Volume 41 Number 22

February 28 – March 6, 2007

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The Guardian Iraq War casualty report (3/7/07)

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Casualties in Iraq

Iraqi civilians:

70 Iraqi civilians were killed today in the second day of violence targeting Shiite religious pilgrims, according to the New York Times

Source

98,000: Killed since 3/03

Source: www.thelancet.com

58,022 – 63,800: Killed since 1/03

For a week by week assessment of significant incidents and trends in Iraqi civilian casualties, go to A Week in Iraq by Lily Hamourtziadou. She is a member of the Iraq Body Count project, which maintains and updates the world’s only independent and comprehensive public database of media-reported civilian deaths in Iraq.

Source: http://www.iraqbodycount.net

A Week in Iraq: Week ending 4 March 2007:
http://www.iraqbodycount.org/editorial/weekiniraq/32/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Antiestablishmentarianism attitudes among Iraqi religious groups is fueling intolerance and violence towards homosexuals in Iraq, according to the UN.

Source: http://www.gaypeopleschronicle.com/stories07/february/0202071.htm

U.S. military:

3,414: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.01.html

Iraq Military:

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

151: Killed since 3/03

Source: http://www.infoshout.com/

Refugees:

The Bush administration plans to increase quota of Iraqi refugees allowed into the U.S. from 500 to 7,000 next year in response to the growing refugee crisis, according to the Guardian Unlimited.

Source: http://www.guardian.co.uk/Iraq/Story/0,,2013034,00.html

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

Source: http://news.bbc.co.uk/2/hi/middle_east/6293807.stm

1.6 million: Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

Many refugees were displaced prior to 2003, but an increasing number are fleeing now, according to United Nations High Commissioner for Refugees’ estimates.

Source: http://www.unhcr.org/iraq.html

U.S. Military Wounded:

47,657: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

The Guardian cost of Iraq war report (3/7/07): Bush asks congress to approve $622 billion for 2008. So far, $406 billion for the U.S., $51 billion for California and $1 billion for San Francisco.
Compiled by Paula Connelly

Bush asked congress to approve $622 billion for defense spending, most for the wars in Iraq and Afghanistan, in a $2.9 trillion budget request for 2008, according to Reuters.
Source: http://today.reuters.com/

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $46 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have hired 21,264 additional public school teachers for one year, we could have built 11,048 additional housing units or we could have provided 59,482 students four-year scholarships at public universities. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

The Guardian Iraq War casualty report (3/6/07)

0


Casualties in Iraq

Iraqi civilians:

Over 100 Iraqi civilians were killed today in bombing attacks that targeted Shiite pilgrims heading to Karbala for a religious celebration, according to the New York Times.

98,000: Killed since 3/03

Source: www.thelancet.com

57,805 – 63,573: Killed since 1/03

For a week by week assessment of significant incidents and trends in Iraqi civilian casualties, go to A Week in Iraq by Lily Hamourtziadou. She is a member of the Iraq Body Count project, which maintains and updates the world’s only independent and comprehensive public database of media-reported civilian deaths in Iraq.

Source: http://www.iraqbodycount.net

A Week in Iraq: Week ending 4 March 2007:
http://www.iraqbodycount.org/editorial/weekiniraq/32/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Antiestablishmentarianism attitudes among Iraqi religious groups is fueling intolerance and violence towards homosexuals in Iraq, according to the UN.

Source: http://www.gaypeopleschronicle.com/stories07/february/0202071.htm

U.S. military:

3,411: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.01.html

Iraq Military:

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

151: Killed since 3/03

Source: http://www.infoshout.com/

Refugees:

The Bush administration plans to increase quota of Iraqi refugees allowed into the U.S. from 500 to 7,000 next year in response to the growing refugee crisis, according to the Guardian Unlimited.

Source: http://www.guardian.co.uk/Iraq/Story/0,,2013034,00.html

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

Source: http://news.bbc.co.uk/2/hi/middle_east/6293807.stm

1.6 million: Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

Many refugees were displaced prior to 2003, but an increasing number are fleeing now, according to United Nations High Commissioner for Refugees’ estimates.

Source: http://www.unhcr.org/iraq.html

U.S. Military Wounded:

47,657: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

The Guardian cost of Iraq war report (3/6/07): Bush asks congress to approve $622 billion for 2008. So far, $405 billion for the U.S., $51 billion for California and $1 billion for San Francisco.
Compiled by Paula Connelly

Bush asked congress to approve $622 billion for defense spending, most for the wars in Iraq and Afghanistan, in a $2.9 trillion budget request for 2008, according to Reuters.
Source: http://today.reuters.com/

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $46 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have hired 21,264 additional public school teachers for one year, we could have built 11,048 additional housing units or we could have provided 59,482 students four-year scholarships at public universities. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

James Madison Freedom of Information Award Winners

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The Society of Professional Journalists’ Northern California Chapter has been handing awards for 22 years to journalists, educators, public officials, and citizens who best exemplify the importance of open and accountable government and a free and diligent press. And every year the Guardian recognizes the winners and helps highlight the important issues that they raise for the Bay Area and beyond. Here are this year’s winners:

Norwin S. Yoffie Career Achievement Award

ROWLAND "REB" REBELE


Three few years ago the Oakland Unified School District announced that, due to budget constraints, it was shutting down all the student-run newspapers in the district. Rowland "Reb" Rebele lives in Aptos, but he read about the shutdown in a San Francisco Chronicle column.

He picked up the phone, made some calls, and found out the situation was desperate and how much money was needed. He then wrote a check sufficient to resurrect the student newspapers for a year. Then he kept on writing checks to keep the papers going last year and again this year. This was typical of Rebele. No one asked him for help. He received virtually no acknowledgment for his gift. But his timely action turned the lights back on for fledgling newspapers that were out of money and, it seemed, out of luck.

Rebele is a First Amendment mensch (a description that James Madison, had he any familiarity with Yiddish, would have approved of). In his half century of publishing community newspapers that he owned and operated in Coalinga, Chula Vista, and Paradise in California and across the country, he was energetic, inspiring, and devoted to his readers and his communities, and a demon in pushing for open government and accountability. He pursued the same policies as a stalwart for half a century in the California Newspaper Publishers Association and as an activist president who brought key reforms and exceptional leaders to the organization.

Rebele has been a director of the California First Amendment Coalition for a decade. He quickly became the one truly indispensable member of the organization, pushing it, pulling it, holding it together, and cajoling it to broaden its activities because he felt the organization and its mission were vital.

He has also launched an innovative internship program at Stanford University. Rather than just give money to the school, he and his wife, Pat, created a program that has enabled dozens of students to get hands-on experience writing for real newspapers in California. Quietly and selflessly, Rebele has spent his newspaper career fighting the good fight for First Amendment and public interest principles. (Bruce B. Brugmann)

Beverly Kees Educator Award

ROBERT OVETZ


Art Institute of San Francisco instructor Robert Ovetz was fired after he criticized the administration for confiscating a magazine his students produced for his class last December.

Ovetz, who had taught at the institute for three years, told his students to create a "culturally critical" magazine as their final project for a cultural studies class he taught last fall. They produced a 36-page zine called Mute/Off.

Less than 24 hours after he and students distributed 500 copies of the magazine, which Ovetz printed with the institute’s copy machine, most were gone. Ovetz initially attributed their disappearance to popularity, but he soon learned from students that the administration of the school, which was purchased by Goldman Sachs and General Electric last year, had removed them from its campuses and even literally pulled them out of students’ hands.

"This is an example of how a corporation is not held accountable for upholding basic constitutional rights [to] free speech. This is a private company that’s operating as an institution of higher learning," Ovetz told the Guardian. "Its only interest is its bottom line, and its bottom line is profit."

Ovetz complained to the administration about vioutf8g the students’ freedom of speech and received his pink slip Dec. 20, 2006. Dean of Academic Affairs Caren Meghreblian told Ovetz the magazine possibly violated copyright law by reproducing corporate logos without permission and had grammatical errors. She also said a story in the magazine called "Homicide," about three white kids playing a video game as black gangsters, might be racist.

After Ovetz and students complained and the media reported the story, the administration allowed students to redistribute the magazines, but it still refuses to give Ovetz his job back. (Chris Albon)

To size up the magazine yourself, visit www.brandedmonkey.com/muteOffLowRes.pdf.

Citizen

RYAN MCKEE


The object of the California Public Records Act is to ensure the people’s right to know how their state and local governments are functioning. Newspapers are often the entities that test the limits and loopholes of the law. But in January 2006 an 18-year-old college student, Ryan McKee, undertook an audit of each of the 31 California state agencies that was the first of its kind. McKee tested how these agencies, which he personally visited, responded to simple requests to view and get copies of readily available public documents. The results revealed a disturbing pattern. Several agencies performed miserably, including the Department of Justice, which counsels and represents many other state agencies on the Public Records Act, and all of the agencies violated at least one aspect of the law. Common problems included asking for identification, making illegal charges, and taking longer than allowed to release information. McKee undertook the audit while volunteering for Californians Aware, a nonprofit where his father, Richard McKee, is president. A copy of the audit, including its results and grades, was sent to each agency to help it better understand and adjust to its responsibilities. (Sarah Phelan)

Journalists

MICHELE MARCUCCI AND REBECCA VESELY, ANG NEWSPAPERS


ANG Newspapers regional reporters Rebecca Vesely and Michele Marcucci are being honored for the series "Broken Homes" and their unflinching pursuit of public records that exposed negligent care administered to people with autism and other forms developmental disabilities. The series highlighted problems ranging from a lack of proper supervision to unlicensed officials working at health care facilities. Some of these offenses were then linked to patient deaths.

The award recognizes the daunting and tedious task that befell the journalists: 15 months of scouring thousands of hard-copy papers from dozens of sources that included licensing agencies, multiple law enforcement bureaus, and coroner’s offices. The results were entered into a database and cross-checked against other sources of information.

"It’s not like we work at the New York Times, where you can lock yourself in a room for a year. This is one-stop shopping here," Marcucci told the Guardian, noting that both reporters continued their daily beats while working on the project. The series was well received and helped prompt state officials to reinstate inspections of licensed facilities that had been eliminated due to budget cuts. (Christopher Jasmin)

ANDREW MCINTOSH AND JOHN HILL, SACRAMENTO BEE


Two reporters from the Sacramento Bee, Andrew McIntosh and John Hill, get Freedom of Information props for exposing the cronyism and the corruption of the California Highway Patrol.

The two wrote a series of articles detailing how the CHP violated state and department regulations in awarding contracts for items ranging from pistols to helicopters.

"The CHP spends hundreds of millions of dollars each year on equipment and goods," McIntosh told the Guardian. "That’s taxpayer money."

McIntosh said he and Hill took a systematic look at the department’s bidding process and found it was not competitive. The investigation led to the suspension of one officer, Gregory Williams, who the reporters found had awarded $600,000 worth of contracts to his daughter’s company for license plate scanning devices, $500,000 of which was canceled after the reporters exposed the scandal.

The reporters also found the CHP, which controls signature gathering at the Department of Motor Vehicles and other state buildings, denied more than 100 applications for permission to register voters or solicit signatures. Other stories pushed Senate majority leader Gloria Romero and Assemblymember Bonnie Garcia to call for a state audit of the CHP.

McIntosh told us the investigation showed "the CHP is not above public scrutiny or the law when it comes to business dealings." (Albon)

MEERA PAL, CONTRA COSTA TIMES


A good mayoral race isn’t really fun unless a bit of scandal emerges, like it did in Pleasanton two weeks before the November 2006 election.

Meera Pal decided to research the roots of a story that was handed to her by city council member Steve Brozosky, who was challenging incumbent mayor Jennifer Hosterman. Brozosky gave Pal e-mails his campaign treasurer obtained through open-records laws that showed Hosterman may have used her city e-mail account to solicit campaign donations and endorsements, a violation of state law.

But Pal went beyond Brozosky’s story and submitted her own public records requests for the city e-mail account of the mayor, as well as a year’s worth of e-mail from Brozosky and the three other council members.

Pal’s public records request revealed that Brozosky’s inbox was completely void of any e-mail, something neither he nor the city’s IT manager could explain. Brozosky is a computer expert who runs a company that vends city Web site software, so his technical expertise made the situation even more suspicious.

Investigations revealed it was just a setting on his computer that was inadvertently scrubbing the e-mail from the city’s server. Though both violations aren’t necessarily serious crimes, the race was close enough that dirt on either side could have had a profound impact on the outcome, and the results show 68,000 voters who were truly torn during the last two weeks before election day while Pal was reporting these stories. Hosterman eventually won by just 188 votes. (Amanda Witherell)

SUSAN SWARD, BILL WALLACE, ELIZABETH FERNANDEZ, AND SETH ROSENFELD, SAN FRANCISCO CHRONICLE


In the wake of 2003’s so-called Fajitagate police scandal — in which San Francisco officer Alex Fagan Jr. and others were accused of assaulting and then covering up their alleged vicious beating of innocent citizens — the San Francisco Chronicle uncovered records showing that Fagan’s short history on the force was marked by regular incidents of abusive behavior, the kind of records that should have served as a warning for the problems to come.

"We decided to take a look to see how common it was. And we spent a lot of time doing that," Steve Cook, the Chronicle editor of what became last year’s five-part "Use of Force" series, told the Guardian. The team used the Sunshine Ordinance to gather boxloads of records on use-of-force incidents, which it organized into a database that was then supplemented and cross-referenced with a wide variety of other public records, along with old-fashioned shoe leather reporting, all the while fighting through bureaucratic denials and delays.

Despite an embarrassing mislabeled photo on the first day of the series that served as fodder for attacks by the Police Department and Mayor’s Office, the series made clear that rogue cops were abusing their authority, totally unchecked by their supervisors. "We were proud of what we were able to show," Cook said. "We showed a department in need of some basic reforms."

The series helped spur the early intervention system that was recently approved by the Police Commission. It’s a good first step, but one criticized by the Chron and the Guardian for failing to include some key indicators used in other cities (see our editorial "Fix Early Warning for Cops," 2/28/07), something that Cook said requires ongoing vigilance by the press, to bring about needed reforms: "Only the news media is really going to accomplish this, if they stay with the story." (Steven T. Jones)

Legal counsel

DAVID GREENE


The First Amendment was never about money. Free speech is supposed to be free. But these days threats to the First Amendment are growing, more and more people who lack the resources of a major media outlet are in need of help — and there aren’t many places dedicated to offering that assistance, free.

That’s where David Greene and the First Amendment Project come in.

Since 1999, as a staff attorney and executive director, Greene has helped dozens of freelance journalists, students, nonprofit organizations, and independent media outlets protect and expand their free speech and open government rights.

The operation he runs is totally independent. That’s a key point in an era of massive media consolidation: when the Guardian sought earlier this year to find legal representation to force open the key records in a lawsuit over Dean Singleton’s local newspaper merger, we found that just about every local media law firm represented at least one of the parties to the case and thus was conflicted. The FAP was not.

Greene and the FAP have represented blogger Josh Wolf and freelancer Sarah Olson in landmark subpoena cases. Greene, with the American Civil Liberties Union of Northern California, wrote the amicus brief on behalf of noted literary artists in the California Supreme Court case In re George T., in which the court, relying heavily on the FAP brief, overturned the conviction of a juvenile who made threats to other students with a poem. And the struggle just goes on. The FAP is funded largely by private donations and always needs additional support.

"Unfortunately," Greene told us, "we have to turn away a lot more cases than we can take." (Tim Redmond)

News media

SAN JOSE MERCURY NEWS


After years of last-minute backroom deals at San Jose’s City Hall, things came to a head when the City Council rubber-stamped proposals to give a $4 million subsidy to the San Jose Grand Prix, $80 million for a stadium to keep the Earthquake soccer team from leaving town, and $45 million for new City Hall furniture.

Clearly, something had to give. But it was left to San Jose Mercury News editorial writers to push for transparent and accessible government and better enforcement of the state’s open government laws.

First they shamed the city, pointing out that "San Francisco, Oakland, even Milpitas have better public-access laws." Next they hammered then-mayor Ron Gonzales for saying that calls for more open government were "a bunch of nonsense." Then they printed guiding principles for a proposed sunshine ordinance that they’d developed in conjunction with the League of Women Voters and Mercury News attorney James Chadwick.

When city council member Chuck Reed was elected mayor on a platform of open government reforms, the paper still didn’t give up. Instead, it’s continuing to champion the need to bring more sunshine to San Jose and working with a community task force on breaking new ground, such as taping closed sessions so they can one day be made available when there’s no further need for secrecy.

Somehow the Merc also managed to pull off another amazing feat: the paper built public understanding of and support for sunshine along the way. (Phelan)

SAN MATEO COUNTY TIMES


When outbreaks of the highly contagious norovirus sprang up in a number of California counties, San Mateo County was among those hit. Public health officials, however, would not release the names of the facilities where numerous individuals became infected, citing concerns about privacy and not wanting to discourage facility managers from contacting health officials.

Nonetheless, the San Mateo County Times ran a series of reports on the outbreaks in the named and unnamed facilities. After publishing reports on unnamed facilities, the news staff began to receive phone calls from residents who wanted to know the names of the facilities. Times reporter Rebekah Gordon told us it became clear that the public wanted to know this information, and the paper fought the county’s secrecy.

Gordon learned that facilities are required by law to report outbreaks, regardless of the potential for media exposure. Times attorney Duffy Carolan sought out and won the disclosure of the names of four facilities.

"The county’s initial nondisclosure decision evoked public policy and public safety concerns at a very broad level, and nondisclosure would have had a very profound effect on the public’s ability to obtain information that affects their own health and safety. By persisting in the face of secrecy, the Times was able to establish a precedent and practice that will well serve to inform their readers in the future," Carolan told us.

The paper learned the outbreak was far more widespread than the county had admitted, finding 146 cases in six facilities. Gordon said, "The numbers were so much higher than we were ever led to believe." (Julie Park)

Online free speech

JOSH WOLF


Even as he sits inside the Federal Correctional Institute in Dublin, where he’s been denied on-camera and in-person interviews, jailed freelance journalist Josh Wolf manages to get out the message. Last month Wolf, who is imprisoned for refusing to give up video outtakes of a July 2005 anarchist protest in the Mission that turned violent, earned a place in the Guinness World Records for being the journalist to have served the longest jail term in US history for resisting a subpoena.

His thoughts on the agenda behind his incarceration were read at press conferences that day, reminding everyone of the importance of a free press. Meanwhile, Wolf has managed to continue operating his blog, www.joshwolf.net, by sending letters to family, friends, and fellow journalists, including those at the Guardian.

Wolf has also managed to create two other Web sites: www.mediafreedoms.net, which supports journalists’ resistance to government pressure, and www.prisonblogs.net, which allows prisoners to air thoughts and grievances. If Wolf can do all this from behind bars, imagine what he’ll do when he finally gets out. As Wolf would say, if we could only speak to him without reserving a phone interview 48 hours in advance: "Free press? Then free Josh Wolf!" (Phelan)

Public official

JOHN SARSFIELD


As district attorney for San Benito County, John Sarsfield upset the political applecart when he tried to prosecute the County Board of Supervisors for ignoring the Brown Act’s prohibitions on private communication and consensus building among board members on matters that involved employment decisions, personnel appeals, contracting, and land use–growth control issues.

His decision didn’t sit well in a county where battles over the future of the land have spawned Los Valientes, a secret society that has targeted slow-growth advocates and anyone who gets in its way — including believers in open government. So the board retaliated by defunding Sarsfield’s office, forcing the DA to file for a temporary restraining order against the board, the county administrative officer, and the county auditor, a countermove that kept his office operating and the investigation alive — until he lost his reelection bid to the board’s chosen candidate in January 2006.

One of Los Valientes’s targets, Mandy Rose, a Sierra Club member and slow-growth advocate, recalled how people on the outside warned Sarsfield what he was up against, "but he insisted on working within the system. It was what he believed in. Someone even said he was a Boy Scout."

For his efforts, Sarsfield’s life was turned into a living hell that cost him his dogs, his marriage, and eventually his job. But now, with this award, he gets some small recognition for fighting the good fight. And he has also been appointed special assistant inspector general within the Office of the Inspector General by Gov. Arnold Schwarzenegger. (Phelan)

Special citations

LANCE WILLIAMS AND MARK FAINARU-WADA, SAN FRANCISCO CHRONICLE


Investigative reporter Lance Williams and sportswriter Mark Fainaru-Wada joined forces in 2003 to take on what became one of the biggest — and most controversial — local news stories of the past five years.

The investigation of the Burlingame-based Bay Area Laboratory Co-operative, better known as BALCO, and the larger scandal of widespread steroid use among baseball players was, the San Francisco Chronicle editors decided, too big for one reporter.

In fact, it turned out to be big enough for a series of stories, a book, and a legal battle that almost sent the two writers to federal prison. The duo admits today it was mostly the fear of getting scooped that drove them through the story’s dramatic rise.

"I’m a baseball fan in recovery," Williams told the Guardian. "I used to think I knew the sport. I didn’t have a clue about this stuff. I’m not kidding you. I had no idea how much a part of baseball steroids had become … that whole sort of seamy underside of the drug culture and the game. I just didn’t know it was like that, and I think most fans don’t either."

Although prosecutors seemed to be focusing on BALCO executives, everyone following the story wanted to know what witnesses — in this case top sports stars — told a federal grand jury investigating the company. The outfit had allegedly distributed undetectable steroids and other designer drugs to some of the world’s greatest athletes, including Giants slugger Barry Bonds, who is on his way to making history with a new home run record.

In 2003 the Chronicle published lurid details of the grand jury’s investigation based on notes Williams and Fainaru-Wada had obtained from court transcripts leaked by an anonymous source. Bonds denied knowingly taking any steroids, but prosecutors waved in the air documents allegedly confirming his regular use of substances banned by Major League Baseball.

Furious prosecutors launched an investigation into the leak of secret grand jury transcripts. The reporters were called on to testify but refused — and so joined two other reporters last year threatened with jail time for resisting subpoenas. A lawyer stepped forward last month and admitted leaking the documents, but Williams and Fainaru-Wada came dangerously close to landing in the same East Bay lockup where blogger Josh Wolf is held for refusing to cooperate with a federal grand jury.

The rash of recent attacks on reporters by federal prosecutors has First Amendment advocates up in arms. After all, no one’s going to leak crucial information if the courts can simply bulldoze the anonymity that journalists grant whistleblowers. Fainaru-Wada and Williams have since inspired a bipartisan proposal in Congress to protect journalists at the federal level (dozens of states already have variations of a shield law in place).

"People roll their eyes when you start talking about the First Amendment," Fainaru-Wada said. "But the First Amendment is not about the press, it’s about the public."

In addition to the James Madison Freedom of Information Award, Williams and Fainaru-Wada’s coverage of the BALCO stories earned them the prestigious George Polk Award. But the story took a dark, unexpected turn last month.

Defense attorney Troy Hellerman, who represented one of the BALCO executives, pleaded guilty Feb. 15 to contempt of court and obstruction of justice charges and could serve up to two years in prison for admitting he twice allowed Fainaru-Wada to take notes from the grand jury’s sealed transcripts.

Just as he was spilling details in 2004, Hellerman demanded that a judge dismiss charges against his client, complaining that the leaks prevented a fair trial. He even blamed the leaks on prosecutors. A deputy attorney general called the moves "an especially cynical abuse of our system of justice."

Media critics lashed out at Williams and Fainaru-Wada for exploiting the leaks before and after Hellerman moved for a dismissal. Among those attacking the Chron reporters were Slate editor Jack Shafer and Tim Rutten at the LA Times, who described the conduct as "sleazy and contemptible."

Williams and Fainaru-Wada today still won’t discuss specifics about their sources, but Williams said without the leaks, names of the athletes involved would have otherwise been kept secret by the government even though the grand jury’s original BALCO investigation was complete.

"The witnesses didn’t have any expectation of privacy or secrecy of any kind," he said. "They were going to be trial witnesses. It was in that context that our reporting got under way. I am sensitive to the need of an investigative grand jury to remain secret. And I’m respectful in general of the government’s secrecy concerns. But it’s not the reporter’s job to enforce that stuff." (G.W. Schulz)

SARAH OLSON


When Oakland freelance writer and radio journalist Sarah Olson stood up to the Army by resisting a subpoena to testify in the case of Iraq war resister First Lt. Ehren Watada, she faced felony charges as well as jail time. But Olson understood that testifying against a source would turn her into an investigative tool of the federal government and chill dissent nationwide. "When the government uses a journalist as its eyes and ears, no one is going to talk to that journalist anymore," Olson told the Guardian.

She also objected to journalists being asked to participate in the prosecution of free speech. "The problem I have with verifying the accuracy of my reporting is that in this case the Army has made speech a crime," Olson said. Watada, whom Olson interviewed, has been charged with missing a troop movement and conduct unbecoming an officer, because he publicly criticized President George W. Bush and his illegal Iraq War.

In the end, Army prosecutors dropped the subpoena once Watada agreed to stipulate that Olson’s reporting was accurate. Olson, for her part, attributes the dropping of the subpoena to the support she received from media groups, including the Society for Professional Journalists. (Phelan)

Student journalist

STAFF OF THE LOWELL


The 2006 school year got off to a rough start for Lowell High School, one of the top-ranked public high schools in the country and certainly San Francisco’s finest. The school’s award-winning student newspaper the Lowell was covering it all.

After the October issue went to press, the school’s two journalism classes, which are solely responsible for writing and editing content for the monthly paper, received a visit from the school’s interim principal, Amy Hansen. Though Hansen says there was no attempt to censor the paper and the classes agree that no prior review was requested when it appeared that the students would be covering some controversial stories, the principal questioned their motivations as journalists and asked them to consider a number of complicated scenarios designed to make them second-guess their roles as reporters. The principal told the student journalists they had a moral responsibility, not to turn out the news, but to turn in their sources and information.

In separate meetings with each journalism class, Hansen questioned them about when it was appropriate to lay aside the pen and paper in the name of the law. The students maintained that as journalists they are in the position to report what happens and not pass moral judgment. Additionally, their privileged position as information gatherers would be compromised if they revealed their sources.

The lectures from Hansen did not deter the journalism classes from their basic mission to cover school news as objectively and thoroughly as possible. Even when police were called in to question Megan Dickey, who was withholding the name of a source she’d used in a story about a tire slashing, she still refused to say what she knew. (Witherell)

Whistleblower

MARK KLEIN


Mark Klein knew there was something fishy going on when his boss at AT&T told him that a representative of the National Security Agency would be coming by to talk to one of the senior technicians. Klein was a union communications tech, one of the people who keep the phone company’s vast network going every day. The NSA visitor stopped by, and before long Klein learned that AT&T’s building on Folsom Street would have a private room that none of the union techs would be allowed to enter.

Klein kept his eyes open and learned enough from company memos to conclude that the government was using AT&T’s equipment to monitor the private communications of unsuspecting and mostly undeserving citizens. When he retired in May 2004, he took a stack of material with him — and when he read in the New York Times a year and half later that the NSA had indeed been spying on people, he decided to go public.

The 62-year-old East Bay resident had never been a whistleblower. "I didn’t even know where to begin," he told us. So he surfed the Web looking for civil liberties groups and wound up contacting the Electronic Frontier Foundation.

It was a perfect match: the EFF was about to file a landmark class-action lawsuit against AT&T charging the company with collaborating with the government to spy on ordinary citizens — and Klein’s evidence was a bombshell.

"Mark Klein is a true American hero," EFF lawyer Kurt Opsahl told us. "He has bravely come forward with information critical for proving AT&T’s involvement with the government’s invasive surveillance program."

Federal Judge Vaughn Walker has kept Klein’s written testimony under seal, but the EFF is trying to get it released to the public. The suit is moving forward. (Redmond)

SPJ-NorCal’s James Madison Awards dinner is March 13 at 5:30 p.m. at Biscuits and Blues, 401 Mason, SF. Tickets are $50 for members and $70 for the general public. For more information or to see if tickets are still available, contact Matthew Hirsch at (415) 749-5451 or mhirsch@alm.com.

The Guardian Iraq War casualty report (3/5/07)

0

20 Iraqi civilians killed when a car bomb exploded in a historical book market in Baghdad today, according to the New York Times.

98,000: Killed since 3/03

Source: www.thelancet.com

57,805 – 63,573: Killed since 1/03

For a week by week assessment of significant incidents and trends in Iraqi civilian casualties, go to A Week in Iraq by Lily Hamourtziadou. She is a member of the Iraq Body Count project, which maintains and updates the world’s only independent and comprehensive public database of media-reported civilian deaths in Iraq.

Source: http://www.iraqbodycount.net

A Week in Iraq: Week ending 4 March 2007:
http://www.iraqbodycount.org/editorial/weekiniraq/32/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Antiestablishmentarianism attitudes among Iraqi religious groups is fueling intolerance and violence towards homosexuals in Iraq, according to the UN.

Source: http://www.gaypeopleschronicle.com/stories07/february/0202071.htm

U.S. military:

3,401: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.01.html

Iraq Military:

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

151: Killed since 3/03

Source: http://www.infoshout.com/

Refugees:

The Bush administration plans to increase quota of Iraqi refugees allowed into the U.S. from 500 to 7,000 next year in response to the growing refugee crisis, according to the Guardian Unlimited.

Source: http://www.guardian.co.uk/Iraq/Story/0,,2013034,00.html

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

Source: http://news.bbc.co.uk/2/hi/middle_east/6293807.stm

1.6 million: Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

Many refugees were displaced prior to 2003, but an increasing number are fleeing now, according to United Nations High Commissioner for Refugees’ estimates.

Source: http://www.unhcr.org/iraq.html

U.S. Military Wounded:

47,657: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

The Guardian cost of Iraq war report (3/5/07): Bush asks congress to approve $622 billion for 2008. So far, $405 billion for the U.S., $51 billion for California and $1 billion for San Francisco.
Compiled by Paula Connelly

Bush asked congress to approve $622 billion for defense spending, most for the wars in Iraq and Afghanistan, in a $2.9 trillion budget request for 2008, according to Reuters.
Source: http://today.reuters.com/

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $46 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have hired 21,264 additional public school teachers for one year, we could have built 11,048 additional housing units or we could have provided 59,482 students four-year scholarships at public universities. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

TUESDAY

0

March 6

MUSIC

Danava

I’m such a total badass. Example? How about Portland’s wailing ambassadors of psychedelic prog metal Danava? They’re always good for some afternoon living-room bedlam, methinks. One spin of last year’s self-titled Kemado Records debut, and this quartet’s furious throttling of the common ground between Hawkwind, Black Sabbath, Killing Joke, and King Crimson can guide you too down the path from dorkdom to serious ass-kicking virtuosity. (Todd Lavoie)

9 p.m., $7
12 Galaxies
2565 Mission, SF
(415) 970-9777
www.12galaxies.com

FILM

The Thing and Strange Behavior

“This thing doesn’t want to show itself – it wants to hide inside an imitation,” says Kurt Russell as Dr. J.R. MacReady, describing the ever-morphing enemy that’s making shaved ice of the crew of his Antarctic research base. The same could be said of John Carpenter’s 1982 remake of the ’50s drive-in classic The Thing, only Carpenter has nothing to hide. He improves on the original, brilliantly condensing its cold war paranoia into an icy psychological thriller that doesn’t skimp on the gore or quotable one-liners. (Matt Sussman)

7 and 9:20 p.m., $9
Castro Theatre
429 Castro, SF
(415) 621-6120
www.thecastrotheater.com

MONDAY

0

March 5

EVENT

Alberto Blanco

Poet José Emilio Pacheco writes in the introduction to Alberto Blanco’s Dawn of the Senses: Selected Poems, published by City Lights Books in 1994, that the latter’s poetry “speaks of a world far beyond languages and borders.” San Francisco poet Michael McClure describes Blanco’s work as inhabiting “both the world and the universe of imagination.” At this event Blanco will be reading from his newest volume of poetry, A Cage of Transparent Words, published by Bitter Oleander Press. (Nathan Baker)

2:30 p.m., free
Poetry Center
Humanities Bldg., room 512
San Francisco State University
1600 Halloway, SF
(415) 338-2227
www.sfsu.edu/~poetry

FILM

Black Snake Moan

A welcome shot of lightning in this otherwise sleepy winter, Hustle and Flow director Craig Brewer’s latest, Black Snake Moan, has guts. Try a manic parallel story line featuring nymphomaniac Rae (Christina Ricci) and spurned blues player Sam (Samuel L. Jackson), screaming toward self-destruction. Rae’s been left behind by her Iraq-bound boyfriend (Justin Timberlake), and Sam’s lost his wife to his brother. Which is to say, they got the blues. The characters are sure to offend, but though Black Snake Moan is exploitative and ridiculous, it’s not cheap. (Max Goldberg)

In Bay Area theaters

SUNDAY

0

March 4

MUSIC

Carolyn Mark

When the Corn Sisters made a tour stop in my sleepy southern Indiana town in 2000, it was to play to 20 people on a Wednesday night. Granted, the Second Story Nightclub was probably the hippest place in a 100-mile radius, but for “siblings” Carolyn Mark and Neko Case, it wasn’t exactly the big top. Just the same, they proceeded to melt every heart in the room (and activate more than a few tear glands) with their twin arsenal of baritone guitar and vocal harmony. (Nathan Baker)

With the Bermuda Triangle Service
and Amy Honey
9 p.m., $8
Make-Out Room
3225 22nd St., SF
(415) 647-2888
www.makeoutroom.com

EVENT

Ed Rosenthal Benefit

Tommy Chong hosts a party to raise legal funds for Ed Rosenthal, the medical marijuana provider who can’t keep the feds off his back, even after two previous felony convictions were overturned, and now faces another trial. (Deborah Giattina)

3:20-8 p.m.; $100-$125
Rosenthal Residence
9 Lake, Piedmont
(510) 338-8115, www.green-aid.com

SATURDAY

0

March 3

MUSIC

Steve Porter

A porterhouse is a choice cut of meat, but to nutritionists it’s a fatty, cholesterol-filled food best eaten sparingly within a balanced diet. For DJ-producer Steve Porter, it’s his diverse and energetic style, best showcased on his new 57-track club album, Porterhouse Volume 2 (EQ Recordings), which fans previously savored on 2006’s mix LP Porterhouse and 2005’s Homegrown (both Fade Records). What makes Porter house popular is that it is no mono diet. (Joshua Rotter)

With DJs Eli Wilkie and Friz-B
8 p.m., $15
Ruby Skye
420 Mason, SF
(415) 693-0777
www.rubyskye.com

VISUAL ART

“Vivienne Westwood: 36 Years in Fashion”

Vivienne Westwood, the iconoclastic British fashion designer, could have been speaking of her own when she remarked, “You have a much better life if you wear impressive clothes.” Indeed, her work has shaped the very culture whose conventions she set out to subvert. In 1970, Let It Rock, her first clothing store, opened in London, and it wasn’t long before her outrageous and provocative designs found their way onto the backs of punk bands such as the New York Dolls and the Sex Pistols. (Nathan Baker)

Through June 10
9:30 a.m.-5:15 p.m., museum admission plus $5 surcharge
De Young Museum
50 Hagiwara Tea Garden Drive
Golden Gate Park, SF
(415) 750-3614
www.famsf.org

FRIDAY

0

March 2

film

Bugsy Malone

The year 1976 was special for Jodie Foster. When she wasn’t filming other movies, she and Chachi were making cinema history with Bugsy Malone, an all-kids gangster musical in which tommy guns fire custard bullets. Watching the film, directed by Alan Parker of Fame fame and with music by Paul Williams, should be nothing less than religious. The movie’s being shown as part of a “Midnites for Maniacs” underage Jodie Foster triple feature. Freaky Friday and Foxes precede it. (Jason Shamai)

11:59 p.m., $10
Castro Theatre
429 Castro, SF
(415) 621-6120
www.castrotheatre.com

event

WonderCon

Stressful work and family commitments have virtually killed our childlike sense of wonder. So as WonderCon, the Bay Area’s premiere comics convention, returns for the 21st year, feel free to be a kid again. Go on, spend your macchiato money on new comics, gush over your favorite artists, and catch new Frank Miller adaptation 300 and the related panel with director Zack Snyder. (Joshua Rotter)

Through Sun/4
Noon–7 p.m., $8–$15 (three-day pass, $20–$40)
Moscone Center South
747 Howard, SF
(415) 974-4000
www.comic-con.org

THURSDAY

0

VISUAL ART

Carl de Keyzer

This year the co-op Magnum Photos, founded by Robert Capa and other war photographers, celebrates its 60th birthday. Magnum is still owned by its photodocumentarian members, such as Carl de Keyzer, who used a two-week stay in San Francisco during 2000 to shoot Fleet Week and the Pride parade. De Keyzer’s nine monographs include 2003’s Zona, a study of the bizarre realities presented by Siberian prison camps in the post-Soviet era, and 1992’s God, Inc., a Winnebago tour through the extremes of US Christianity during the Gulf War. This exhibition brings together selections from both books. (Johnny Ray Huston)

Through April 28
Tues.–Sat., 10:30 a.m.–5:30 p.m., free
Robert Koch Gallery
49 Geary, fifth floor, SF
(415) 421-0122
www.kochgallery.com

EVENT

“The Progressive Woman: Continuing Artistic and Self-Defining Work Beyond Your Twenties”

Can you really have it all? For Women’s History Month, the women at Bindlestiff Studios round up a group of female Filipino American artists for a discussion on how they balance career, self, art, and family as they progress into adulthood. The panel includes singer-songwriter Golda “Supernova” Sargento and Eliza Barrios from the performance and visual art group Mail Order Brides. All proceeds from the event will benefit its continued support of artists. (Elaine Santore)

8 p.m., $8
Bindlestiff Studios
505 Natoma, SF
(415) 255-0440
www.bindlestiffstudio.org

The Guardian Iraq War casualty report (2/27/07)

0

Casualties in Iraq

Iraqi civilians:

8 Iraqi civilians killed today in the bombing of a commercial street. Iraq’s Interior Ministry reported 18 young boys killed in the car bombing of a soccer field today despite contradictory reports from the U.S. military, according to CNN.

Source: http://www.cnn.com/2007/WORLD/meast/02/27/iraq.main/index.html

98,000: Killed since 3/03

Source: www.thelancet.com

57,232 – 62,985: Killed since 1/03

For a week by week assessment of significant incidents and trends in Iraqi civilian casualties, go to A Week in Iraq by Lily Hamourtziadou. She is a member of the Iraq Body Count project, which maintains and updates the world’s only independent and comprehensive public database of media-reported civilian deaths in Iraq.

Source: http://www.iraqbodycount.net

A Week in Iraq: Week ending 25 February 2007:
http://www.iraqbodycount.org/editorial/weekiniraq/32/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Antiestablishmentarianism attitudes among Iraqi religious groups is fueling intolerance and violence towards homosexuals in Iraq, according to the UN.

Source: http://www.gaypeopleschronicle.com/stories07/february/0202071.htm

U.S. military helicopters are being targeted by insurgents, according to the New York Times.

Source: http://www.nytimes.com/2007/02/12/world/middleeast/12copters.html

The U.S. military said most recent of the seven helicopters shot down since January 20th was brought down by a sophisticated piece of weaponry, according to Reuters.

Source: http://ca.today.reuters.com/

U.S. military:

3,385: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.01.html

Iraq Military:

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

151: Killed since 3/03

Source: http://www.infoshout.com/

Refugees:

The Bush administration plans to increase quota of Iraqi refugees allowed into the U.S. from 500 to 7,000 next year in response to the growing refugee crisis, according to the Guardian Unlimited.

Source: http://www.guardian.co.uk/Iraq/Story/0,,2013034,00.html

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

Source: http://news.bbc.co.uk/2/hi/middle_east/6293807.stm

1.6 million: Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

Many refugees were displaced prior to 2003, but an increasing number are fleeing now, according to United Nations High Commissioner for Refugees’ estimates.

Source: http://www.unhcr.org/iraq.html

U.S. Military Wounded:

47,657: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/


The Guardian cost of Iraq war report (2/27/07)
: Bush asks congress to approve $622 billion for 2008. So far, $369 billion for the U.S., $46 billion for California and $1 billion for San Francisco.
Compiled by Paula Connelly

Bush asked congress to approve $622 billion for defense spending, most for the wars in Iraq and Afghanistan, in a $2.9 trillion budget request for 2008, according to Reuters.
Source: http://today.reuters.com/

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $46 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have hired 21,264 additional public school teachers for one year, we could have built 11,048 additional housing units or we could have provided 59,482 students four-year scholarships at public universities. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

WEDNESDAY

0

Feb. 28

FILM

Citizen Cinema’s Love Series

The gods of antiquity were intelligent creations. Venus, for example, represents lust and motherhood, marriage and adultery, reverence and sacrilege; in short, she was love in all its contradictions. Inspired by this and other Gordian knots, Rob Nilsson of Citizen Cinema has put together a 12-part series on the subject of love. The first film is Bernardo Bertolucci’s Last Tango in Paris. (Sara Schieron)

7 p.m., $10 donation
Edwin Johnson Screening Room
1418 Fifth St., Berk.
(510)527-7217
www.robnilsson.com

FILM

Sunset Blvd.

You don’t have to be a fresh-faced undergrad to take advantage of UC Berkeley’s Film 50 class. This week’s selection is Billy Wilder’s essential Tinseltown tragedy, Sunset Blvd.; even film school dropouts can get behind this narrated-by-a-dead-guy picture that opens with a chimp’s funeral and climaxes with one of cinema’s most iconic close-ups. (Cheryl Eddy)

Through May 2
3 p.m., $4–$8
Pacific Film Archive
2575 Bancroft, Berk.
(510) 642-5249
www.bampfa.berkeley.edu

Steeped in controversy

0

› a&eletters@sfbg.com

These days everyone is a gourmand, and caring about the earth is so cool it’s made even Al Gore popular. The time is ripe to give a fuck.

But all this focus on artisanal and organic products is complicated. What’s easiest for the consumer to understand isn’t always correct. Stickers can’t always be trusted. And — certified or not — nothing holds a candle to family tradition.

It’s true for tomatoes. It’s true for tangerines. And, according to Winnie Yu, director of Berkeley teahouse Teance, it’s especially true for tea.

That there is controversy or politics involved with tea is nothing new (Boston Tea Party, anyone?). But the most recent debates have centered around two primary issues: the practice of using lower quality teas in tea bags (versus loose leaves) and the consequences of labeling tea as organic.

But before we get into all that, first the basics.

CONFLICT BREWS


The beverage as we know it is said to have been discovered when tea leaves blew into the hot-water cup of early Chinese emperor Shen Nung. Cultivation started simply enough, under the fog on steep hills, where harvesters engaged in the art of fine plucking, or gently twisting the buds of Camellia sinensis at precisely the correct moment of the correct day. This knowledge was a biorhythm, pulsating in the bones, passed from one generation to the next.

But it wasn’t long before this Chinese medicinal crop changed everything. The British East India Co. — originally chartered for spice trade — spread opium through the region just to get its hands on the stuff. This bit of naughtiness made it the most powerful monopoly in the world, prompted wars, and left legions addicted to another intoxicating substance: tea.

Smuggling rings, high-society occasions, and ever-increasing taxes spiraled around the precious crop. The long journeys from China to Britain led to the glamour of clipper ship races, but below deck fighting the rats was another problem altogether. One piece of tea lore explains how cats were employed to catch the rats, and after an entire shipment of tea (already stale from the journey) was infused with cat piss, it was discovered that the pungent bergamot oil, popular at the time, masked this stench quite nicely. Earl Grey was born.

Next came Thomas Sullivan, New York tea merchant, good-time guy, and miser to the core, who decided to send some tea samples to faraway clients. Instead of packing his gifts in tins, as was common at the time, Mr. Tightwad decided to use some silk baggies he had lying around. The people who received these pouches assumed they were to dip them into boiling water and throw away the debris. Sullivan had unwittingly invented a no-mess solution to tea. The orders came pouring in. A few years later the Lipton tea bag was born.

BONES ABOUT BAGS


Eventually, it was learned that smaller pieces, or finings, brew more quickly than full leaves. But when leaves are broken into finings, the oils responsible for their taste evaporate. This leaves a bitterness that can only be countered with cream and sugar. And the tea farmers in China kept on keeping on, despite the series of near-triumphs, well-intentioned buffoonery, and colonial rebellion that resulted in the western side of the tea-drinking world forever asking, "One lump or two?"

According to tea connoisseurs, this is when the fine crop began its slide down the slippery slope into pure crap.

Far from an obsolete issue (or a localized one), bagged tea — both its quality and its form — has sparked a very modern worldwide debate.

In Sri Lanka as recently as Feb. 12, D.M. Jayaratne, newly appointed minister of plantation industries, instructed tea researchers and relevant authorities to investigate whether premium teas exported in bulk are being mixed with cheap tea.

And on the less quantifiable front, contemporary tea drinkers such as Yu consider bagged tea to have all the sophistication and allure of boxed wine. Properly enjoyed tea is not only an intoxicant but also an art. "It’s like music," Yu explains. "The notes have to be appreciated at their own time."

Tea bags pilfer quality by design, but something bigger may be lost between the staple and the tag: how about a bit of ceremony in a racing, relentless world?

"Tea is a spiritual product, as well as for consumption," says Yu, who has made it her mission to bring fine tea and tea education to the Bay Area. "It was a medicine for 2,000 years before it was a beverage."

Her Berkeley tearoom — a serene, beautiful environment flecked in copper and bamboo — allows you to connect with the leaves, the culture, the moment, and the community. "Drinking with 3,000 years of history, you don’t feel alone," Yu says.

THE ETHICS OF ORGANICS


Meanwhile, at the 40th annual World Ag Expo in the San Joaquin Valley in mid-February, cannons thundered, Rudolph Giuliani waxed poetic about alternative fuel, jets split seams into the sky, more than 100,000 people gathered from 57 nations, and a small group of farmers met to contemplate the agribusiness plunge into the emerging organic industry.

During a seminar with Ray Green, manager of the California Organic Program for the California Department of Food and Agriculture, these farmers had before them a daunting question: organic at what cost?

When it comes to tea, Yu has an answer. The cost is large: to consumers, who mistakenly think their certified-organic tea bag is superior to the noncertified (but tastier and ecofriendlier) independent variety, and to small farms, which have to compete with the certified giants.

Artisan tea shops such as Yu’s depend on strong bonds with small farmers. But most quality tea farms opt out of the bureaucratic mess of US Department of Agriculture organic certification because the fees are too high and the other costs are too great. For example, USDA certification can require land to lay barren for up to five years. According to Yu, it’s nonsense to ask a family farm to participate in such a thing. "These hillsides have had tea growing on them for hundreds of years," she says. "It is very precious to have a tea tree."

Many new farms are certified under European and Chinese regulations — which are both significantly stricter and cheaper than their United States counterpart — but still have to compete with big corporations willing to jump through the USDA hoops.

At his seminar Green said, "Some of the farmers that left conventional agriculture 10 years ago because they just couldn’t compete on economies of scale are now finding that the same companies they were in competition with 10 or 12 years ago are now competing against them in the organic sector."

Consumers want to choose certified products because they think they’re doing the right thing. But doing so doesn’t necessarily help anyone but the big corporations that can afford certification.

"Organic isn’t an issue if it’s always been organic," Yu says. "Fair trade is not an issue [for Teance] because we buy from family farms."

Yu works with family farms like the ones with representatives sifting through the advice and cautionary tales of the World Ag Expo, the farms wondering how to stay afloat in the wake of impossible competition. As their corporate counterparts lurk in low valleys, sifting the scraps of their mass harvest into nylon bags before slapping a USDA organic sticker on attractive packaging and trumpeting health consciousness to the uneducated consumer, the folks on the hill are still doing what they’ve always done.

It’s clear that as consumers become more informed, the demand for quality product increases. With this demand comes profit, red tape, and a departure from the salt-of-the-earth spirit that gave birth to the organic movement.

"The ritual is authentic, healthy, artful," Yu says. "You can’t find that in a tea bag."

So what is the San Francisco tea lover to do? At the very least, you can support your local gourmet tea peddlers. From Chez Panisse to El Farolito, the Bay Area is uniquely qualified to appreciate the culinary good stuff. We like it slow, whole, and artisanal, and fine teas deliver. *

TEANCE

1780 Fourth St., Berk.

(510) 524-2832

www.teance.com

FAR LEAVES TEA

2979 College, Berk.

(510) 665-9409

www.farleaves.com

IMPERIAL TEA COURT

1511 Shattuck, Berk.

(510) 540-8888

1411 Powell, SF

(415) 788-6080

1 Ferry Bldg., SF

(415) 544-9830.

www.imperialtea.com

MODERN TEA

602 Hayes, SF

(415) 626-5406

www.moderntea.com

SAMOVAR

498 Sanchez, SF

(415) 626-4700

730 Howard, SF

(415) 227-9400

www.samovartea.com

>

Ouroboros rising

0

› a&eletters@sfbg.com

Never mind the ides of March, here comes year four of the Iraq War. Believe it or not, this whole illegal invasion-and-occupation business brought to you by the generally scary US government — that consortium of oil companies, political marionettes, neoconquerors, military wonks, and other capitalist heavies operating behind the flimflam of democracy and terror — is about to celebrate another birthday. (In various offstage boardrooms, we hear the muffled sound of champagne corks not so discreetly popping.)

It’s unclear how many people are still fooled by the flapdoodle spewing from the faces fronting for this enterprise. For most of us in the big Green Zone back home, questions about the Iraq War have moved decidedly into the cultural realm, where the conflict lingers and ferments like others before it in the atmosphere generated between the TV and the dinner table — or, more insidiously, in the mute wasteland of adolescent malaise, surrounded on all sides by a dysfunctional society in lofty denial of its serious penchant for destruction.

Although written in the aftermath of the Gulf War, that media-sanitized prequel to contemporary carnage, playwright Mickey Birnbaum’s Big Death and Little Death squarely occupies the latter territory. But suburban death metal–laced teenage angst is more than the terrain of Birnbaum’s sly and ferocious black comedy — now enjoying a feisty West Coast premiere by Crowded Fire — it’s a beachhead from which the play gleefully lays waste to the universe as a whole.

Birnbaum’s fully fledged two-act (originally intended as an opener for death metal bands) posits some distorted family values, amplified by the sublimated horrors of a world on fire. Its main characters are a brother and sister, Gary (Carter Chastain) and Kristi (Mandy Goldstone), two sympathetically screwed-up teenagers whose modest nuclear household (an evocative panorama of linoleum, Formica, and faded wallpaper in Chloe Short’s deceptively spare set design) is vaguely overseen by their father, a troubled Desert Storm vet (Lawrence Radecker). Since returning from the Gulf, Dad likes to take pictures of road accidents (your quiet, volatile type, in other words, wonderfully fashioned by Radecker as an opaque yet sympathetic psychopath in desert fatigues). Completing the picture for a time is Mom, or Dad’s unfaithful wife (Michele Levy), whose history of sexual indiscretion while her husband was off sauntering through hell comes tumbling out of her in a series of Tourette’s-like confessions.

In the role of a highly inadequate support circle are Gary’s friend Harley (Ben Freeman), an awkward adolescent with an ambivalent thing for his friend’s sister; Gary’s twisted guidance counselor, Miss Endor (Tonya Glanz), who invites him to a death metal concert before diving into a crank-fueled nihilist rant; and Gary’s inappropriate Uncle Jerry (Michael Barr), a Navy sailor who becomes even more inappropriate as the oxygen leaves the stranded sub from which he makes a farewell call.

When a litter of pups is carted off by a classic suburban tweaker (Barr) in exchange for a gun and a bag of drugs, one of the pups (Mick Mize, in a dog suit) is left behind somewhere to haunt the house and mind of the posttraumatic paterfamilias. This subplot is interspersed with scenes from a family car trip from hell and Kristi’s anorexic adolescent anguish as Gary ponders whether to go to city college or "destroy the universe." In the end, as the characters make love, war, art, and friends in no particular order, the second option looks increasingly enticing to our hero, if only to clear the way for something new.

Smartly staged by Sean Daniels (moonlighting from his position as associate artistic director at the California Shakespeare Theater), Big Death and Little Death speaks to this imploding universe loudly and affirmatively, forefingers and pinkies extended. In Birnbaum’s optimistic apocalypse, there’s a difference between the annihilation of the system and the creative destruction that envisions a new beginning on the horizon.

The umbilical link between big and little deaths brings to mind the Vietnam-era "little murders" in Jules Feiffer’s even more prescient black comedy of an American culture of self-destruction. One’s tempted to call Birnbaum’s play the Little Murders of our day.

But neither can really compete with the culture they so sharply critique nor prove as strange or fitting as the news of the dean of West Point ganging up with human rights activists, the FBI, and military in-terror-gators to chastise the creators of 24 for feeding US soldiers too many tantalizing torture techniques. Seems almost a chicken-and-egg problem at times, this relationship between big death in Iraq (and Afghanistan and beyond) and little death on the tube. It’s quite a food chain too, bringing to mind that serpent devouring its own tail. Come to think of it, Ouroboros would make an excellent name for a death metal band. *

BIG DEATH AND LITTLE DEATH

Through March 4

Wed.–Sat., 8 p.m.; Sun., 2 p.m.

Traveling Jewish Theatre

470 Florida, SF

(415) 439-2456

www.crowdedfire.org

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The Flowering Tree

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The opera world has never been quite the same since director Peter Sellars teamed up in 1985 with composer John Adams to premiere Nixon in China. The production, which was unveiled in 1987 at the Houston Grand Opera, marked the start of one of the most brilliant artistic partnerships of our time. While controversy is perennially present in Sellars and Adams’s stage collaborations, few would deny what the pair has achieved is nothing short of revolutionary.

Adams and Sellars’s collaborations — The Death of Klinghoffer; I Was Looking at the Ceiling and Then I Saw the Sky, El Niño, and the massive Dr. Atomic, which had its world premiere at the SF Opera in 2005 — have redefined the musical and theatrical landscapes of the modern opera. Even more remarkable, the basis for this innovation wasn’t the European avant-garde but an identifiable and modern American sensibility. While Adams successfully integrated academic and experimental techniques with popular urban genres, Sellars explored cultural juxtapositions between the contemporary American experience (including those of marginalized communities) and the histories of people from other times and places.

This week Adams and Sellars return to Davies Symphony Hall for the SF Symphony’s US premiere of Adams’s A Flowering Tree. The multimedia performances, directed by Sellars and conducted by Adams, incorporate Balinese theater dancers; soloists Jessica Rivera, Eric Owens, and Russell Thomas; and the SF Symphony Chorus.

The new score isn’t typical of most other Adams works — it’s remarkably lyric, energized by soaring vocal passages and an ever-present feel of magical transformation. Contrary to the claustrophobic, doomsday intensity of Dr. Atomic, A Flowering Tree is a warm fable with an uplifting message of redemption, based on A.K. Ramanujan’s version of a 2,000-year-old south Indian folktale. It is the story of a young woman who can magically turn herself into a flowering tree, and like Mozart’s The Magic Flute (a partial inspiration), it explores themes of growing up, loss, hope, truth, and reconciliation. "Each work is generated from a very different impulse," Sellars says in a recent interview. "We had just worked on this intense, highly toxic opera that had lots of ticking sounds. We needed to go to the warmth and the light, with a tale existing in a springtime of its own."

Originally created for Austria’s New Crowned Hope Crowned Festival (of which Sellars was appointed artistic director) to celebrate Mozart’s 250th birthday, A Flowering Tree is infused with messages of universal spiritual harmony. "People may wince, but multiculturalism has been the reality of the world for so long," Sellars notes. "Mozart already had a global imagination under way in his Magic Flute. The opening stage direction is ‘a Javanese prince enters the stage,’ so we’ll have dancers from Java onstage with the San Francisco Symphony. For Mozart, that’s his imagination, but for us, it is actually our reality." (Ching Chang)

THE FLOWERING TREE

Thurs/1–Sat/3, 7:30 p.m., $31–$114

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

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Can’t explain

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› kimberly@sfbg.com

SONIC REDUCER What’s the difference between the Who and other boomer–classic rock combos hauling their bones out on the road these days? The fact that onstage at the cozy Reno Event Center on Feb. 23, midway through the kickoff for his group’s cockeyed US tour, Pete Townshend interrupted his own between-song hawk for the Who’s generally ignored recent album, Endless Wire (Universal), with a defiant disclaimer that went roughly like this: "We don’t care if you do buy it. Roger and I will soon be gone, and you won’t need to see us or buy anything because soon we’ll be dead. But now we’re here, and this is what we’re doing right now."

Then the black-clad Townshend, vocalist Roger Daltrey, drummer Zak Starkey, guitarist Simon Townshend, keyboardist John Bundrick, and bassist Pino Palladino launched into Endless Wire‘s "Wire and Glass: A Mini-Opera," which Pete Townshend ironically referred to as his band’s "Green Day moment." The centerpiece of "Wire and Glass" ‘s pocket rock opera, "We Got a Hit," rang with nostalgia and evoked, of all things, "Substitute," and Townshend sounded like both the angry young pop star he once was and the cranky old curmudgeon who would just as soon grumble "fuggit" than flog product.

And in the process Townshend sounded realer than most of the fossils buttressed by pricey pyrotechnics found in the last Stones tour. Is this an accomplishment? Perhaps, because Townshend was always one of the more ambitious and artful rockers of his g-g-g-generation and one of the most bare-faced and vulnerable (tellingly, the Who’s official site these days is the man’s own homespun blog at www.petetownshend-whohe.blogspot.com). Also, I don’t know about the old hippies who came out of the woods for the Who that night, but when you’re accustomed to the spectacle, dancers, rotating sets, and multiple costume changes that dramatize the majority of today’s arena pop shows — from Justin Timberlake to the Dixie Chicks — a straight-forward band performance is downright refreshing.

But I wasn’t sure what to expect when I fiddled around, making my way up to Reno, Nev. — home of the proudly gooberish National Bowling Stadium, hicks-run-amok comedy Reno 911!: Miami, and the neon-poisoned Last Days of Disco décor of kitschy-cute Peppermill Casino. Why start your tour in Reno, bypassing the Bay Area with a date in Fresno? Bad memories of Vegas, the site of bassist John Entwistle’s death during their 2002 tour kickoff? I’d never seen them live before: Keith Moon–era Who was way before my time; the late Entwistle epoch, too much for my music store–clerk blood. So it was the Daltrey-Townshend Who for me — along with a mix of gleeful, graying long-haired boomers in top hats and polo shirts, indeterminate Gen Xers, and a handful of youngsters — all much more male than a Stones, Robert Plant, or even Sex Pistols reunion show. Perusing the Ed Harris look-alikes, I’d venture there’s still something about Townshend — and maybe Daltrey’s ready-for-a-brawl manly rasp — that always spoke most directly to the smart art-nerd boys, at least in my high school. The Who always seemed to mirror men more acutely than women, despite those tributary pictures of Lily. Even now they work "Real Good Looking Boy" into the set, accompanied by an onscreen montage of Daltrey’s inspiration, Elvis Presley, and Townshend’s awkward intro: "It’s about being a little kid and looking at a big boy and having the courage to admire him as good-looking without any weirdness going on. Not that it is weird!"

But what’s vaguely weird is the fact that a once proudly forward-looking band such as the Who would sprinkle their set so liberally with favorites such as "The Seeker," "Anyway Anyhow Anywhere," "Baba O’Riley," and "Behind Blue Eyes," almost reluctantly putting forth new songs such as "Fragments," "A Man in a Purple Dress," "Black Widow’s Eyes," and those in "Wire and Glass," which cannibalize melodies, devices, and arpeggioed synth lines of songs such as "Who Are You" and baldly lift the curtain on a kind of nostalgia with tunes such as "Mirror Door," which hails sentimental, uncool icons like Doris Day. Even their opening song, "I Can’t Explain," was accompanied by target symbols, band insignia and posters, old photos of the band in Union Jack garb, and The Who Sell Out imagery — the latter once primo examples of pop art exploded, literally, in a rock ‘n’ roll context. The effect was powerful but somewhat of a disservice: the band itself is still hard-hitting enough to deliver its songs with absolute conviction, without the crutch of yesterday’s reminders, filled out by Ringo Starr’s competent though far from unhinged son Zak Starkey’s drum work; a husky-voiced but valiant Daltrey, who mastered his mic-swinging rotary-blade moves by the time the encore rolled around; and Townshend, windmilling and leaping, though with less athleticism than he might have had in the past.

Two hours into the show, all doubters were probably ready to push aside memories of the Who’s dead rhythm section, ravaged vocal chords, kiddie-porn controversy, unsmashed guitars, and a commercially stillborn album — and stand up for the "Pinball Wizard" encore. Though you wonder what it means when you’re in your late 50s and still singing "Meet the new boss / Same as the old boss" or "It’s only teenage wasteland. They’re all wasted!" and doing it, as Pete Townshend shouted jubilantly, "out in the fields of Nevada." The song remains the same, but now the band’s tone can’t help but have shifted. Perhaps you sound put out to pasture, a bit bitterer than you did as the angry know-it-all who was almost too smart for Top of the Pops. Or maybe a bit like Mr. Wilson, shaking his fist at Dennis the Menace and growling, "They’re all wasted!" You might sound more wise than nihilistic — can you explain how inspired you once were? *

Up on the roof

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During these past six lovely years of Bush and Cheney, one has become almost nostalgic about duels — the calling out of adversaries to settle matters of honor with pistols — even if one or both adversaries should hold high office. But the duel isn’t dead, of course; it’s just the pistols that are gone, replaced in many instances by fanged memoirs.

Walter Scheib and Roland Mesnier aren’t exactly Aaron Burr and Alexander Hamilton, but they are Washington, D.C., figures of recent vintage, they worked together, they plainly did not get along, and now each has published a book of reminiscences that does not flatter the other. Scheib was the White House chef from 1994 to 2005, and his book (with Andrew Friedman) is called White House Chef: Eleven Years, Two Presidents, One Kitchen (Wiley, $24.95); Mesnier was White House pastry chef from 1979 to 2004, and his memoir (with Christian Malard) is titled All the President’s Pastries: Twenty-five Years in the White House (Flammarion, $24.95).

Mesnier’s is the more unintentionally comic performance. He recounts history as a series of elaborate desserts served to the high and mighty. Scheib’s story, while briefer, carries greater significance, for he was hired by Hillary Rodham Clinton in 1994 to make the White House a setting for the best in American food and wine. He stayed on through the first term of George W. Bush, even as Hillary’s culinary revolution was chucked in favor of what Scheib calls "country club" cuisine: hot dogs, fish cooked to death, and lots of beef tenderloin.

Hillary turns out to be an unexpected point of convergence for this pair of kitchen antagonists. Both men respected and liked her, and Scheib, in particular, gives us a picture of a woman who, despite a rather icy public image, understood the broad and deep meanings of food, for human sociability and health as well as for the fate of the earth. Ronald Reagan might have made it his first order of presidential business to remove Jimmy Carter’s solar panels from the White House roof, but Scheib, with Hillary’s support, started growing organic vegetables up there. (Interesting factoid: far fewer insects are to be found several stories above ground, so the need for pest control in a rooftop garden is dramatically reduced.)

Memo to Hillary: if you make it, how about an organic rooftop garden and solar panels?

Paul Reidinger

› paulr@sfbg.com

Noisepop cracks up: trading jibes with Patton Oswalt

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Our little bundle of noise is almost all grown up. Damning the brooding tradition of adolescence, Noise Pop has learned to laugh at itself — and anything that involves swigging beer and heckling Patton Oswalt without a two-drink minimum sounds like pure fucking genius to me. I recently spoke to Oswalt on the phone from Burbank. After soaking in enough indie to keep you cloaked in scene points until next year, you may want to check out his act alongside fellow comedians Brian Posehn and Marian Bamford. (K. Tighe)

SFBG You’ve been gigging at indie rock venues for a while — and now you are getting booked at festivals such as Noise Pop and Coachella. A lot of bands must be pissed off at you.

PATTON OSWALT Getting invited to these things is really flattering, but my rider’s still simple. As long as there is old scotch, I’m fine.

SFBG Have you ever been to the Noise Pop festival?

PO No, but I’m really excited. I’ve only ever listened to Genesis, so I’m hoping to discover new stuff.

SFBG You used to live in San Francisco. Are there any old haunts you still frequent when you play here?

PO I have about 10 old haunts. They are all Starbucks now.

SFBG El Farolito or Cancun?

PO La Cumbre all the way. They are mighty, mighty, mighty, and they’ve never fallen.

SFBG Your San Francisco act is always incredibly liberal — how much do you need to alter your political material from city to city?

PO I don’t have a tailored act. I trust the audiences to rise to the occasion. There are more and more pockets of resistance everywhere. Besides, the things I say aren’t all that outrageous compared to what is actually going on.

SFBG Any early thoughts on the 2008 presidential race?

PO I’m saying it now: the Democratic ticket will be Mickey Rourke and the original lineup of Journey.

COMEDIANS OF COMEDY

Sun/4, 5:30 and 8:30 p.m., $24

Independent

628 Divisadero, SF

(415) 771-1421

MORE NOISE POP PICKS

FEB. 28

DAMIEN JURADO


At a recent gig in Seattle, Damien Jurado recounted an interview with a French journalist who had asked him if folk music was the new grunge. The singer-songwriter dismissed the question, but it was clear he was as comfortable cracking wise as he is creating the bleak portraits and doleful characters that inhabit his songs. Jurado’s latest release is not new but a reissue of Gathered in Song (Made in Mexico), which was originally put to tape in 1999 by friend and fellow plaintive songwriter David Bazan. Three months older though still freshly minted is And Now That I’m in Your Shadow (Secretly Canadian), a milestone recording with Jurado’s first permanent band, including cellist Jenna Conrad and percussionist-guitarist Eric Fisher. Here the trio essays the same lyrical and windswept landscapes that dominate Jurado’s discography, though gone are the upbeat pop numbers that have peppered past albums. The result is at once tender and forlorn. John Vanderslice headlines; the Submarines and Black Fiction also perform. (Nathan Baker)

8 p.m. Independent, 628 Divisadero, SF. $14. (415) 771-1421

MARCH 1

TRAINWRECK RIDERS


Despite critical acclaim for their latest album, Lonely Road Revival (Alive), Trainwreck Riders remain as down-home as their sound. Proof the San Francisco boys haven’t gone Hollywood yet: vocalist Andrew Kerwin still works at Amoeba in the city, and the band recently got arrested and Tasered by Houston police at a show with former labelmates Two Gallants. Songs such as "In and Out of Love" combine roots rock, punk, and country that sound familiar, retro, and refreshing all at once. The harmonica in "Christmas Time Blues" makes me want to flee to my favorite dive bar to sulk, even on a good day. (Elaine Santore)

9 p.m. Rickshaw Stop, 155 Fell, SF. $12. (415) 861-2011

MARCH 2

DAVID DONDERO


If ever there were a diamond in the indie rock rough, it is David Dondero. National Public Radio named him one of the 10 best living songwriters, but he still tours in his truck and has probably served you pints at Casanova. Nick Drake may have lamented that "fame is but a fruit tree," but he checked out long before his notoriety took root and grew. Dondero, on the other hand, has worked for years in relative obscurity. His latest effort, South of the South (Team Love), was bankrolled by Conor Oberst, an overdue invitation to the feast from a man who freely admits to copping Dondero’s style. Jolie Holland headlines; St. Vincent opens. (Baker)

9 p.m. Fillmore, 1805 Geary, SF. $20. (415) 346-6000

TED LEO AND THE PHARMACISTS


Naming your band is one of the early hurdles for any would-be rock star. Ted Leo and his mates had a stroke of genius the day they alighted on the Pharmacists, arguably trumping even the Beatles for best tongue-in-cheek rock ‘n’ roll pun. Not that ingenuity is lacking in this outfit, which packs as much fevered punk energy into a four-minute tune as a mitochondrion does into a cell. For those who slept through freshman biology, that’s the part of a cell that, among other things, processes adrenaline. And anyone who has ever attended a Leo show is all too familiar with this chemical. (Baker)

8 p.m. Great American Music Hall, 859 O’Farrell, SF. $18. (415) 885-0750

MARCH 4

CAKE


The genre-bending Sacramento band known for funky arrangements, monotone vocals, droll lyrics, and a whole set of cabaret, country, and soul cover songs (including Gloria Gaynor’s "I Will Survive" and Black Sabbath’s "War Pigs") finishes Noise Pop with characteristic verve and vibraslap. This indie-turned-mainstream-turned-indie quartet has gotten increasingly political in recent years — check out the band’s Web site (www.cakemusic.com) if you want to see what I mean — so expect some social commentary with your catchy ditties. It’s also worth showing up for the textured pop sound and cheeky lyrics of opening band the Boticcellis; Money Mark and Scrabbel also perform. (Molly Freedenberg)

7:30 p.m. Bimbo’s 365 Club, 1025 Columbus, SF. $25. (415) 474-0365

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New mutants

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› a&eletters@sfbg.com

A-ha. Baltimora. Missing Persons. Those bands probably have an emblematic significance to any Brat Pack–emuutf8g, spring break–starved teenager affiliated with the MTV generation of the 1980s. But as the ’90s beckoned, feathered hair and talking cars gave way to the Urkel and Mentos commercials, and all the while, another compulsion began to render our motor skills useless. Only this one came in the form of a heather gray plastic box, and its mascot was a mustachioed plumber with a Brooklyn accent. To this day, the Nintendo Entertainment System and its notable features — the ingrained Contra password, the Power Glove — have a special place in our hearts. The bleeps, chimes, and peals that ebb and flow tirelessly on Eats Tapes’ sophomore full-length, Dos Mutantes (Tigerbeat6), make it sound like San Francisco couple Gregory Zifcak and Marijke Jorritsma still spend plenty of hours wrangling the rectangular-shaped joystick around too.

"What’s great about the Nintendo is that you get this choppy, 8-bit sort of thin sound," Jorritsma says over dinner in the Mission District. She laughs as she flails her arms. "So basically you hear it, and your knees get weak, and you’re like, ‘Ahhh!’ "

"Don’t say 8-bit. It’s too much of a buzzword," Zifcak says.

"There’s something rewarding about the thing that you herald as the ultimate fun machine and then being able to hack into that pot of yummy memory gold and smear it onto your own composition," Jorritsma continues.

Fitted with an arsenal of analog synthesizers, hardware sequencers, drum machines, and cassette players, Eats Tapes have been inducing all-night sweat-a-thons with their head-panging techno and acid-fried hooks since late 2002. The duo met at a pizza restaurant they worked at in Zifcak’s hometown of Portland, Ore., in 2000 and soon discovered that they shared a partiality for bands such as New Order and Kraftwerk. At that time, Zifcak was mixing jungle tracks on what he describes as "a bunch of junk from a pawnshop being sequenced by an ancient computer with no hard drive." Claiming she was his biggest fan, Jorritsma suggested they start making music together. The twosome relocated to the Bay Area six months later.

Developed initially as a live project, the pair bumped into Miguel Depedro, a.k.a. Kid606, and in 2005 his Tigerbeat6 label dropped their debut, Sticky Buttons. Since then, Eats Tapes have packed tiny clubs, warehouses, and living rooms on both sides of the Atlantic and have also remixed tracks and been remixed by artists such as the Blow, Lucky Dragons, and the Soft Pink Truth.

While Dos Mutantes pretty much picks up where its predecessor left off, Jorritsma and Zifcak have emerged more focused, and its caffeinated tempos and psych-noise assaults sound much more polished.

"We were a bit more adventurous, while using the same beats per minute all throughout, and it’s still pounding your face off," Zifcak says.

So what is it about the music that really gets these lovebirds going?

"With electronic music, you spend so much time on a set, and then people whip themselves into a frenzy, strip themselves down to their underwear, start dry-humping the ground, MySpacing 50 times, and then you’re, like, ‘Yes, this is it,’" Jorritsma explains.

Let’s hope Dos Mutantes has the same effect. *

EATS TAPES

With 16 Bitch Pile-up and Bulbs

Fri/2, 9:30 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

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Raising the BARR

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› a&eletters@sfbg.com

"I haven’t lived anywhere since April for more than 12 days." Brendan Fowler tells me this on the phone from New York, where he’s dug in to prepare for a national tour — his first with a live band — supporting BARR’s new album, Summary (5 Rue Christine). He’s a little out of breath from racing up apartment stairs while hyping the band ("I think it’s going to be bananas. I totally started crying the other day when we were playing songs for the first time. It sounds nuts"), but our interview remains hectic as he runs through his different projects and enthusiasms. It’s been a busy couple years for Fowler, even by the industrious standards of the DIY community, from which he draws inspiration — several BARR tours, including opening slots for Xiu Xiu and Animal Collective; a profile in Artforum; performances at prestigious venues such as New York’s the Kitchen and Los Angeles’s David Kordansky Gallery; the publication and proliferation of art and culture magazine ANP Quarterly; and now the new record, a rousing confessional several bounds ahead of 2005’s Beyond Reinforced Jewel Case (5RC).

As BARR, Fowler doesn’t really sing lyrics so much as spit them out — pages and pages of them — and this often seems to trip up reviewers. The music doesn’t quite have the measured flow of rap or the hard-bitten enunciation of spoken word. The twin spirits of hardcore and hip-hop loom large, but Fowler’s channeling is defiantly personal. There’s performance-art bravura akin to that of BARR’s first tourmates, Tracy and the Plastics, and Fowler’s unflinching intimacy reminds me some of the DIY, self-documenting impulse in Jonathan Caouette’s 2004 film, Tarnation.

Summary tightens the screws of Fowler’s sonic palette: his choppy drumbeats find balance with top-heavy piano chords and brainy bass lines. "The Song Is the Single" is a splashy party jam in the LCD Soundsystem mold, though elsewhere Fowler continues to tow his own line, whether on introspective confessionals such as "Complete Consumption of Us Both" or political rave-ups such as "Half of Two Times Two." Though Fowler studied free jazz drumming in college, the directness of his approach naturally blooms in performance, when he can, quite literally, reach out and touch someone. He performed at the Mama Buzz Café last spring and totally ruled the space, careening up and down, thinking aloud.

BARR is obviously Fowler’s personal outlet, though one could easily argue his larger contribution lies in his talent as a facilitator. Indeed, his generous, motivating artist’s spirit makes him something of a latter-day Wallace Berman. Berman cohered an eclectic circle of like-minded artist-explorers in his handsome homemade magazine, Semina, the subject of a recent, effusive show at the Berkeley Art Museum. A similar sensibility is cast in ANP Quarterly, the ad-free and free glossy Fowler coedits with Ed Templeton and Aaron Rose for LA skate-art-clothes magnate RVCA. Each ANP casts a wide net of coverage, profiling skateboarders, activists, and idiosyncratic entrepreneurs as well as outsider artists looking in and insider artists looking out. Perhaps most refreshing is the way ANP cuts such a wide swath across the country, with an eye for what’s happening in Phoenix and Iowa City as well as NYC and LA. Check out all these people doing their own thing, ANP tells us. It’s a spirited vision of America, one that Fowler rhapsodizes in "Half of Two Times Two" as being made of those "rebelling from the systems, and the norms that are saying ‘be bummed’ and ‘be bored,’ and they’re taking matters into their own hands, and that’s what matters."

Fowler articulates this free-thinking position more. "I do think about the outside world and bigger things but with an intimate, fine lens…. But I would hope that, on some level, the stuff that’s more intimate and fine would speak to the larger picture."

He laughs at his own seriousness and closes, "Fingers crossed." *

BARR

With Marnie Stern

Mon/5, call for time and price

Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com

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It came from San Francisco

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› a&eletters@sfbg.com

Crazed sea lizard terrorizes Seoul! US military negligence spawns bloodthirsty mutant! Breaking news: beast came from San Francisco!

South Korean director Bong Joon-ho’s The Host is just a movie, so the red, white, and blue can’t really be blamed for unleashing a monster on his country’s populace. But Bong’s beast came to life in a part of San Francisco steeped in military history. Tucked away in the Presidio, amid old army barracks, tree-lined drives, and cutting-edge nonprofit facilities is the Orphanage, an upstart special effects company aiming to shape the future of film.

The Orphanage already had a number of high-profile projects under its belt when it eagerly took on The Host. It ended up with its defining achievement to date. When New York Times critic Manohla Dargis, writing from last year’s Cannes Film Festival, called Bong’s movie "the best film I’ve seen at this year’s [festival]," it quickly became the subject of rapturous buzz from all corners: erudite cinema journals, mainstream magazines, and blogs. One of the most consistent subjects of praise has been the movie’s creature. The horror site Bloody Disgusting calls its design "the most astounding part of the film … remarkable and incredibly ambitious … a cross between a dinosaur, a tremor, and a giant squid with giant teeth." Another site describes it as "some kind of aqua-lizard thing that looks as real as anything else in the frame." Bong deserves much of this praise, but he couldn’t have gotten it without the Orphanage, which has joined the long line of important F/X names to emerge from the Bay Area.

When George Lucas moved his F/X company, Industrial Light and Magic (ILM), to Marin in 1980, he made the Bay Area ground zero for film’s technological advances. Pixar and DreamWorks Animation SKG also call the region home, with home bases in Emeryville and Redwood City, respectively. Lucas relocated ILM to the Presidio in 1995, erecting a statue of Yoda to watch over the campus. Though meant to symbolize Lucas’s venerable legacy as an innovator and a maverick, the statue now carries connotations of a different sort: that of an elder accessible only to a select few.

The Orphanage was born of this legacy. Jonathan Rothbart, Stuart Maschwitz, and Scott Stewart — all ILM veterans — founded the company in 1999, landing Brian de Palma’s Mission to Mars as their first feature project. The Orphanage has worked on several of the biggest box office successes of the past few years, including Pirates of the Caribbean: Dead Man’s Chest, Superman Returns, and Harry Potter and the Goblet of Fire. But its partnership with a director on the fringe of the mainstream, Robert Rodriguez, has been its most enduring. The F/X house has worked on three of his features, most notably the "Yellow Bastard" section of Sin City, and is currently finishing Grindhouse, the filmmaker’s collaboration with Quentin Tarantino.

It’s this sense of partnership that prepared the Orphanage for its collaboration with Bong on The Host. Based on the success of his playfully wry 2003 thriller, Memories of Murder, the director received $10 million to make The Host, a budget quite large by Korean standards but extremely modest by Hollywood’s. Unschooled in CGI but knowing he needed animators, he shopped the film around to a number of companies. "Director Bong didn’t choose the Orphanage because of our creature experience; we didn’t really have a whole lot — almost none at all," Arin Finger, the film’s visual F/X producer, says. "[He] approached houses like ILM and the big giants, but what they were going to charge was way out of his budget" — Bong and his producers spent $3 million on the effects for the film — "so it was a great opportunity for us."

The Host is many things: a comedy-drama about a fractured family brought together by catastrophe, a political critique, a horror movie, a revenge tale. But above all it’s about a monster — and quite a monster. Equally capable of frightening grace and endearing clumsiness, the creature and its parts don’t resemble anything in the animal kingdom so much as everything in the animal kingdom: reptile, amphibian, fish, worm, monkey, and at least one bit of human anatomy. Having just dabbled in small-scale creature work with films such as Hellboy and Jeepers Creepers 2, the Orphanage accepted a daunting task when it agreed to animate Bong’s monster, the main character of his film. "We were kind of looking at this project as one where [we] could really develop a creature department," sequence supervisor Brian Kulig says. "On top of that, the creature is running around in darkness, in broad daylight, it’s on fire, it’s drooling, it’s in the rain, it’s swimming. Everything that could possibly happen to this creature pretty much did."

As Finger, Kulig, and fellow sequence supervisor Michael Spaw discuss their work on The Host, the interview site — a stately room just above the rest of the company’s creative team — gives a snapshot of the Orphanage in action. Its headquarters strongly resembles an older part of the Presidio’s history: an army intelligence bunker. Rows of people sit diligently at their computers, with only a sliver of natural light seeping through the occasional ground-level window. One gets the distinct impression that the company has expanded rapidly in recent years and may soon outgrow its home.

Much of this growth can be attributed to The Host and its creature team, whose mastermind was Kevin Rafferty, the visual F/X supervisor. Rafferty, another ILM veteran who has supervised the effects on numerous Hollywood blockbusters, spent much of The Host‘ s shoot on set with Bong and his crew. This level of on-set presence is rare in the F/X world, according to Finger, Kulig, and Spawall three of whom also logged hours in Seoul. Oftentimes, as Spaw put it, the F/X team "is only associated after principal photography is done, and you’re handed plates, and you make everything work. Actually being on set was an invaluable experience." When the trio speak about their time in Korea, they say Bong, the cast, and the crew were eager to collaborate, accessible and gracious in a way unknown in Hollywood, and game for whatever it took to capture a shot.

Having first dreamed up the idea for The Host in high school, Bong had the nature of his beast largely worked out in his head — a vision he articulated to the Orphanage during a two-week visit prior to the shoot. "Director Bong treated the creature like one of his actors. He worked with the animators one-on-one to dial in the expressions and emotions of the character," Finger says, the reference to "Director Bong" a sign of his and his cohorts’ reverence for the filmmaker. Spaw adds, "Director Bong made it clear to us that sure, you have this monster film, a horror film — or however you want to classify this rather interesting piece of cinema — but if you didn’t understand how [the creature] was thinking or how the real physical actors were reutf8g to it, it wouldn’t work."

For the movement of the monster, the Orphanage team used a variety of reference points, including Jurassic Park. But due to the unique nature of Bong’s creature, none was definitive. As Finger says, "You never see a dinosaur swinging by its tail." (The tail is one of the monster’s stronger physical traits, capable of grabbing people and allowing it to latch on to structures and hang in midair.)

Other touchstones in creating the monster — including walruses, crocodiles, and paraplegics — were less predictable. Footage of paraplegics in motion, for example, was useful because Bong and the Orphanage’s creation has just two legs at the very front of its long body. Though incredibly graceful in water, it is challenged on land, where it has a baby’s unpredictable sense of balance. "There is a shot when [it] is first kind of rampaging around in this park area along the Han River, and [it] stumbles and basically does a face-plant and kicks up some dust," Spaw says. "It’s great, really engaging the audience to believe that this thing is not perfect."

To create the CGI version of the monster, the Orphanage relied on a small clay model, or maquette, sculpted by the New Zealand F/X house Weta Digital (King Kong and the Lord of the Rings trilogy), which was constructed using a design that Bong commissioned from artist Chin Wei-chen. Bong had wanted the creature to be completely CGI, but when Rafferty realized there would be significant close-ups involving live actors and the creature, he petitioned for a live puppet as well.

Consequently, the Australian company John Cox Creature Workshop constructed a two-ton model of the beast’s head, a particularly complex piece of art. While the head as a whole resembles a nasty fish, the open mouth is bizarre and unique, as if a vagina had sprouted leathery butterfly wings adorned with spikes. The Orphanage had to adapt its animation to the Cox model, ensuring that the digital monster’s movements and characteristics matched those of the puppet. "We had to cater the animation process, which we normally don’t do — like how the creature’s mouth opens and closes," Kulig says. "The mouth alone had so many intricate parts."

One possible reason for The Host‘s success is that the Orphanage and Bong’s South Korean crew routinely defied convention throughout their collaboration. "It was amazing to watch how Director Bong’s mind worked," Kulig says. "He would react to CGI footage we already had and shoot all these shots that weren’t on the schedule. None of us could figure out what he was doing. But when we showed up the next day and saw the footage edited, it worked beautifully."

Constantly interacting with the Orphanage representatives on set, Bong also recorded daily videos for the SF team in which he critiqued footage projected on a wall behind him. He was adamant that the creature look ungainly and act awkwardly — like, as Kulig puts it, a "fish out of water." Both despite and because of its clumsiness, the creature wreaks considerable havoc on the residents of Seoul and, in particular, a few of the film’s main characters. In some cases the violence proved too great to use actual people. For these shots the Orphanage employed what it calls "digital doubles," or animated versions of the actors. But whenever possible Bong used his cast, who gamely submitted to a variety of miserable scenarios, including being pummeled by cushion-wielding men (stand-ins for the creature) and getting repeatedly dragged through the Han River.

As the South Korean film industry’s cachet has risen worldwide, coproductions with other countries have become more commonplace. The Host, the first major F/X film in Korean history, is also the first to employ a company with strong ties to Hollywood. Finger, Kulig, and Spaw describe an on-set camaraderie in which everyone was both intensely hardworking and jovial. "The opportunity to work with pretty much the most famous Korean actors out there was amazing," Finger says. "On a typical US blockbuster movie, that never happens — the actors are in their trailer and they’re off. We were drinking and singing karaoke with these guys after the shoot, and the director [and crew] as well."

At the center of everything, confident in his vision but eager to use the expertise of others, was Bong. F/X people are used to playing a secondary role as, to paraphrase Spaw, service providers whose job is to make pixels. But on this occasion, the Orphanage’s experience was different. "Every now and then, you have the opportunity to work in service of a great piece of art [that] wouldn’t be the same without your contribution," Spaw says. "That’s why you look to work with someone like Director Bong. Both sides have gotten something truly unique out of the experience." One unique reward: they’ve created the biggest box office hit ever in South Korea. Another: they’ve made a great movie that just might become a classic. *

More on The Host:

Cheryl Eddy’s review

Johnny Ray Huston on director Bong Joon-ho

A talk with Bong Joon-ho

We are going to eat you!

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By Cheryl Eddy


› cheryl@sfbg.com

Director and cowriter Bong Joon-ho insists that The Host is not really anti-American, and I’d agree. More accurately, it offers an incisive take on US foreign policy, echoing 2004’s double punch of Fahrenheit 9/11 and Team America: World Police. The key difference is that The Host isn’t homegrown, so it’s not dabbling in self-satire. Instead, it reflects how an outside nation (in this case, South Korea) views the US obsession with controlling absolutely everything on the planet.

The Host approaches the theme by depicting how a foreign city in crisis reacts to a pudgy, galloping sea monster birthed by American neurosis. The film opens in the morgue of a US army base in South Korea, where the Yankee in charge instructs his Korean underling to discard hundreds of gallons of toxic liquid. "I hate dust more than anything," he explains, wiping dirt from the glass bottles. When his assistant protests, pointing out that the chemicals might end up polluting the local river, the American won’t listen. "Pour them right down the drain," he says.

The best part is that this really happened, kind of. A January 2005 Korea Times article reported the following: "A local appeals court on Tuesday sentenced Albert McFarland, an American civilian employee of U.S. Forces Korea (USFK), to six months imprisonment, with the term suspended for two years, for instructing his subordinates to dump a toxic substance into the Han River in Seoul in 2000." The toxic substance was 227 liters of formaldehyde, which is more than enough to freak out environmentalists and probably quite close to the real amount needed to create some kind of monstrous Han River mutant — or at least inspire Bong to dream one up. It’s not as dramatic as Godzilla‘s nuclear birth, but it’s plenty sinister nonetheless.

The next American in the film surfaces right when the monster does. He just so happens to be an out-of-uniform US soldier who helps The Host‘s schlubby antihero, Gang-du (Kang-ho Song), brain the creature with a traffic sign. Turns out, thanks for nothin’, dude: as news broadcasts inform us throughout the film, the soldier becomes mysteriously ill with a virus attributed (by the US military, naturally) to the mutant. That the creature represents some kind of bioterror smacks of propaganda; it’s made all the more suspicious by the fact that Gang-du, who endured a face full of sea-monster blood, remains completely healthy.

The Host‘s central concern is Gang-du’s family, who spend the film frantically searching for the thirtysomething slacker’s much-beloved daughter after she’s snatched by the monster. Bong insists his movie isn’t trying to point fingers at any specific targets but instead is framing its conflict as more of an us-versus-them dig at society (see "God of Monster," page 58). But The Host does emphasize America’s meddling military presence in Korea. Who else would advocate such over-the-top quarantine and security measures, other than the country that won’t even let you stash a shampoo bottle in your carry-on? Who else would greet violence with violence, plotting destruction (without spoiling the plot, let’s just say even more dangerous chemicals are involved) and blithely ignoring peace-minded protesters? America … fuck yeah!

So far, no American fascists — you know, the people who got their knickers in a knot over the Dixie Chicks — have come out against The Host; presumably, Korean monster movies are far removed from any Fox News–fueled radars. A Wikipedia article on The Host pointed out a particularly amusing reaction, though: it seems North Koreans (memorably mocked in Team America) are diggin’ the film’s perceived slam against the United States. According to the cited Yonhap News article, dated November 2006, "North Korea gave a rare compliment to a South Korean blockbuster movie on Thursday, upholding its critical stance toward the U.S. troops stationed in the South and dubbing them the ‘monster of the Han River.’ "

It gets better: "’The movie portrays realistically and through impersonation that the American troops occupying South Korea are the monster that steals people’s lives and destroys their happiness,’ North Korea’s weekly magazine Tongil Sinbo said in its latest edition."

Obviously, Bong’s intention when making The Host was not to stoke North Korea’s already abundant hatred of America. (It’s a testament to the film’s huge home-country success that even its pop culture–deprived neighbors took note of it.) Still, the film makes an effective point about monsters who invade where they’re not wanted — and the undeniable amount of devastation they leave behind. That Bong wraps his message in the tentacles of a sea monster (and a damn enjoyable movie, to boot) makes it all the more potent. *

THE HOST

Opens March 9

Embarcadero Center Cinema

One Embarcadero Center (mezzanine level), SF

California Theatre

2113 Kittredge, Berk.

www.hostmovie.com

>

Bong hits the mainstream

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› johnny@sfbg.com

When I first saw Bong [Joon-ho]’s new film, The Host … I recovered a long-dissolving hope for the future of movies…. I had heard about this Korean monster flick … but nothing had prepared me for the carnivalesque, politically acidic megaspectacle that unspooled, seducing me and the rest of the audience into a state of childlike rapture.

"Gogol in Seoul," by Gary Indiana, Artforum

To inspire "childlike rapture" in Gary Indiana, a wizened contender for the most truthfully caustic novelist and political commentator of our time, one must possess amazing powers as a filmmaker. Amazing powers — of imagination, societal observation, and colorful vérité-based pop symbolism — are exactly what Bong Joon-ho has, in measures that have grown in size and scope with each of his three features to date. Indiana’s recent cover essay on Bong marks the first time in years (if not ever) that a commercial film has taken over the cover of Artforum — just one sign of its subject’s imminent pop art impact. But while Indiana’s excellent piece draws upon Nikolay Gogol, Antonio Gramsci, post-Confucian history, and enthusiasm for the rich pleasures of contemporary South Korean film, it ignores one major stylistic source of The Host‘s ability to induce kidlike joy. With his latest film, Bong announces himself as the heir apparent to Steven Spielberg — an heir who replaces Spielberg’s reactionary tendencies with an acutely observant antiestablishment viewpoint.

It’s easy to see why Indiana would steer clear of citing the man who birthed E.T. He might consider Spielberg the epitome of the "Hollywood tripe" that had just about permanently driven him from movie theaters. If so, he has my sympathy. Within the strange world of film criticism, few phenomena have been more vexing than the penchant of elite East Coast and Hollywood-hooked critics to overlook Spielberg’s cornball antics and project all manner of philosophical profundity onto his flair for spectacle. Is it not fair to assert that, aside from passages of 2001’s A.I. and 2002’s Minority Report, Spielberg has failed to deliver on the promise of his ’70s and early-’80s megamarketable hits?

Filmmakers from outside the United States have a different appreciation of the Spielberg effect — that moment when the adult complexities of movies from the early ’70s gave way to blockbusters. A director such as Japan’s Kiyoshi Kurosawa would pinpoint that change as the moment in 1975 when Jaws generated lines all the way around now-extinct movie palaces. Clearly, from that film through the 1982 summer that brought E.T. and Poltergeist, Spielberg demonstrated a facility for pop imagery that was as potent as Andy Warhol’s, perhaps more resonant, and definitely more lucrative. Lost in his pop dynamism’s wake, however, were infinite degrees of human experience. A case could be made that Spielberg’s brand of humanism is in fact inhumane and in perfect lockstep with a society in which democracy is defined as capitalism.

An isolated viewing of Bong’s first film, the 2000 satire Barking Dogs Never Bite, wouldn’t suggest a predecessor to the young Spielberg. Only Bong’s gift for physical comedy and his eye for everyday pop iconography (such as photocopied missing dog posters) distinguish his debut from likable recent South Korean movies such as Take Care of My Cat, A Good Lawyer’s Wife, and Rules of Dating. Like those movies, Barking Dogs is more naturally multifaceted than Sundance indie drivel. The story line gives a wannabe professor a lesson in class struggle: rather than Marxist platitudes, Yoon-ju (Lee Sung-jae) learns from the street, or more accurately, the subterranean realm Bong often explores. Instead of The Host‘s marauding many-ton guppy, the movie’s beasts are canine and domestic. But there are clear hints of what’s to come in Bong’s career. The director’s eye for bright yellow symbolism and affinity for characters who work in cramped Kwik-E-Marts and offices are already apparent. A shot of a row of cement walls within the basement of the movie’s apartment building will be echoed in The Host by an eerie, signature glimpse of the creature distending its lassolike tail under a bridge to go for another murderous dip.

"Nobody in this country follows rules since the liberation," one character proclaims in Barking Dogs Never Bite, but Bong’s 2003 fact-based follow-up, Memories of Murder, shows that the era of Chun Doo-wan’s dictatorship was certainly no better — equipped with siren calls and an endless variety of misused police force, it’s the perfect oppressive backdrop for South Korea’s first serial killer. Memories seems to obey every basic conceit of serial killer suspense films while enriching and subverting the genre. (The smartest character is a briefly glimpsed female detective whose insight is ignored by the warring male leads.) When Memories had its first SF engagement in 2004, I praised Bong’s ability to fashion a thriller into a societal and political indictment, even likening it to M. At the time I wondered if such praise was too lavish, but now I only regret not noting the influence of the aforementioned Kurosawa, whom Bong has cited as one contemporary. Kurosawa’s peak efforts, 1997’s Cure and the 2001 Japanese version of Pulse, don’t strive for or possess the pop appeal of Bong’s work, but Bong has learned plenty from their maker’s keen critical knowledge of film history — and contemporary madness. Memories is also the first time he proves commercial strictures can be trampoline flexible in terms of revealing individual and group character.

The Host is the Spielberg movie that Spielberg never made, the one where E.T. and the shark from Jaws are fused together into a rampaging tragicomic beast that doubles as an entire country and even a globe overrun by the toxins of US military paranoia. (It’s also a perfect antidote to War of the Worlds‘ abundant US-centric phoniness.) Each member of the film’s core ragtag family, including Bong regulars such as the always endearing Bae Du-na (from Barking Dogs) and the less famous, underrated Park Hae-il (hauntingly fierce in Memories and better in Park Chan-ok’s Jealousy Is My Middle Name), is as nuanced as Homer Simpson–esque protagonist Park Gang-du (Song Kang-ho), who undergoes wild tortures because he refuses to stop telling the truth. The anarchic hilarity and horror of the creature’s first rampage in The Host are more than matched by Park’s family, whose grieving turns slapstick in an uproarious follow-up scene. One suspects Bong has as many tales as The Host‘s creature has tails. This convert can’t wait to see more of them. *

AN EVENING WITH BONG JOON-HO

Mon/5, 6:30 p.m. Memories of Murder; 9:45 p.m. Barking Dogs Never Bite; $9–$11

Clay Theatre

2261 Fillmore, SF

(415) 267-4893

www.sffs.org

>

God of monster

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At the 2006 Toronto International Film Festival — blissfully far from any rivers concealing flesh-eating aquatic life forms — I spoke (through a translator) with Bong Joon-ho, director and cowriter of The Host.

SFBG I’ve read that you make films you yourself want to see. Are you a fan of monster movies, and have you always been?

BONG JOON-HO I’m a fan of several monster films, but I was not necessarily fascinated exclusively by them. I admire John Carpenter’s The Thing and Steven Spielberg’s films — Jaws, for example — but they were not my sole interest.

SFBG The Host contextualizes its monster within a framework of social and political commentary. Was that something you planned from the beginning?

BJ I think it’s the tradition of this type of monster film to have political undertones. What’s interesting is that the first thing you see [in The Host] — an American researcher asking his [Korean assistant] to discard toxic chemicals — was based on a real story in [South] Korea. That incident gave me the idea for this film, because it actually happened and it had that political undertone. So it was very practical for me to start with that.

SFBG How do you think American audiences will view the film?

BJ It’s true that there’s a lot of satire against the American government, but I don’t think it’s as heavy as Fahrenheit 9/11! I worked with American artists [from San Francisco effects studio the Orphanage] while making this film, and when they read the script, they enjoyed it.

SFBG Can you talk a bit about the creature design and how it was working with the special-effects houses that contributed to The Host?

BJ The original design for the creature was by me and a Korean artist named Chin Wei-chen. New Zealand’s Weta Workshop made the model of the creature. Based on that model, the Orphanage created the computer graphics. There are 10 shots focusing on the head of the creature, and this head — it’s one-to-one scale — was created by John Cox Creature Workshop, located in Australia. So those 10 shots were the actual head of the creature, not computer graphics.

SFBG Both in close-up and at full-length, the monster’s appearance is impressive. But the ways in which the Korean and American governments react to its sudden appearance are almost more sinister than the creature itself.

BJ Definitely there is some kind of implication there, but the creature doesn’t necessarily represent the government of the United States. It’s everything combined: the social and political and the possible hardships that an ordinary family, like in the film, might suffer in daily life. The fact is, this family tries to save their daughter by fighting really hard against the creature. But society doesn’t support their efforts. What I tried to convey is the reality that in life individuals don’t get support from society.

SFBG For all its monstrous elements, The Host isn’t really a horror movie. There’s quite a bit of dark humor in the script.

BJ I wanted to add humorous elements, but it was not really intentional. It came out naturally. Like in my previous film Memories of Murder — which was based on an actual, really terrible serial-killing story — I managed [to include] some humorous elements. Combining the humor and fear, comedy and tragedy, that’s part of life. For me, that approach is more realistic than just focusing on one aspect.

SFBG What does the title The Host mean to you?

BJ The first meaning is the biological meaning — that the creature may be the host of a virus. If I expand the meaning of The Host, it also represents all of the evils of life — everything that suppresses the daily lives of ordinary people.

SFBG Will there be a sequel?

BJ I would be happy to see the sequels made, not necessarily by me but by other directors.

SFBG But no American remake, right? Promise?

BJ [Laughs.] I’d like to remain the original creator of The Host. (Cheryl Eddy)