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MARCH 3-9, 2010 路 VOL. 25, NO. 53 路 SAN JOSE, CA 路 FREE

Vet Bites Yelp Lawsuit challenges shakedown sell p9

Bing Man On Campus Ballmer tosses a cherry pit at Google p9

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Silicon Valley now premieres world-class performances, thanks to Stanford Lively Arts p16

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MARCH 3-9, 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

MARCH 3-9, 2010

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[04] CCONTENTS ONTENTS

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

MARCH 3-9, 2010

[05]

[06] LETTERS

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

Area print publication. Somehow, European-American youths who enjoy “White rapâ€? are portrayed as under some sort of (moral? aesthetic?) obligation to show what the author apparently deems to be the proper level of respect for African American cultural forms. That sounds an awful lot like a race-based double standard to me, and while it may not necessarily be racist, it deďŹ nitely is bullshit. Kevin Riley O’Keefe San Jose

Tree Chops Thanks for exposing these Neanderthals and, conversely, the hypocrisy of the rest of us who apparently fantasize that ripe, red meat is picked off trees (My Pig,� Cover Story, Feb. 24). Judith Shipstad Los Gatos

Train Wreck

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Watery Grave I’d like to correct an error in your Cinequest timeline for 2005 (“Best of the Quest,â€? Cover Story, Feb. 17). Blanchard Ryan did not bail out on her appearance for the classic, gruesome ďŹ lm Open Water. I was in the audience for her Sunday 10:30am screening and took a few brief notes. Ms. Ryan said she admired people still waiting tables vs. selling real estate or insurance, since they hadn’t given up on the

dream and still may have a shot. See you at Cinequest. Jane Jerome Martinez

Double Standard? In “Is White Rap Racist?� (Music Lead,� Feb. 24), Steve Palopoli writes “nerdcore shouldn’t be the only way kids experience hiphop; there has to be a respect for the history of the music and its roots in the African American

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experience. Does anyone really disagree with that?� I disagree. I don’t think anyone would require me to cite much in the way of evidence if I were to assert that many young African Americans have very little interest in, if not outright disdain for, characteristically EuropeanAmerican cultural forms. Yet it seems very unlikely that anyone is going to be publishing any criticisms of African American youth on that basis in any Bay

For anything to work, it must involve the police and the community working together. I met a wonderful woman named Bonita Carter-Cox (Dr. Martin Luther King Jr. Assoc.) at a Victims Rights rally. We decided that we should work together in reaching out to the community. I learned from a third party

that the Freedom Train lost several sponsors and was turned down by other groups. The train that honored a great man with great ideas was short of funds. I volunteered to ask other law enforcement groups for money. Several groups gave money immediately. Then an amazing thing happened: a few groups began spewing messages of hate. They called for a boycott of the Freedom Train. The Freedom Train was a success. Now there is a call for a boycott of the major fundraiser for the MLK board. Who will suffer the children that count on this money to help with their future? Several council members seem to be honoring the call for the boycott and will not be attending this event. Maybe they should try to help our children before they become gang members, not after. The SJPOA should pull the endorsement of any politician that does not attend this event. They will have shown what they really think of law enforcement and those good people that want to make a difference. I would remind those groups that the law enforcement is made up of men and women of all colors. We have come a long ways and we can go further. Bobby Lopez, former president Police Officers Assoc., From SanJoseInside.com

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Pompous Putz

I see you at least once a week. You request my station at the restaurant where I work, and every time you are there, you make it out to your buddies as if there is something “special� between us by winking and nodding “knowingly� in a creepy way. You gross me out! Do you think I really like you in that way? Are you that stupid? Look mister, I’m friendly with you because I HAVE to be, and because I work for tips. I don’t like you any more than the next balding, pompous putz. As a matter of fact, I like you LESS. Get a clue and get a new ’tute, cuz I don’t give a hoot about you or your dorky ass friends, and you ain’t getting nada from me. 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

MARCH 3-9, 2010

[07]

[08] SILICON ALLEYS

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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OR REASONS only known in the intergalactic consciousness, the late psychologist, philosopher and Nixon nemesis Timothy Leary keeps emerging in my immediate sphere of influence. The most recent synchronicity will reveal itself when Antero Alli appears at Gateways Books in Santa Cruz next Wednesday (March 10 at 7pm) to read from his book The Eight-Circuit Brain: Navigational Strategies for the Energetic Body (Vertical Pool), in which he expands and updates Leary’s EightCircuit model of intelligence increase. But more on that in a quantum second. Just last autumn, I found myself ingesting the highly entertaining Love Sex Fear Death: The Inside Story of the Process Church of the Final Judgment by Timothy Wyllie. The Process Church was an apocalyptic religious cult that occupied the fringes of the ’60s counterculture. Wyllie broke decades of silence by finally telling what it was like. In one scene, he hangs out with Leary in 1967 and depicts him as someone finally reaching a watershed moment in his life, facing an imminent prison sentence, aware of all the negative aspects of the LSD culture he had helped to propagate. According to Wyllie, Leary felt that he had let everyone down, so to speak, and was almost considering joining the Process Church. He was confessing. I had never read this before. Of all the stuff written about Leary, about his megalomania, his manipulation of the media and his PR skills, I had never heard this particular snippet— that the self-proclaimed “high priest of LSD” had confessed all of his failures in life to a cult member and then subsequently attended one of the Process Church’s bizarre sermons. On the other hand, when I read Alli’s latest book, which came out a few months later, I saw a different vision of Leary, especially as Alli recalled Leary’s much-publicized final departure from this earth in 1996. In the book, Alli talks about a Leary-inspired documentary titled Children of the Revolution. Director Lisa Ferguson was interviewed a year ago at the Timothy Leary reunion party in San Francisco and “shared a message from Leary himself, spoken to her personally three days before his death. ‘We were right,’ he told her, ‘all the ideas and dreams we had back then, we were right. It’s time to tune back in.’” And just a few months after Alli’s book, a wonderful book by Berkeley’s Don Lattin exploded all across the media landscape, further suggesting that Leary will never die. It came with a gorgeous 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. If you haven’t discovered the book yet, it’s an easy read. It gracefully sifts through the circus of the era and documents the importance of how those four individuals all came together at the same time. But according to Alli, the mainstreaming of When I read Alli’s latest psychedelics was not Leary’s book, I saw a different central contribution. vision of Leary, especially Instead, his primary offering remains his eightas Alli recalled Leary’s circuit brain model of much-publicized final intelligence increase, “a departure from this user-friendly grid designed earth in 1996 for anyone exploring higher consciousness as a means not merely to get high but for designing and creating new contexts for their lives.” Leary wrote about this in his 1977 book, Exo-Psychology: A Manual on the Use of the Human Nervous System According to the Instructions of the Manufacturers. Robert Anton Wilson expanded on the model in both Cosmic Trigger and Prometheus Rising, while Alli took it even further with Angel Tech in 1985. Alli’s latest book advances the eight-circuit brain model even more, including material from an entire eightweek course he taught online at the Maybe Logic Academy. Got all that? I hope so. Finally, as a vitamin and supplement package while scarfing down Alli’s books, I requested Leary’s Exo-Psychology via Interlink from the SFSU library. I eventually received an automated email citing the catalog listing and indicating that the book was now available for pickup. But in a bizarre set of circumstances, probably due to software incompatibilities, some of the lines in the body of the email were cut off halfway through. The first line said this: “Leary, Timothy Francis, 1920–” as if he was still alive. It was just a computer glitch, but one Leary would have enjoyed. Let the synchronicities continue—I am tuned in, turned on and not dropping out. Send me a note at SiliconAlleys@metronews.com.

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M E T R O S I L I C O N VA L L E Y MARCH 3-9, 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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Microsoft CEO Details Search Ambitions

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Yelp Inspires New Business Model A Long Beach, Calif., veterinarian has filed a federal class-action complaint against the online-review site Yelp, claiming it’s a shakedown operation that will remove negative consumer reviews for cash.

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Yelp’s scam—it lets businesses manipulate their reviews if they pay $300 a month to advertise on Yelp.com—has garnered a good deal of coverage. But the company, which pulled in a reported $50 million last year, is now facing a classaction lawsuit from one business that refused to go along. Gregory Perrault, who runs a veterinary practice called Cats and Dogs, says he started getting “frequent, high-pressure calls from Yelp advertising employees” after he contacted the company to ask them to remove an outdated review. For a yearly advertising commitment totaling $3,600, he was told, Yelp would push negative reviews to the bottom of its listing and make sure they don’t get indexed by Google. Perrault refused. Despite the fact that Cats and Dogs has an average four-star rating from Yelp users, the complaint says, its “tagline,” or the first couple of words that show up in a search, says Perrault is the “most inept/rude veterinarian I have ever met.” A Yelp representative released a statement to The New York Times calling Perrault’s allegations “demonstrably false, since many businesses that advertise on Yelp have both negative and positive reviews.” —JOHN COOK, VALLEYWAG.GAWKER.COM 6 hiV\cVci XdbeVcn gZ[jhZh ]Va[ V W^aa^dc [dg \dd\aZ # # # id `ZZe hXVbb^c\ hbVaa Wjh^cZhhZh ^c i]Z 7Vn 6gZV# # # # I]ZhZ \jnh h]djaY ldg` [dg 6>< ^chiZVY# ÅH]VYdlaVnZg

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M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 NEWS

Santa Clara Valley, California

“Back From Canada With the Gold, Black and Blue.”

March 3-9, 2010 ;Za^eZ 7j^igV\d

the

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REALITY CHECK !Kpshf!B/!Csjpoft!JJ!pg!uif!Npshbo!Ijmm!Epxoupxo!Bttpdjbujpo!

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Political Theater Morgan Hill’s City Council wants to save the Granada’s marquee, but a local group wants the movie house preserved intact By Jessica Fromm ORGAN HILL’S Granada Theater, a long-shuttered South County landmark, is at the center of a battle between a local group that wants to spare it from the wrecking ball and a city council that hopes to turn its downtown into a Santana Row. As a Morgan Hill native, I recall the decaying movie house’s tornup seats, graffiti-covered walls and sticky floor coated in a layer of trash, gum, stale popcorn, corn syrup and other unidentified substances. Rats the size of Pekingese could be seen running across the lobby. Back in the early 2000s, much of the local high school population had, at some point or

M

16

Number of downtown development proposals the Morgan Hill City Council will be picking from in April

another, worked at the ramshackle downtown movie theater. It functioned as the only in-town alternative to the Tennant Station Cinema 6 (now a Cinelux). Built in the 1950s, it also had a reputation among local teens—the Granada’s roof was an infamous smoke-out spot. The theater was a dump those last few years, and it wasn’t just the fault of the perpetually stoned teenagers who ran it. Downtown Morgan Hill was a ghost town. The Granada was finally closed in 2003, and remained in a dilapidated state until about three years ago. In that final rosy flush of 2007, right before the mudslide of the recession, the Morgan Hill City Council decided

that the time was right to rethink their downtown. They launched into an extremely ambitious five-year revitalization plan in December of that year. In one of the biggest real estate deals in the city’s history, the redevelopment agency purchased a large parcel of downtown property between First and Second streets. The $10.6 million block of land included the Granada, the Downtown Mall and a large parking lot. As the redevelopment wheels turned, Morgan Hill hoped to revamp the Granada into a boutique arts theater surrounded by high density, mixed-use development—all anchored by a

$10.6 Million

1952 The year the Granada

How much the city paid in for the block of land the Granada sits on

opened at its current location

[11]

pedestrian-friendly project called the Third Street Promenade. Then the economy crashed, and all those grand plans went kaput as the city turned its attentions to simply staying alive. One of the first things on the chopping block was the Granada. Instead of renovating the old movie house, the city is currently looking into tearing down the building in an effort to make that block of downtown more appealing to potential developers. Now, a group calling itself “Save the Granada” is working to make sure the nearly 60-year-old movie house stays right where it is. The group is circulating petitions around town and raising money to turn the decaying theater into a 500-seat event venue or classic movie theater. The dozen or so “Save the Granada” members have even gone so far as to submit a development proposal to the Morgan Hill Redevelopment Agency, with their vision of how a restored Granada could fit into a revitalized downtown. Pamala Meador, a local real estate agent, is the main organizer for the group. “They were gobbling up this one particular block in order to get a really good turn on their investment for a developer to come in and do a Santana Row,” Meador says. “The Granada is smack dab in the middle of a block that a private developer would love to have completely scrapped. So, city managers and the city council decided that in order for that to happen, the Granada had to go.”’ Meador says she and her group of concerned Morgan Hill citizens are fighting what they see as the city’s unrealistic vision as to what will make the long-lagging downtown successful. “Rather than, say, bringing in an investor from San Diego who’s going to come in and tear the thing down and build a monstrosity that’s going to destroy the &'

2013

If a New ‘Granada’ is built, the year it is expected to be completed

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NEWS MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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businesses that are down there,” Meador says, “our feeling is, the city already owns the building. Why not support the Granada and make it something that is uniquely Morgan Hill, by the people of Morgan Hill, for the people in Morgan Hill?” The final fate of the Granada will be decided at the beginning of April. That’s when the Morgan Hill City Council plans to officially pick from 16 downtown development proposals submitted by firms last December. David Heindel, assistant to the city manager for downtown revitalization, is in charge of analyzing these propositions. He says the City Council is currently leaning toward a concept that involves tearing down the Granada building and then constructing a brand-new four-plex “Granada” cinema a half block south of its current location. “The one thing [on which] there seems to be complete consensus around town is that opening a cinema downtown would be a really good thing for the businesses downtown, and it’s something that we have broad community support for,” says Heindel. “Recall, though, that the Granada closed, and that it closed for a reason. . . . Our goal is to get, secure and induce private development to come to the downtown. We want to sell those properties that we’ve assembled, and we want people to build things on them.” The existing red Granada sign and marquee would be spared from the wrecking ball, Heindel says of the potential plan, and incorporated into the new theater. Still, he insists that all 16 bids are still on the table, and that the final decision to destroy the theater has not been made yet.

Movie Fight The man who literally holds the keys to the Granada right now is Jorge A. Briones II, executive director of the Morgan Hill Downtown Association. One of the first things Briones did when he was hired by the city in 2007 was to clean up the theater’s front foyer and get the neon sign working again. As the leader of downtown’s revitalization efforts, he hoped to eventually reopen the space. Since the hard economic reality of the recession has kicked in, however, Briones

the

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is no longer holding onto hope that the current Granada will ever come alive again. “It’s a very polarizing piece, because people are either very passionate in that they feel it has to be that theater, or people are completely on the opposite side, saying, please, build a new one,” Briones says. “I have been in the building many, many times. I know the condition it’s in. I know what it will take to get it refurbished to the point of operation, and that’s close to a million dollars.” He says he’s personally given Meador tours around the theater. “It’s not a California Theatre. It’s not a movie palace where there’s a balcony or any of those types of things. It’s really just a movie house.” Briones believes Meador might be overestimating the value of the building’s historical significance. “Knowing the entertainment market place,” he says, “and knowing what it takes to fill 150 seats, yet alone 500 seats, I believe that it’s relatively unrealistic that they would be able to, on a regular, continual basis, fill that theater.” Briones expects the plan for a new downtown “Granada” multiplex to win out with the council. If that happens, they are expected to break ground on the site in 2011, with eventual completion of the project at the corner of Second Street and Monterey Road in early 2013. “Save the Granada” is still endeavoring to make its vision for downtown Morgan Hill win out in the end. They are holding their first fundraising event—an Elvis impersonator backed by the Live Oak Jazz Band—at the Live Oak High Theater on March 12 and 13. “The Granada was an integral part of the community, and a magnet for people to come downtown,” Meador says. “That’s what we want to make it again. Our thought is that if we get 500 people going down to the Granada three or four times a week, if not every day, that some of them are going to go have dinner, and some of them are going to get ice cream or coffee. “We look forward to opening it up as a clean, safe, comfortable venue. And, if we fall flat on our face, if we open it up and nobody comes, and it’s a dead issue, well, then at least we got our swing at the bat to make the Granada something for downtown.” M

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M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 SAN JOSE INSIDE

a look inside san jose politics and culture

San Jose Natives Are Restless Pete Campbell

Have you noticed that there have been more than a few angry letters to the editor submitted to the Merc by San Jose residents over the past few weeks? It seems that folks are ticked off by the condition of their city, and are placing the blame on the city council and the unions that run them. (Yes, that’s right—the unions run the council.) “Until such time as our city council becomes populated by a majority of elected individuals who truly represent their broad constituency, we will continue to have the broad interests of the many trumped by the special interests of the few.” (Cochran, Feb. 10, 2010) “Civil service unions . . . are far too strong and receive pay and allowances that exceed that of the average resident they claim to serve. The only strong unions remaining . . . are government employees, because those in charge of negotiating contracts receive campaign donations from those very same groups. At the least, this is bribery; at worst, extortion.” (Elliott, Feb. 21, 2010) “The employee unions are effectively holding city services hostage . . . the primary mission of the city should be to provide services to its residents at the lowest cost, not jobs to union-backed employees.” (Dresden, Feb. 2, 2010) The city of Chicago, with its reputation as a “machine town,” allows for 25 percent of its services to be done by the private sector. Why can’t San Jose allow for the same?

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Campos Wants to Expand Gang Injunction Silicon Valley Newsroom

How far do citizens’ rights to assemble freely extend? Citing an increasing gang presence in the city’s streets, Councilmember Nora Campos says it may be too far. The ACLU thinks differently. The problem is gang violence. No one questions that this is a blight on the city, and the stabbing death of 15-year-old in gang territory earlier this month is just one example of the horrors that can be inflicted on children and families. Just last year, half of the city’s 29 homicides were gang-related. That’s why San Jose was one of the first cities in California to enact a “gang injunction,” prohibiting gangs from gathering in certain areas across the city. It was a bold, if controversial, step, but Campos now thinks that it was not enough. She wants the mayor’s Gang Prevention Task Force to extend the rule. &)

[13]

[14]

SAN JOSE INSIDE MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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The ACLU argues that it would violate the gang members’ basic civil rights and lead to racial profiling by the police. According to Robert Rios, a former gang member who now serves on the mayor’s Task Force, too many people could end up harassed by the police or even arrested for wearing the wrong colors. Instead, he prefers that outreach efforts to gang members be expanded. But Campos has some powerful supporters, including county Supervisor George Shirakawa, who co-authored Campos’ bill, which is now being presented to the Task Force. Its approval is required before it goes before City Council for a vote.

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Why Free Parking Is a Bad Idea Pierluigi Oliverio

Professor Donald Shoup of UCLA visited City Hall last week. He was in San Jose to present a lecture titled “Why free parking is a bad idea.” There are approximately 700 million parking spaces for 230 million cars in this country and 99 percent of car trips have free parking. Prof. Shoup showed an aerial picture of the Cisco Systems campus with its empty asphalt parking lots. He felt that these empty parking lots are not a good use of land and that it creates higher-than-needed vehicle miles traveled (VMT). He then continued to share what he thought would be a way to better utilize the land, which was to allow Cisco to build housing on their parking lots and waive all parking requirements. He felt this would provide housing close to jobs, reduce VMT and bring a more appealing look to the current parking lots. His main points are that street parking should be priced to where 85 percent of the spots are occupied but there are still some empty spaces. This allows someone to park quickly on the street but at a higher price for the convenience. He felt the money generated from the parking meters should be spent in those blocks doing sidewalk repair, tree maintenance, pedestrian lighting, under-grounding utility lines, sidewalk cleaning, landscaping etc. > YdcÉi WZa^ZkZ [dg dcZ hZXdcY i]Vi i]^h X^in ldjaY jhZ i]Z bdcZn [dg ^ih ^ciZcYZY ejgedhZ# Cdi V X]VcXZ# Å??

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

MARCH 3-9, 2010

[15]

[16] COVER STORY

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

‘THE GREATEST ARTS ADMINISTRATOR IN AMERICA’ Dpnqptfs!Tufwf!Sfjdi!

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When Stanford wanted to turn its Lively Arts series into a front-line program, it hired Jenny Bilfield. She’s made it her mission to bring great new works from important artists to the campus. By Steve Palopoli

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M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 COVER STORY

_\ AKING artistic history is tough on the nerves. Ask anyone who’s worked with Jenny Bilfield, the artistic and executive director of the Stanford Lively Arts program, and they’ll tell you she’s constantly generating new ideas—and has the willpower to make them happen.

D

This is a woman who, in less than four years, has transformed the university’s arts program into a showcase for innovation, its schedules full of new works from top artists around the world. Every time she gambles on commissioning a new work, as she has so often in the last three seasons, there’s a

moment on opening night at the university—after she’s introduced what is often the world premiere of the piece—when she sits down in her seat, and all of that famous confidence dims with the lights. “I feel my heart racing, and I’m definitely nervous,” Bilfield says, “Because I know people are expecting a lot. With all the excitement that I feel, I’m very often wondering if they’re going to feel that [same] excitement. I feel that sense of ‘OK, prove to us that this is worth it.’ And I feel the nerves of the performers putting it onstage. I’m thinking, ‘This is a big risk. I want it to be meaningful enough that people want us to keep doing it.’” 18

[17]

[18] COVER STORY

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

JkXe]fi[ C`m\cp 8ikj 17

Staying the Course Steve Reich never has any such doubts. The 73-year-old minimalist pioneer, who won the Pulitzer Prize for music in 2009, accepted a commission from Stanford Lively Arts based on his 15-year working relationship with Bilfield. “She probably the greatest arts administrator we have in America,” Reich says. That’s no small praise coming from the man who himself has been called “America’s greatest living composer.” But he has plenty of reasons, both personal and professional, starting with his belief that he would never have even conceived the piece that won him the Pulitzer, Double Sextet, if it wasn’t for Bilfield.

‘Don’t tell me I can never do something. It’s the match that lights the fire.’ One day, Bilfield called Reich up and asked him if he would consider writing a composition for eighth blackbird, a contemporary-music ensemble featuring a flute, a clarinet, a cello, a violin, a piano and percussion. In other words, a combination absolutely nothing like the writing for multiples of identical instruments that Reich had been doing for 45 years. He told her, “Jenny, there’s no way in the world I can write for a combination like that.” And she told him, “Look, they’re a great group; why don’t you just sleep on it and let’s talk about it tomorrow.” “No easy giver-upper, she,” deadpans Reich. Upon hanging up the phone, Reich thought back to his ’60s pieces like Violin Phase, written for instruments being played live against recordings of themselves. He realized that he could do the same thing for eighth blackbird if the group would agree to pre-record a piece, then play a second sextet performance live against that recording—thus, Double Sextet. He called Bilfield back the next day and proposed the idea, and she took it to the group members, who said they would love to do it. “And the piece won the Pulitzer Prize, and it is really one of the best pieces I’ve ever written,” says Reich. “But I would never have thought in a million years to write for eighth blackbird. It was Jenny Bilfield, whose basic subtext is ‘I’m not taking no for an answer.’”

She wouldn’t be sidetracked when Reich’s 70th birthday arrived in 2006. Knowing that Lincoln Center, Carnegie Hall and Brooklyn Academy of Music would all want to do something to mark it, she called his music publisher at the time and proposed that these three behemoth arts organizations collaborate on a celebration of his music. Reich told her, “Dream on.” “But sure enough, that’s exactly what happened,” he says. “It was all Jenny’s doing, and it was huge. I think it was the first time Carnegie Hall and Brooklyn Academy of Music and Lincoln Center had all worked together. It all went fantastically. And it never, never would have happened if it wasn’t for Jenny Bilfield.” So when she approached Reich about a Stanford Lively Arts commission for what would become Mallet Quartet, he didn’t hesitate. “She said, ‘You need a young, exciting American group, obviously, and you know who they are.’ I said, ‘Yes, we both know who they are, they’re So Percussion.’ She said, ‘I want to present the American premiere of that, and I want to have them out here to do a whole residency, and I want to do a whole program of your music, and not just the one piece.’ I said ‘Jenny, sounds like a good idea to me.’” Mallet Quartet made its American debut in January at Stanford as part of a night that featured the Reich-inspired ensemble So Percussion performing six of his works. Reich himself attended and sat in on So Percussion’s performance of his 1972 piece Clapping Music. “It was a great concert,” he says. “It was beautifully laid out, beautifully planned. Everything really felt great.” Reich suspects he knows how his friend realizes her visions so often. “She never comes on that way,” he says. “You know what it is? She really loves the idea; she understands that it will make a great result. She knows that everybody will be happy, but they don’t see it now, and she does. And she’s right. In the long run, it’s all for the good. It always makes something which is not forced and not artificial, and really artistically dynamite.”

Growing Pains Although Bilfield got her start in New York, she had a connection to Stanford from an early age. Her mother graduated from Stanford Business School when she was 2, and though she no longer knows if they’re real or created after the fact, she has memories of looking up at the trees on Palm Drive. Even growing up, she was fairly unstoppable. “In 1987, I started an orchestra, and everybody said, ‘You can’t start an orchestra, you’re 22 years old,’” Bilfield recalls. “Don’t tell me I can never do something. It’s the match that lights the fire.”

M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 COVER STORY

She says it with intense seriousness, but then her face lights up in a smile. After hearing so much about her persuasive power and sharp negotiating skills, perhaps the most disarming thing about the 45-year-old Bilfield is her genuine warmth. Reich is right: it’s sincerity and conviction, rather than blunt force, that fuel her success. Bilfield did start her orchestra, and before long, she was executive director of the National Orchestral Association, bringing world premieres to Carnegie Hall through the New Music Orchestral Project. She joined music publisher Boosey & Hawkes’ New York office in 1994 and was president of the company by 2002. Eventually, though, she tired of the purely profit-driven side of the business. Then one day, someone at Carnegie Hall told her about a potential job at Stanford that “could be a risky thing.” What they were looking for, she was told, was someone to take a traditional presenting organization and transform it into an innovative environment. Four years ago this month, she sent in her application letter and soon found herself doing a video interview, where she was fully up-front about her desire to bring as much new work as possible to the program. “They had given me a whole list of questions in advance to consider, and they were the most interesting questions I’d ever been asked. Like ‘What would you do if you had an opportunity to build a performingarts center? What would be the core values, the scale of it, the most important elements in designing it?’ I had nothing invested in it, so I just went 100 percent with what I thought the opportunities were: the opportunity to commission new works, present breakthrough artists, connect with Stanford’s entrepreneurial risk-taking environment. Because that really is what this is.” If they were looking for a revolutionary candidate, they found her. “I was a little bit off the beaten path,” she says. “I have pretty strong opinions, but I’m also a really good listener. I’ve worked with some very complex challenges, and I’ve found opportunities for music and dance and for new works that nobody else would have found. Somebody could say, ‘Oh, that could never happen. That would never be successful’ And I would say, ‘Really? Why not?’ ‘Well, it’s just never been done before.’ Aha.” That’s the moment Bilfield will very likely start to figure out how it can be done. For her, creating exciting new work is a deep commitment. Besides bringing to Stanford an emphasis on the collaborativearts-group model that worked in New York, which allows the financial burden to be spread around, Stanford Lively Arts allocates a much higher financial stake to new works than most other arts

[19]

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organizations, even other universities. Somewhere between 10 percent to 15 percent of the organization’s $3 million operating budget will go to commissions next year. Besides Reich, this Lively Arts season has also featured commissioned or cocommissioned works by Kronos Quartet (A Chinese Home), L.A. Theatre Works (RFK: The Journey to Justice) and the St. Lawrence String Quartet (Sundays With St. Lawrence). Two more such works are still to make their debuts: the world premiere of Dave Douglas and Bill Morrison’s Spark of Being on April 24, and the U.S. premiere of Laurie Anderson’s Delusion on May 5. “It’s not just raising the money for the commission fees, it’s committing to having it as an institutional value, adapting the organization to really embrace new work,” says Bilfield. There have been growing pains—about three-quarters of the Lively Arts staff has turned over since Bilfield arrived. Drawing a staff suited to living on the edge with new work has been critical, she says. “It’s a challenge to promote it, to market it, to have confidence in talking about it. To say, ‘This is what we’re doing, this is a new

commissioned work, and damn it, it’s going to be so exciting, how could people not come?’ It’s about as uncomfortable a place as a conservative marketing director could be.”

Spark of Being Dave Douglas and Bill Morrison have their MacBooks open next to each other on a conference table in the “Knoll,” a chateaulike building on a hill at Stanford that became the home for CCRMA (Center for Computer Research in Music and Acoustics) in 1986. One is a composer and trumpeter, the other is a filmmaker, and it would be impossible to confuse the two—Douglas sports a dapper casual-butjacketed outfit that meets the requirements of both professionalism and hipness that musicians of his stature are expected to meet, while Morrison has the scruffier look of a documentarian. There are wires everywhere, and the two men look, if not exactly stressed, definitely intense. Douglas and Morrison have met at the university to work on their epic collaborative project, three years in the making, that was commissioned by Stanford Lively Arts after Bilfield arrived.

“Jenny called me and said, ‘What would you like to do that you couldn’t do anywhere else?” remembers Douglas. “It’s not every day that you get asked that question.” The basis of the piece is matching Morrison’s talent for shaping films made from a collage of archival footage—his similarly constructed Decasia was named by the Village Voice as one of the 10 best films of 2003—with Douglas’ composition work. It has gone by many different titles over time; for a while, it was known as Frankenstein: The First 100 Years, in reference to Thomas Edison’s 1910 film. “Before that, it was called The History of Gadgetry,” Douglas says. “For us, it’s all been about this conversation between technology and art, humanity and invention—what our inventions mean to us and how science has affected humanity. We went to Frankenstein because that seemed like a good metaphor for the whole thing. Bill works with older films, creating something new out of them, and I work a lot with samples and various disparate elements of music.” 20

[20] COVER STORY

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

JkXe]fi[ C`m\cp 8ikj 19 we even really had a strong concept of what we wanted to do,” he says. “We had a premiere date and a chunk of change to make it with. That was an enormous showing of faith by Stanford Lively Arts, to say we want you two artists, and we have faith in you to come up with something.” David Harrington, artistic director of the Kronos Quartet, felt another kind of support when his group was preparing A Chinese Home. Bilfield drove up to San Francisco to see an early rehearsal of the piece. The close attention she paid to the work’s progress, and her respect for the group’s artistic process, made the extremely detail-oriented Harrington push even harder. “When she came to the rehearsal, we tried to have it as ready as possible,” he says. “I wanted it to be important to her, and be as good as it could be. She’s one of those people who raise the bar.”

she says, people on staff used to tiptoe around her a bit, trying to avoid getting her involved in the minutiae of technical details or scheduling nightmares. But over time, she convinced them it was best for her to know as much about everything as she could. Not only because she could solve problems, but because it kept her from getting in too deep on artistic proposals that sounded exciting but that Stanford facilities simply couldn’t handle. “I tend to be pretty transparently excited. I don’t sit in a conversation and say, ‘Oh that’s very interesting, I’ll get back to you,’” she says. “I say, ‘That’s very interesting; we have to figure out a way to do it.’ The best way for me to check myself is to be more knowledgeable about the details. I have to be able to not raise everybody’s expectations, but I want to be enthusiastic about the art as well. So the sooner I can get down to those details, the better.”

Balancing Act

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“The Frankenstein monster is a collage of pieces in and of itself, so we’re referencing our process,” says Morrison. Finally, though, they settled on Spark of Being. “We realized we’re not making a literal telling of the Frankenstein myth,” says Douglas. “We’re doing, in a way, a reexamination of the original novel and coming at that with all these other ideas about technology and society. ‘Spark of being’ is actually a phrase that comes from the Shelley text.” Their intensity derives no doubt in part from the fact that the piece makes its debut in less than two months. “We started talking about this project a little over three years ago,” says Douglas. “In terms of the process, where we’re at now, it may seem crazy that we’re just matching music to image, but it’s all ideas that we’ve been throwing back and forth for the last two years. In my medium, it’s

a lot harder to share what I’m working on with him. If I’ve got music written in a notebook, it’s really hard to give him a visceral sense of what it’s going to sound like. And the same with him; because he works with archival footage, he couldn’t really go and collect anything that early.” So initially, everything they planned for the project had to be in the abstract, until Douglas made some demos, and sent them to Morrison, who then found some images to match them and sent them back to Douglas, and so on. Morrison says having a commission from Stanford Lively Arts has given them the time and the freedom to make the work what it needs to be. “A lot of times, the timeline with these things is you come up with something you want to do, and then you wade through several grant cycles before you find the funding and, hopefully, the venue to do it. With this, that was all taken care of before

That’s exactly the kind of support Bilfield wants to create with the group’s commissions. “That way, the artist can just get on with it,” she says. What it does for the university, at least in theory, is create prestige and buzz around big events from important artists. Over time, it has tapped into a new audience but also created some controversy, too, among longtime subscribers. “We’ve attracted a lot of new supporters, audience subscribers; we’ve also lost some people who saw Lively Arts as a provider of a specific type of work,” she says. “It’s been instructive for me to find a balance, because although we do commission a lot of work, we also do present work that is well known. My first season I programmed significantly more new work, and the balance was off. This season the balance is better, and I think next season the balance is going to be right.” Bilfield admits that reining herself in is not always easy. “I need to have some of my extreme tendencies calibrated a little bit, because I am programming for a wide audience. It’s not just Jenny’s favorite stuff. That’s where the listening comes in, people coming up and saying, ‘You’re neglecting part of your audience.’ If they’re not coming to what you’re doing, they won’t be there to support the new stuff.” Times are tough all around—the Lively Arts budget took a hit this year in the wave of cutbacks across the campus. But it seems her particular vision has found an outlet that can handle it. “I love programming for this audience, because people in this area are so smart and so multidimensional,” she says. “Whether it’s the audiences that are affiliated with Stanford—students, faculty, staff, alumni— or people who are in the community, the intellectual candle power is extraordinary.” Because of her strong personality,

Midwife to Art In an bit of synchronicity, one of the questions Bilfield had to face in the abstract during her interview for the job became a reality: she talked her way into a new concert hall. One night, famed Stanford donor Peter Bing asked her the same question: How would she design it; would it be 1,200 seats or 900 seats? She told him her theory that a concert hall should have a stage big enough to fit an orchestra and seating small enough that the audience can see the whites of the performers’ eyes. Even the people in the back row, she said, should feel connected to what’s happening onstage. “He had been thinking about supporting it. That night he pledged $50 million,” she says. “That conversation with all of us clinched it.” The 844-seat Bing Concert Hall was approved by the university board last month and is set to be built by 2012–13. Ironically, the woman who has made the creation of new work her priority at Stanford Lively Arts doesn’t consider herself an artist. “I think I have too much respect for what it means to be an artist, with a capital A, to say that I am one,” she says. “On the other hand, I’ve been a composer and a pianist. I know what it’s like to sit in front of a blank sheet of paper and think, ‘Oh, my God, what do I have to say that expresses myself ? Do I have the tools to do it, and does anyone want to hear it?’ I sat there with my own sweaty palms, and then I married a composer, so I have his sweaty palms. And the sweaty palms of other people whose premieres I’ve attended. “I’m more of a midwife than an artist. I’m a creative person, but this is my way to be creative.” M

M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 SPORTS

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Dry Cleaner!

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

A

A

BASE: 91"- 150" TRAILS OPEN: 79 OF 130

A

Dodge Ridge BASE: 77"- 84" TRAILS OPEN: 61 OF 61

Donner Ski Ranch

BASE: 118" - 165" TRAILS OPEN: 72 OF 72

Northstar-at-Tahoe

BASE: 102" TRAILS OPEN: 91 OF 92

www.sierraattahoe.com PHONE: (530) 659-7475

BASE: 88" - 106" TRAILS OPEN: 45 OF 45

www.sierrasummit.com PHONE: (530) 426-1111

Soda Springs www.skisodasprings.com PHONE: (530) 462-3901

Squaw Valley USA BASE: 64�- 142" TRAILS OPEN: 170 OF 177

Sugar Bowl

Tahoe Donner BASE: 65� - 85" TRAILS OPEN: 14 OF 14

www.sugarbowl.com PHONE: (530) 426-9000

www.skitahoedonner.com PHONE: (530) 587-9444

While considering cost and value, keep in mind Sierra Summit offers special savings on college, group, military and high school tickets as well as lesson and equipment packages. Sierra Summit is truly Central California’s best winter recreational Value! Whether you ski, snowboard, or want to learn with their “Learn In Two Days Guaranteed� lesson package, Sierra Summit makes for memorable experience. Sierra Summit is located 65 miles northeast of Fresno on Hwy. 168. Visit SierraSummit.com or call (559) 233-2500. For lodging call (559) 233-1200.

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BASE: 92� - 148" TRAILS OPEN: 94 OF 94

www.squaw.com PHONE: (530) 583-6955

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BASE: 65" - 100" TRAILS OPEN: 16 OF 16

With relatively low prices and close proximity, Sierra Summit is a quick day trip or an even longer stay can be had at the Sierra Summit Inn without breaking the bank. The “Stay and Play Package�, available any day for the rest of this season, starts as low as $69 per person double occupancy and includes a room at the Inn and an all day lift ticket valid the following day.

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Sierra Summit

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$58

BASE: 57� - 119" TRAILS OPEN: 46 OF 49

AA

Sierra-at-Tahoe

In recent years, Sierra Summit has spent over $5,000,000 in area improvements resulting in a greatly improved skiing and riding experiences for the mountain’s guests. These improvements have included Chair #7 which is a triple chair lift serving the area’s West Ridge with five intermediate runs, expanded snow making capabilities, and the on-hill Midway “Chill & Grill� serving hot and cold drinks and BBQ with a view.

AA

$66

www.northstarattahoe.com PHONE: (530) 562-1330

Sierra Summit is especially well suited for families and last year received On The Snow Visitor’s Choice Award for “The Most Family Friendly Resort� in the Far West. Additionally, Central California Parent Magazine’s Readers Choice Awards selected Sierra Summit as the “Number One Family Favorite Ski Resort in California.�

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www.kirkwood.com PHONE: 877-KIRKWOOD

Sierra Summit Resort

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We W e Sell Discount Di co t Lift Tickets! T ets! Tick et !

www.skihomewood.com PHONE: (530) 525-2900

Resort of the Week:

A

BASE: 71" - 94" TRAILS OPEN: 55 OF 63

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All 09/10 Men's, Women's, & Kid's Ski Pants & Jackets From:

www.skiheavenly.com PHONE: (775) 586-7000 x1

Homewood

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www.donnerskiranch.com PHONE: (530) 426-3635

Heavenly Ski Resort BASE: 53" - 82" TRAILS OPEN: 85 OF 94

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30

Off

www.dodgeridge.com PHONE: (209) 965-4444 x5

BASE: 90" - 146" TRAILS OPEN: 53 OF 53

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30

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09/10 Skis, Snowboards, Boots, Bindings, Snowboard Outerwear From:

www.rideboreal.com PHONE: (530) 426-3666

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(limited sizing available)

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BASE: 90"- 130" TRAILS OPEN: 41 OF 41

AA A A AA

Used Rental Snowboard/Binding Pkg.

www.bearvalley.com PHONE: (209) 753-2301

Boreal

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100

$

www.skialpine.com PHONE: (530) 581-8374

Bear Valley BASE: 48"- 104� TRAILS OPEN: 67 OF 67

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Save Big On This Year’s Ski & Snowboard Gear

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Alpine Meadows

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

MARCH 3-9, 2010

indulge yourself... Not your pocketbook * Reno Ski & Stay FROM $per69 person Who said you have to spend a lot of dough to have a great time on the mountain? Runs & Roses: 2 adult/2 kids ski for just $130. Weekend Extender: Three days for just $130. First Timers: Learn to ski or ride, $65 every day. BONUS: Slope side parking means more runs for you, or take our Reno shuttle.

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800.SKI.ROSE skirose.com skirose.com/mobile *visit our website for details

25 min. from Reno, 10 from Tahoe

Mild Groomers to Super Steeps

New Winters Creek Lodge

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MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

mind body & spirit g Classes & Instruction

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

g g Miscellaneous

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

Nurturing Touch By Pete. Relaxing full body massage. In/out, open 7 days. 408-515-5778

To advertise here, call

Michael at 408.200.1308

M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 STYLE

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HEN TOBACCO shops and cigar lounges sell their wares, the elegant wooden boxes that stogies come in often end up in the dumpster after their contents are smoked. But Gilroy-based designer =DAAN H6C;DG9 has found a way to recycle these fancy containers: she turns them into statement purses. Under her label ;>DG:AA6 9:H><CH, Sanford buys used cigar boxes from 8D=>76 8><6G 7DJI>FJ: ADJC<: on Santana Row and makes them into one-of-a-kind, themed handbags. “They just toss them out after they sell the cigars, so there are a lot of really unique boxes out there that have so much character,â€? says Sanford. “They are already really beautiful on their own. So I’ll take those and clean them up.â€? Viewing her purses as pieces of art, Sanford bestows an individual theme on each one of her creations. Sanford is a passionate oenophile, so many of her cigar-box purses are wine oriented, which is her most popular niche. Ranging in price from $32 to $54, these festive purses make perfect conversation-sparking pieces for toting along to parties or on wine-country excursions. “For a wine-themed one, I might add a little cork tassel from an actual wine bottle cork or cocktail napkins, and I’ll add rhinestones or ribbon to give it a personal touch,â€? Sanford explains. “Then I’ll cut out magazine wording and put it on there—that’s really fun and funky—or I’ll use wrapping paper.â€? Although Fiorella Designs is less than 2 years old, Sanford has expanded her cigarbox purse collection to include martini, poker, Las Vegas, bingo and other nightlife designs. She says each bag is unique, and she never makes the same one twice. The creative end of making purses comes easily to Sanford, but she says the most challenging part of running Fiorella Designs is getting her name out there. She seems to be doing pretty well for herself, though. During summer months, Sanford can be found running booths at various South Bay art and wine festivals. Her purses can also be purchased at JCL>C:9 L>C: 76G H=DE in San Jose and 8ADH A68=6C8: L>C:GN in San Martin, as well as on SterlingWineOnline.com and her own website, www.ďŹ orelladesigns.com. Jessica From

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[26] EVENTS

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

180 Woz Way • San Jose, CA 95110 • 408.298.5437 • www.cdm.org

W N! NE BITIO HI EX

Living in Space Open through May 9, 2010

Immerse yourself in this unique space environment and learn about a day in the life of an International Space Station crew member. It’s out-of-this-world!

NEW!

Living in Space was designed and built by The Children’s Museum of Memphis for the Youth Museum Exhibit Collaborative (YMEC).

Silicon Valley Reads,“Tops and Bottoms� by Janet Stevens Join community leader guest readers each Sunday in March from 2:00 p.m. to 2:30 p.m. Check the website at www.cdm.org for the most up to date schedule.

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The unusual izakaya menu at En in Santa Clara introduces diners to a new world of Japanese avors By Stett Holbrook

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DIDN’T PLAN for three of my last four reviews to be of restaurants on El Camino Real, but such is the pull of this royal road of food that I keep discovering more great places to eat. There’s always a new spot I want to check out. The stretch of El Camino Real between Santa Clara and Sunnyvale is particularly fertile ground, especially for Korean and Indian food. On my latest excursion, I found an excellent Japanese restaurant, something of a rarity in these parts—only this was no ordinary Japanese restaurant. En is an izakaya restaurant, a place that specializes in lots of little plates of food designed to go with beer, sake and soju. Think Japanese tapas. Given Silicon Valley’s large Japanese community and the many Japanese businessmen visiting from Tokyo, we support a thriving izakaya scene. Lucky us. If all you know about Japanese food is sushi bars and tempura/ teriyaki restaurants, it’s time to take your Japanese dining to the next level. En is a California roll–free zone. In spite of its minimall location, En is a handsome-looking place with

an open kitchen, dark wood accents and cozy booths. Although some of the dishes (sea urchin gratin, stirfried bitter melon with ďŹ sh cakes, fried chicken cartilage) may seem too advanced for sushi boat palates, there are plenty points of entry. The lunch menu is the most accessible. Several of the combo plates make for good values, if not full bellies. The hashed beef and fried chicken “value mealâ€? goes for $10 with rice and miso. Hashed beef is really Japanese-style beef curry, an Americanized beef-in-gravy dish that became popular in Japan in the 1950s. Paired with the crispy, ourbattered fried chicken, it makes a huge and satisfying plate of food. For something a tad lighter, go for the fried tofu-skin salad ($8.50). When tofu is made, a ďŹ lm develops on top of the soybean milk. This skin is skimmed off and dried; when fried, it creates a light, airy and supremely crunchy form of tofu that reminds me of fried pork rinds. It’s like vegan chicharrones. Flat squares of the tofu skin as well as fresh cubes of tofu are tossed with julienned daikon radish, bean sprouts, shiso leaf, mizuna, (avorless) tomatoes and spinach in a great soy and sesame oil vinaigrette.

For a taste of the culinary exotica on the dinner menu, try the sea urchin and poached-egg appetizer ($7.50). It’s essentially egg on eggmakers, the runny yolk of the egg mixing with the delicious, sweetish tide-pool funk of the sea urchin ovaries. The light ponzu sauce and sliced green onions sharpen the edges of an abundantly rich dish. Nighttime is the best time to come to En, because that’s when they break out the full izakaya menu, which is the real attraction here. There’s a paper menu of “house specialsâ€? that I could spend weeks chipping away at and still never get through. Just to let you know that En isn’t messing around, check out the grilled, spicy cod roe ($8). It looks like a pink sausage, but on closer examination you can see all the thousands of ďŹ sh eggs pressed tightly together. It’s quite salty (order more beer), but then you pick up the smoky avor from the grill. Two seconds later, the spiciness kicks in. This is not an easy dish to love, but it is one of the most interesting things I’ve eaten in a long time. The Monterey Bay squid sashimi ($7.50) is wonderful, with impeccably fresh and sweet squid

that has an almost buttery richness that you miss if all you’re used to is fried calamari. Less good was the pork belly and spinach salad ($8). The pork spent too long on the grill, and the charred stripes gave it an acrid, burnt avor. The grilled beef-tongue skewers ($5.50) lacked the tenderness I’ve encountered elsewhere. As extensive as the special izakaya menu is, the regular menu offers more than enough to choose from: fried dishes, grilled dishes, appetizers, salads, noodles, sashimi and rice dishes. With all those choices, my strategy was balance. The food at En tends to be rich and salty, so I looked for lighter dishes to offer some contrast. The snapper and grapefruit carpaccio ($12.50) does just that. The sparkling fresh curls of sliced snapper are paired with juicy chunks of grapefruit on an elegant long plate. It’s as beautiful to look at as it is to eat. Don’t get me wrong. I like salt and fat, too. Along with the snapper carpaccio, the eringi butter ($4.50) might have been my other favorite dish. Eringi is the Japanese word for king trumpet mushroom, an ivorycolored fungus with a fat stem and '-

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MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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small brown cap. Sliced and sautÊed with butter, garlic and perhaps a little soy sauce, it is superb. Going on the principle that bacon makes everything better, I ordered the baconwrapped quail eggs ($4.50), but the two skewers of boiled and grilled little eggs left me at, bacon notwithstanding.

Eringi is the Japanese word for king trumpet mushroom, an ivory-colored fungus with a fat stem and small brown cap. Sliced and sautÊed with butter, garlic and perhaps a little soy sauce, it is superb. A rice dish is traditionally eaten to conclude a Japanese meal, and there are several good options at En. Ochazuke ($6) is a simple dish made by pouring green tea, dashi (the shiitake mushroom, seaweed and dried-bonito broth that’s the foundation of Japanese cooking) or even hot water over rice. Savory toppings like pickles, salmon or seaweed are typically sprinkled on top. I went for the seaweed version. This comforting, restorative dish does wonders to reset your inner balance from too much overindulging on food and drink. En has a great sake list, but the extensive soju menu caught my eye. Soju is a distilled liquor made from sweet potato, wheat, rice or even brown sugar. It’s about 30 percent alcohol (60 proof) and so falls between sake and distilled spirits like vodka and rum. En’s menu offers soju make from sweet potato, rice and wheat, and it’s interesting to compare the differences. I like the full avor of the sweet potato soju best. Try the Kuro Shiranami, a dry, subtly avored soju ($6 glass, $45 bottle). En also sells Yebisu, my favorite, full-bodied Japanese beer ($7). I’m going to lay off El Camino for a little while, but I will probably come back to the well soon. I spotted a new Korean chicken restaurant that looks promising.

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M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 DINING GUIDE

dpmvno xjof Ask the

Sommelier

6HDC G:>C=6G9I grew up in Saratoga and moved to Seattle for a career as a psychotherapist. After 12 years, he realized that his true passion was sharing food and wine with friends. Moving back to the Bay Area in 2003, he pursued his interest in food and wine, attending the California Culinary Academy and managing Napa Valley Staple and Oakville Grocery at the Stanford Shopping Center. Reinhardt opened ADH <6IDH <DJGB:I in 2006, a store that features premium wines, artisan cheese, charcuterie and gourmet specialty items. The market offers Friday wine tastings from 6 to 9pm and monthly “meet the winemaker events.”

J

Why did you decide to pursue a career in wine?

Grapes have always been a part of my life, either building forts under the trellis of my neighbor’s vineyard or visiting my aunt’s zinfandel vineyard at Pagani Ranch in Sonoma. What makes your wine list special?

We place a special emphasis on locally produced Santa Cruz Mountain Wines, as well as having a “thing for pinots.” What wines are you passionate about right now?

A pinot noir from Muccigrosso Vineyards. They are a family run winery “committed to producing small quantities of handmade fine wines designed to satisfy everybody.” This pinot noir is beautiful and silky, with big cherry fruit, vanilla and a touch of minerality What are some of the best wine values now?

Hands down, no question, anything local winemaker Frank Ashton produces for his winery, Downhill Winery. My favorite is his “Slippery Slope,” a syrah/grenache blend. What is your go-to wine for everyday, casual drinking?

Sauvignon blanc from Hall, chardonnay from Kali Hart and a sangiovese blend, Table Two, from Muccigrosso. Stett Holbrook (Twitter.com/Stett_Holbrook)

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[31]

[32] DINING GUIDE

MARCH 3-9, 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 MARCH 3-9, 2010 DINING GUIDE

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HAVE a lot of respect for First Lady Michelle Obama, and initially I applauded her recently launched campaign against childhood obesity called Let’s Move. But the effort appears too timid and solicitous of the food industry that helped created the epidemic in the first place. The Let’s Move campaign includes: Establishing a high-profile childhood obesity task force; improving school lunch programs; allocating $400 million per year to eliminate “food deserts,” areas without grocery stores or access to fresh food; a commitment by several food-service vendors to voluntarily meet standards for school food set by the Institute of Medicine to cut the amount of sugar, fat and salt in school meals within five years and double the amount of produce they serve within 10 years. The plan is a well-intentioned effort to end childhood obesity in one generation, and it’s sorely needed. Today, nearly one in three children are obese, a rate that has tripled in adolescents and more than doubled in younger children since 1980. According to data cited by President Obama in a memo creating the childhood obesity task force, one-third of all children born in the year 2000 or later will eventually suffer from diabetes while others will face chronic obesity-related health problems such as heart disease, high blood pressure, cancer and asthma. How did this happen? There are many reasons, but the quality and quantity of the food children eat are a big part of the problem. So is lack of exercise. We can blame parents for allowing their kids to drink Super Big Gulps and eat Doritos at the dinner table. We should also blame the food industry for systematically poisoning our children with highly processed, nutritionally poor food. But I think the real villain is the U.S. Farm Bill, an unwieldy, antiquated piece of legislation that’s a snake pit of greed and injustice. Michelle Obama made no mention of this elephant in the room. The farm bill institutionalizes wasteful, environmentally disastrous agribusiness that’s cheap for corporate farmers, thanks to morally unjustifiable subsidies, but expensive for everyone else because of the high social, health and environmental consequences of factory-farmed crops and the industrial food industry that depends on them. In her public comments announcing the Let’s Move campaign, Michelle Obama appeared to get it: “It’s time we all had a wake-up call. Our kids didn’t do this to themselves. Our kids don’t decide what’s served to them at school or whether there’s time for gym class or recess. Our kids don’t choose to make food products with tons of sugar and sodium in supersized portions and then have those products marketed to them everywhere they turn. And no matter how much they beg for pizza, fries and candy, ultimately, they are not, and should not, be the ones calling the shots at dinnertime. We’re in charge. We make these decisions.” But instead of going after the root of the problem, the first lady’s plan appears to tiptoe around the edges by partnering with the food industry and media companies in hopes that they will voluntarily change their ways. How about a tax on soda pop? No mention of that. If someone were sickening your child and making money off it, would you be willing to form a “partnership” with them? Or would you beat them with the biggest weapon you could lay your hands until they stopped? I’d choose the latter, but that’s just me. One of the campaign’s partners is the Nickelodeon TV network. Nickelodeon will “offer its resources and research to the campaign, including kid- and family-targeted PSAs featuring the first lady and special programming events on its channels and websites.” That’s nice. Too bad kids will have to sit on their butts watching cartoons and crap-food commercials in between all the heartfelt messages from the first lady. Many supporters of school lunch reform hoped that the first lady’s White House garden and support for more nutritious food would mean the president would offer more funding to improve the low-grade slop served in public schools—and he did. The president is proposing an additional $1 billion a year for 10 years to be divided between school food programs and WIC, the program for low-income pregnant women, women who have recently given birth and children up to age 5. Although $1 billion sounds like a lot, according to The New York Times it pencils out to less 20 cents more per student. That’s not much when the government spends an average of $2.68 per student. One thing the first lady could do as part of her Let’s Move campaign is to let her husband know how woefully inadequate his proposed support for school lunches is. Many school lunch reformers are calling for a $1per-student increase, five times what the president has proposed. To the extent that Let’s Move raises awareness about the problem of childhood obesity and its causes, it is a step in the right direction. Bringing better food to underserved neighborhood is great. But if the campaign gives the food industry and marketers cover for the very problems they helped create, then Let’s Move is a move in the wrong direction. Stett Holbrook (Twitter.com/SVdining)

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[34] DINING GUIDE

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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[35]

[36] DINING GUIDE

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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[37]

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San S an Jose Jose C City ity C College ollege Theater Theater

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St,, San 62 S. S. Second Second St San Jose Jose

2100 21 00 Mortar Morrtar Ave, Ave, San San Jose Jose

11711 711 Branham Branham Ln, Ln, San San Jose Jose

408.280.7475 408.280 .7475

Fri-Sat F ri-Sat – 8pm, 8p Sun – 2pm, through through March $20-$50 Mar ch 31;; $ 20-$50

408.448.3323 40 08.448.3323

Fri Sat Thu – 8pm, F ri – 8 and 110pm, 0pm, p S at – 7 7pm; $18-$20 and d 9pm, 9 S Sun –7 pm; $18-$2 $18 $ $20

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Terence T erence Blanchard B lanchard Memorial Auditorium Auditorium Stanford University Stanf ord Univ ersity 650.725.ARTS 6 50.725.ARTS Sat S at – 8pm; $10-$38 $10-$38

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M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 CALENDAR

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DJ Cobra Pearl Nightclub 8 S. First St, San Jose 408.279.4444 Sat – 10pm

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One After Another Streetlight Records 980 S. Bascom Ave, San Jose 408.292.1404 Sat – 4pm; free

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Hard Girls

Dirtyheads

Homestead Lanes

VooDoo Lounge

20990 Homestead Rd, Cupertino

14 S. Second St, San Jose

408.255.5700

408.286.8636

Sat – 8pm; $8

Mon – 9pm; $10

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MARCH 3-9, 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 MARCH 3-9, 2010 ARTS

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METROGUIDE

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Strokes of Genius O]Z_^Vc\ Egdk^cX^Va BjhZjb

A new exhibit at Stanford showcases the magisterial scrolls of 20th-century Chinese ink-brush painters By Michael S. Gant

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F

IVE YEARS AGO, the Cantor Arts Center mounted a show of modern Chinese artists aptly called “On the Edge.” It featured such aggressive gestures as Zhang Huan’s full-body raw-meat suit and lots of manipulated, even mocking, images of Chairman Mao. A little less aggressively, Zhong Hongtu contributed scroll paintings that combined traditional Chinese methods and imagery with Western painting styles derived from the Impressionists. The marvelous new show at the Cantor, “Tracing the Past, Drawing the Future,” echoes in subtler fashion the themes that were bursting out all over in “On the Edge.” The show pulls together about 100 works by four major masters of ink painting whose lives spanned the late 19th century and much of the 20th century. All four played significant parts in China’s complex reaction to modern Western art; three lived into the Communist era; and their works, even at their most seemingly serene

and timeless, evince signs of the upheavals that roiled China in the transitions from the fall of the Qing Dynasty to the rise and fall of the Republic of China to the triumph of Mao. The four artists are Wu Changshuo (1844–1927), Qi Bashi (1864–1957), Huang Binhong (1865–1955) and Pan Tianshou (1897–1971). Such long careers make it hard to confine them to a single narrative, but one common thread is paramount. In the face of the increasing influence of Western art in China in the early 1900s, these four chose to respond not by abandoning but by revitalizing the centuries-old tradition of brush painting in ink on silk scrolls, combined with the arts of calligraphy, poetry and seal carving. This emphasis on a carefully proscribed heritage was not a retrenchment, however; Wu, Qi, Huang and Pan all adopted visual strategies that quietly altered the look and emotional pulse of ink painting. Some of the works on display are startling in their

modernity—Huang’s densely patterned landscapes occasionally slip into a mode that looks like pure abstract expressionism. Wu Changshuo specialized in domesticated nature scenes, with a concentration on flowers and trees, although one of his most striking works is a portrait of a heavy-bodied tiger marching away from the viewer, its thick tail raised rather defiantly. His scroll Plum Blossoms and Cattail Grass starts with a lightly rendered pot containing a small, gnarled specimen of plum dotted with light red blooms. The thick oval mat of cattail grass in a separate vessel is squeezed from below by an amorphous mass of darkly inked rock. The whole composition is framed on two sides by poetry inscriptions in both running script and the more stylized seal script. The remarkable Tripod Cauldrons combines ink rubbings of two ancient bronze urns, including their engraved inscriptions, with a bouquet of bright chrysanthemums in one vessel; some more austere

uncolored plum boughs provide a vertical contrast jutting from the other. The studied use of historical materials makes the painting something like an illustrated lecture. As he grew older and more confident in his technique, Wu showed great freedom in his approach to familiar subjects. Pair of Peaches presents two red-blush fruits rendered in very runny, thin ink surrounded by a handful of leaves. The inscription, an ode to fruity goodness (“One bite can add centuries to your life”), is done in swirly characters trailing off in long sketchy strokes. The hanging veggies of Gourds feature ink washes so saturated that they seem almost poured onto the page. The yellow globes stand out amid a cascade of dark-leaved vines suggested with tangled strokes of brown and dashes of blue gray. Unlike most of Wu’s work, the calligraphic component is squeezed into a corner, overwhelmed by the fecundity of nature. )'

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MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

San Jose Symphonic Choir

presents a new work by Henry Mollicone

Misa de los Inmigrantes Friday, March 5, 7:30 PM Mission (church) Santa Clara Univ. 500 El Camino Real, Santa Clara free tickets by reservation only... call 408 554-4015

Sunday, March 7, 7:30 PM Trinity Episcopal Cathedral 81 N. 2nd St, downtown San Jose free www.sanjosesymphonicchoir.org

South Bay Guitar Society

presents its 6th annual Guitar solo & ensemble Festival including 2 brilliant concerts at Le Petit Trianon Theatre 72 N. 5th St, downtown San Jose

Friday, March 12, 7:30 PM featuring virtuoso guitarist

Vicki Genfan

Saturday, March 13, 8 PM featuring master guitarist

Carlos Perez

tickets, each concert: $25/20/15 on-line: www.sbgs.org 408 292-0704 ---- a l s o ----

Saturday, March 13, 9:30 AM - 4 PM & Sunday, March 14, 11 AM - 4 PM FREE exhibits, guitar workshops, demos & adjudicated studio recitals. Music Center, Independence High School, 1776 Educational Park Dr, San Jose. more info: www.sbgs.org or call 408 292-0704

Discover the Arts www.svArts.org

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Qi Bashi favored animal portraits, and his paintings done in delicate gradations of thin gray ink are quite charming. Taking full advantage of his very tall, narrow scroll format, Qi sketches two bickering squirrels as dark blobs perched at the top of a tree trunk, balanced by a delicate tracery of pine needles at the bottom of the painting. Reversing the dynamic, The Two Ducks Under Red Knotweed float across the very bottom of a scroll presided over by fuzzy red dangling flowers.

This emphasis on a carefully proscribed heritage was not a retrenchment, however; Wu, Qi, Huang and Pan all adopted visual strategies that quietly altered the look and emotional pulse of ink painting Th three Mice Romping in a Mountain Dwelling are almost too adorable, like something out of Beatrix Potter. Much better is the austere Crabs, in which the crustaceans tumble through the narrow empty space of the scroll, growing a bit darker and closer together as they reach the bottom. The last crab is jet black, and its body uncannily resembles the silhouetted head of Mickey Mouse. His human portraits are less affecting. The Bodhidharma posed on a bed of leaves under a tree looks conventional; and his 1897 portrait of Iron-Crutch Li, a Daoist Immortal, seems ungainly, poised between veneration and caricature. Much better is a later (1947) rendition of Iron Crutch Li, peering warily into a hollow gourd and wondering, “Sir, what medicine do you have in your gourd?” The old man is asking, very circumspectly considering the political upheavals at hand, if things will ever really change. Of the four, Huang Binhong references most tellingly the deep history of Chinese landscape painting, with rising vistas of towering bare rocks and

thrusting forests overwhelming rustic huts. Sitting in the Rain in Qingcheng is dominated by a looming mass of misty clouds dwarfing some lightly outlined village structures that appear quite ephemeral in the vastness of nature. The traces of human activity are almost invisible in Mountain Landscape With a Waterwheel, with only a tiny seated figure in the foreground to witness the immensity of the rocky landscape. These paintings recall, to a Western viewer, the 19th-century landscapes of the Hudson River School in which minute figures admire in awe the expansive vistas before them. Very late in his life, Huang produced some extraordinary landscapes full of dense vigorous brush strokes that look almost staccato, even pointillist, in their application. Burnt Ink Landscape (1950) and Peach Blossom Spring (1953) in particular have the roiling immediacy of a Jackson Pollock. Pan Tianshou is the most selfconsciously modern of the quartet. A couple of his landscapes feature gun towers on promontories that seem a bit sinister among so much natural beauty, and he sometimes worked at a muralist’s scale for pieces meant to be seen in public places. The immense Water Buffalo in a Summer Pond matches the humped back of the stolid beast against a rock outcropping on the shore—two symbols of permanency in an impermanent world. Changing proportions, Dominant Overlook is a vertical shocker with a spire of widening stone jutting from an impossibly narrow base—two baleful vultures take advantage of this secure redoubt. Even a small slice of nature can look like an epic in Pan’s hands. The most amazing entry in the “Tracing the Past” is Mountain Flowers of Mount Yandang, a large horizontal scroll that depicts a solid wedge of rock surrounded by a profusion of flora rendered in a variety of styles, ranging from precise botanical illustration to suggestive blobs of ink. Two chubby frogs, perhaps under the false illusion that they are the kings of all they survey, rest at the rock’s point, subsumed only in the moment. The dangerous eddies of history caught up with Pan, who was persecuted by the Cultural Revolution as a spy. It’s hard not to think that Pastoral Amusement on a Wild Pond, his simple painting of a very anxious-looking kingfisher on a branch, is a self-portrait of the artist, warily eying critics with real clout. TRACING THE PAST, DRAWING THE FUTURE: MASTER INK PAINTERS IN 20TH-CENTURY CHINA runs through July 4 at the Cantor Arts Center, Stanford University. (650.723.4177)

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

MARCH 3-9, 2010

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MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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

MARCH 5th ART WALK - 8pm ’til late The SoFA District is So. First Street between San Carlos and E. Reed streets

Anno Domini

Art Glass Center

Caffé Trieste

MACLA

366 So. First Street

465 So. First Street

315 So. First Street

510 So. First Street

Indoctrination debut solo exhibition of Dante Horoiwa

The SJGAA invites you to get a special sneak peek at their new fine art gallery extension as they expand the Art Glass Center of San Jose. Lionel Chapital and Lori Peterson will be on the torches creating precious little works of art just in time for Easter.

Venezia Revisited

Conceptual Landscapes: recent work by Castillo and Mariana Garibay.

Horoiwa’s paintings portray the spiritually lost and lonely. Through his work, from life-size paintings on the streets of São Paulo to the side of a 4 story building in Rotterdam, Netherlands, Horoiwa is able to cope with his want to hide from the world and his need to be a part of it.

Opening Reception for Venezia Revisited, a collection of paintings made by San Jose artist Eileen Graham after a 2007 trip to Italy. Music by: Opera

San José

Ancestry, nature and form are reflected in this two person show featuring site specific installation and works on paper. Join us for the Artist Talk at 7:30pm for a gallery walk through and an engaging conversation about their work. Image: Mariana Garibay, Tangle Weed, monotype, collage, acrylic and string mounted on wood, 2009.

San Jose Museum of Quilts & Textiles 520 So. First Street On view: Poetic License: The Art of Joan Schulze is a retrospective of the prolific 40-year career of innovative Bay Area collage artist Joan Schulze. Also on view: Navajo Weaving in the Present Tense: The Art of Lucy and Ellen Begay, a rare collection of a remarkable body of work by two contemporary Navajo weavers, a mother and daughter, whose work is deeply rooted in the traditional lifestyle they still lead. Special event 8-9pm: Reading of original poetry by Joan Schulze.

More Exhibitions: Phantom Galleries 386 & 388 So. First Street WORKS San José 451 So. First Street Downtown Yoga Shala 450 So. First Street

SLG Art Boutiki & Gallery

So. First Billiards

KALEID Gallery

420 So. First Street

88 So. Fourth Street

577 So. Market Street

Illuskrate group exhibit featuring nine very talented South Bay artists.

7-9pm Opening Reception: The Sketch Book Show

Metro Photo Exhibit 550 So. First Street

Live musical performances by Fake Public and Can’t Find a Villain.

Take a rare peek into the twisted minds of 29 artists. Step into an artist's brain space, enjoy live music by DJ Coco, coffee by Red Berry Coffee Bar and catering by Fundamental Gourmet.

(Free shuttle to and from Art Ark every 15mns from 5:45pm - 9:15pm. Meet in front of Miami Beach Club.)

SLG continues the Escape from Dullsville show and adds in artwork by Ethan Nicolle's web comic sensation AXE COP. He's a cop... with an Axe. Live music by Jazz trio Quasimodal.

South First Billiards is now an ALL AGES venue.

Good Karma Vegan Café 37 So. First Street Art Ark 1035 So. Sixth Street

FREE and open to the public!

visit www.SouthFirstFridays.com or call 408-271-5155 for more info

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BALLET REVIEW

Love Notions

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[45]

Karen Gabay shines like a beacon as tragic heroine in Ballet San Jose’s ‘Romeo and Juliet’

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T IS amazing that Karen Gabay is still dancing Juliet. Back in 1986, Dennis Nahat choreographed the title role for his production of the Shakespearian classic especially for the then-young ballerina. Gabay is now in FATAL ATTRACTION Nbzlfm!TpmbtĂ–!Spnfp! her 40s, and the longtime Ballet San Jose principal dancer continues to be as sprightly nffut!ijt!Kvmjfu!)Lbsfo!Hbcbz*!bu!uif!cbmm/ and emotive as ever in the company’s latest production of “the greatest love story ever told.â€? In response to the economy, this season has the venerable ballet company going for large-scale, opulent, romantic, get-butts-in-the-seats productions. Romeo and Juliet is precisely this, and what’s wrong with that? Nahat and the late David Guthrie’s vision of renaissance Verona and its leaping, spinning, rapier-wielding inhabitants is still holding up nicely. Despite the depressing overtones of the original play, it remains one of Ballet San Jose’s most enjoyable shows. This is a production that inherently requires a heightened level of acting from its principal dancers. Gabay keeps the dancing fresh and the emotion raw in her portrayal of the ill-fated daughter of Capulet. Her 100-watt smile ies like an arrow to the heart. She embodies an almost childlike fervor that becomes tinged with despair. Her arabesques were steady, her exibility and fouettĂŠ turns still impressive. Gabay and attractive Cuban danseur Maykel Solas meshed well as partners. Solas pulled off the complex, acrobatic lifts required in their pas de deux balcony scene with conďŹ dence, the lovers expressing their newfound passion through movement. Tybalt was well danced as an intimidating, menacing villain by Willie Anderson, while artistic director Nahat himself took the stage as the sympathetic Friar Laurence. The pint-sized Ramon Moreno was a highlight of the show as the jaunty jokester Mercutio. Moreno will take on the role of Romeo alongside Maria Jacobs-Yu’s Juliet later this week, but on opening night he appeared to relish this showboating role. Some of the best dancing of the evening came from his portrayal of Romeo’s reckless, mandolin-strumming best friend, particularly his drawn-out ďŹ ght and eventual death scene in the Verona square. Nahat effectively used the lively corps members as irting Gypsies, fruit-throwing peasants and courtly dancing nobility throughout the highly recognizable score by ProkoďŹ ev. The live orchestra conducted by Dwight Oltman was ďŹ rst-rate, as were the lavish sets and headdress-heavy costuming. My only grumble, beside what appeared to be a slight fumble with scenery in the third act, was the length of the production. This particular incarnation of Romeo and Juliet clocked in at some three hours. In an effort to keep the story moving, it would be good to cut the maypole spinning and some of Juliet’s bedroom drama so that everyone can get home by midnight. Jessica Fromm ROMEO AND JULIET, presented by Ballet San Jose, plays Thursday–Saturday, March 4–6 at 8pm, and Sunday, March 7, at 1:30pm at the San Jose Center for the Performing Arts at 255 Almaden Blvd, San Jose. Tickets are $30–$85. (408.288.2800) WVX` id &.(.# Dc\d^c\# LZY";g^! cddc")eb! HVi! &&Vb"*eb VcY Hjc! cddc")eb# &)%& C# H]dgZa^cZ 7akY! BdjciV^c K^Zl! +*%#-&%#&%&%#

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[46]

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

UPCOMING EVENTS AT MONTALVO

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Ladysmith Black Mambazo :: Mar 10, 7:30 pm :: $50/45, Members $45/40 P E R F O R M I N G A RT S S E A S O N

The legendary South African vocal ensemble, performing for more than 40 years, won a 2009 Grammy for “Ilembe: Honoring Shaka Zulu.� “It isn’t merely the grace and power of their dancing or the beauty of their singing that rivets the attention, but the sheer joy and love that emanates from their being.� - Paul Simon

Women of the Blues: A Tribute to Koko Taylor :: Mar 19, 8 pm :: $32/27, Members $29/24

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Jazz trumpeter and 2010 Grammywinner Terence Blanchard joins the Stanford Symphony Orchestra in a powerful multimedia work in response to Hurricane Katrina.

Stellar bassist McBride and ensemble in a fresh take on the works of pianist, composer, and jazz living legend Herbie Hancock.

These performances made possible in part by the

J AZ Z P R O J E C T

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A tribute to the late Grammy-winning blues genius Koko Taylor presented by J.C. Smith featuring Sista Monica Parker, Pat Wilder & Sharon Lewis. The Chicago-Sun Times said of Koko Taylor...â€?Chicago’s best blues singer‌ she has ďŹ re in her lungs.â€?

Anoushka Shankar Project :: Apr 29, 7:30 pm :: $40/35; Members $36/31 Sitar Master Ravi Shankar’s daughter is a leading ďŹ gure in World Music today. On her latest record she teamed up with sister Norah Jones! The Chicago Tribune raved about Anoushka’s stellar talent “... sounding every bit the equal of her illustrious father.â€?

Asia America Youth Orchestra David Benoit, Music Director & Conductor w/ID $10 :: May 9, 3 pm :: $35/25; Members $31/22; Students (Box OfďŹ ce only)

Celebrate Mother’s Day listening to one of southern California’s most talented youth orchestras. Led by legendary jazz pianist David Benoit, the ensemble performs the northern California premiere of “Native Californian� written for the orchestra by Benoit while in residence at Montalvo.

All events at the Carriage House Theatre

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

JOIN NOW :: montalvoarts.org/membership

M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 STAGE/ART/LIT

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[47]

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[48]

MARCH 3-9, 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 MARCH 3-9, 2010 FILM

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[49]

Dead at Leeds

Intense ‘Red Riding’ trilogy charts an English investigation that taints everyone in West Yorkshire

By Richard von Busack

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ILDLY AMBITIOUS and thoroughly brutal—I mean, Sawlevel brutal—the Red Riding trilogy gets in there and hits spots that Shutter Island could only acknowledge by homage. The three films—Red Riding: 1974, Red Riding: 1980 and Red Riding: 1983 (each about 100 minutes long)—are by three directors working on Tony Grisoni’s massive adaptation of a series of crime novels by David Peace. The engine of this epic British mystery is a serial killer, or killers, at large over the course of nine years: angel-makers, leaving behind violated corpses of little girls, with wings cut from dead swans stitched to their bare shoulder blades. A jest in Red Riding: 1980 between a crusading police inspector and a priest sums up the threat. The usually mild-mannered Inspector Hunter (Paddy Considine) asks, “If someone kicks down your front door, kills the dog and rapes your wife, who you gonna call?” The priest (Peter Mullan) replies, “It certainly wouldn’t be the West Yorkshire Police. They’d be in there already, wouldn’t they?” Red Riding’s story of corruption and skullduggery centers around these dangerous cops: eager to immolate a Gypsy camp, torture a journalist or frame a handy moron. The moron is named Myshkin, a la Dostoevsky’s The Idiot; no, Red Riding ain’t subtle. These movies may be hard on “the filth,” as British citizens sometimes call their constables, but the West Yorkshire cops were discredited

during the murder spree of the Yorkshire Ripper. Those real-life killings are essential to Red Riding when the cops try to piggyback a murder onto the Ripper’s death toll of 13. Red Riding: 1980 mentions the true details. The West Yorkshire police had collected so much paper that they had to bring in contractors to reinforce the floor of an evidence room. Sometimes diligence and incompetence can go hand in hand; the convicted killer, Peter Sutcliffe, had been questioned nine times before he was finally arrested. Local details may be stumbling blocks for American audiences. “Peter Sutcliffe,” asks the Yank viewer, “wasn’t he the guy John Lennon replaced in the Beatles?” The dialect is tough on the ear—low, muttered and glottal. Subtitles are just about needed during some of the most intense parts. Red Riding: 1974 concerns the fate of a self-loathing journalist, Eddie Dunford (Andrew Garfield), who is out of his depth dealing with a vastly confident developer (Sean Bean, excellent) and a policeman named Craven (Sean Harris), who is still trying to figure what side of the law he’s going to be on. Rebecca Hall plays Paula, the mother of a snatched child who begins as Dunford’s source and turns into his lover. Grief is such an aphrodisiac, but director Julian Jerrold stresses the awkward angles and hard labor of bodies in bed; we don’t get relief from the constant threat of violence through anything lyrical. Red Riding: 1980 picks up the

thread as a love story: a Graham Greene dilemma for the Catholic detective Hunter (Considine—in his first five minutes you can tell this is the best acting he’s ever done). Despite his marriage, he still has a thing for one of his employees. Duty is wearing him down; he has taken over the investigation of the child murders without much help from the officers under him. They’re not worried, since, as Craven says of the victims, “They’re slags.” Lastly comes Red Riding: 1983, beginning with the flashback that allows us to see the men behind the curtain. Robert Sheehan plays a traumatized, half-sane male prostitute called BJ, who has the key to the problem—a key he never relinquishes for fear of his life. You get lost, but the faces carry you through it: Cara Seymour is touching as a wilting flower of a woman. Harris’ slicked-back, liver-colored hair is a sight to affect the gorge. Bill “The Badger” Molloy leads the cowboys of the force, meaty bad bastards all; he is played by Warren Clarke, who once upon a time was the treacherous droog Dim in A Clockwork Orange. Age has given him the truculent snarl one might imagine on a “Big Brother Is Watching You” poster. Opposing all these bulls is plump lawyer John Piggott (Mark Addy), the show’s most trustworthy yet fallible character: “I’m disgusting, but my heart is pure.” Produced for England’s Channel 4, Red Riding makes a strong argument for the primacy of adult television. Judging by this and shows like Mad

Men, we can probably agree that there is something about the serial narrative that leads to more deep involvement than screenwriter Syd Field’s traditional three acts. The on-the-cheap atmospherics are compelling: a plastic-woodpaneled basement pub named for Shakespeare; an ever-decaying coal town shadowed by a half-dozen mammoth cooling towers. Through exposure to brown light, stasis and despair, the people in Red Riding are devolving into brick walls. Reportedly, these three individual films work on their own, but I don’t recommend that experience. The way they fit together is essential to the trilogy’s power and scope. It is worth it to schedule a marathon viewing. A compelling murder story ought to be about a crime worse than murder. Just as Philip Marlowe was always in vain pursuit of the real culprit—the villains who made the monster city of Los Angeles—the villains here are the powers that be in Yorkshire. Red Riding is not about the 20 or 30 lives taken; it’s about the thousands of lives ruined. The trilogy’s most quotable line expresses the misrule of the area: “This is the North, where we do what we want.” THE RED RIDING TRILOGY (Unrated), directed by Julian Jarrold, James Marsh and Anand Tucker, written by Tony Grisoni, based on a novel by David Peace, and starring Warren Clarke, Sean Harris, Paddy Considine and Paddy Seymour, opens March 5 at Camera 3 in San Jose.

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FILM MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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Reviews by Michael S. Gant and Richard von Busack.

New Ajami (Unrated; 120 min.) Ajami is a mixed district of Arabs, Christians and Bedouin thugs in Jaffa, Israel: it’s scoped out by a pair of scriptwriters (one Arab and one Jewish), both obviously people who know all about the malice and randomness of city violence. Nominated for the best foreign ďŹ lm Oscar. This special screening is presented by the Silicon Valley Jewish Film Festival. (Plays Mar 3 at 7:30pm at the Retro Dome Theater, 1694 Saratoga Ave, San Jose; see www.svjff.org for details.) Alice in Wonderland (PG; 108 min.) Tim Burton goes the 3-D route in his adaptation of the Lewis Carroll classic. Stars Johnny Depp. (Opens Mar 5.)

Arusi: Persian Wedding Marjan Tehrani’s second feature documentary proďŹ les an American-Iranian couple, Alex and Heather Tehrani, dealing with cultural differences as they wed. The documentary ďŹ rst aired nationally on PBS in March 2009. Marjan Tehrani will be at the screening. (Plays Mar 3 at 7pm in San Jose at SJSU Engineering Auditorium, Room 189.) (RvB) Brooklyn’s Finest (R; 140 min.) A gritty cops and crime drama with Richard Gere, Don Cheadle, Wesley Snipes and Ethan Hawke. Directed by Antoine (Training Day) Fuquq. (Opens Mar 5.) Cinequest See story on page 51. (Read more about Cinequest online at www.metroactive.com and joint the ďŹ lm conversation at www. metroactive.com/moviesandtvblog) February One A documentary about the 1960 Greensboro lunch counter sit-ins. Shown as part of Reclaiming Our Heritage 2010 Film Festival. (Plays Mar 4 at 6pm in San Jose at MLK, Jr. Library, CHC, Room 525.)

Formosa Betrayed (R; 100 min.) A political thriller with James Van Der Beek and John Heard. (Plays at selected theaters.) The Ghost Writer (PG-13, 128 min.) Roman Polanski’s freezer-burned comedy/thriller concerns former British Prime Minister Tony Blair, excuse me, Adam Lang (Pierce Brosnan), who has settled in a ghoulish modernist bunker of a seaside house to ďŹ nish up his memoirs. The witty script has it that the PM got a $10 million advance for an absolutely unpublishable book. Enter a hired writer named the Ghost (Ewan McGregor). Meanwhile, the PM’s sexy shrew of a wife, Ruth (Olivia Williams), noses out her husband’s affair with his assistant (Kim Cattrall). One admires how much Polanski got out of two TV hobgoblins like Cattrall and Jim Belushi, as a swinish publisher who conducts himself like Lex Luthor. The surprise in this plot is revealed through some expertly played Boston Brahmin threat by Tom Wilkinson. Yet The Ghost Writer is a typical old director’s movie: slow, morbid, never quite sexy enough and full of self-reference. Trapping us in the house is a classic maneuver of Polanski; leaving us there is something like an act of forgetfulness. (Plays at selected theaters.) (RvB) A Prophet (R; 155 min.) Jacques Audiard’s harrowing story of a 19-year-old whose life is redeďŹ ned by a six-year stint in a French prison has been compared in some corners to The Godfather, and the comparison makes sense on some superďŹ cial level. Malik (Tahar Rahim) begins his journey as a fresh-faced petty criminal, a sheep condemned to live among the wolves. He loses what remains of his innocence in short order: Ordered by the Corsican mobster Luciani (Niels Arestrup) to murder a fellow Arab or suffer an equally gruesome fate himself, Malik reluctantly learns to kill. The episode stays with him, although it never seems to inform the choices he makes behind bars. Over time, Malik shrewdly injects himself into the prison drug trade. He works his way up the jailhouse food chain, climbing over the corpses of his competitors along the way. Malik is no Michael Corleone. He is graceless and resistant to introspection. But he is every bit the opportunist, a scrappy apprentice taught too well by Luciani. We are grateful for Malik’s survival, but the violence that becomes second nature to him is nothing to celebrate, something Audiard (The Beat That My Heart Skipped) understands. This is no fairy tale— there are neither heroes nor villains, merely men married to a desperate career path, some by choice and others by necessity, all ďŹ ghting to eke out an existence. (Opens March 5 at Camera 7 in Campbell, CinĂŠArts Palo Alto and CinĂŠArts Santana Row.) (RD) Red Riding (Unrated; three ďŹ lms, 100 min. each) See review on page49. (Opens Mar 5 at Camera 3 in San Jose.) The Yellow Handkerchief (PG-13; 102 min.) See review on page 52. (Opens March 5 at Mountain View 16 and Winchester 21 in San Jose.)

Revivals High and Low/I Live in Fear (1963/1955) Ed McBain’s King’s Ransom is the source for High and Low, a thriller about a shoe company executive (Toshiro Mifune) whose chauffeur’s son is kidnapped. Another exhibit for the primacy of blackand-white photography in CinemaScope. BILLED WITH I Live in Fear. A family man (Mifune) nearly loses everything over his mortal terror of atomic attack. (Plays Mar 10-12 in Palo Alto at the Stanford Theatre.) (RvB) Ikiru/One Wonderful Sunday (1952/1947) After 30 years of presiding over an ofďŹ ce of chair ďŹ llers, buck-passers

M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 FILM WITH One Wonderful Sunday. Romance without finance in bombed-out postwar Japan; a man and a woman try to make the day pass with only 35 yen between them. Kurosawa’s concealed camera stole images off the Tokyo streets, just as Billy Wilder had done in The Lost Weekend a few years earlier. The famous frame-breaker scene seems to be a nod to Peter Pan. (Plays Mar 3-5 in Palo Alto at the Stanford Theatre.) (RvB)

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FILM REVIEW

Stray Dog/Drunken Angel (1949/1948) Stray Dog is Akira Kurosawa’s tough, heated film noir shot on the bombed out streets of Tokyo). Toshiro Mifune plays a cop on the edge after his pistol is filched on a bus; the ever-humane Takashi Shimura is his older, wiser partner who keeps him from peril. BILLED WITH Drunken Angel. The first of the 16 films

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The Quest Ends Cinequest 20 wraps up this weekend in San Jose

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UDITY HAS BEEN called “the most inexpensive F/X,” and Gabi on the Roof in July (March 3, 5pm, Camera 12) uses it thoroughly. But after a while you get used to the jaybirdocity of Gabi (Sophia Takal, who co-directed) and become more interested in the film’s discourse about ways of conducting oneself. Two figures face each other over the gulf of being twentysomething: 20-year-old Gabi, an Oberlin student just about to launch into her wildest decade. Her brother, Sam (Lawrence Levine, who co-directed), is almost 30; he’s a serious painter on the cusp of either making it or breaking it. Gabi wants into the art racket herself. She calls loafing, playing nude Twister and getting her body covered with whipped cream her own form of art. What Gabi really is, despite her genuine charm, is selfish. But is Sam much better? The movie has a great ear for art gabble. At the gallery where she works, a character named Chelsea comments, “When the visitors come in, we want them to feel that they’re immersed in New York art culture, so they don’t have to feel that they have to search it out.” And the incident of an older art gallery manager’s meltdown at Sam’s studio has the air of a true story. Gabi on the Roof in July is hipster Rohmer, a celebration and critique of that stage of life when one travels in packs and sleeps in piles, like hamsters. Speaking of the torments of the art world: the last word on this subject is director Terry Zwigoff, whose Daniel Clowes–scripted Art School Confidential was a harrowing and comically lurid account of what goes on in those academies. Zwigoff, a genuine maverick (countering name-only mavs like Deepak “God wants you to fly first class” Chopra), shows up for March 5’s Day of the Writer event at SJSU Theatre. A great way to cap that Friday would be with Ernst Lubitsch’s The Student Prince in Old Heidelberg, showing at 7pm at the California Theatre with the legendary Dennis James at the theater’s organ. Much talk has flowed about the future of film distribution, which seems (when all’s said) to mean smaller and smaller screens for more and more movies. Nothing suffers more from shrinkage than silent film, and if you’ve never had a chance to see how big silents get, this is your chance, in a genuine picture palace. However, Shorts Program 4 (March 5, 7pm, Camera 3) makes a nice fallback position. Among the animated work included is The Spine, a shocker by Chris Landreth. Landreth won an Oscar in 2005 for Ryan, a story about his fellow Oscar nominee, the animator Ryan Larkin, whose life was ruined by substance abuse. The new one was a little too tough for the Academy, apparently. On Thursday (March 4, 7pm, California Theatre), Benjamin Bratt, star of the San Francisco–filmed La Mission, turns up for a Maverick Spirit event. Closing night (March 7, 8pm, California Theatre) features the Korean film Mother, which hasn’t been screened for the press. As a warm-up, try a revisit with Outsourced, (March 6, 4pm, California Theatre), a genial crowd pleaser back for seconds at the festival. Sunday will be full of to-be-announced encore screenings for those who missed a spot or two during the week; with luck, Gabi on the Roof in July will be one of them. Richard von Busack

CINEQUEST runs through March 7 in San Jose. See Cinequest.org for schedule details and Metroactive.com for reviews.

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and paper pushers worthy of the Office of Circumlocution in Little Dorrit, an old and groggy bureaucrat (Takishi Shimura) is diagnosed with inoperable stomach cancer. With the time left, he decides to try to live a little before it’s too late. He hides the news from his estranged son and his venal daughter-in-law as he goes forth. The nighttown scenes are as vivid as the carnival in Murnau’s Sunrise (with the advantage of sound: Shimura’s great croak of surprise at a striptease artist). His later scenes of corpse-faced mooning after a flighty young girl (who responds with a believable combo of disdain and pity) give this heartfelt film something that distinguishes it from every terminal-illness movie made. Shimura’s matchless emoting of implosion and inner freezing balances out director Akira Kurosawa’s civic lessons: the last half hour is a slog, and you wait for a final burst of mordant humor. (Not that Ikiru’s last shot isn’t a classic.) BILLED

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FILM MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

FILM REVIEW

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Kurosawa and Mifune made together. In Occupied Japan, an ailing hoodlum (Mifune) is patched up by a doctor (Shimura) who can’t keep the hoodlum from returning to work. (Plays Mar 6-9 in Palo Alto at the Stanford Theatre.) (RvB)

Ramon Novarro and Norma Shearer are equally breathless as class-crossed lovers: a Germanic prince and the innkeeper’s daughter. Proposing that all true love is as much a meeting of bodies as a meeting of true minds, director Ernst Lubitsch makes this a bittersweet story of love that can’t be restrained. Dennis James at the California Theatre’s Wurlitzer. (Plays Mar 5 at 7 in San Jose at the California Theatre; www.cinequest. org) (RvB)

Reviews

Shy People

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 cobbledtogether 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)

A con, a colt and a dolt head for New Orleans in ‘The Yellow Handkerchief ’

Cop Out (R) A cop goes looking for a rare baseball card in a new comedy by Kevin Smith. Also stars Tracy

The Student Prince in Old Heidelberg (1927) It’s easy to see why this pretty tale about fleeting youth, lager, schlagers and flowering trees was a perennial.

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Morgan (30 Rock).

S WE see from The Yellow Handkerchief, there’s something absolutely immortal about a corny idea. Pete Hamill (thanks to reporter Nicole Lyn Pesce for tracing this story) once took a barroom anecdote he heard and sold the story to Reader’s Digest. Later, he spun that story into a novel. It was filmed in short form on an ABC summer-replacement anthology show in June 1972 with James Earl Jones. Next came the Tony Orlando megahit “Tie a Ribbon Round the Ole Oak Tree,” as persistent as cholera. Yoji Yamada, auteur of the beloved Tora-San series, spun this urban legend into what is supposedly a very touching feature film in 1977. More than 30 years later, here it is again under the title The Yellow Handkerchief. Two years in the can since it was made hasn’t added to the film’s freshness. The Yellow Handkerchief comes with a pedigree—and whiskers and a cane. British director Udayan Prasad worked with renowned cinematographer Chris Menges, who oversees this odyssey of three displaced persons on a slow-speed journey through indie-movie-friendly Louisiana. Menges’ eye is excellent: a golden refinery twinkles in the background like a fairy castle; the picturesque rot of post-Katrina riverscapes looks both sad and fertile. Menges captured that Louisiana light as far back as Shy People in 1987, and he knows his job, What’s new is some limited digital tweaking to get the yellow motif of the film up-front. Being Menges, he doesn’t give the cast jaundice. That’s about as much praise as The Yellow Handkerchief is going to get from this corner. William Hurt, doing his best to be Robert Duvall, shows a bald pate and a handlebar mustache as Brett, an ex-con who hooks up with a pair of mismatched runaways who are driving south in a vintage convertible. At the wheel is an oversensitive but artistic gawky kid named Gordy (William Redmayne, Angel Clare in TV’s Tess of the D’Urbervilles—a British actor adding to the dislocated quality of this independent feature). The other is Martine (Kristen Stewart), a neglected kid. Stewart’s newfound fame in the Twilight series got this film released. Once again, she’s pantomiming the kind of girl whose legs don’t seem to be the same length, who is shy about either her mouth or her teeth. (Taylor Swift’s parody of Stewart’s acting as lip-chewing on Saturday Night Live should really stop Stewart doing this in the future.) Martine is so underwritten, Stewart has to fill up the role with mannerism. And there’s enough mannerism in The Yellow Handkerchief already; despite near-constant momentum on the road, the film never seems to go anywhere. So what was the crime that sent Brett up the river for six years? Ah, that would be telling. Not telling is the purpose of the awkward, nonstop flashbacks with the lady in Brett’s past, Maria Bello. I realize we’re supposed to be kind to indies, but one detail—about the supposed possibility of miscarriage after an abortion—seems to be the sound of some anti-choice tub-thumping. No wonder the cast keeps getting lost on the road to New Orleans. No one in this movie, except for the walk-ons and one-line-bearing local actors—seems connected to this landscape at all. Richard von Busack THE YELLOW HANDKERCHIEF (PG-13; 102 min.), directed by Udayan Prasad, written by Erin Dignam, photographed by Chris Menges and starring William Hurt and Kristen Stewart, opens March 5 at Mtn. View 16 and Winchester 22 in San Jose.

The Crazies (R; 101 min.) Very bad things start to happen to the residents of a small town when their water supply is laced with poison. Stars Timothy Olyphant and Radha Mitchell. 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-open-spaces cinematography by Barry Markowitz (Sling Blade). (RvB) The Last Station (R; 112 min.) Well cast, visually pleasant yet strangely toneless film about Tolstoy’s last days. Around 1910 in Moscow, Valentin (James McAvoy) is recruited by Chertkov (Paul Giamatti), who is dedicated to carrying out the author’s reformist ideas regarding celibacy and manual labor. Valentin will live on Tolstoy’s commune and record the great man’s thoughts. Tolstoy (Christopher Plummer) is enjoying a sort of Indian

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M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 FILM summer, watching his minifarm bloom and receiving the adulation of the world. But the count’s countess—Sofya, his wife of nearly 50 years, played by Helen Mirren—has tired of her husband’s utopian politics. Meanwhile, Valentin’s desire to stay pure and virginal is sorely tested by Masha (Kerry Condon). Mirren does the great lady thing with ease; Plummer plays Tolstoy with the gusto of a ham-loving actor tackling Fiddler on the Roof. Director Michael Hoffman gives us Tolstoy as a cracked, principled old grandfather, manipulated by outsiders. (RvB) North Face (Unrated; 121 min.) Philipp StĂślzl’s direction is stodgy, but the true story has some punch. Two German soldiers and mountaineers go to Switzerland for the fateful scaling of the Eiger’s North Face in the 1930s. Benno FĂźrmann plays Toni, Viggo Mortensenian in seriousness; Florian Lukas is Andi, the more playful one. Johanna Wokalek plays Luisa, who works for a newspaper under the toxic Nazi mentoring of Berlin (hiss) editor Henry (Ulrich Tukur). She will be the photographer when Andi and Toni attack the mountain: several thousand sheer feet of crumbly rock and slippery ice. The ordeal itself is all about incremental things: lives depending on a decision to leave a rope in place or not, or the chance of a July snowstorm. Christian Kolonovitz’s clumsy orchestral soundtrack out-avalanches the avalanche. (RvB) Oscar Nominated Short Films 2010: Animated (Unrated, 101 min.) Granny O’Grimm’s Sleeping Beauty, acted by the Irish standup comedian Kathleen O’Rourke, concerns a bitter old piss pot working out her personal traumas on a terriďŹ ed child. A knockout. More quietly droll is French Roast, a Tatiesque offering by Fabrice O. Joubert. Lady and the Reaper by Javier Recio Gracia stars a pious widow whose rendezvous with our eventual pal Mr. Happy Death is disturbed by a muscle-bound cardiologist. Nick Park’s A Matter of Loaf and Death reteams Wallace and Gromit, and it’s the happiest sequel one could ask for. But Logoland—the shoe-in for the Oscar—proves why the great is the enemy of the good. The French collective “H5â€? creates a Sim City of Southern California in which everything, from the humans to the zoo animals to the insects, is a living logo. Revolutionary as a year’s worth of The Simpsons, it’s dense, eye-popping and seriously subversive. (RvB)

For showtimes, advance tix and more, go to

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Oscar Nominated Short Films 2010: Live (Unrated, 101 min.) Except for the cute, inconsequential Instead of Abracadabra, each of the ďŹ ve ďŹ nalists here tries to tackle a social issue. Juanita Wilson’s funereal The Door was ďŹ lmed on location in Chernobyl: more than anything, it is a quick answer to those insisting we need to ramp up nuclear power without delay. Kavi, by Gregg Helvey (also screening at Cinequest), addresses the global problem of slave labor at an Indian brickyard—and it makes Slumdog Millionaire look like Satyajit Ray. The New Tenants, with its ending celebrating gay partnership, has a witty script and a jaundiced eye and rich acting by Kevin Corrigan and Vincent D’Onofrio. Nothing here works as well as the Australian Luke Doolan’s Miracle Fish. On his birthday, a picked-upon little boy (Karl Beattie) gets a present from his mother: a celluloid fortune-telling ďŹ sh. He receives a more important birthday present, however, in that he gets to keep living. It’s the highest-level tale of the unexpected, as in Roald Dahl or Ambrose Bierce. Doolan’s visions of abandonment are as the title suggests: miraculous. (RvB) Percy Jackson and the Olympians (PG; 119 min.) A fantasy adventure about a young man caught up in the war between the gods of ancient Greece. Starings Logan Lerman, Uma Thurman and Pierce Brosnan.

Shutter Island (R; 138 min.) In 1954, two federal marshals, Teddy and Chuck (Leonardo DiCaprio, Mark Ruffalo), are sent to a Skull Island–like promontory in Boston harbor. They match wits with the lord of the place: Dr. Cawley, the bald head psychiatrist (Ben Kingsley), and his assistant, a Mahler-loving Mitteleuropean (Max von Sydow). The two supervise a weird staff; we can’t tell them from the inmates without their uniforms. Bad storm, check; power outage, check; escaped lunatic, check. The traditions are honored: nightmare sequences, statues ickering in lightning and visits to Teddy by the ever-more persistent ghost of his dead wife, Dolores (Michelle Williams). The all-you-can-eat buffet of fruitcakes includes a disďŹ gured Elias Koteas, Patricia Clarkson as a tragic cavewoman, Emily Mortimer as a suburban Medea and Jackie Earle Haley. It’s all laid out with panache, if with stagy chunks of backstory. It’s an entertaining throwback, not a step forward—a stumbling block for a bafed audience trained to believe “it must be important, because it’s Scorsese.â€? (RvB) The White Ribbon (R; 144 min.) In the insigniďŹ cant village of Eichwald (“Oakwoodâ€?), 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 schoolteacher comments that what we see will help us understand “the events that came after.â€? By “the events,â€? director Michael Haneke may mean Germany’s next 30 years after 1914. Eichwald is a serpent’s-egg hatchery: the village’s obedient children will be participants in the kaiser’s war and Hitler’s crime wave. (RvB) The Wolfman (R; 102 min.) It’s not a perfect ďŹ lm, but this is a loving remake, made by people who understood the romance, pathos and

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torment of the original 1941 ďŹ lm. This new animal has speed on his side, and there’s more viscera ying around. In 1891, after the horriďŹ c death of his brother, the noted Shakespearean actor Lawrence Talbot (Benicio del Toro) returns home to his family’s mansion. This means a re-encounter with his estranged father Sir John (Anthony Hopkins). The town gossip has it that Lawrence’s brother was killed by a tame dancing bear owned by a band of Gypsies; when investigating on a moonlit night, Lawrence himself is nearly killed by the real culprit. The ďŹ ancĂŠ of the late brother (Emily Blunt) stays to nurse Lawrence back to health. And when the next moon rises, well, you know. Probably you could hire a makeup man just to make Del Toro look less like a wolf. But the Talbot scenes suggest Del Toro was cast for his resemblance to Lon Chaney Jr., with his clouded, thick features and his air of suffering. We see the human under the fur. (RvB)

[54]

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

METROGUIDE

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M E T R O S I L I C O N VA L L E Y MARCH 3-9, 2010 MUSIC

[55]

B-Real_58 Ambience_59

Animal Instinct

San Jose’s Preaching to the Animals is off to a quick start By Beau Dowling

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T was just last November when San Jose’s genreshuffling rock band Preaching to the Animals found its vocalist. Shawn Packer of the Shitkickers was hosting a birthday party for PttA lead guitarist Josh Santaga, who happened to hear Rachelmae Havens singing a Misfits song. “We were all in the backyard,” Havens says. “I was singing the Misfits’ “Halloween” and he comes over and sits down. Shawn says to him, ‘Aren’t you looking for a singer?’ So, he told me to come in during a practice to audition.” What she didn’t know was that she already had the gig. “Josh called me and said, ‘I got a singer, dude. She’s awesome!’” says drummer Doug Doherty. The band quickly discovered Havens carries her own weight. Literally. “We played a party and, check this out, Rachel carried the P.A. and set it up. She lifted it higher than us,” says Santaga, who also plays in noise metal band El Buzzard and has also played with the punkers in Curbside.

Havens also brought a new dimension to the band’s songs with her lyrics. “We had two structured songs, and we gave them to her, and she came back with lyrics in one day,” Doherty says. Havens says her lyrics are usually about human relationships and lost love, and often there’s a story within each song. Sometimes she comes to practice with songs already written, and the band plays around the lyrics. “Most of the lyrics get written in my car, while I’m driving. I mean, I sing them,” she says. Preaching to the Animals make quite a visual impression. At their shows, they dress like preachers, neck collars and all. In a band of boys in uniforms, Havens stands out in her trademark dresses—she buys a new one for every show. The band delves into electric blues, hard rock, rockabilly and even a hint of punk. Santaga and Doherty have been playing together for the past two years just for the enjoyment of playing. They would play for hours while

digitally recording the songs. Then Doherty would then go back through it all and cut out sections, realizing there were songs in there without even knowing it. Bassist Nate Fouts was the last addition, a friend of Doherty’s who rounded out the quartet. A show opportunity came quickly when Los Hot Boxers asked them to open for them at the Blank Club. “Then Corey [O’Brian] was so stoked with us that he asked us to play the Cash’d Out show, which for us was totally generous.” Santaga says. “We get there and it’s packed, wall to wall. So, here we are, Doug and I have been playing forever, and our second show, we get money. I’ve been playing in bands my whole life. I mean, it’s not making big money, but it pays for the studio and the new P.A. Everything’s happening quickly.” Perhaps their across-the-board style comes from their mix of influences. Havens is a huge fan of Glenn Danzig and the Gossip’s Beth Ditto. Santaga likes old ZZ

Top, while Doherty names Iron Maiden and Missing Persons as top influences. “From heavy stuff to punk stuff to gospel,” Santaga says. The band wants to build on its momentum by recording at House of Faith recording studio with Bart Thurber. “We’re going to record as many songs as we can in one night, probably five songs,” Santaga says. “Then we’re going to record a live album, for our actual debut. It’ll be free to download on our website, and then we’ll sell the album, a shirt and a sticker for $10 at the shows. “We’re not in it for the money.” With or without monetary compensation, there appears to be a lot of preaching in the band’s future. “If it continues to happen like what has happened the past two months, it’s going to be awesome. We want to hit it hard,” Santaga says. PREACHING TO THE ANIMALS plays Friday, March 5, at 9pm at the Caravan Lounge, 98 S. Almaden Ave., San Jose; free. (408.998.6220)

[56] GALLERY

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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photos.metroactive.com

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[57]

[58] MUSIC

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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SPUTIN

MUSIC & DVDS Flogging Molly Live at the Greek Theatre

Side One Dummy Three discs of the great Irish punks! Two cds of music and one full-length concert shot in HD, from a career-spanning show at the Greek Theatre in September of 2009. The bonus material includes music videos, band interviews and more. A musthave for FM fans and an excellent starting point for the curious.

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CAMPBELL 1820 S. Bascom Ave across from the Pruneyard MOUNTAIN VIEW 630 San Antonio Blvd. at El Camino Real 800-350-8700 www.rasputinmusic.com

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People are speculating that Tiger has a “sex addiction,” when all the ordinary guy can usually be accused of is a porn addiction. What separates the sex addicts from the porn addicts? Being rich enough to get the girls in 3-D. You’ll hear people sneer that gay men are promiscuous. And they are. All men are. Unfortunately for straight guys, women’s timeline for putting out is typically three dates, not three minutes or whenever the stall is free, whichever comes first. Men evolved to want sexual variety far more than women do. Evolutionary psychologists Alan S. Miller and Satoshi Kanazawa write in Why Beautiful People Have More Daughters that a man who has sex with 1,000 women in a year can potentially produce 1,000 children. “In sharp contrast, if a woman has sex with 1,000 men in a year, she can have only one child (barring a multiple birth).” In other words, “there’s little reproductive benefit for women in seeking lots of sex partners,” while, as my blog commenter “sterling” put it, “Men like sex the same as women like shoes. No matter how many cool shoes you already have, you want different shoes.” So, Tiger’s really no different from Henry the Eighth or Fred, the fifth guy on the left. Henry had to practice what could be called “rolling monogamy”—beheading one wife before marrying the next. Fred might cheat with the occasional cocktail waitress—if he gets really, really lucky. But, beyond being a bazillionaire, a golf virtuoso, and boyishly handsome, Tiger’s famous. Really, really

famous. And even just being borderline famous seems to be a wildly potent aphrodisiac (after all, women chase Gary Coleman). It isn’t wrong for a guy to want his sex life to be all “I love a parade”; he just needs to figure that out before he marries the nice Swedish woman and makes babies with her. George Clooney, for one, sets a good example. If media reports are correct, he tells the ladies he isn’t the committing kind, and when it’s over with Francesca he moves on to Elisabetta—with no need for apologies before the international press and his mom. Of course, Tiger had to publicly apologize for the bimbo malfunction because he isn’t just Tiger the guy who plays golf, but a role model who has countless people depending on him for their livelihoods. If he weren’t, he could either have said nothing or said what I suspect is the truth: “I’m not sorry for having sex with all those models, escorts, and busty wafflehouse waitresses. I loved every minute of it. I’m sorry I got caught. But, I’d do it again. And, hope to in the future.” Is there a lesson in this? There is, for the ladies. Women who marry rich, powerful men should recognize that there’s a strong temptation for those men to cheat— especially during the horndog 20s and early 30s. Women can ignore this if they want, or tell themselves their love will make the difference. Or, they can decide the homes, the cars, the yachts, and annual trips to the cheating husband section of the diamond mine are compensation enough.

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CLASSIFIEDS

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

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CLASSIFIED INDEX 63 66 66 67

PLACING AN AD 68 67 67 70

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.

g Employment Jobs

Marketing Program Manager Cisco Systems, Inc. is accepting resumes for the following position in San Jose/Milpitas/ Santa Clara, CA: Marketing Program Manager (Ref#: SJ41): Responsible for developing programs for key customer markets and channel partners who serve the company’s targeted market segments. Please mail resumes with reference number to Cisco Systems, Inc., Attn: J51W, 170 W. Tasman Drive, Mail Stop: SJC 5/1/4, San Jose, CA 95134. No phone calls please. Must be legally authorized to work in the U.S. without sponsorship. EOE. www.cisco.com

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

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

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IVjgjh (April 20–May 20): Two-thirds of people

surveyed said they would rather look good than feel good. I hope you’re not one of them. The ironic fact of the matter is that if you put the emphasis on looking good in the coming week—creating favorable impressions, acting dishonest in order to curry favor, wearing uncomfortable but attractive clothes—you will end up feeling sub-par and looking mediocre. On the other hand, if you put the priority on feeling good—treating your body like a beloved pet, seeking out encounters that nurture your secret self, and hanging out in environments that encourage you to relax—you will look good and feel good.

<Zb^c^ (May 21–June 20): If you’re bogged down

in the trance of the humdrum routine, astrology can open your mind and illuminate fascinating patterns that have been invisible to you. It can reveal the big picture of your life story, sweeping away the narrow ideas and shrunken expectations you have about yourself. And it can purge your imagination of its endless tape loops, awakening you to the power you have to create your own destiny. But reliance on horoscopes can also have downsides. If you’re superstitious, it might make you even more so. If you’re prone to be passive, believing that life is something that happens to you, it might further diminish your willpower. That’s why, as much as I love astrology, I’m wary of its potential to deceive and lead astray. Is there anything comparable in your world, Gemini? Something that feeds and inspires you, but only if you’re discerning about it? This is a good time to ratchet up your discernment.

8VcXZg (June 21–July 22): I don’t care whether

believes it gives her abilities that non-autistic people don’t have. For example, her extreme sensitivity and extraordinary visual memory are at the root of her unique insights into the needs of animals. If there were an instant cure for her autism, she says, she wouldn’t take it. She’s an advocate of neurodiversity. Now here’s my question for you, Libra: Do you have a supposed weakness or disability that’s actually an inherent part of one of your special talents? Celebrate and cultivate it this week.

HXdge^d (Oct. 23–Nov. 21): Self-help author Barbara

De Angelis wrote a book that offers to help us learn “how to make love all the time.” Maybe I’ll read it someday, but right now I’m more interested in your take on the subject. How would you make love—not have sex, but make love—with your sandwich, with the music you listen to, with a vase of flowers, with the familiar strangers sitting in the cafe, with everything? Your expertise in this art is now at a peak.

HV\^iiVg^jh (Nov. 22–Dec. 21): It’s not a good time

to treat yourself like a beast of burden or to swamp yourself with dark, heavy thoughts. You’re extra sensitive, Sagittarius—as delicate and impressionable as a young poet in love with a dream of paradise. You need heaping doses of sweetness and unreasonable amounts of fluidic peace, smart listening, and radical empathy. If you can’t get people to buoy your spirits and slip you delightful presents, do those things for yourself.

AZd ( July 23–Aug. 22): Let’s poke around to see if

E^hXZh (Feb. 19–March 20): One of the best new

K^g\d (Aug. 23–Sept. 22): You may be prone

to overreaction. You could be on the verge of uncorking an excessive response to a modest prompt. On a regular basis, you should ask yourself: “Are the feelings rising up in me truly appropriate for what’s happening now? Or are they mostly the eruption of material that I repressed in the past?” I also encourage you to consider Hoare’s Law of Large Problems, which says that inside every large problem is a small problem scrambling to get out. Be alert for the possibility that minor adjustments will work better than epic struggles.

A^WgV (Sept. 23–Oct. 22): Temple Grandin is a

successful autistic person. Diagnosed at an early age, she nevertheless went on to earn a Ph.D. in Animal Science and became a bestselling author whose work has led to notable improvements in the humane treatment of livestock. Although she acknowledges that her autism has caused her problems, she also

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Aquarius. Don’t commandeer a stunt double to do them for you. Accept blame and claim credit that rightfully belong to you. Don’t scare up scapegoats or tolerate plagiarists. It will also be a good idea to deliver your own messages and sing your own songs and kick your own butt. No surrogates or stand-ins, please. There’s just no way, you see, for you to get to where you need to go by having a substitute do the traveling for you. Your only hope of claiming the reward that will be crucial for the next chapter of your life story will be to do the work yourself.

bands of 2009 was the Girls. Spin magazine selected their debut CD Album as the fifth best album of the year. After touring for months and selling scads of records, the band came back home to San Francisco in February to do a sold-out show at the Great American Music Hall. For his on-stage apparel, lead singer Christopher Owens wore baggy orange flannel pajama bottoms and a rumpled green flannel shirt, proving that his new-found fame had not rendered him self-important or excessively dignified. I nominate Owens as your role model this week, Pisces. I’d like to see you move on up toward the next level in your chosen field of endeavor, even as you remain perfectly comfortable, full of casual grace, and at home in your excellence.

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General Notices GAIN NATIONAL EXPOSURE Reach over 5 million young, educated readers for only $995 by advertising in 110 weekly newspapers like this one. Call Jason at 202-289-8484. This is not a job offer.

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[67]

Consultants

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newspapers that publish my horoscope column, my carefully wrought text is buried in the back pages amidst a jabbering hubbub of obscene advertisements for quasi-legal sexual services. For readers with refined sensibilities, that’s a problem. They do their best to avert their eyes, narrowing their focus down to a tight window. I think you’ll be wise to adopt a similar approach in the coming week, Capricorn. Only a small percentage of information coming your way will be truly useful to you, and it may often be embedded in a sparkly mess of distracting noise. Concentrate hard on getting just the essentials that you want so you won’t be misinformed and worn out by the rest.

6fjVg^jh ( Jan. 20–Feb. 18): Do your own stunts,

we can stir up some good trouble, Leo. The time is right. You’re in need of a friendly disruption or two. Fortunately, I’m sensing there’s a forbidden temptation that isn’t so forbidden any longer . . . as well as a strange attractor you might find inspiring and a volatile teaching that would turn you insideout in a good way. Are you willing to wander into a previously off-limits area? Hey, look. There’s one of those mystery spots I was hinting about. I wonder what would happen if you pressed that green button. Go ahead. Don’t be . . . Gaaaahhhhh! Unnhhh! Wha?! I mean WOW! That was very interesting. Try it again!

Roofing

8Veg^Xdgc (Dec. 22–Jan. 19): In some of the

you call it uncanny intuition or plain old telepathy: In the next three weeks, you will have unusually abundant access to that way of knowing. So please use it. Please call on it. It could steer you away from twisty wastes of time that don’t serve your highest good. It might also allow you to ferret out disguised or hiding opportunities. There’s one catch: If you don’t believe in them, your psychic powers won’t work as well as they can. So I suggest you set aside any dogmatic skepticism you might have about them and proceed on the hypothesis that they are very real.

ASTROLOGY

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The

6g^Zh (March 21–April 19): To place yourself in smooth alignment with planetary rhythms, do conscientious work on the foundations of your life. Take extra care of the people who take care of you. Make sure you have a good supply of the various resources that keep you strong and steady. Check to see if maybe you need to rev up your emotional connection with the traditions you hold dear. But that’s only half your horoscope, Aries. Here’s the rest: Invite your most rambunctious playmates over for a raucous home-blessing ceremony.

MARCH 3-9, 2010

Rehearsal/Recording

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

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

Transportation

STRAIGHT DOPE

Legal Notices

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

/s/Allan Iida This statement was filed with the County Clerk of Santa Clara County on 2/10/10. (pub Metro 2/17, 2/24, 3/03, 3/10/10)

FICTITIOUS BUSINESS FICTITIOUS BUSINESS NAME STATEMENT NAME STATEMENT #533695 #533162 The following person(s) is (are) doing business as: Peace Of Mind Insurance Services, Reid-Hillview Airport, 2635 Cunningham Ave., #D, San Jose, CA, 95148. This business is conducted by a limited liability company. Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. /s/Albert Manalo CEO #201002910185 This statement was filed with the County Clerk of Santa Clara County on 2/2/2010. (pub Metro 2/17, 2/24, 3/03, 3/10/2010)

The following person(s) is (are) doing business as: G&R Cash Register Co., 1709 A Little Orchard St., San Jose, CA, 95125, Gene Bauer. This business is conducted by a individual. Registrant began transacting business under the fictitious business name or names listed herein on Sept, 1976. Refile of previous file #487414 with changes. /s/Eugene Bauer This statement was filed with the County Clerk of Santa Clara County on 1/19/2010. (pub Metro 2/17, 2/24, 3/03, 3/10/2010)

SUMMONS (CITACION JUDICIAL) FICTITIOUS BUSINESS NOTICE TO DEFENDANT: NAME STATEMENT (Aviso a Acusado)] #534079 ALFONSO GALAVEZ The following person(s) is YOU ARE BEING SUED (are) doing business as: The BY PLANTIFF: League Music Group, 4591 Camden Ave., San Jose, CA, (A Ud. le esta deman95124, Allan C. Iida, 4012 W. Campbell Ave., Campbell, CA, dando) FREIDELEEN LOU 95008, Thomas E Wheeler, San Jose, CA, 95129, Damon CASE NO. T. Santo. 109CV153457 This business is conducted by a general partnership. Registrant began transacting business under the fictitious business name or names listed herein on February 10, 2010. Refile of previous file #528528 with Due to publication not met on previous filing.

You have 30 CALENDAR DAYS after this summons is served on you to file a typewritten response at this court. A letter or phone call will not protect you; your typewritten response must be in proper legal form if you want the court to hear your case.

quiera llamar a un abogado inmediatamente. Si no conoce a un abogado, puede llamar a un servicio de referencia de abogados o a una oficina de ayuda legal (vea el directorio telefonico). There are other legal require- The name and address of the ments. You may want to call court is: (El nombre y direcan attorney right away. If you cion de la corte es) do not know an attorney, you Superior Court of California may call an attorney referral County of Santa Clara service or a legal aid office 191 North First Street (listed in the phone book). San Jose, CA 95113 Despues de que le entreguen The name, address and teleesta citacion judicial usted phone number of plaintiff’s tiene un plazo de 30 DIAS attorney, or plaintiff without CALENDARIOS para presentar an attorney is: (El nombre, la una respuesta escrita a direccion y el numero de telemaquina en esta corte. fono del abogado del demanUna carta o una llamada tele- dante, o del demandante que fonica no le ofrecera protecno tiene abogado, es) cion; su respuesta escrita a MICHAEL P. BURNS, ESQ., maquina tiene que cumplir 499 VAN BUREN STREET,P.O. con las formalidades legales BOX 3350, MONTEREY, CA, apropiadas si usted quiere 939420-3350 que la corte escuche su caso. 831-373-4131 Si usted no presenta su Date: SEPTEMEBER 25/2009 respuesta a tiempo, puede /DAVID YAMASAKI/County perder el caso, y le pueden Clerk tras cosas de su propiedad (Actuario) sin aviso adicional por parte /J.CAO-NGUYEN/, Deputy de la corte. (Delegado) Existen otros requistos (Pub 2/10, 2/17, 2/24, legales. Puede que usted 3/3/10) If you do not file your response on time, you may lose the case, and your wages, money and property may be taken without further warning from the court.

CECIL ADAMS

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[68]

>ÉkZ ]ZVgY XdXdcji _j^XZ ^h Vabdhi ^YZci^XVa id ]jbVc WaddY eaVhbV! VcY ]Vh WZZc jhZY Vh V eaVhbV hjWhi^ijiZ Yjg^c\ lVgi^bZ# > Vh`ZY V [g^ZcY [gdb K^ZicVb l]d a^kZY i]ZgZ Yjg^c\ i]Z lVg VWdji i]^h! VcY h]Z lVh kZgn bViiZg"d["[VXi VWdji i]Z jhZ d[ XdXdcji _j^XZ Vh V hjWhi^ijiZ [dg WaddY eaVhbV Yjg^c\ i]Z lVg Wn K^ZicVbZhZ hdaY^Zgh dc Wdi] h^YZh # H]Z idaY bZ l]Zc i]Zn ZmeZXiZY V W^\ WViiaZ! i]Zn ldjaY \Vi]Zg XdXdcjih ^c egZeVgVi^dc [dg bZY^XVa jhZ# =Vh i]ZgZ WZZc Vcn gZhZVgX] ^cid i]^h4 >h ^i hV[Z VcY Z[[ZXi^kZ4 6gZ i]ZgZ Vcn ^aa Z[[ZXih4 ÅB^X`Zn 7#! AVh KZ\Vh Well, one drawback is you look like something out of Gilligan’s Island. A photo in a medical journal shows a coconut hanging from an IV stand with a standard blood transfusion tube attached. And really, coconut water isn’t all that much like plasma. But generally speaking, coconut transfusions are legit. Coconut water can be used for a variety of medical purposes, one of which is intravenous rehydration. A 2000 report tells of a stroke patient in the Solomon Islands who was too ill to drink or use a nasal tube but was successfully rehydrated with a coconut-water IV when no other fluids were available. Emergency coconut IVs were reportedly used by the British and Japanese during World War II, and they’ve been clinically tested on humans several times to see how well they’d be tolerated. Answer: overall, pretty well. Remember, we’re talking about coconut water, the liquid found inside a young coconut, not coconut milk, which is made from grated coconut meat. Coconut water can’t actually replace blood plasma; chemical analysis indicates it’s closer in makeup to intracellular fluid. It’s usually sterile, and when mixed with plasma it behaves like saline solution. It’s got fewer electrolytes in it than our bodies are used to and too much potassium, so it’s not an ideal rehydration fluid. But it works in a pinch. Another surprising use for coconut water: Remember when you were young and your mother told you if you ever lost a tooth on the playground to keep it in milk until you got to the dentist? According to a recent study in the Journal of Endodontics, coconut water is even better than milk for keeping a tooth viable. Where you’re going to find some on short notice at a playground I have no idea. But if you’re ever roughhousing in the Solomon Islands, keep it in mind.

> ldg` ^c V hidgZ i]Vi hZaah heVXZ ]ZViZgh! Vbdc\ di]Zg i]^c\h! VcY cdl i]Vi l^ciZg ^h jedc jh > ]VkZ Vc ^bedgiVci fjZhi^dc# 6gZ hZVaZY"d^a heVXZ ]ZViZgh bdgZ Z[ÒX^Zci i]Vc i]Z daY ]di"l^gZ" VcY"[Vc `^cY4 6aa i]^h i^bZ >ÉkZ WZZc iZaa^c\ bn XjhidbZgh i]Zn lZgZ! Wji aViZan >ÉkZ WZ\jc id ldcYZg# L]^aZ i]Z d^a ]ZViZg ^h lVgb^c\ je! Vb

> adh^c\ i]Z Z[ÒX^ZcXn i]Vi gZijgch l]Zc i]Z d^a gZVX]Zh deZgVi^c\ iZbeZgVijgZ4 Å9Zcc^h B^aaZg Confusing subject. Many reason as follows: oil space heaters have more thermal mass and so remain warm even when their internal heating element cycles off. Therefore, they’re more efficient. False. In the big-picture sense, all electric heaters have equal efficiency: for a given amount of electricity, they produce the same amount of heat. What’s different is the type of heat and how it’s distributed. The issue isn’t the efficiency of the heater itself, but rather the best method of heat delivery for the situation. A radiant hot-wire heater is designed to directly heat nearby surfaces (skin, for instance) through thermal radiation, which is good if, say, you’re trying to get warm quickly in a large, drafty room. But it also gives you very uneven heat, in both the spatial and temporal sense. While the heater is running, the near side of you roasts while the other remains cold, and once it cycles off, things quickly cool down. An oil heater works mainly by convection: it’s designed to warm up a mass of air that will then circulate through the room. Which is better? Depends. If your goal is to heat a smallish, well-insulated space over a long period, a convection heater will distribute warmth more uniformly, making the room more comfortable. If your goal is to heat you, a radiant heater may make more sense. You can focus the heat on yourself rather than waste it warming a lot of empty space. True, an oil heater in a confined space, such as in the footwell under a desk, arguably would accomplish the same thing, so let’s not get hung up on details. The main thing is this: if you’re trying to save money, heat the least amount of space possible while still staying warm. The best solution I’ve found? A fan-driven electric foot warmer. It effectively heats only about half a cubic foot of air, but if that’s where your feet are, that’s all you need.

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places to live

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

MARCH 3-9, 2010

REAL ESTATE

[69]

see when you enter is the living/ dining room area with full-length windows offering a stunning view of the city. Standard in all units is a nice off-white carpet that’s thick and cushy. There’s porcelain tile in the kitchen and bathrooms. The kitchen is full of maple cabinets and granite counters. A large stainless-steel fridge with a bottom-drawer freezer sits near the gas cook top. Inside both the normal units and the penthouses is storage space in the form of hall closets, pantries and large closets. There’s even a plan that includes a full laundry room. A stackable washer and dryer comes with each unit.

EYE IN THE SKY Floor to ceiling windows and a 15-story vantage point make the penthouse view worth a double-take.

The Heights Of Luxury BY LIZ FRANZ RIVING UP to the City Heights condo tower, the first thing one notices is the brick-paved driveway. Residents can follow it into the gated garage, while guests can park nearby and use the front door. There are two ways to get in through the main entrance—with a key card or by calling up to one of the condos. There are a couple of reserved parking spaces in front of the door—currently they’re being used by the sales office, but they will eventually be residents’ quick-stop spaces. Once inside, there’s a nice sitting area. Proceed down the hall to the fitness room or elevator.

D

City Heights’ units are priced conservatively, starting in the mid-$300,000s. Home buyers interested in something more—or those who hate having upstairs neighbors—may want to consider the top floor penthouses. In addition to 14 floors of wellappointed one, two- and threebedroom apartments, City Heights offers nine penthouses that come in several plans. Buyers can choose from traditional or loft-style designs. Penthouses also include gas appliances instead of the allelectric ones on floors one through 14, a nice feature for the resident chef. A quick trip in the high-speed elevators gets you to the 15thfloor penthouses. The Oxford plan is set up now as a model for prospective home buyers. It features a bedroom on either side of the unit with a bathroom next to each—a perfect setup for roommates. The first thing you

The smaller room is off to the left, with a generously sized bath in the hallway. This is a new building, so all of the units were built to accommodate wheelchairs, which means the hallways are nice and wide. On the right is the master bedroom that is only slightly bigger than the second but has an attached bath. Floor-to-ceiling windows make up most of the outside walls. The balcony runs the full length of the penthouse. Walk home after a game at the Shark Tank or a night out at one of San Pedro Square’s pubs or eateries: Old Wagon Saloon and Grill, the Old Spaghetti Factory, Peggy Sue’s or 71 St. Peter. Take a stroll through the nearby Guadalupe River Park. The condo complex isn’t packed with tons of amenities, but this helps keep the building more private. City Heights has a small fitness center, although residents might prefer to wander to the nearby San Jose Athletic Club. There are countless other venues within a mile of City Heights. The Tabard Theatre is just down the street and the popular Improv Comedy Club is only a half-mile away. The show model will sell for $959,000. The penthouses were only recently finished, but if they sell like the lower units they won’t be available for long.

[70]

REAL ESTATE

MARCH 3-9, 2010 M E T R O S I L I C O N VA L L E Y

real estate Boulder Creek

gg Real Estate Rentals

Real Estate Sales

Homes

Land

ALL AREAS - HOUSES FOR RENT Browse thousands of rental listings with photos and maps. Advertise your rental home for FREE! Visit: www.RealRentals.com (AAN CAN)

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

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

Boulder Creek 10 acres. Rough and rugged and a beautiful spot right on top! Long private bumpy road. Private road association. Good owner financing. $215,000. Shown by appoint-

ment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/395-5754 or www.donnerland.com

Boulder Creek 3 acres. Harmon Gulch. Creek. Private road. Quiet. Sunny possible site. Owner financing. Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/3955754 or www.donnerland.com

g Realtors

Senior Living 62 Years or Older Shire’s Apartments for Seniors. 1 Bedroom $556 per month, $556 first and last. Immediate move-in. Very clean, non-smoking, library, private patio garden, affordable parking. Dave 408.297.7476 180 North 4th St, San Jose

Shires Apartments for Seniors

408.298.8000

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

MARCH 3-9, 2010

REAL ESTATE

You're invited to discover high-rise living in San Jose

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Magnificent views, modern amenities, convenience – these are just some of the perks of high-rise living in downtown San Jose. On Friday, March 5, from 5-7:30 p.m., four new high-rises – Axis, City Heights, The 88 and Three Sixty Residences – invite you to discover and celebrate downtown living and the arts in San Jose. All high-rises will have receptions, pedicabs and will be open late for touring. Afterward, stop by film festival or the South First Fridays art gallery crawl in the SoFA District. Experience life as it’s meant to be lived! Visit www. sjdowntown.com or call (408) 279-1775 for more information.

Prizes, giveaways and lots more!

Prices, terms, specifications and availability subject to change without notice.

[71]

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