out if he ever sees him: “[Weil] was a spy for the administration,” Lee says in the book. “He went around interviewing people, including me, then reported it to the administration. I told him things candidly and in confidence, and he betrayed me. He submitted my interview to the authorities. That was dirty pool. He was just out to get fame by doing in Leary and Alpert.” Instead of austere journalism, Lattin takes a more unfussy and relaxed approach, stipulating upfront that most of the dialogue in the book is his “rendition” of what was actually said in conversations. He claims he re-created the dialogue based on other folks’ memories of what went down. In any event, the book centers on the supposedly synchronistic arrival of four now-legendary figures at Harvard and how their interrelations provided some of the

initial conditions for the large-scale chaos that the ’60s became. The result is a characteristically nonlinear history, and Lattin tells it the way it should be told, highlighting the interconnections between the nodes and exploring avenues just for the sake of exploring. Lattin reveals that the idea for the book started because he himself was newly sober and needed to do some self-renovation. “So, in the end, perhaps this book is about me,” he writes. “It might also be about you. It’s the story of four men whose lives provide a kind of master narrative—a template through which some of us may hear our own stories and, in the process, learn a little something about ourselves.” THE HARVARD PSYCHEDELIC CLUB by Don Lattin; HarperOne; 256 pages; $24.99 hardback DON LATTIN appears Tuesday (Jan. 26) at 7:30pm at Capitola Book Cafe, 1475 41st Ave., Capitola. The event is free. (831.462.4415)

[44] STAGE/ART/LIT

JANUARY 20-26, 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 20-26, 2010 STAGE/ART/LIT

STAGE PREVIEW E]did XdjgiZhn EVja <dgYdc

Novel Idea

Composer Paul Gordon helps TheatreWorks adapt the novel, not the movie, version of ‘Daddy Long Legs’ HIS WEEK, Palo Alto’s TheatreWorks presents the world premiere of Daddy Long Legs, a new musical based on the novel by Jean Webster. Daddy Long Legs had a long journey to realization, and composer Paul Gordon was there from the beginning. “I had worked with TheatreWorks before,â€? he says. “John Caird and I had just ďŹ nished WRITERLY SONGWRITER Qbvm!Hpsepo! Jane Eyre, and we were looking for a new ibt!epof!tfwfsbm!mjufsbsz!nvtjdbmt!gps! musical to start on.â€? UifbusfXpslt/ Caird’s wife suggested Daddy Long Legs, a story in the same vein as Emma and Jane Eyre, two novels that TheatreWorks had adapted for the stage in the past. “In the United States, most people are familiar with Daddy Long Legs through the Fred Astaire movie,â€? says Gordon. Cairns’ wife, who grew up in Japan, where the book is very popular, knew a different Daddy Long Legs. Daddy Long Legs is the story of Jerusha Abbott, an orphan sent to college by a mysterious benefactor, whom she nicknames Daddy Long Legs. The American ďŹ lm, produced in 1955, was made near the end of Fred Astaire’s career. The ďŹ lm was made almost solely as a vehicle for Astaire, who was in his mid-50s at time of its release. His co-star, Leslie Caron, was 30 years younger and spoke with a French accent, clashing with her character’s American roots. “We’re extremely faithful to the book,â€? Gordon says. “We’ve brought it back down so that the age discrepancy isn’t nearly as great.â€? Gordon has previously worked with TheatreWorks on similar projects, scoring the musicals Jane Eyre, based on the BrontĂŤ classic, and Emma, modeled after the Jane Austen work. “The music is different from what I wrote for Emma and Jane Eyre; I tried to make it a little more contemporary,â€? says Gordon. In Jane Eyre and Emma, he adds, “the songs sort of went along with the scenes.â€? Gordon says there are more “stand-aloneâ€? numbers in Daddy Long Legs. “It has a little more of my own personal inuences in it. You can hear Sondheim, but you can also hear the Beatles.â€? The TheatreWorks performances are the second stop in a co-premiere with theaters in Cincinnati and Ventura. Daddy Long Legs is being performed with a six-piece orchestra containing a violin, cello and piano alongside the drums, bass and a guitar. “I was trying to do more contemporary, pop songwriting,â€? says Gordon of his score. “But mostly I was just trying to write good songs.â€?

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Jody Amable DADDY LONG LEGS, a TheatreWorks presentation, previews Jan. 20–22 at 8pm and opens Jan. 23 at 8pm; regular shows are Tuesday–Wednesday at 7:30pm, Thursday–Friday at 8pm, Saturday at 2 and 8pm (8pm only on Feb. 13) and Sunday at 2 and 7pm (7pm only on Feb. 14) at the Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. Tickets are $29–$67. (650.463.1960)

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Bay Area debut of celebrated choreographer Wheeldon’s “dream ballet troupe� (The New York Times) with live music.

West Coast Premiere! Compelling radio theater company returns with new docudrama charting Robert F. Kennedy’s personal and political journey.

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JANUARY 20-26, 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 Com Londe n! S nsatio

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

Great for the whole family & students!

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

Masters of Persian Music: Three Generations :: Feb 14, 8 pm :: Carriage House Theatre Legendary masters in Persian classical music, including Hossein Alizadeh, the tar (plucked lute) maestro and Kayhan Kalhor, the kamancheh (spike-fiddle) virtuoso. “...the large audience in attendance drew the trio back for two encores and might still be there had the house lights not come up and the curtain finally come down.� – THE LOS ANGELES TIMES

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:: $45/35; Members $31/27

Tickets: Montalvo Box OfďŹ ce, 408.961.5858 M-F, 10am-4pm or Ticketmaster.com :: montalvoarts.org

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M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 FILM

METROGUIDE

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History’s Hatchery

Michael Haneke’s ‘The White Ribbon’ is a stunning examination of pre–World War I German village full of secrets

By Richard von Busack

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VEN THE TITLES for The White Ribbon inform us of director Michael Haneke’s rigor: tiny type, white on black, lingers onscreen to try to get us used to the slower tempo of life a century ago. The camera sits still and watches, as if it will get punished if it squirms. Here is stark black-andwhite clarity. Here is the kind of bleak Germanic humor that makes English comedy seem fulsome and obvious. The White Ribbon is the kind of movie where a child tied to his bed is advised to “sleep tight.” Amid the 10-ton pressure of life in a traditional farming town, we witness acts of open rebellion: small acts, as if they were the brake lights flashing on a car going over a cliff. In the insignificant village of Eichwald (“Oakwood”), just before World War I, we hear a series of stories. These stories concern acts of violence that disturbed the orderly progression of the years. The events are narrated by an old man who was, long ago, the town’s vacant-looking schoolteacher (Christian Friedel). He advises us that everything we will see is based on things halfheard and half-remembered. We can take this ineffectual man’s word for it. Clues pass him by, and he can’t provide a solid resolution for the story. He doesn’t seem to understand that Eichwald is poisoned, root and branch. The teacher is one of three

members of a social class located between the town’s baron (Ulrich Tukur) and the farm people, who are treated like two-legged cattle. The rest of Eichwald’s intelligentsia consists of two men. One is a self-confident, beefy pastor (Burghart Klaussner) with two splayed white ribbons of purity at his throat. The pastor’s tranquil savagery to his family makes him as spine-chilling a preacher as ever seen in a movie. The other man is the village doctor (Rainer Bock), a sardonic but correct widower. The doctor’s horsebackriding injury—caused by some anonymous party’s tripwire—begins the film’s legend of punishment and reprisals. Not long after the doctor is injured, a farm laborer’s wife is killed working in the baron’s defective mill. Anonymous retaliation is swift: first, the baron’s crop is attacked, and then the nobleman’s young son is kidnapped, stripped and beaten; later, a barn burner strikes. Between these sensations, we watch the education of the pastor’s young son, Martin (the touching Leonard Proxauf), who is first subjected to ritual corporal punishment then accused of sinful, deadly masturbation. We also see the unwinding of an affair between the doctor and the town’s midwife (Susanne Lothar). In The White Ribbon, where all the real violence takes place behind closed doors and between the scenes, it is the emotional cruelty that affects us most.

The schoolteacher comments that what we see will help us understand “the events that came after.” By “the events,” Haneke may mean Germany’s next 30 years. Eichwald is a serpent’segg hatchery: the village’s obedient children will be participants in the kaiser’s war and Hitler’s crime wave. So it’s the Holocaust again? Maybe, but there’s more going on in Haneke’s scheme. As the cities grow, a longing for the rural life grows with them. Some people blow their paychecks at Whole Foods because it’s the next best thing to being able to pet a lamb. The White Ribbon is a striking reminder of what got our greatgrandparents off the land. Eichwald is a previously unseen combination of squalor and regimentation. Even the garden cabbages are so tightly set in their rows that it sets your teeth on edge to look at them. Here is the kind of Old World that made people risk everything they had for a new one. Yet the film gives us more than relentless grimness. It isn’t meant to bathe us in the stinking mud, like Béla Tarr’s Satantango. There is hopefulness in the courtship of the schoolteacher and Eva the governess (the appealingly nerdette Leonie Benesch). Eva’s father is strict, but he startles us with gruff kindness. We see some evolution in Eva after she gets away to the big city, something that almost makes her look exuberant. During a horse-drawn drive in the country with the yearning

schoolteacher, Eva requests not to be taken for a picnic by the lake. This is as much of a refusal to a man’s pass as a working-class girl gets to make in this film. In Eichwald, as in the old Scottish joke, foreplay consists of the phrase “Brace yourself.” The White Ribbon is perplexing. Haneke (Funny Games, Hidden) taunts us with withheld information. The film is most specifically about the German lands. Looming over Eichwald, and studied from various angles, is a squat brick tower that looks like it ought to have armed guards on top. The casual viewer would call it picturesque. The heavy dusty drapes, the lines of deer skulls on the walls, the trinkets and carved lintels are all part of the kind of Germany that old German restaurants tried to re-create. Yet Haneke’s film applies to any place where the pig stalls are raked and the wheat is harvested—to any place where downtrodden, blinkered rurals have only one escape from their lives: the army. In this, Eichwald could have sister cities in Afghanistan or Nebraska. The movie warns us of what happens when spirits are crushed today, and it mourns for all those who suffered in the past. THE WHITE RIBBON (R; 144 min.), directed and written by Michael Haneke and starring Christian Friedel, opens Jan. 22 at Camera 7 in Campbell and the Aquarius in Palo Alto.

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[48]

FILM JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

FILM REVIEW

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Reviews by Michael S. Gant and Richard von Busack.

New Extraordinary Measures (PG; 105 min.) Brendan Fraser and Keri Russell seek a cure for a rare disease with the help of Harrison Ford. (Opens Jan 22.) Legion (R; 100 min.) Paul Bettany, Lucas Black and Tyrese Gibson star in a futuristic thriller about human survival. It takes place in a diner. (Opens Jan 22.)

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Tunnel Vision Claire Denis’ ‘35 Shots of Rum’ rides the trains that pass in the night through the mysteries of Paris’ suburbs

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LAIRE DENIS’ 35 Shots of Rum investigates a small world of the sidelined, the elsewhere. It takes place in an unlovely Parisian suburb of high-rises. Yet the gifted cinematographer Agnès Godard makes even this world startling. One lady, gazing out of her apartment at night, looks into abstract ďŹ eld of square windows across the street; some iodine-reddish, some radiant with blue TV light. Denis studies black faces reected in black glass; she puts a touch of grace even into the silent changing of the shifts in a locker room. The ďŹ lm concerns a series of off-again on-again relationships in a group of Afro-French people of the ring suburbs. The central one is the love of a daughter and a father, as close and yet as isolated as Prospero and Miranda. Lionel (Alex Descas) is a train conductor on the RER, the Parisian equivalent to BART. When not working his long hours, Lionel is doted on by his grown daughter, Josephine (Mati Diop). She’s a college student who works nights at a Virgin Records store. This couple has the kind of closeness that challenges an audience: What’s really going on with them? Is it devotion or something unnatural? The slippery Denis gives us no solid evidence. There are embraces that might (or might not) go farther, but Denis cuts away. “We do what we want to,â€? says Josephine to her father. This could just mean that they don’t have to face the outside world if they don’t feel like it. Or? The reverse angle on the story doesn’t solve the mystery. Watching Lionel and Josephine closely is Gabrielle (Nicole Dogue), a spiky, lonely female taxi driver who lives in their building. Once upon a time, Gabrielle had some kind of affair with the train conductor; it’s over, and yet she can’t declare it over. And Josephine has a kind of interest in another person in the building—NoĂŠ (GrĂŠgoire Colin), a difďŹ dent young man with one foot out the door. The dead-end relationships are ďŹ nally catalyzed during an impromptu late-night party at a cafe. It’s a party that happens by accident, while the father and the daughter, and their two sort-of lovers, are heading out for a concert. Here, 35 Shots of Rum slips language and continues its storytelling through a series of dances—Gabrielle getting a chance at last to hold Lionel for a minute on the dance oor before he turns his attentions elsewhere. As a study of a solitary working man, there are passages in 35 Shots of Rum that are worthy of Charles Burnett’s Killer of Sheep. But the mĂŠnages are far more tense and braided than in Burnett’s masterpiece; and the ute and electronic keyboard score by the band Tindersticks gilds this restrained exercise in sorrow and tendresse. Mysteriously, trains frame the shots; again we join Lionel on his wordless, subterranean voyages; 35 Shots of Rum does for trains what L’atalante did for barges. Richard von Busack 35 SHOTS OF RUM (Unrated; 99 min.), directed by Claire Denis, written by Denis and Jean-Pol Fargeau, photographed by Agnès Godard and starring Alex Descas and Mati Diop, opens Jan. 22 at Camera 3 in San Jose. (For movie schedules and all of Richard von Busack’s reviews, go to Movietimes.com)

35 Shots of Rum (Unrated; 99 min.) See review at left. Tooth Fairy (PG; 101 min.) It might rekindle your child’s faith in the tooth fairy, but it won’t do their faith in the movies any good. Dwayne Johnson, a.k.a. the Rock, stars as a mean hockey player on the skids in Lansing, Mich. His remark about the nonexistence of the tooth fairy makes the fairies enslave him for two weeks. Once-hot scriptwriters Babaloo Mendel and Lowell Ganz have had their script amended, but it’s a real

end-of-the-line project with Ashley Judd (as Johnson’s girlfriend) looking the most likely to be carried down by the wreck. Johnson tries to uff the movie but there’s no help there, either; Chase Ellison as the teenage son is, oddly, the noteworthy performance; some might think that director Michael Lembeck (Santa Clause II and the son of Harvey “Erik von Zipperâ€? Lembeck) let Ellison play the kid as too troubled, but at least there’s a sense in him of troubles too big to be healed by the usual “dream bigâ€? speeches. Billy Crystal is mucho bad as fairyland’s gadget expert. Julie Andrews, as the head fairy, goes beyond self-parody into a look of near pain; she recalls her old foe Pauline Kael’s comment: “They may have forgotten how to make good movies in Hollywood, but at least they’re good at preserving people.â€? (Opens Jan 22.) (RvB) The White Ribbon (R; 144 min.) See review on page 47. (Opens Jan 22 at Camera 7 in Campbell; note Aquarius in Palo Alto booking cancelled after section deadline.)

Revivals Carrie/We Were Strangers (1952/1949) William Wyler’s stately adaptation of Theodore Dreiser’s novel Sister Carrie slowly and convincingly re-creates the gaslight era in Chicago and New York. Jennifer Jones, lovely as always, plays the too-naive small-town girl

Carrie, who tries to make it in Chicago, only to lose her job at a sweatshop after an accident with a sewing needle. Shunned by her relatives, she takes up with a traveling salesman, Charles (Eddie Albert), who, although a bit lecherous, actually seems to love Carrie, even if he can’t quite pull the trigger and propose. Meanwhile, a married middle-aged restaurateur named George Hurstwood (Laurence Olivier) falls desperately in love with Carrie. Giving up everything, George takes money from his partner and runs away to New York with Carrie, where he slides into destitution while she (rather abruptly) becomes a major stage star. Despite some scenes of homeless men condemned to penury and illness by an uncaring society, the ďŹ lm is really a doomed romance, with a proud man slowly falling while his beloved rises. Jones is certainly appealing enough for any man to throw his life away on, but this is really Olivier’s ďŹ lm, and he gives a performance of great and touching restraint. Much of his pain at his reduced circumstances is hidden by a stoic mien, but his decline is cruelly measured in the disasters that befall the one suit that remains from his pristine wardrobe. BILLED WITH We Were Strangers. In a bit of strange casting that must have fed off her role in Duel in the Sun, Jones plays China ValdĂŠs, a Cuban woman inspired to pre-Castro (circa 1933) rebellion when her brother is killed by the Machado government. A romance blossoms between China and an outside agitator named Tony (John GarďŹ eld). The forces of repression are well represented by the great Mexican actor Pedro ArmendĂĄriz. The real meat of the ďŹ lm comes in a long climactic sequence in which the rebels dig a tunnel in order to plant a bomb. Director John Huston’s sympathies clearly lie with the revolutionaries in a way that seems surprisingly frank for 1949 Hollywood. Distinguished by some terriďŹ c location shooting in Havana. (Plays Jan 21-23 in Palo Alto at the Stanford Theatre.) (MSG/RvB) Cluny Brown/Beat the Devil (1946/1954) British plumbing is no joke, but Ernst Lubitsch’s swan song is a comedy on just this topic. It’s a metaphor for changing times—a joke on those to whom class mobility was as distressing as a backed-up sink. The heroine (Jennifer Jones) is a warm-hearted orphan with the ability to ďŹ x unenthusiastic English drains. Through triing circumstances, Cluny is forced into an engagement with a damp and disapproving pharmacist: Richard Haydn, as the one drip Cluny can’t ďŹ x. Fortunately, she is rescued by an emigrant professor (Charles Boyer) who is working on a text on “Morality vs. Expediencyâ€?—Lubitsch’s life-long theme. Stiff in points, and Jones has a clumsy drunk scene, but frequently sublime. BILLED WITH Beat the Devil. It suggests a remake of director John Huston’s own The Maltese Falcon written by Joe Orton, and it characterizes the white man’s burden as a bag of loot. The lounging adventurer Billy Dannreuther (Bogart), stuck in a podunk Italian beach town, has a tip on some uranium ďŹ elds in Africa; he’s waiting with several fellow adventurers for transport there. His partners include Robert Morley, subbing for Sydney Greenstreet, and Peter Lorre. Dannreuther’s wife, Maria (Gina Lollobrigida), takes a liking to an upper-class Englishman named Harry Chelm (Edward Underdown). Fortunately for Dannreuther, Chelm has a neglected wife: Jennifer Jones, looking better in cat’s-eye sunglasses than anyone has ever looked since. The adventure of a few shady men trying to rip off Kenya holds up a cracked mirror to imperial pretensions. There’s a joke here about the care and feeding of the British manor lawn that’ll never let you see Masterpiece Theatre the same way again. (Plays Jan 20 in Palo Alto at the Stanford Theatre.) (RvB) Niles Film Museum Free evening (though advance reservations are recommended) celebrating the ďŹ fth anniversary of silent ďŹ lms at the Edison Theater: a program of rare shorts including ďŹ lm of Fruitvale 1915, The Big Swim with Mutt and Jeff, and Essanay’s Versus Sledge Hammers, co-starring Ben Turpin: one of the then popular, now rare “Snakevilleâ€? comedies ďŹ lmed in Niles. (Plays Jan 23 at 7:30 in Fremont at the Edison Theater, 37417 Niles Blvd.) (RvB)

M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 FILM Noir City See preview on page 50. Since You Went Away (1944) Intending “a war story without battles,” David O. Selznick pounced on a magazine serial. Selznick adapted it under a pseudonym and cast Jones, Claudette Colbert and an out-ofretirement Shirley Temple as the women in a tale of the World War II home front. Jones was acting against her soon-to-be-ex-husband Robert Walker, which adds extra pathos to her scenes. Shot in what James Agee called “Hollywood’s pearliest mezzotones” by Stanley Cortez, it’s practically a by-product of Orson Welles’ Mercury Theater, what with Cortez, Joseph Cotten and Agnes Moorehead, plus Magnificent Ambersons set designer Mark-Lee Kirk (whose hand is most visible in the famous airplane hangar dance sequence). (Plays Jan 24-26 in Palo Alto at the Stanford Theatre.) (RvB)

Reviews Avatar (PG-13; 162 min.) A victory for people who insist that science fiction has to be dumb. In the future, Earthling mercenaries are shipped to the planet Pandora, where 9-foot-tall, blueskinned 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 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 Book of Eli (R; 118 min.) Denzel Washington stars as the usual wanderer on the usual postapocalyptic wastes. The Hughes brothers’ Bible-flogging apocalypso could be read as a Western, but it’s a monomaniacal one. Washington underplays the part of a soft-spoken drifter who deals with a vicious yet zany town boss (Gary Oldman). The film is blessed with actors (Tom Waits, Michael Gambon and a probably synthesized but touching Mr. Bigglesworth cat), but the movie has this pious streak that can’t be overcome. Scriptwriter Gary Whitta, as in the IMDb sentence,“Gary Whitta was editor of PC Gamer for several years,” seems to have retrofitted this film from a video game. In the end, it’s hard to overlook the arbitrariness of what survives (sunglasses, high-powered ammo, Hummers, lingerie, cicadas, the Transamerica Pyramid) over what doesn’t (common sense, humans’ unique ability to invent and band together). (RvB) 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 workinggirl 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) Crazy Heart (R; 111 min.) Jeff Bridges is the draw in Scott Cooper’s typical softball Sundancian exercise. It’s a belly-baring role for this terrific actor, playing Bad Blake, a morose satyr of an outlaw musician. He travels via an ancient 1978 Chevy Suburban and slaps together sets with pickup bands. 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 newspaper reporter named Jean (Maggie Gyllenhaal), who lets Bad pick her up. Despite the credited input by T-Bone Burnett, none of the tunes are really memorable, but you sink into them anyway, and the encircling

camera gives the scenes some rhythm. What integrity Crazy Heart doesn’t borrow from Bridges it picks up from the glorious wide-openspaces cinematography by Barry Markowitz (Sling Blade). (RvB) Daybreakers (R; 98 min.) This very interesting, filmedin-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

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FILM JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

FILM REVIEW

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In the Shadows Noir City festival revives rare crime dramas

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HE term “noirâ€? gets a heavy workout. We just received some PR about a nonďŹ ction investigation of dotcom-era shenanigans described as “an absorbing noir detective story.â€? That’s a reasonable bit of hyperbole, but “noirâ€? needs to be linked to â€œďŹ lmâ€? for real impact. The shadowy, morally murky world of Hollywood black-and-white movies of the late ’40s and early ’50s is the peak artistic expression of a streak of crime storytelling that began with the pulp magazines and detective novels of Dashiell Hammett and Raymond Chandler. Every year in January, when the dashing torrents of rain replicate the mise-en-scène of many noirs, the Noir City ďŹ lm festival presents many prime examples of the genre. Although festival director Eddie Muller can be heard doing the voice-over commentary on many noir DVDs, the event specializes in offering ďŹ lms that haven’t made it to home video in any form except bootlegging. The festival stretches over two weekends (Jan. 22–31). Opening night pairs E>I;6AA (1948), with Dick Powell as an ordinary guy who gets mixed up with husky-voiced Lizabeth Scott and hulking Raymond Burr, with A6G8:CN (1948), in which snarky Dan Duryea and partner John Payne try to separate a widow from her bankroll. Both ďŹ lms beneďŹ t from new prints. Saturday afternoon (Jan. 23) features Robert Siodmak’s little-known ;AN"7N"C><=I (1942), a proto-noir with comic elements; it will be screened with 9:EDGI:9 (1950), also by Siodmak. Unusual for noir, Deported takes place in Italy, with Jeff Chandler as a mobster based on Lucky Luciano. The evening matchup is a restored print of 8GN 96C<:G (1951), with Powell and Rhonda Fleming, plus I=: BD7 (1951), with Broderick Crawford going undercover to bring down a labor racket. Sunday’s shows may be a bit more familiar. Joseph Cotten, in one of his best parts, can’t contain his jealousy at wife Marilyn Monroe’s irtatious ways in C>6<6G6, a rare example of a Technicolor noir; Monroe does a dance in a red sheath dress that explains all you need to know about her iconic fame. She has a much smaller but just as memorable part in I=: 6HE=6AI ?JC<A: (1950), directed by John Huston. A tortured Sterling Hayden plays an enforcer watching Sam Jaffee’s back during a jewel heist; Monroe plays the dim but gorgeous girlfriend of the crooked lawyer (Louis Calhern) handling the fence. In a famous moment, Jaffee’s character is fatally mesmerized by the sight of a teenager girl dancing to a jukebox in a lonely diner—a great noirish moment. (For more details, check on Metroactive.com.) Michael S. Gant NOIR CITY runs Jan. 22–31 at the Castro Theatre in San Francisco. See www.noircity.com for complete schedule.

).

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. (RvB) An Education (PG-13; 95 min.) Lone ScherďŹ g’s British comingof-age ďŹ lm ends with a marathon session of tea brewing, but it has its good points. The look is cool—1960ish England may be more interesting than the full-blown and overexposed later ’60s. Twickenham-raised Jenny (Carey Mulligan) is studying for Oxford when she gets picked up by David (Peter Sarsgaard), a slightly older rotter; his slightly cruel eyes and at smile forecast trouble to come. Until then, Jenny gets to see London highlife and nightclubs, and voyages to Paris. Smelling class, and wanting to make their hard-working daughter happy, Jenny’s parents (Cara Seymour, Alfred Molina) relax the leash. And that’s when the young girl learns how David makes his money without working days. No one in the movie apparently saw one of those melodramas about the wealthy seducer who steals a poor but honest girl; letting that matter aside, Mulligan is charming, the meet-cute is deft and Olivia Williams bears all the movie’s spine

as a deliberately drabbed-down English teacher. Nick Hornby’s screenplay, from Lynn Barber’s memoir, might have meant he had input on the ďŹ lm’s excellent pre–Swinging London soundtrack. Singer Beth Rowley steals the show as the breathy canary at one nightspot. (RvB) The Imaginarium of Doctor Parnassus (PG-13; 122 min.) For Terry Gilliam, Don Quixote is still the ur-text. Despite the various stops and starts he has had adapting the Cervantes classic, Gilliam repeatedly makes ďŹ lms about fantasy as an escape from a cruel world. The Imaginarium of Doctor Parnassus, a very personal and not-socoherent fantasy, has Christopher Plummer in the Man of la Mancha role this time, with Verne Troyer 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 into a world beyond the doctor’s mirror. On board is his daughter, who doesn’t know that she has been promised to the devil on her 16th birthday; Mr. Nick (Tom Waits) is snifďŹ ng around already. During their travels, the group rescues a hanged man named Tony (an irresolute Heath Ledger). 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 ďŹ lming 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 coming out of a pub; a scurvy, violent little brat with a Game Boy. (RvB) The Lovely Bones (PG-13; 135 min.) In Pennsylvania in the early 1970s,14-year-old Susie Salmon (Saoirse Ronan) is lured into an underground lair and raped and murdered by a neighbor. From the antechamber to heaven, Susie watches what else happens to her family in the years that come. What keeps Susie from moving on, it seems, is her murderer. He has killed before and may kill again: an element of vigilantism keeps Peter Jackson’s animation-gilded fantasy from looking too much like the cover of a Jehovah’s Witness pamphlet about heaven. Alice Sebold’s book was a success because it played into a favorite adolescent daydream: “If I were dead, they’d be sorry.â€? First-rate production design makes this surpass The Ice Storm as the ultimate dense ’70s visual time capsule. The most satisfying moments come in the too-orderly lair of the maniac (a dreadfully miscast Stanley Tucci). Not much help from Mark Wahlberg and Rachel Weisz as the parents; barn-door broad yet somehow welcome moments of comedy relief are provided by Susan Sarandon. Ronan is an effectively macabre staring angel, but she’s not quite the book’s mousy, nerdish girl turned into a master of a universe. (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 ďŹ lm director, Guido (Daniel Day-Lewis), has announced an ambitious new ďŹ lm project. But Guido has no idea what the ďŹ lm 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, PenĂŠlope 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 ďŹ lm—something else that can be said against this movie. What we see in Nine is not an artist in peril of his soul; what

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M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 FILM we’re really seeing in these musical fantasies is essentially the problems of a creatively blocked choreographer. (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 fights 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 reflects Aldous Huxley’s thought that if you could open the doors of perception, you would see the world as it is: infinite. 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 flat, 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,” 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 figure; 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

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Moore), also a former flame, 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 film 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 fine clothes don’t make the men. (RvB) The Spy Next Door (PG; 92 min.) A comedy adventure with Jackie Chan as a former agent who must protect his girlfriend’s kids. Youth in Revolt (R; 90 min.) Michael Cera plays Nick Twisp in Miguel Arteta’s alterna-date movie. 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. Jerry, Nick and the mom in question (Jean Smart) 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. Nick is determined to get next to her at all costs—even if it means creating the identity of “François Dillinger,” a kind of Big Lots version of the breezy heel Belmondo played in Breathless. Small-scale mayhem follows in Francois’ wake. Based on a self-published novel by C.D. Payne, Youth in Revolt invokes numerous local sites, from Ukiah to Santa Cruz (though for budget reasons, the movie was shot in Louisiana and Michigan). The writing is so crisp that one ignores the incidents of dead air and the jokes that fail to build. 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. (RvB)

Peninsula Orchid Society Presents

ORCHIDS! 2010 Show & Sale Sat. & Sun., Jan. 23-24 10 am–5 pm Community Activities Building 1400 Roosevelt Ave., Redwood City, CA Featuring a Show Exhibit of Incredible Orchids, Orchid Vendors, Informative Seminars, and Member Sales. Admission $5 Adults, $3 Seniors, Disabled & Children 12-16 Photo by Ron Parsons Design by ORCHIDesign.com

Information: http://penorchidsoc.org

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JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

We’re We’re Hi ring! Hiring! Metro’s adv Metro’s advertising ertissing department department outgoing, is looking ffor or ou utgoing, creative, creative, personable per sonable people peo ople to to create create gr great eat campaigns c ampaigns ffor or llocal ocal busine businesses. sses. You’ll Y ou’ll o be rresponsible espon nsible ffor or selling selling and managing a tterritory errritory or lis list, t, as well well as de developing veloping marketing m eting pr mark programs ograms ffor or customers. customers. are next If yyou ou ar e ready ready tto o take take the ne xt sstep tep career company with yyour our c areer with a c ompany that’s frontlines off the media tha t’s on the fr o tlines o on please rrevolution, evolution, ple asse email your your resume resume to hiring@metronews.com hiring@mettronews.com or fax fax tto o 408.298.5296 Sales Manager. 408.298.5296 6 attn. attn. S ales Manag er.

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M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 MUSIC

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Classical Moves_57 Rev. Peyton’s Big Damn Band_58 Kronos Quartet_60 Ed Johnson_61

Maid to Last Quirky supergroup Maids of Honor celebrate their first CD at the Blank Club By Gary Singh

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HAT HAPPENS when a bunch of guys who have been all over TV and radio just want to hang out and drink and jam in their spare time? And then what happens when those same guys, who have known each other for 25 years, finally decide to put out an album together? That’s the story of Maids of Honor. After years of private parties in a Santa Cruz studio, the group eventually whittled itself down to four dudes: former Smash Mouth guitarist Greg Camp, Survivor celebrity Lex van den Berghe, ex-Skycycle bassist Kelly Castro and John Barrett—all of whom have been around the block more than a few times. The Maids write songs combining pop sensibilities and underground skate rock, commercial song structures and offbeat grooves. Booze anthems sit alongside syrupy love songs. In other words, it’s rock music. For example, tunes on their new self-titled CD such as “Wonderin’ Why” and “The Clown” are catchy sing-along gems, while another track, “Black & Blue,” is a driving, spinning, racing vehicle about the Santa Cruz Derby Girls. Above all else, however, the Maids

are best described as an egalitarian group. Each musician plays an equal role, rather than one dude carrying the whole band and being the main focus. As old friends, they began by getting hammered in the studio and playing covers but eventually migrated to originals. Camp and Castro wrote most of the songs that made it onto the CD, but everyone sings. “We all just kinda started bringing music to the table,” Camp recalls. “Whoever brought something would sing it. That’s the coolest thing about our band, is that there’s no one lead singer.” “It’s one for all and all for one,” says van den Berghe. “You’d be hard pressed to have a single spotlight on the stage. There’d have to be four.” When playing with his previous band, Camp felt he often had to write songs that were intended to be relevant for radio play. He says that isn’t the case this time around. “When I was doing that, I didn’t feel like I was being very truthful to myself,” he confesses. “And in the Maids of Honor, I think that’s where the difference is. I think that everything that comes out of us— whether we’re recording or playing

live or just practicing—it’s really coming from what we feel. It’s coming from our hearts. If that sounds sappy, then that’s what it is. That’s why I really love playing in this band so much, other than some of other things that I’ve done, because it feels absolutely a hundred percent real.” Again, van den Berghe concurs: “If I could sum the band up in just one line, that would be it. This band is a hundred percent real, as real as it gets. ... The act of just the four of us playing together was enough. We didn’t need anything else. We weren’t trying to figure out ‘the formula’ or what people wanted to hear, or what’s the recipe for success. We honestly never gave it a second thought.” Which is ironic, because most of the songs on the Maids of Honor CD are just as catchy and poppy as anything currently on the radio. In fact, a few will probably remain in your head for weeks. You cannot listen to their track “The Clown” without the tune lingering for quite awhile afterward. But clearly the band didn’t have some corporate vulture constantly breathing down its neck, demanding something suitable for radio. The creativity was organic, proving that if four old friends are allowed to simply

have fun with a project, then maybe something genuine can actually happen. As a result, without any effort whatsoever, the band is already being placed into television shows and commercials. For example, the NBC TV series Mercy used the Maids of Honor track “Wonderin’ Why” during one scene last October. Another show, Dirty Sexy Money, also used one of the band’s tracks. “We didn’t even know until the check showed up,” van den Berghe said. The Maids play a CD-release party at the Blank Club on Saturday. Opening will be two ensembles equally as rocking: the reunited Lawn Vultures featuring M.I.R.V. on guitar, plus Jonny Manak and the Depressives. “When we put this bill together, we wanted to put a show together where no one felt like they had to sit through one or two opening bands to get to the headliner,” van den Berghe says. “We wanted it to be on fire from the first band to the last note played.” THE MAIDS OF HONOR perform Saturday (Jan. 23) at 9pm at the Blank Club, 44 S. Almaden Ave., San Jose. Tickets are $10. (408.29.BLANK)

[54] GALLERY

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

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[56] MUSIC

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[57]

[58] MUSIC

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

Nvtjd mjtujoht

CONCERT PREVIEW

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Rev. Peyton’s Big Damn Band

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Richard von Busack REV. PEYTON’S BIG DAMN BAND performs Friday, Jan. 22, at 9pm at the Blank Club, 44 S. Almaden Ave., San Jose. Tickets are $10. (408.29.BLANK)

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

JANUARY 20-26, 2010

[59]

[60] MUSIC

JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

Nvtjd mjtujoht

CONCERT REVIEW

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NEW RELIGION!!Tbuvsebz!ojhiuĂ–t!qfsgpsnbodf!pg!uif!!

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M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 MUSIC

I]Z KZcjZo

CONCERT PREVIEW

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[61]

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[64]

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> ]VY V Y^hijgW^c\ XdckZghVi^dc l^i] i]^h daYZg bVgg^ZY ldbVc Vi V eVgin# H]Z Vh`ZY bn Wdn[g^ZcY ]dl adc\ lZÉkZ WZZc id\Zi]Zg ild nZVgh # 7Z[dgZ ]Z lZci id \Zi jh Yg^c`h! ]Z bVYZ V XgVX` VWdji ]dl Y^[[ZgZci djg VeVgibZcih VgZ# I]Z bdbZci ]Z lVh dji d[ ZVgh]di! h]Z ijgcZY VcY aZXijgZY bZ i]Vi ^[ ndj YdcÉi a^kZ id\Zi]Zg! ndj YdcÉi ZmeZg^ZcXZ ÈgZVaan ]Vi^c\ ZVX] di]Zg!É VcY i]Vi \Zii^c\ i]gdj\] i]Vi ^h Èi]Z ig^jbe] d[ igjZ adkZ#É > hV^Y > Y^YcÉi hZZ ^i i]Vi lVn! VcY i]Vi lZ b^\]i cZkZg a^kZ id\Zi]Zg# H]Z i]Zc hcVeeZY i]Vi eZg]Veh >Éaa hdbZYVn È\gdl je VcY ]VkZ V gZVa gZaVi^dch]^e É LZaa! bn Wdn[g^ZcY VcY > adkZ ZVX] di]Zg! Wji YdcÉi hZZ bdk^c\ ^c id\Zi]Zg Vh Vc VjidbVi^X cZmi hiZe# 7n a^k^c\ hZeVgViZan! VgZ lZ gZVaan b^hh^c\ dji dc hdbZ ]^\]Zg aZkZa d[ gZaVi^dch]^e4ÅCV^kZ4 The course of true love doesn’t always run smooth, but must it really run around the house waving a frying pan and screaming obscenities? People romanticize living in close proximity to other human beings. The truth is, humans are smelly, annoying and leak a lot. They’re often lazy and pick fights over the littlest things. Anybody who’s ever been around another human knows this, but for many, being in a grownup relationship involves understanding human nature but living in total denial of it: expecting your partner to still look longingly at you when you pick dead skin off your toes and collect it in a little dish. Mrs. Socrates here wears her misery like a Girl Scout badge—whichever one they’d give you for spending decades sitting silently across from your supposedly beloved at Denny’s. The reality? Maybe she’s a little long in the tooth and light in the Botox to compete with the hot young things in bars. Maybe she only feels like somebody as Mrs. Somebody. And chances are, it never occurred to her that there’s an alternative to living like two hens in a pen. But there’s no going back now, only snarling at happy young women at parties that they, too, might someday experience “the triumph of true love.” Which, for her, plays out as “Never go to bed angry. Stay up and try to commit murder-suicide.”

Sure, many couples prefer living together, or, in this economy, prefer it to living separately in their cars. And if you have kids, it’s best if you can say, “Wait till your father gets home” instead of “I’ll give your father a call and see what he’s doing tonight.” If you do end up living together, it helps if you each have a room of your own, where house rules don’t apply—providing you don’t break any marriage vows or fire laws. Of course, it helps even more if you’re both exceedingly easygoing, lobotomized or comatose. The reality is, you greet a guy way differently when you’ve had a chance to miss him than when he’s always there missing the toilet. Living apart also means you’re more likely to act like you’re still in the pursuit phase: trying to be witty and interesting and dressing suggestively when he comes over, and not in a way that suggests you’re halfway through cleaning out the garage. As for Mrs. S’s notion that you can hate your way to true love, researcher John Gottman found that expressions of contempt are actually the most poisonous to a relationship. In other words, the path to true love might be a bit of a drive: whatever it takes so your boyfriend isn’t always in your face, doing whatever it is you’d gnaw off your right hand to have him stop doing—like breathing, chewing and having large pores.

I]Vc`h id ndjg Xdajbc! >Éb V gZXdkZg^c\ l^be! cdl Vh`^c\ ldbZc dji# Hd! Vcn ed^ciZgh [dg Òghi YViZh4 9^ccZg dg Yg^c`h4 I]^c\h id Vkd^Y Yd^c\ dg hVn^c\4Å<^ga[g^ZcY"HZZ`^c\ For best results, sell yourself like soap. When Procter & Gamble wants you to try a new laundry detergent, they mail you a little packet of the stuff; they don’t throw a twogallon jug over your fence and kill your dog. Likewise, the point of the first date is seeing if it makes sense to go on a second date, not letting a girl know how ashamed you were when you wet the bed at sleep-away camp. Too much emotional intimacy right away

can feel creepy in retrospect. Or you run the risk of getting attached first, then finding out how wrong a girl is for you later. To avoid going into overtime, overspend and overshare, make the first date cheap, local and short. Meet for a drink, for maybe an hour and a half. Have something you have to rush off to afterward. Even if it’s just a conference call at your place. With your hamster listening in on the extension.

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

JANUARY 20-26, 2010

CLASSIFIEDS

metro CLASSIFIEDS CLASSIFIED INDEX 63 65 65 65

Single Services Employment Family Services Music

PLACING AN AD 67 67 65 66

Legal & Public Notices Automotive Home Improvement Real Estate

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Employment

[65]

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[66]

ASTROLOGY JANUARY 20-26, 2010 M E T R O S I L I C O N VA L L E Y

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This business is conducted by a individual. Registrant began transacting Miller’s Roofing business under the fictitious Specializing in all types of business name or names listroofs. New, re-roofing & reed herein on 1/8/2010. pairs. Licensed, bonded & in- Refile of previous file sured #885018. Call for your #530080 due to publication free estimate; 408/356-6211; requirement not met on precell 408/455-2075 vious filing. /s/Hadi Farahani This statement was filed with the County Clerk of Santa Clara County on 1/08/2010. (pub Metro 1/13, 1/20, 1/27, 2/03/2010) Roofing

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6g^Zh (March 21–April 19): Philosopher David Pearce is committed to the abolition of suffering. While he acknowledges that we’ve got a long way to go before accomplishing that goal, he believes it’s possible, mostly with the help of technology (more at http://bit.ly/8oTsCV). More than two millennia ago, Buddha also articulated a vision for the cessation of suffering. His methods revolve around psychological and spiritual work. In light of your current astrological omens, Aries, I think it’s an excellent time to contribute to this noble enterprise. Your level of suffering is rather low these days, which could give you a natural boost if you set in motion some long-term strategies for reducing the pain that you experience and the pain that you cause. IVjgjh (April 20–May 20): I don’t mean to

sound melodramatic, and I certainly don’t want to encourage you to do something foolish, but if you’ve been pondering the possibility of storming the castle, this would be a good time to do so. What exactly am I implying with the phrase “storming the castleâ€?? Well, anything that involves a brave effort to ďŹ ght your way into the command center of the empire . . . or a heroic attempt to take back the sanctuary you were exiled from . . . or a playful adventure in which you work your way into the heart of the king or queen.

<Zb^c^ (May 21–June 20): “Let us not

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underestimate the privileges of the mediocre,� wrote Friedrich Nietzsche. “Life becomes harder and harder as it approaches the heights—the coldness increases, the responsibility increases.� I bring these thoughts to your attention, Gemini, because in the next two months you’ll be in a prime position to renounce some of the “privileges� of your laziness. Please hear me out. I’m not saying that your lackadaisical attitudes are any worse than mine or anyone else’s. But there come times in everyone’s cycle when he or she has a chance to outgrow those lackadaisical attitudes so as to reach a higher level that’s both more demanding and more rewarding. This will be one of those times for you.

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conducted by the Pew Forum on Religion & Public Life, there are as many people who give credence to astrology as call themselves Catholic. Believers in reincarnation are another sizable minority; their numbers equal those who put their faith in the Pope and in the planetary omens. Based on this evidence, we can safely conclude that at least some supposedly woo-woo notions are no longer just for woo-wooers. You can’t be considered a New Age weirdo or pagan inďŹ del if you’re receptive to the possibility that the world is exceedingly mysterious and a long way from being all ďŹ gured out. That’s good news for you Cancerians. According to my analysis, your belief system is ready to crack open and allow a surge— maybe even a ood—of new data to rush in.

AZd ( July 23–Aug. 22): How are your wooing skills?

Have you enhanced your seductiveness in any way during the last few months? Have you been working on boosting your ability to attract the bounty you need? I’m not just speaking about your power to corral love and sex and tenderness and thrills. I’m referring to the bigger project of enticing all the resources that would be helpful as you pursue your quest to become the best and brightest version of yourself. The coming weeks will be an excellent time to ramp up your efforts.

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K^g\d (Aug. 23–Sept. 22): “We should feel excited about the problems we confront and our ability to deal with them,â€? said philosopher Robert Anton Wilson. “Solving problems is one of the highest and most sensual of all our brain functions.â€? I wholeheartedly agree with him, which is why I expect that in the coming weeks you will be getting even smarter than you already are. The riddles you’ll be presented with will be especially sexy; the shifts in perspective you’ll be invited to initiate will give your imagination the equivalent of a deep-tissue massage. A^WgV (Sept. 23–Oct. 22): “Dear Rob: I’ve been listening to your audio messages on my laptop in my bedroom. And I’ve noticed a curious thing: My cat goes NUTS trying to get to you. She never shows any interest in the other videos and music I play. But when your voice comes on, she does everything she can to try to get into my computer, to ďŹ nd the source of your voice. What’s going on? Libralicious.â€? Dear Libralicious: Maybe it’s because in all versions of my recent Libra horoscopes, I’ve been putting subliminal messages designed to draw out and

energize your tribe’s inner feline. It’s that time in your cycle when you have a mandate to be graceful and inscrutable and sleek.

HXdge^d (Oct. 23–Nov. 21): This would be an excellent time for you to do a lot less of everything. You’re entering a phase when you can actually help your long-term goals by being less ambitious. The point is not to give up your drive to succeed, but rather just put it to sleep for a while. Let it recharge. Allow it to draw energy from the deeper psychic sources that it tends to get cut off from when it’s enmeshed in the frenzy of the daily rhythm. Do you have the courage to not work so much, not try so hard, and not push so relentlessly? HV\^iiVg^jh (Nov. 22–Dec. 21): Cartoon character

Homer Simpson is on record as saying that whenever he learns something new, it pushes some old stuff out of his brain. For example, when he took a course in home winemaking, he forgot how to drive. But I don’t see this being a problem for you as you enter the High-Intensity Educational Season, a time when your capacity to ďŹ nd and absorb new teachings will be at a peak. If you push hard to learn new lessons, you will certainly not cause the expulsion of old lessons. On the contrary, you’ll dramatically enhance the power and brightness of what you’ve already learned.

8Veg^Xdgc (Dec. 22–Jan. 19): Take what you really

need, Capricorn, but don’t take what you just sort of want. That’s my advice to you. Haggle with life, yes, but insist only on the speciďŹ c essentials and forgo irrelevant goodies. A similar principle applies as you seek the information you crave: Formulate precise questions that will win you the exact revelations that are necessary to help your cause and that won’t ďŹ ll your beautiful head up with useless data.

6fjVg^jh ( Jan. 20–Feb. 18): One of the musical

Jonas Brothers got married last month. Up until then, 22-year old Kevin Jonas was a virgin, having long ago pledged himself to abstinence until his wedding day. At Huffingtonpost.com, humorist Andy Borowitz reported that when Jonas and his bride returned from their honeymoon, he had some shocking news. “To be honest, sex was not worth the wait,â€? Borowitz quoted Jonas as saying. “After we did it, I was kind of like, that’s it?â€? I haven’t been able to verify that Jonas actually said what Borowitz claims, but if it’s true, I must protest. How could Jonas reach such a deďŹ nitive conclusion based on so little experience? Wouldn’t it be wise to consider the possibility that over time he might uncover secrets and plumb mysteries that are unknown to him in his unripe state? Learn from his apparent mistake, Aquarius. In the coming weeks, cultivate a humble, innocent, curious attitude not just about sex, but about everything.

E^hXZh (Feb. 19–March 20): I have a Piscean friend

who does modern-day cave paintings. She hikes out to underground caverns and abandoned gold mines, where she creates murals on stony walls. Only a few friends know about her unusual hobby. She shows us photos of her work, but otherwise keeps it secret. She says it’s a pleasurable spiritual practice to offer these beautiful mysteries as a gift to the earth, without any expectation of getting recognition or money. I don’t normally recommend such behavior for Pisceans; in general, I believe you should err of the side of being somewhat self-promotional to compensate for your self-deprecating tendencies. But I do suggest that you try it in the coming weeks. I think you’ll conjure up an epiphany or two if you offer life your favors without worrying about whether they’ll be returned.

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M E T R O S I L I C O N VA L L E Y JANUARY 20-26, 2010 STRAIGHT DOPE

> Vb lg^i^c\ id Wg^c\ id ndjg ViiZci^dc hZkZgVa Zggdgh XdciV^cZY ^c i]Z gZXZci ZY^i^dc d[ i]Z HigV^\]i 9deZ i^iaZY È;Vgb"GV^hZY kh# L^aY ;^h]/ I]Z ;VXihÉ P9ZX# '*R# # # # Ndjg eddg gZhZVgX] VcY ^ch^hiZcXZ dc ]neZgWdaZ gVi]Zg i]Vc eZgheZXi^kZ YdZh V iZgg^WaZ Y^hhZgk^XZ id ndjg gZVYZgh# >c bVcn XVhZh! ndjg È[VXihÉ VgZ ^c \gVkZ Zggdg! cdi id bZci^dc XdbbZgX^Vaan Y^heVgV\^c\# Å<Vk^c <^WWdch! CVi^dcVa ;^h]Zg^Zh >chi^ijiZ Space won’t permit publishing all of your long letter in the print version of this column, Gavin, so I’ll just respond to the excerpts below. A full treatment can be found online at straightdope.com. First let’s get something straight. You represent the seafood industry. It’s in your organization’s interest to paint a rosy picture of the fisheries. To an extent your complaint is simply that I put a darker spin on things than you’d like. Accusing me of poor research and grave errors is another matter. I’ve reviewed some of the key scientific papers and consulted with Boris Worm, a fisheries expert at Canada’s Dalhousie University whose views you claim I’ve misrepresented. As we’ll see, I disagree: You begin your column [Gavin writes] by reminding readers of the collapse of Atlantic cod, claiming “the number of cod today is something like one percent of what it was in the 1960s.” While that is a great rhetorical hook for readers, it is also a dated snapshot of those fisheries. The fact is that the cod stocks (there are two) in Georges Bank and Gulf of Maine are currently rebuilding spawning stock biomass to target levels. The two fishing grounds you mention, both in U.S. waters, constitute a relatively small portion of the North American Atlantic cod fishery. The larger part is off the coast of Newfoundland and Labrador; at its peak it was 10 times the size of the Georges Bank and Gulf of Maine fisheries. The Newfoundland and Labrador fishery collapsed in the early 1990s and fell to less than 1 percent of the peak level. Professor Worm tells me in the last few years the stock may have risen to about 4 percent, but the offshore fishery remains closed. It would be foolish to call this modest improvement a recovery. You blame the status of the cod stocks completely on “rapacious factory fishing” while the very latest science on the issue published in the ICES Journal of Marine Science suggests “a relationship between climate change and the decline of bottom species like cod.” You cite a single paper (Drinkwater, 2005) contending colder waters may have caused cod off Newfoundland to migrate south around the time the fishery there collapsed. Here’s what professor Worm had to say: “I don’t think anybody doubts that fishing was the major factor in the collapse of the northern cod fishery. It is true that the collapse happened during a time of cool temperatures, but the fact is that

those ‘missing’ fish never turned up again. Stocks south of Newfoundland declined at the same time. Hutchings and Myers published a string of papers in the 1990s clearly showing that fishing was the only viable hypothesis for the collapse.” The reference to Boris Worm’s 2006 paper [projecting the collapse of all wild fisheries by midcentury] is quite simply out of date—because Worm himself has disavowed the conclusions of his own paper. No, he hasn’t. I quote professor Worm: “The assertion that I have ‘disavowed’ my conclusions from 2006 is untrue. In fact, our new paper confirms independently the trend of increasing species collapse that we highlighted in 2009. What is true is that our new research has also shown that it is indeed possible to curb fishing pressure, and begin a process of rebuilding.” I’ll return to this in a moment. You suggest that a rash of mislabeling is the result of “dwindling supplies.” Here you show a lack of understanding. . . . Misidentifying fish for sale is about fraud, plain and simple. That’s a narrow way of looking at it. As Jennifer L. Jacquet and Daniel Pauly (“Trade Secrets: Mislabeling and Renaming of Seafood,” Marine Policy, 2008) put it: “Species are mislabeled because there is a shortage of the desired species or because the species itself was illegally caught. Species are renamed because an ever-growing demand for seafood creates new markets for fish that were once considered unmarketable. Today’s renaming and mislabeling is not only an indication of cheating, but is, fundamentally, an indication that global fisheries are in distress.” I don’t claim the situation is hopeless. Professor Worm’s recent work indicates the situation can be turned around through determined effort. But major reforms are essential, the most obvious in my opinion being a comprehensive, global system of fisheries management. If instead we pretend all is well and continue down our present path, we’re sunk.

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