› sarah@sfbg.com
On Valentine’s Day, Assemblymember Jose Solorio (D-Santa Ana) introduced Assembly Bill 1978, legislation that seeks to define computer mapping systems and make them available to commercial interests at a fee a one-two punch that freedom of information advocates fear constitutes a serious blow to the California Public Records Act.
Noting that computer mapping systems, computer programs, and computer graphic systems do not constitute public records under current law, Solorio’s bill seeks to amend the CPRA to define computer mapping systems to include "assembled model data, metadata, and listings of metadata, regardless of medium, and tools by which computer mapping systems are created, stored, and retrieved."
AB 1978 would also allow "commercial interests, who are most benefited by these systems, to obtain the portion of these systems developed by a public agency, at a fee designed to offset the agency’s cost of maintenance for the computer mapping systems."
But Oakland-based Bruce Joffe, who works as a geographic information consultant to cities, counties, and state agencies in California, warns that AB 1978 would allow public agencies to charge the public more for this data than the cost of duplication.
"It would severely weaken the CPRA and reduce the public’s access to government records," said Joffe, noting that as the law currently stands, CPRA requires state and local agencies to make their records available and, upon request, to provide copies on payment of any applicable fee.
Solorio aide Hazel Miranda told the Guardian that the intent of the bill is to protect software, not to restrict access to information.
"Our intent is to protect the software, not to restrict the information that is given out on it," Miranda said, noting that the bill’s sponsor is the government of Orange County. "The concern was that a lot of corporations were taking this information and when the information is given out, you have to give out the software, too and using it to their own benefit."
Joffe, who was the California First Amendment Coalition’s technical advisor when CFAC successfully sued Santa Clara County over access to the county’s tax maps, disagrees.
"When you give information out, you are not giving out software, you are giving out data in export format," said Joffe, who believes Solorio wants to change the law so that AB 1978’s sponsor, Orange County, which has sold its tax maps for $400,000 in the past, can continue to sell its data.
Holly Fraumeni, the AB 1978 lobbyist with the well-connected firm Putf8um Advisors, deferred questions to Bruce Matthias of Orange County’s legislative affairs, who told us, "The County of Orange has never disagreed on sharing public data. We are not trying to hide data down here. If you want it on a disk, we charge 25 cents. All we are doing is updating language in the bill. Our exclusive intent is to protect the software we’ve developed." Records show Orange County paid Putf8um Advisors $60,000 between October 1 and December 31, 2007.
CFAC executive director Peter Scheer believes AB 1978 is an attempt to take the information that CFAC has tried to make freely available and put it back under lock and key, so that it is proprietary information that can be sold.
Recalling how, years ago, the only way you could see a county’s tax maps was as an engineer’s rendering on paper, Scheer observed that when this data is computerized and made publicly available, "individuals and businesses can create all kinds of valuable tools or simply post the raw data on the Internet."
Blair Adams, chief consulting officer at San Francisco’s Department of Technology and Information Services, says the city’s GIS data has been publicly available for five years.
"We have no intent to change that," Adams said. "Our motto is ‘Go have it, and help us make it better.’<0x2009>"
But while San Francisco treats this data as a public record and copies it for the price of a blank DVD, Santa Clara and Orange counties have treated it as a revenue generator.
"They charge an arm and a leg, and another arm and leg, and whatever other appendages they can think of," said Scheer, noting that Santa Clara County charges $100,000 for a full base map of its real estate parcels data that can be used to determine whether properties are assessed correctly, and whether pothole repairs are carried out equitably.
"Likely clients willing to purchase this data would be utilities, phone companies, and developers, who can’t do without it," Scheer said. "But public health and safety departments need access to it, too."
Joffe agrees, and it’s something he has plenty of experience with. He helps cities and counties create geographic information systems that allow ambulances to take the most efficient routes, the Department of Public Works to carry out better capital improvements, and the police to conduct better crime analysis.
"Every department uses it, and because it’s in the government system, therefore it is a public record, and the public has the right to access those records at no more cost than it takes to duplicate them," Joffe said. He added, "If AB 1978 passes, we’ll lose considerable access."
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San Francisco has the best local sunshine law in the country and there are still problems getting access to information. Even though the digital age in which we live affords government agencies with myriad ways to give citizens more access to public documents, there is too often little official will to create transparency. And often, bureaucrats are downright hostile to public scrutiny. But help is out there. This guide to local and national organizations offers a wide range of resources for journalists, citizen activists, and hell-raisers who want to track their tax money and hold their government accountable. The California First Amendment Coalition is an independent, nonpartisan, nonprofit organization whose mission is to "promote and defend the people’s right to know" by improving compliance with state and federal access laws. CFAC’s Web site contains an archive of articles dealing with FOI issues, the texts of state FOI laws, and other useful resources. 534 Fourth St., Suite B, San Raphael, CA 94901. (415) 460-5060, cfac@cfac.org, www.cfac.org. The California Newspaper Publishers Association is the umbrella organization to which most newspapers in the state belong, so it has an acute interest in open government. Its FOI Watch newsletter (also available online) includes a clearinghouse of sunshine news from around the state. 708 Tenth St., Sacramento, CA 95814. (916) 288-6015, tom@cnpa.com (general counsel Thomas Newton), www.cnpa.com. Californians Aware, run by former CFAC general counsel Terry Francke, helps activists and organizations get access to public meetings and records and offers resources on the Web for citizens, public officials, journalists, and attorneys. 2218 Homewood Way, Carmichael, CA 95608. (916) 487-7000, info@calaware.org, www.calaware.org. The Center for Investigative Reporting sponsors workshops on investigative techniques for journalists and university students. The center’s Web-based magazine provides FOI information, tips for journalists, and updates on past CIR investigations. 2927 Newbury St., Suite A, Berkeley, CA 94703. (510) 809-3160, center@cironline.org, www.muckraker.org. The DataCenter provides on-call research, consultation, and referrals to justice organizations regarding FOI issues. It also offers research and action training. Services are free or on a sliding scale, depending on one’s ability to pay. 1904 Franklin St., Suite 900, Oakland, CA 94612. (510) 835-4692, ext. 376, www.datacenter.org. The Electronic Frontier Foundation, an online First Amendment organization, works to uphold digital free speech, empower the online public, and protect privacy on the Internet. It provides stories and alerts on its Web site, with daily updates. Effector, an e-mail newsletter, is available through the site. 454 Shotwell St., S.F., CA 94110. (415) 436-9333, information@eff.org, www.eff.org. The First Amendment Project is a public interest law firm that provides legal representation, educational programs, and low-cost or free advice for journalists, public interest organizations, and individual citizens with public records and FOI-related issues. In a joint publication effort with the Society of Professional Journalists, the project offers three free pocket guides, on the Brown Act, California’s Open Meeting Law, and accessing court records. The Web page has information on using the California Public Records Act as well as on getting court records. 1736 Franklin St., 9th floor, Oakland, CA 94612. (510) 208-7744, fap@thefirstamendment.org, www.thefirstamendment.org. Media Alliance is a nonprofit media center that offers classes on journalism skills, including how to find and use public records. 1904 Franklin St., Suite 500 Oakland, CA 94612. (510) 832-9000, information@media-alliance.org, www.media-alliance.org. The Society of Professional Journalists, Northern California Chapter, FOI Committee fights for open access to information and educates members of the public on FOI issues. The group provides a subscription e-mail list for journalists and others involved in FOI and First Amendment issues in California as well as putting on the James Madison FOI Awards. 222 Sutter St, 6th Floor, San Francisco, CA 94108 (415) 321-1700, www.spj.org/norcal. The Brechner Center for Freedom of Information conducts research and educates the public in mass-media law and the First Amendment, including public access to government meetings and records and litigation information. University of Florida, College of Journalism and Communications, 3208 Weimer Hall, P.O. Box 118400, Gainesville, FL 32611-8400. (352) 392-2273, www.jou.ufl.edu/brechner. The Center for National Security Studies works with concerned citizens and groups to expose secret government policies and offers free assistance to those seeking records under the Freedom of Information Act. It also coordinates related litigation. 1120 19th St. NW, 8th floor, Washington, D.C. 20036. (202) 721-5650, cnss@cnss.org, www.cnss.org. The FOIA Blog, created by an FOIA Washington attorney, has an updated list of documents currently being released by several government agencies infoprivacylaw@yahoo.com, www.thefoiablog.typepad.com. The Freedom of Information Center of the University of Missouri School of Journalism has a collection of more than one million articles and documents about access to information at the local, state, and federal levels. The center works to ensure compliance with sunshine laws around the country. Its Web site contains links, updates, and tips on FOI inquiries. A free e-mail newsletter provides information on developments in FOI access and issues; you can sign up by contacting umcjourfoi@missouri.edu. University of Missouri, 133 Neff Annex, Columbia, MO 65211. (573) 882-5736, daviscn@missouri.edu, www.missouri.edu/~foiwww. GovernmentDocs allows people to browse and search thousands of pages acquired through the FOIA and sunshine laws. Registered users can review and comment on documents. www.governmentdocs.org GovTrack provides information on the U.S. Congress. It compiles information on federal legislation, voting records, and other congressional date and simplifies the language for ordinary citizens. It also indexes all bills, as well as changes to them, in Congress and all roll call votes www.govtrack.us. Investigative Reporters and Editors provides educational services for investigative reporters and editors. The group’s Web site offers FOI-related resource guides, a database of FOI stories, tips for using the Freedom of Information Act, and a database of previous FOI requests. University of Missouri School of Journalism, 138 Neff Annex, Columbia, MO 65211. (573) 882-2042, www.ire.org The National Freedom of Information Coalition is composed of First Amendment organizations dealing with FOI issues. It provides resources for the media, government officials, lawyers, and citizens who want access to public information. The coalition also offers seminars and workshops to media professionals, attorneys, academics, students, and the public on FOI issues and helps nurture start-up FOI groups and Internet sites. Its Web site offers links to relevant legislation and organizations state by state, as well as an Internet mailing list, FOI-L. 133 Neff Annex, Columbia, MO 65211. (573) 882-5736, cdavis@nfoic.org, www.nfoic.org. OMB Watch is a member of the Public Access Working Group, a coalition of organizations promoting greater access to government information. OMB Watch offers an online newsletter, OMB Watcher, available on its Web site or by e-mail, which typically includes articles on FOI issues. To subscribe to the weekly e-mail version, e-mail join-ombwatcher@lyris.ombwatch.org. 1742 Connecticut NW, Washington, D.C. 20009. (202) 234-8494, www.ombwatch.org. The Project on Government Secrecy is an advocacy and public education project of the Federation of American Scientists. The project has an extensive archive and provides regular news updates through its Web site and e-mail newsletter, Secrecy News. 1725 DeSales Street NW, 6th floor, Washington, D.C. 20036. (202) 454-4691, www.fas.org/sgp/index.htm. Project Vote Smart provides information on local, state, and national candidates, including voting records, issue positions, campaign contributions, phone numbers, and mailing addresses. The database is accessible by calling the toll-free hotline at 1-888-VOTE-SMART. 1 Common Ground, Phillipsburg, MT 59858. (406) 859-8683 comments@vote-smart.org, www.vote-smart.org. The Radio-Television News Directors Association is the world’s largest professional organization devoted to electronic journalism. It lobbies for cameras in courtrooms and strong FOI laws and provides coverage of FOI issues on its Web site. 1600 K St. NW, Suite 700, Washington, D.C. 20006. (202) 659-6510, www.rtnda.org. The Reporters Committee for Freedom of the Press operates the 24-hour FOI Service Center at 1-800-336-4243 to answer emergency questions from journalists and others with open-records problems. 1101 Wilson Blvd., Suite 1101, Arlington, VA 22209. (703) 807-2100, rcfp@rcfp.org, www.rcfp.org. The Society of Professional Journalists advocates for open access to information and educates members of the public on FOI issues. The society’s Web site has an FOI section with extensive links to resources and information, including a list of FOI advocacy organizations. 3909 N. Meridian St., Indianapolis, IN 46208. (317) 927-8000, questions@spj.org, www.spj.org. State Sunshine and Open Records shares information, guidance and advice on developments and news about open records at the state and local level. They also have an extensive list of links to other sunshine blogs. www.openrecords.wordpress.com. The Student Press Law Center works with the Reporters Committee for Freedom of the Press to cover FOI and other First Amendment issues reutf8g to high school and college journalists. It offers free advice, lawyer referrals, and analysis. 1101 Wilson Blvd., Suite 1100, Arlington, VA 22209. (703) 807-1904, admin@splc.org, www.splc.org. The Sunlight Foundation develops a database to ensure transparency in government and fiscal accountability. They digitize new info and provide access to existing information. 1818 N Street NW, Suite 410, Washington, D.C. 20036, (202) 742-1520. www.sunlightfoundation.com. WikiFOIA helps people understand the FOI Act on a state and federal level by providing a how-to-guide about open records requests, as well information on how to make that request. www.wikifoia.pbwiki.com. The Guardian Web site has extensive information and links concerning international press-freedom issues. For details on journalists under fire, including frontline dispatches and reports from the battle to keep the world safe for journalists, go to www.sfbg.com/journalists/. For updates, dispatches, and links to national and international FOI groups, go to www.sfbg.com/FOI. The UK FOI Blog provides a glimpse into how FOI issues are dealt with across the pond by listing news and developments on FOI in Great Britain. www.foia.blogspot.com. Local government resources The Government Information Center, on the fifth floor of the San Francisco Public Library’s Main Branch, stocks public documents published by the city. These include annual reports for committees and departments, minutes and agendas of official meetings, environmental impact reports, and city audits, ordinances, and resolutions. San Francisco Public Library, 100 Larkin St., S.F., CA 94102. (415) 557-4500, www.sfpl.org. The Oakland Public Ethics Commission responds to complaints and holds hearings on possible violations of the city’s Sunshine Ordinance. Records, tapes of the commission’s meetings, agendas, and minutes can be picked up at the commission’s office. 1 Frank Ogawa Plaza, 4th floor, Oakland, CA 94612. (510) 238-3593, ethicscommission@oaklandnet.com, www.oaklandnet.com/government/public_ethics/webpage.html. The Office of Information and Privacy, U.S. Department of Justice, provides online versions of frequently requested records, opinions, policy statements, and guides to the Freedom of Information Act. The guides include detailed instructions for filing FOIA requests, average response times for different governmental offices, and a wealth of other useful information. The text of the FOIA is available on the office’s Web site. 1425 New York Ave., Suite 11050, Washington, D.C. 20530. (202) 514-3642, www.usdoj.gov/oip/oip.html. Public Access to Court Electronic Records is an online database of court records and decisions. Web access is 8¢ a page, and requires registration through the Web at www.pacer.psc.uscourts.gov. P.O. Box 780549, San Antonio, TX 78278. 1-800-676-6856, pacer@psc.uscourts.gov. The San Francisco Ethics Commission monitors and enforces the Sunshine Ordinance and the city’s governmental-ethics, campaign-finance, and lobbyist-reporting laws. Individuals can file complaints regarding violations of the Sunshine Ordinance. The commission meets the second Monday of each month at 5:30 p.m. in City Hall, Room 408. 25 Van Ness, Suite 220, S.F., CA 94102. (415) 252-3100, ethics.commission@sfgov.org, www.sfgov.org/site/ethics_index.asp. The San Francisco Law Library is open to the public, though only government officials, state bar members, and judges can check out items. Main reference library: Mon.-Fri., 8:30 a.m.-5 p.m., Veterans War Memorial Building, 401 Van Ness, Room 400, S.F. (415) 554-6821. Courthouse reference room: Mon.-Fri., 8:30 a.m.-4:30 p.m., 400 McAllister, Room 512, S.F. (415) 551-3647. Financial District branch: Mon.-Thurs., 9 a.m.-9 p.m.; Fri.-Sat., 9 a.m.-5 p.m.; Sun., noon-4 p.m., 685 Market St., Suite 420, S.F. (415) 882-9310, www.ci.sf.ca.us/site/sfll_index.asp. The Sunshine Ordinance Task Force oversees compliance with San Francisco’s sunshine law by investigating complaints from individuals who believe city officials have withheld records or conducted meetings in violation of the law. The task force meets the fourth Tuesday of each month at 4 p.m. City Hall, 1 Dr. Carlton B. Goodlett Place, Room 244 (meetings held in Room 408), S.F. For complaint forms and other information call (415) 554-7724 or go to http://www.sfgov.org/site/sunshine_index.asp The California First Amendment Coalition publishes the California Journalist’s Legal Notebook, a handy guide to the legal issues surrounding telephone interviews, press passes, gags on sources, and other journalism-related topics ($36.25, $30.88 for CFAC members, shipping included). Also by CFAC is The New Brown Act: How the Open Meeting Law Has Been Revised ($12.75, $7.39 for CFAC members, shipping included). (415) 460-5060. The Oakland Public Ethics Commission publishes a free brochure, How to Notice a Public Meeting under the Oakland Sunshine Ordinance and the Brown Act, useful for making sure a public meeting follows the requirements of the Brown Act. (510) 238-3593, (510) 238-6620, ethicscommission@Oaklandnet.com, www.oaklandnet.com/government/public_ethics/webpage.html. Access to Courts and Court Records in California, Open Meeting Laws in California, and The California Public Records Act are free, convenient, quick-reference guides published by the Society of Professional Journalists, Northern California Chapter, and the First Amendment Project. (510) 208-7744, www.thefirstamendment.org/freepress.html. The ACLU Freedom of Information Project publishes Using the Freedom of Information Act: A Step-by-Step Guide (#4002, $3) and Your Right to Government Information (#1190, $5.95), which covers a broader range of topics, including how to get into public meetings. Both publications can be ordered online through the ACLU’s e-store or by phone. ACLU Publications, P.O. Box 4713, Trenton, NJ 08650-4713. 1-800-775-2258, www.aclu.org. The Government Printing Office publishes The Freedom of Information Act Guide and Privacy Act Overview ($63), a 986-page guide to the FOIA produced by the Justice Department. It can be ordered by phone at 1-866-512-1800 or online at bookstore.gpo.gov. The Citizen’s Guide is available in its entirety online at www.fas.org/sgp/foia/citizen.html. The Freedom of Information Clearinghouse Guidebook is a free brochure about making FOIA requests and appealing agency decisions. It’s available online through the Freedom of Information Clearinghouse. www.citizen.org/litigation/free_info/index.cfm. Paper Trails: A Guide to Public Records in California ($12.89), written by Stephen Levine and Barbara Newcombe, is published by the Center for Investigative Reporting and supported by the California Newspaper Publishers Association. It can be ordered from the CIR. An abridged, online version is coming soon. 2927 Newbury St., Suite A, Berkeley,, CA 94703. (510) 809-3160, www.centerforinvestigativereporting.org/ The fourth edition of the Investigative Reporters’ Handbook ($61, $51 for Investigative Reporters and Editors members), by Steve Weinberg, Brant Houston, and Len Bruzzese, is a comprehensive and accessible guide for novice and experienced journalists that shows how to locate and use more than 500 sources of public information. (573) 882-3364, www.ire.org/store/books. The Reporters Committee for Freedom of the Press supplies a wealth of publications on public access and other First Amendment topics. How to Use the Federal FOI Act ($5) is a handbook on FOI rights, with instructions for appealing if your request is denied, and includes sample letters. The First Amendment Handbook ($7.50) is a journalist’s pocket guide to FOI issues. Two guides Judicial Records: A Guide to Access ($3) and Access to Electronic Records ($5) analyze state laws and decisions regarding access to legal records and government electronic data. Tapping Officials’ Secrets is a set of guides to state public records and open-meeting laws ($10 a state). The News Media and the Law is a quarterly magazine that includes updates on legislation pertinent to FOI ($30 a year for four issues). Some of these publications are available in their entirety online; all can be ordered online. 1-800-336-4243, www.rcfp.org. The second edition of Law of the Student Press ($18) is a vital handbook for student newspapers. It’s extensively annotated but avoids legalese and tries to bring the law to life for students and educators. The Student Press Law Center also publishes Covering Campus Crime, Third Edition ($2) and the Student Press Law Center Report ($15 for three issues a year). (703) 807-1904, www.splc.org. Citizen Muckraking: How to Investigate and Right Wrongs in Your Community ($9) offers advice on writing press releases, conducting interviews, and using the FOIA. The book, a collaborative effort by the Center for Public Integrity, is available through Common Courage Press. 1-800-497-3207, www.commoncouragepress.com >
Click here for details on the First Amendment Awards Dinner. Norwin S. Yoffie Career Achievement Award If journalists were the subjects of trading cards like baseball players, the Dan Noyes rookie card would be just as impressive as a 2008 career highlights card. Think Reggie Jackson: a long, impressive career, spanning multiple organizations and a propensity to come out swinging big at the end of a hard-fought battle. Over a career spanning 30 years, Noyes has pursued serious investigations, some lasting as long as a year, into everything from questionable Liberian timber imports to illicit gun trafficking from United States suppliers to the Nuestra family gang. Journalism first interested Noyes during the crucial investigative reporting that sparked Watergate scandal in the early 1970s. In 1977 Noyes cofounded the Berkeley-based Center for Investigative Reporting (CIR), an independent news organization which produces in-depth stories and documentaries for all major news outlets. In 1979, reporting for the ABC News program 20/20, CIR broke a story on a swindling United Nations charity organization and its connections to international drug trafficking. More recently, Noyes has done a series of print and broadcast pieces concerning gang violence in California and its effect on the lives of those surrounding the lifestyle. Noyes still holds an executive position at the CIR and continues to contribute to the world of investigative journalism. Beverly Kees Educator Award Cliff Mayotte sees his Advanced Acting Class at Lick-Wilmerding High School as one that merges students’ "consciousness and awareness as young adults with their skills and energies as performance artists." The subtitle of the course is "Theatre as Civic Dialogue," and the eight students enrolled during the 2007 spring semester used all their abilities to pull off a notable show. After an introduction to Documentary Theatre a form he described as "oral history turned into performance" the group selected a topic that was important to them, giving birth to the "Censorship Project." The students interviewed their peers, teachers, and administrators to gather perspectives on the ways in which expression and opinion can be muted or altered, both voluntarily and involuntarily. They reached out to organizations such as Project Censored, the First Amendment Project, and the Ella Baker Center for Human Rights. They transcribed interviews and studied subjects in order to capture statements, word patterns, and mannerisms of interviewees, then shaped the themes into a 60-minute performance. Professional Journalists "Being a high school sports guy, I don’t get to do this very often," the Modesto Bee‘s Will DeBoard said of his first major foray into investigative reporting. He had gotten a tip that the California Interscholastic Federation was investigating recruiting violations by the football program at Franklin High School in Stockton, which competed with schools in his area. DeBoard asked the school and CIF about recruiting violations, but the football coach flatly denied the allegations and the CIF wasn’t much more helpful. So DeBoard decided to make formal requests for public records with the help of business reporter Joanne Sbranti, and after fighting through some initial denials, he obtained hundreds of pages of investigatory documents from CIF showing how the school was recruiting players from American Samoa. "It really was a treasure trove of great stuff. We got two weeks’ worth of stories out of these documents," DeBoard said. "It really showed us that what the school was telling us just wasn’t true." The documents detailed the recruiting scheme and gave DeBoard tons of leads for follow-up stories, including the address of "a home owned by the coach where there were all these gigantic Samoan linemen living there." DeBoard called the effort an "adrenaline rush" better than that caused by the best game he’s covered and a high point of his journalism career. Contra Costa Times investigative reporter Thomas Peele has a long history of battling for public records access on behalf of both reporters and private citizens. Peele, who helps with projects for all the newspapers under the Bay Area News Group-East Bay ownership, helped ensure the recovery of thousands of e-mails from the Oakland mayoral tenure of Jerry Brown when he left office to become the state’s attorney general in 2006. Peele also helped conduct a statewide audit of Public Records Act compliance by law enforcement agencies with the nonprofit Californians Aware, which revealed glaring inconsistencies in how police across the state make information about their activity available to the public. And he’s been a major figure in helping the Chauncey Bailey Project pry out new information about Bailey’s murder last year and it’s connection to Your Black Muslim Bakery. He began his career in 1983 at a small weekly in Bridgehampton, N.Y., and moved from there in 1988 to the Ocean County Observer in New Jersey before joining the CCT in 2000. KTVU-TV producer Roland De Wolk is leading the investigative team of photographer Tony Hedrick and video editor Ron Acker in a quest to get the names of drivers who regularly use FasTrak lanes but don’t pay anything. But to date, says De Volk, the Metropolitan Transportation Commission has been blocking his team’s quest. De Wolk told the Guardian that his team filed a California Public Records request when the MTC wouldn’t provide information on the amount of money it was losing thanks to drivers who don’t pay tolls when they use FasTrak lanes. "We asked MTC for specific numbers last summer and got little information. That makes a reporter’s antennae quiver," said De Wolk. But when he and his team asked for the numbers of people obstructing their plates, the MTC started acting squirrelly, De Wolk said. "Finally, after six to eight weeks of asking we got an answer: a photo of a car whose plate was blank," fumed De Wolk, whose team continues to push for the names of the 10 most frequent FasTrak violators. Broadcast News Outlet When KGO-TV reporter Dan Noyes and producer Steve Fyffe asked Muni to turn over records of public complaints against its drivers, they were ready for some bureaucratic foot dragging. But they never expected the yearlong grudge match that followed. First, the union representing Muni drivers sued to keep the records sealed. Then Muni’s parent department, the Municipal Transportation Agency, made a backroom deal with the union and released a blizzard of confusing and heavily redacted paperwork that would have made the Pentagon blush. "It was essentially a big document dump," Fyffe told us. "There was no way to tell one form from another or which driver was which." Noyes and Fyffe convinced their bosses at KGO-TV to file a lawsuit for full access to the records. The station prevailed, after which Noyes and Fyffe received over 1,200 pages of public complaints about 25 drivers. Recently, the station went back to court after Muni refused to release surveillance tapes of the drivers. As in the previous case, the judge ruled that the public had a right to the materials and forced the transit agency to hand the tapes over. Fyffe said he sees KGO’s legal successes as small victories in a much larger fight. "I hope in the future that this case will make Muni and other city departments more [responsive] to records requests … these kinds of incremental victories hopefully lead, little by little, to a more open government." Print News Outlet The Sacramento Bee operates in a city run by top-tier politicians and their spinmeisters, so the editors and reporters there have placed increasingly high value on using documents to support their stories. "We’ve always used public records here. Being in a state capital, we’re a little more aware of the necessarily of that," managing editor Joyce Terhaar said. "You just need to be able to tell a story about what’s really happening." Yet she said that in recent years, the Bee has made a concerted effort to hire public-records experts and to have them share their knowledge with the paper’s staff through regular workshops. And last year, those efforts paid off with a string of big, impactful investigative stories. Among them was Andy Furillo’s look at how much the state was spending to fight inmate care lawsuits, Andrew McIntosh’s exposé on the lack of oversight for paramedics and emergency medical technicians, and stories by John Hill and Kevin Yamamura on misconduct by the state’s Board of Chiropractic Examiners. In selecting the Bee, Society of Professional Journalists judges recognized these individual efforts as well as the Bee‘s "institutional support of reporters and their use of public records for numerous stories." Community Media One of the only ways to uncover corporate wrongdoing is to dig through court records, and it’s the job of the press to report what it discovers, said Becky O’Malley, executive editor for the Berkeley Daily Planet. She was convinced that a prior court order violated the public’s constitutional rights to see court documents, so the small daily newspaper sued and won in a California appeals court last year, making public 15,000 pages of records from a class-action suit filed against Wal-Mart in 2001. The documents included allegations that the company had denied rest breaks to its workers and deleted hours from paychecks. In the Planet‘s freedom of information suit, the appeals court judges agreed with the paper’s attorneys that the case could set a dangerous precedent where the public would have to prove its right to access court records. "It’s becoming more of a trend for judges to grant permanent seals on court records," said O’Malley. That’s unfortunate, she added, since "the only way the public finds out about bad things going on in society is through court records." Special Citation Award After Oakland journalist Chauncey Bailey was murdered last August, a large group of Bay Area media organizations formed a rare coalition to investigate his death and the activities of Your Black Muslim Bakery, a long-time East Bay institution believed by police to be involved in the killing. Since then, the group has produced several stories complete with audio, video, and photo presentations, the most recent of which is a series by retired Santa Rosa Press-Democrat reporter Mary Fricker detailing the sexual assault allegations made by young women once in the custody of Yusuf Bey Sr., founder of the bakery. Fricker received help from independent radio journalist Bob Butler, investigative reporter A.C. Thompson, and MediaNews staff writers Cecily Burt, Thomas Peele and Josh Richman. Other stories have reported allegations of real estate fraud against bakery associates, explored potential coconspirators in Bailey’s death, and examined the bakery’s ties to several prominent politicians. More about the project the first of its kind since a group of journalists investigated the murder of Don Bolles more than 30 years ago in Arizona can be found at chaunceybaileyproject.org, or at www.sfbg.com/news/chaunceybailey. Public Official It was a staff member, Kathryn Dresslar, who told Assemblymember Mark Leno how horrible state agencies had become at complying with the California Public Records Act. Dresslar served on the board of Californians Aware, a group that advocates for open government, and she described to her boss how a 1986 audit by the organization had given every one of the 33 agencies in California government a failing grade. Ryan McKee, then a high-school student and the son of CalAware board president Rich McKee, had visited each agency and asked for a few simple things. He wanted to see each agency’s guidelines for public access, and he requested some basic information, including the salary of the agency director. Agency after agency refused to follow the law. So Leno introduced legislation that would have mandated that every agency post its access guidelines on the Web and included stiff fines for agencies that violated the Public Records Act. "It put some teeth into the law," Leno told us. "And I got 120 of 120 members of the state Legislature to vote for it. That wasn’t enough for Gov. Arnold Schwarzenegger, who vetoed the bill, saying it wasn’t needed. The governor insisted that he had already ordered state agencies to fix the problem. "It was a great eye-opener for me, and showed me the resistance this administration has to allowing public access to state government," Leno said. "Without that access the public is at a great disadvantage." Library It might be hard to believe, but in 1949 the University of California Regents, a bastion of higher education, rode the wave of anticommunist fervor and McCarthyism, forcing all UC employees to take a loyalty oath. The Board of Regents adopted the rule that UC administrators pushed forth: denounce communism and swear loyalty to the state, or face losing your job. As could be expected, people resisted and 31 faculty, workers, and student employees lost their jobs. They appealed the case to the California Supreme Court and eventually were reinstated in 1952, but the controversy cast a pall over the UC’s reputation and divided campuses. With the help of a grant from UC President Emeritus David Gardner, archivists from UC Berkeley’s Bancroft Library and other researchers painstakingly compiled 3500 pages of text, many audio statements, and photos from four UC collections. The online collection, which went live in December 2007, serves as primary source material for students and researchers who want to understand how UC administrators got embroiled in and came to terms with the McCarthy-era tensions that rocked the country. Legal Counsel Electronic data is the new frontier for public-records law, and Rachel Matteo-Boehm, a lawyer with Holme, Roberts and Owen, last year won a key case preserving the public’s right to access to what some public agencies have tried to claim was proprietary data. The county of Santa Clara produced a digital map showing property lines, assessors parcels and other key real-estate data, and that became the basis for a geographic information system tool. The GIS would allow users to plot everything from property taxes to street repairs, public investment, political party registration, school test scores and other trends. But Santa Clara wasn’t giving it out to the public: The database cost more than $100,000, which meant only big businesses could use it. Boehm went to court on behalf of the California First Amendment Coalition to argue that the data was public, and must be made available without high charges. "As information begins to be collected in electronic form, and governments choose to put information in sophisticated electronic formats, you can run into real public-access problems," Boehn told us. Boehm convinced a Santa Clara Superior Court judge that the data was indeed covered under the California Public Records Act. Now Santa Clara must make the map available to the public and other counties with similar data, seeing the results of the suit, are following that rule. The decision was a key one, Boehm said: "One day we’re going to wake up and all there will be is electronic records," she noted. And if governments can apply different rules to those documents, "you can kiss the Public Records Act goodbye." Whistleblower When Dan Cooke shared details of an alleged sewage spill on Alcatraz Island with the Guardian, the health of the national park where he’d been working as an historical interpreter for over a decade was foremost on his mind. But he lost his job after the story was published apparently for taking a proactive role in noting details of the spill in the island’s log book and speaking candidly to the press about what he’d seen. Wanting nothing more than a return to his job leading educational tours of the island, he filed an administrative claim with the US Department of Labor against the Golden Gate National Park Conservancy and the National Park Service. And he called the Guardian. We reported his firing. The next time Cooke called, it was to happily report he was back on the job. Citizen SuperBOLD has accomplished something entirely different from what it set out to do. Originally, the small group of devoted Berkeley public library users organized to oppose the installation of RFID tags in books. "In the process of going to library board of trustees meetings, we discovered they were vioutf8g the Brown Act," said Gene Bernardi, who heads SuperBOLD’s steering committee with Jane Welford, Jim Fisher, and Peter Warfield. They found, among other things, that certain documents were only made available to trustees and a lottery system was employed in selecting speakers during public comment. They took their complaints to the Berkeley city attorney and joined up with the First Amendment Project, which threatened a lawsuit. Things have changed, though it’s still not perfect city council meetings only allow 10 speakers and the library trustees still play the lottery for public comment, but marginal improvements portend better days. "Now you can speak more than once," said Bernardi. "Now you can speak on consent calendar and agenda items. So there are more opportunities to speak … if the Mayor [Tom Bates] remembers to call public comment." Electronic Access For years, web pioneer Carl Malamud has sought ways to use the Internet to connect average citizens with their government. His new Web site public.resource.org helps that cause by excavating buried public domain information and posting it online. Though still in its early stages, the site already allows users to tap into hard-to-find records from places like the Smithsonian, Congress, and the federal courts system. Even though most government records are part of the public domain, fishing them out from the bureaucratic depths can be a daunting and expensive task, even for someone like Malamud. During a lecture at UC Berkeley last year, he related his recent difficulties in acquiring a simple database from the Library of Congress. Instead of turning over the materials, officials at the Library cited dubious copyright protections and presented Malamud with a bill for over $85,000 all for access to supposedly public information. Thanks to Malamud’s Web site, that database and millions of other documents are now available with the click of a mouse. Ultimately, Malamud hopes public.resource.org will help bring about an age of "Internet governance," in which every last byte of public data winds up online for all to see, free of charge. THE SOCIETY OF PROFESSIONAL JOURNALISTS MARCH 18, 2008 TICKETS: >
EDITORIAL The California Public Records Act needs an update. So does the state’s Brown Act, which mandates open meetings of government bodies, and the San Francisco Sunshine Ordinance. These are the landmark laws that keep government from operating in secret but all were written long before the explosion of information technology profoundly changed the way city, state, and local agencies compile, sort, process, present, and preserve information. And now, with agencies at every level trying to use information technology to hide data from the public and courts struggling with laws that didn’t anticipate the modern era, open-government advocates need to be working on every level to protect and expand access. As we point out in this issue, technology can be used to spy, to hide, and to obfuscate but it can also be used to make the operations and processes of the public sector far more open and accessible. Properly used, today’s information technology can vastly improve the way governments work and it’s neither difficult nor expensive to make that happen. The state Legislature, the San Francisco Board of Supervisors, and the Sunshine Task Force should be looking at ways to make sure that computers don’t increase secrecy and to take advantage of the opportunities modern technology offers. The Brown Act, passed in 1954, forbids public agencies from meeting in secret, except in very limited circumstances. The San Francisco Sunshine Ordinance goes further. The laws have been interpreted to mean that the members of a board or commission can’t use e-mail to discuss pending business; that would amount to a closed-door meeting. That same interpretation ought to apply to members participating in discussions on, say, a Yahoo! news group. Deliberations on a policy matter would be taking place outside of public view. But what if the public was invited? What if a virtual discussion took place before or between traditional meetings and any member of the public could log in from anywhere (work, home, the public library, terminals in City Hall) and watch? What if people who are now allowed only a minute or two to comment in public meetings were able to post longer, more detailed comments that policymakers would see during online discussions? What if the entire record of that meeting were instantly available on the Web, in a searchable form? Would that be an increase in public access? What about the large number of people who still don’t have computers or Web access would they be left out? That’s just one of the questions sunshine advocates are talking about. Legislators need to be addressing the issues, too. As Kimo Crossman reports on page 14, increasing public access doesn’t have to be difficult or expensive in fact, there are ways to save the city money. One obvious idea: almost every document that’s produced by a city employee, including e-mail, is already considered a public record. Why not simply program the computers to make an instant copy of everything and post it to a public Web site? That way someone looking for memos from, say, the Public Utilities Commission addressing solar energy could simply search that site with those key words and come up with all of the records quickly. That would save time for journalists and citizen watchdogs who now have to request those records from the agency and it would save money for the city. If the documents were all searchable for anyone, there would be no need to spend time and money responding to public-records requests. It wouldn’t be hard at all to add a "possibly confidential" key to records, preventing documents that really should remain secret from going into the public file. And the computers could automatically generate a list of the documents being withheld, so the public could find out what records are remaining out of view. Over time, old paper records could be scanned and put on the site, too. And with electronic storage so cheap these days, there’s no reason why all public records can’t be preserved in an accessible form and location. The County of Santa Clara a few years back began putting together a valuable data trove that included all of the county’s real estate and property ownership records. That allowed for the creation of a geographic information system that could be used to track property sales, taxes, crime rates, building permit applications, and much more. A wonderful public service except that the county didn’t offer it to the public. The data was for sale, for more than $100,000 a license. It took a lawsuit by the California First Amendment Coalition to force the county to back off and make the data public. But that’s just an example of a trend that’s cropping up all over the country: governments are developing ways to make more use of information and then are trying to copyright it, sell it, and make money. The problem with that, as attorney Rachel Matteo-Boehm, who handled the CFAC case, points out, is that it segregates access to information by wealth. The rich get the tools of technology to understand and use public data; the poor don’t. It’s a dangerous trend and the Legislature should address it right away. Information created by public agencies using public data should be public no excuses, no exceptions. And if the software that makes it easy to process that information is created by the public sector (or under contract to the public sector) the public needs free access to it. The Legislature also needs to shoot down a series of attempts by the secrecy lobbyists to cut off access to new types of data. A bill now before the Assembly, AB 1978 by Assemblymember Jose Solorio (D-Anaheim), would exempt certain types of information from the Public Records Act. The bill appears to be aimed at overturning the Santa Clara decision but could also address an issue that has come up in San Francisco: that of so-called metadata in public documents. Metadata is embedded information that may be in a file that doesn’t appear when the file is printed out. The City Attorney’s Office has been arguing that metadata isn’t public. That’s nonsense it’s part of a public document, created at public expense by public employees. The Legislature needs to reject this bill and instead pass a law that would specifically require agencies to release any internal data that’s created as part of a public record. The San Francisco Sunshine Task Force is in the process of updating and improving the city’s landmark law, and it should seek to incorporate some of the suggestions above. The Task Force also needs to be sure that the amendments to the law give that oversight body the teeth it needs to enforce public-access requirements. Far too often, city officials simply ignore task force findings, and, as Sarah Phelan reports on page 17, the Ethics Commission and the district attorney rarely follow up with sanctions. For starters, the task force should have the right to subpoena documents and witnesses (without first asking the supervisors for approval a cumbersome process). The panel should have its own full-time legal counsel. It should also have increased enforcement power: while giving the task force the right to levy fines and sanctions is politically tricky, a provision that allows the task force to order the release of documents backed up with the full support of the City Attorney’s Office ought to be part of the final package. › tredmond@sfbg.com The week that the San Francisco Unified School District sent out preliminary layoff notices to 535 teachers, the New York Times Magazine devoted much of its special money issue to educational philanthropy. It’s a vicious kind of irony. The United States heads into a deep recession, but for a new generation of multibillionaires, it’s another gilded age. Fortunes built over the past 15 years or so put the likes of Carnegie and Rockefeller to shame, and as the guys from Google recently proved, it’s still going on. And the tax laws are more favorable to the rich than they have been at any time since the 1920s, so less and less of that greater and greater concentration of wealth is available for public priorities such as education. But that’s OK, the Times says: Bill and Melinda Gates are giving a lot of money to schools. Something like $350 million a year. Wow! That’s enough to make up for maybe 10 percent of the current cuts to school districts in just the state of California. Thanks, Bill. I don’t think anyone with the last name of Gates or Buffet reads the Guardian every week, but I bet a copy or two makes its way down the Peninsula to the Googleplex and maybe Oracle headquarters, so I’d like to make a suggestion here to the very rich. You want to make a difference with your philanthropy? Well, you could start by funding a massive educational campaign to convince Californians that public education works and is valuable, then underwrite a ballot initiative to raise income taxes on people like yourselves. That would do more good, for more kids, for more years into the future than any amount of grantmaking on planet Earth. But maybe that’s asking too much. Maybe that’s not measurable or accountable enough. Maybe you can’t put the test scores on a computer graph and track the day-to-day impact or your investment the way you can track your stock prices. So let’s try something else. Maybe you could save one school district. That’s right: one school district. A big one. Somewhere in urban America. I’d suggest the San Francisco Unified School District in the great state of California, but I’m biased. Just pick a district where the public money falls far short of the educational needs that also has a credible, competent elected school board running things. And instead of setting up charter schools or building new gyms or concert halls with your name on them, put a big chunk of money say, $3 billion in a trust fund that would generate a few hundred million a year, forever. And then let the local school board spend it. Sure, you’ll get some corruption. Sure, some of the money will be wasted on stupid pet projects or dumb ideas. But that’s going to happen whatever you do. And I would argue that right now, if the San Francisco schools got an additional $300 million a year, no strings attached, on top of the existing state funding, the public schools would improve radically, a generation of kids would be far better prepared for life, the achievement gap would close up a good bit, and there would be quantifiable, measurable progress on every possible metric. And suddenly, maybe even the tax-averse people of California would realize that well-funded schools are worth paying for. Sergei? Larry? Anyone? Our coverage of the 26th San Francisco International Asian American Film Festival kicks off with Marke B writing about Harold and Kumar Escape from Guantanamo Bay, a sequel which offers a refreshing change from the stodgy fare that usually receives special presentations from less imaginative festivals. Marke asks star John Cho and screenwriters Jon Hurwitz and Hayden Schlossberg to pass though the bullshit detector, and they irreverently oblige. Elsewhere, Kimberly Chun surveys the influence of the late Edward Yang, one of the fathers of modern Taiwanese cinema, not that the Academy of Motion Picture Arts and Sciences – which recently left him out of their annual “In Memoriam” montage – would know. I take a look at Brillante Mendoza, whose brief directorial career to date is adding energy and variety to many-faceted CineManila activity. Keep an eye out for an upcoming interview with Mendoza in Pixel Vision, and check our short reviews of other SFIAAFF — now, that’s an acronym — features. (Johnny Ray Huston) >> Multiculti cock-meat sandwich >> Are you lonesome tonight? >> Manila: the drama >> Take one THE SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL runs March 13-23 at the Castro Theatre, 429 Castro, SF; Kabuki Cinemas, 1881 Post, SF; Clay Theater, 2261 Fillmore, SF; Pacific Film Archive, 2757 Bancroft, Berk; and Camera 12 Cinemas, 201 South Second St., San Jose. For tickets (most shows $10) and more information, go to www.asianamericanmedia.org. › a&e@sfbg.com Arguably no modern film director made a better sustained entrance than Peter Bogdanovich, whose first four features were all triumphs. Targets (1968) was a chilling conceit that brought Hollywood pretend terror (Boris Karloff basically playing himself) against a modern real-world horror, the randomly mass-murdering sniper. That critical success led to a major studio deal to adapt (with then wife and collaborator Polly Platt) Larry McMurtry’s novel The Last Picture Show (1971), a melancholy black-and-white flashback to 1950s rural Texas. It won two Oscars, was nominated for five more, and served as a launching pad for actors including Jeff Bridges, Ellen Burstyn, and Cybill Shepherd. Next came What’s Up, Doc? (1972), a delightful, San Franciscoset nod to 1930s screwball comedies with Barbra Streisand and Ryan O’Neal. Its huge success was equaled by 1976’s Paper Moon, with O’Neal and daughter Tatum as a Depression-era confidence duo. That’s a heady four hits in five years and they’ll all be shown at the Castro Theatre in a tribute to the director presented by Midnites for Maniacs’ Jesse Hawthorne Ficks. Another four films will be seen in director’s cuts different from original theatrical versions. Further, Bogdanovich himself will be on hand at all but the earliest matinees. He’s a great raconteur who’s insightfully frank about the ups and downs of an eventually checkered career. "Ups and downs" puts it mildly. While Bogdanovich started out on top, Hollywood relished kicking him with each downward step. But he’s still here and especially visible recently, thanks to his role on The Sopranos as Lorraine Bracco’s shrink. Behind the camera too, he’s gotten love lately from the four-hour DVD documentary Tom Petty and the Heartbreakers: Runnin’ Down a Dream (2007). Bogdanovich, who hasn’t directed a big-screen movie since 2001’s lamentably underseen The Cat’s Meow with Kirsten Dunst, hopes to soon start shooting an adaptation of Tracey Letts’s jet-black stage comedy Killer Joe and he’s got other irons in the fire. If it’s thus a fine moment to be Bogdanovich, there have been many not-so-great ones. Phoning recently from Los Angeles, he recalls that before the debut of Daisy Miller (1974), his first commercial failure, critic Judith Crist asked him, "Is it good? It better be … because they’re waiting for you." Catching major flack for that film was Shepherd, the model-turned-actress he left Platt for. "Peter and Cybill" were inseparable, possibly obnoxious. They cohosted The Tonight Show for a week and were reportedly arch as hell. They occupied the inaugural cover of People, with the headline "Living Together Is Sexy." The director quotes Cary Grant (doing a perfect vocal imitation) advising, "Petah, please stop telling people you’re happy and in love!" Asked why, Grant said, "Because they aren’t happy and in love." Even those who liked Daisy Miller went Attila on 1975’s At Long Last Love, a lavish tribute to ’30s musicals with Cole Porter songs recorded live by some actors who were trained singers (Madeleine Kahn) and others who weren’t (Shepherd, Burt Reynolds). It was meant to be charming. It got the most vitriolic reviews this side of Battlefield Earth. Bogdanovich now says, "We rushed and fucked it up. The first preview in San Jose was an unmitigated disaster. Then we recut and remixed, and it played quite well. But I made some calamitous changes after that, and didn’t preview it again before release. We were just killed. Later we made a different edit. When Jesse called me to say he was showing it, I said, ‘Why?’ ‘I like it.’ ‘Oh, you’re the one.’<0x2009>" The Castro will screen that improved edit which is charming. Although the title is still a pseudonym for "turkey," At Long Last Love has never been released on video or DVD. In a town where success usually excuses all egotism, Bogdanovich had still somehow crossed a line. His failures were blamed on sheer arrogance. "I got a lot of that," he says though back then a purportedly imperious on-set demeanor and statements like "I’m not modest, I’m not humble, and the more success I have, the more critics will resent me" surely didn’t help. He’d had the temerity to befriend Hollywood legends including Grant, John Ford, and Orson Welles who was practically a permanent houseguest. Who the hell did he think he was? Cynics had already interpreted Bogdanovich’s hit homages to Hollywood’s past as evidence he didn’t have an original thought in his head. Then they gloated over his nonhits. Despite the star power of Reynolds and both O’Neals, Nickelodeon was a 1976 Christmas flop. (Forced to shoot in color, Bogdanovich says, "It’s another movie in black and white" which is how he’ll show it at the Castro.) Despite excellent reviews, 1979’s Paul Theroux adaptation Saint Jack didn’t find an audience. Ditto 1981’s They All Laughed, an enchanting, ensemble romantic comedy. It was (among other things) a valentine to his new love and protégée, erstwhile Playboy centerfold Dorothy Stratten who shortly after filming ended was killed by the thuggish promoter-husband she’d tried to leave amicably. That murder-suicide was followed by more ugliness: a war of words between Bogdanovich and Hugh Hefner; "dramatization" of the tragedy in 1983’s Star 80 ("I begged Bob Fosse not to do it") and a TV movie; and distribution problems for They All Laughed that cost him millions. Sympathy soured when Bogdanovich became involved with Dorothy’s younger sister, Louise who was all of six months older than his own daughter. (Nonetheless, their eventual marriage lasted 13 years.) Bogdanovich had a left-field comeback in 1985’s Mask, with Eric Stoltz as Elephant Kid and Cher as biker-chick mom. But even that was marred by public sparring with both Cher and studio execs. The latter substituted Bob Seger tunes for Bruce Springsteen ones key to the story’s real-life inspiration. (The Castro’s "theatrical world premiere" cut restores all the Bruuuuce.) Whether good, bad, or indifferent, his subsequent ventures flopped. In an eerie echo of past events, 1993’s The Thing Called Love came out (barely) after star River Phoenix OD’d. Bogdanovich turned to directing TV episodes (including for The Sopranos) and cable movies. It wasn’t a comedown, he says. "The scripts were good … and I got to work with actors like Cicely Tyson, Sidney Poitier, and George Segal." Bogdanovich also relit an acting career abandoned decades earlier. Having written essays about film history (notably for Esquire) before moving to Hollywood, he thinks his industry hater trail is partly due to perception of him as critic turned filmmaker. He considers the roughly 45 stage productions he acted in (and the 6 he directed) from age 15 to 24 as his real prior job. Given all past tempests, Bogdanovich seems on good terms with his exes Shepherd (in town with the play Curvy Widow) has promised to show up at the Castro late Friday for The Last Picture Show and At Long Last Love; Louise is flying in to talk about her late sister when They All Laughed shows on Sunday. Is it painful for them to see Dorothy Stratten onscreen? "Yeah, especially now that [costar] John Ritter has died," he says. "But you know, when you see it with an audience, it’s OK it takes the pain somewhat away. One of the peripheral tragedies [to Stratten’s death] was that the movie was never properly seen in its day. You couldn’t really look at it in the way it was meant to be enjoyed." A GENUINE TRIBUTE TO PETER BOGDANOVICH Fri/7Sun/9, $10 per day ($25 weekend pass) Castro Theatre 429 Castro, SF › kimberly@sfbg.com SONIC REDUCER Who took the sex outta my rock ‘n’ roll? You gotta wonder, watching the Virgins looking all of 12, collectively, and working the style and charisma of boys whose mothers still dress them who played a Noise Pop show March 1 at Mezzanine. Sure, the New York City combo can write a good song far better than those by the old-enough-to-know-better Gutter Twins, who were messing with almost two-decades-old, decayed grunge tropes across town at Bimbo’s 365 Club that same night. But they weren’t kidding when it came to picking a name: far be it from the Virgins to be mentally undressed. They looked like they were safely tucked into fresh, clean underwear no holes bitten through by groupies much like those other hotties in prep clothing, Vampire Weekend. Where to find lusty, lascivious pop? Even Mariah Carey is giving brain cells top billing with her upcoming album, E=MC2 (Island). When it comes to the once-squeaky-clean Jacksons, "Don’t go there" Michael tops "Yeah, that’s sexy, sexy, sexy" Janet with his 25-year-old classic Thriller (Sony) despite the former’s hopes in picking up where Control (A&M, 1986) left off by focusing on the dance floor with her likable, pillow-talking Discipline (Island). Sex? There are no bejeweled nipples in sight and as for Jacko, the gloves are off and Neverland Ranch has been foreclosed. And the Vampires and Virgins definitely aren’t providing any. Perhaps it’s time to turn to more wholesome pleasures like, say, jogging. Yoni Wolf of Why? a self-proclaimed member of the Bronson Pinchot Fan Club, Anticon stalwart, and stealth heart-rate-raiser will turn you around. "I can tell you right now, if you don’t know the power of endorphins, it’s a beautiful, wonderful thing," raves Wolf, 28, on the line from his Oakland abode. "I’ve never been a jock because I’m not coordinated. But to jog, you just have to move your legs around. You don’t need to catch a ball or hold a ball and get knocked down. I don’t even remember why I started doing this probably ’cause I got a little gut and I gotta knock this off. Yeah, eat a midnight snack … " Yep, it’s funny how passion plays out. Why?’s new disc, Alopecia (Anticon), returns to the lost love pined over on Why?’s last album, the breaking-through-after-breaking-up Elephant Eyelash (Anticon, 2005), and settles happily into its own sense of resignation or as Wolf puts it, "hopeful frustration" about that girlfriend and about life. Honestly, Wolf bedazzles with bared-belly, gutsy rhymes about jerking off in museums, "blowing kisses to disinterested bitches," a childhood fear of that ShowBiz Pizza bear, "eating pussy for new fans," "sucking dick for drink tickets at my cousin’s bar mitzvah," and "using Purell till my hands bleed and swell" and that’s just in one track ("Good Friday"). Working with Why? cohorts brother Josiah and Doug McDiarmid as well as Fog’s Andrew Broder, Mark Erickson, Thee More Shallows’ D. Kessler, and ex-Beulah-ite Eli Crews, Wolf has stripped off the stray mustaches he’s been hiding behind to fully expose his pungent, punchy, stream-of-consciousness rhymes. Highly specific, yes; weirdly sexy, uh-huh right down to the CD title, named for the mysterious disorder in which hair follicles halt production. "You don’t suffer from alopecia?" I venture. "What are you trying to say, I’m hairy?" jokes Wolf. "I’m a monkey? I actually suffered from it for a minute on my penis." Nah, nah, nah, the vocalist actually had a coin-size patch of affected skin for two years: "I have a theory why mine started happening the hand of god came down and touched me on this one spot no, I stepped on a bottle in a river and I got some sort of infection." It lingered throughout the period that Why? wrote, recorded, and mixed the new full-length, like an uninvited sweetheart. "It was looming and ominous and weird. At first I thought it was a fucking STD," Wolf says. Slug of Atmosphere ended up setting him straight at a show in Baton Rouge, La., Wolf continues, and in the end, the bald patch "symbolized that period of my life for me, the creation of this record. For me, it was this little patch of honest skin: honest flesh with no covering or pretenses of an attempt to cover itself up, a little patch of baby skin that was really soft. That’s what I was thinking, a return to the raw." Oh, and it’s a tad sexy: "It’s a pretty word," Wolf adds. "It sounds like a flower." * WHY? With Dose One, Cryptacize, and DJ Odd Nosdam and DJ Jel Thurs/6, 9 p.m., $13 Great American Music Hall 859 O’Farrell, SF DOING DAMAGE The Portland indie-psych outfit love them some land of the dead and some Robotech. Thurs/6, 9 p.m., $6. Hotel Utah, 500 Fourth St., SF. www.thehotelutahsaloon.com SF’s Crucial Blast ambassadors resurrect classic rock, post-punk, and sludge for giggles. With Old Time Relijun and Tea Elles. Thurs/6, 9:30 p.m., $8. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com Libya rocks thanks to the Bay’s Heavenly States, who invest a whole lotta soul into their forthcoming Delayer (Rebel Group). With Citay. Fri/7, 9 p.m., $12. Independent, 628 Divisadero, SF. www.theindependentsf.com The atonal Aussie Siltbreezers eschew bone meat, instead cutting to the ‘core with militant vegan deconstructo-noise. Opening as Tomes, Loren Chasse and Glenn Donaldson delve into the dark, dank folk flip of Thuja. With Curse of the Birthmark. Sat/8, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. Day is done, gone the sun, and let’s have soup. The sun is lingering a little longer these days, but winter still abides in the garden, it remains damp and chilly inside, and if nothing else, we can warm our hands in the steam that rises from our bowls of soup. Like all repertoires, the soup repertoire is in need of constant tending. You prune the ones that don’t quite work or show signs of reduced drawing power while being alert to new prospects. Much as I love butternut squash soup, for instance (and its near relation, kabocha squash soup), I’ve stricken it from the list, in part because of domestic unrest and in part because a great many restaurant kitchens turn out some version of it between November and March, and this creates an overkill issue. Meanwhile, there is the matter of additions. The good soupist craves ideas, and when, for instance, a neighbor told of an excellent broccoli-leek soup she brought home one day from the Bi-Rite deli, the soupist’s ears pricked right up. Broccoli-leek? Could this be just a version of potato-leek with broccoli added? The soupist can’t speak for the Bi-Rite kitchen, but potato-leek with broccoli added does make a lovely, cream-of-broccoli-like soup, except with no cream. Procedure: Clean a large leek by trimming the root end, removing the green leaves, thinly slicing the white bulb, and separating and cleaning the rings in a large bowl of water. Heat some sweet butter or vegetable oil in a soup pan, add the leek rings (with a pinch of salt), and soften, stirring occasionally. Don’t let the leek turn brown. Add a head of broccoli, rinsed and coarsely chopped, along with a large russet potato, peeled and cubed. Add about four or five cups water or stock chicken stock is excellent but not vegan bring to a boil, and simmer, covered, for about 20 minutes. Puree with an immersion wand or in a blender, add some ground or cracked black pepper, and salt to taste. A nice springtime variation is to substitute green, or fresh, garlic (now showing up at farmers markets) for the leek. You will need three or four green garlic stalks, since they’re much slenderer than leeks. These soups cool very appealingly, even down to room temperature, but if your hands are blue, serve them hot. Paul Reidinger › paulr@sfbg.com PREVIEW It might be just as well that Chinese choreographer Shen Wei didn’t start dancing until quite late at the ripe old age of 20. But what he may have missed in early dance training, he more than made up for in other artistic endeavors. The son of Chinese opera performers in Hunan, at age 9, Wei followed the parental path and began studying opera, and by 16 he was performing with the Hunan State Opera. He also studied, and became recognized in, the demanding art of Chinese watercolor. So when Wei became a founding member of Guangdong Modern Dance Company, China’s first contemporary dance group, he brought an exceptionally well-honed visual sensibility to dance. To this day, his choreography shows a rare ability to unite the visual and the kinetic, not to mention the East and the West. He eventually moved to New York and created Shen Wei Dance Art company in 2003. Last year he won a MacArthur Fellowship, and this summer his company will perform at the opening of the 2008 Olympics in Beijing. He’s having that kind of explosive career. But then why wouldn’t mysteriously staged, musically intriguing, visually stunning dance theater lure in audiences? For its Yerba Buena appearance, the company performs Map (2005) to Steve Reich’s 1985 sprawling orchestral suite The Desert Music, and on a more intimate scale, Re-(Part 1) (2006) to Tibetan chant. (Rita Felciano) SHEN WEI DANCE ART Thurs/6Sat/8, 8 p.m, $26$45. Yerba Buena Center for the Arts Theater, 700 Howard, SF. (415) 978-2787, www.ybca.org PREVIEW When they founded Spundae in 1993, Peter Beckers and Guiv Naimi pioneered America’s electronic superclub a full two years before New York’s legendary (and sadly departed) Twilo. The duo managed to mix distinguished San Francisco talent Jerry Bonham, Jondi and Spesh, Alain Octavo, Scott Carelli with international superstars such as Pete Tong, Felix da Housecat, DJ Tiesto, Armin van Buuren, and Christopher Lawrence. After all the downs (a partnership-turned-rivalry with UK superclub Godskitchen, a stalled record label) and ups (an offshoot in Los Angeles, a partnership with luxurious Ruby Skye, international acclaim), Spundae stands firm as a distinctly American dance music bastion. Sasha and Digweed’s upcoming stop in late April demonstrates Spundae’s undiminished drawing power. To celebrate 15 years of success, Spundae attracts (what else?) local and international talent for a two-day celebration. Qoöl masterminds Jondi and Spesh prepare the opening course of progressive house on Thursday, setting the table for two young coheadliners: Canadian Deadmau5, who creates a signature sound by pouring energy into coolly-synthed numbers and epic electro productions; and Brit James Zabiela, who combines glitchy effects and acid bass lines with nuanced drum patterns that betray a leaning toward intricate, sound-warping gear. San Francisco takes the stage Friday, as longtime Spundae resident Alain Octavo and promoter extraordinaire Dr. Syd Gris fill the floors early with house and progressive trance. Reigning "Best American DJs" Josh Gabriel and Dave Dresden blend popular rock remixes, euphoric vocal tracks, and grittier, techno-based projections into a four-hour headlining set sure to showcase why they’ve become international favorites. SPUNDAE 15-YEAR ANNIVERSARY Thurs/6, 9 p.m.2 a.m., with James Zabiela, DeadMau5, and Jondi and Spesh, $15; Fri/7, 9 p.m.4 a.m., with Josh Gabriel and Dave Dresden, Syd Gris, and Alain Octavio, $20 ($30 for both days). Ruby Skye, 420 Mason, SF. (415) 693-0777, www.spundae.com LOCAL LIVE On the wall behind the stage at the 924 Gilman Street Project, someone has scrawled in green paint among the other graffiti, "Punk: Do It Yourself" words that most of the volunteers, bands, and show-goers at 924 Gilman seem to live by. One longtime habitué, Billie Joe Armstrong, appeared to have abandoned the idea and the venue the day his band Green Day signed a record deal with Warner Bros. more than a dozen years ago. However, on Feb. 10, Armstrong was back on the Gilman stage for the first time in aeons in a rare appearance with his side project of 17 years, Pinhead Gunpowder. The band sounds something like Insomniac-era Green Day, but they play at an even faster pace. And while Pinhead Gunpowder’s music reflected the sounds of so many other pop-punk bands that frequent the Gilman stage La Plebe, Carnal Knowledge, and Zomo also performed that night Armstrong stood out from the rest of the punk vocalists. His famously raucous showmanship transferred flawlessly from the arena to this smaller space. Here, without spotlights and pyrotechnics, his flair and drive to entertain became even more apparent. At one point, someone in the crowd tossed a black fedora to Armstrong, who put it on his head, tilted it down over his face, and yelled, "Do I look like Michael Jackson?" Yet for the first time in years, he didn’t look like a star: the eyeliner and black suitred tie combo of late were conspicuously missing. Dressed down in a striped shirt and sporting matted bleach-blond hair, he looked much like he did in 1994 when he stumbled on fame as a teenager. He was in his element, playing loud, fast punk. Behind him sat Pinhead Gunpowder lyricist and drummer Aaron Cometbus, also well known for his longtime zine Cometbus. Cometbus’s lyrics and prose include tales of squatting in abandoned houses and dumpster diving, and since his stories continue to jibe with his lifestyle, he continues to be welcomed with open arms by the East Bay punk community. Nonetheless, Pinhead Gunpowder’s lyrics might as well be fiction when tumbling out of a millionaire rock star’s mouth. But this seemed to worry no one as the audience yelled along and cheered between songs. REVIEW My Name Is Albert Ayler offers a close reading of the titular musician, a saxophone colossus who pushed the emotional limits of free jazz, but it also tells a broader story about the strange currents of American avant-garde music. Interviews with Ayler’s churchgoing Ohio family, New York City compatriots, and Scandinavian admirers trace a particular, though by no means atypical, passage. The tenor saxophonist first achieved renown in Stockholm, Sweden, where he began to experiment with the wailing, explosive runs that would some years later turn even John Coltrane’s head. ‘Trane specifically asked for Ayler to play at his funeral, and the photographs and live sound from the memorial service included in the film are searing enough to make even the staunchest defender of melody reconsider. Rather than employing warts-and-all tactics, first-time Swedish director Kasper Collin keeps a respectful distance from Ayler’s mysteries, nowhere more hauntingly than in a few late sequences regarding the musician’s purported tendency to stare into the sun. There is so much we will never know about Ayler, Collin seems to tell us, but watching former collaborators listen to his music through cracked expressions of pain and amazement is revealing enough. MY NAME IS ALBERT AYLER runs Sun/9Tues/11 at the Red Vic Movie House. See Rep Clock for showtimes. PREVIEW The first time I discovered feminism wasn’t just for white women who ate organic produce, I was eavesdropping on one of my mom’s phone calls. She was going off about some ex-boyfriend and a few "lazy-ass mothafuckas" before declaring that neither her mother, nor her mother’s mother, nor her mother’s mother’s mother had taken any bullshit and she didn’t plan to break the chain now. Put in those terms, my 10-year-old brain started to think that the word feminism might just apply to every woman I knew who had the nerve to survive in my Fillmore neighborhood. Years later, I picked up Colonize This! Young Women of Color on Today’s Feminism (Seal Press, 2002), coedited by Daisy Hernandez and Bushra Rehman, and read about how other women my age were piecing together their own narratives of empowerment. Nowadays, Brooklyn-born Rehman is probably best known for writing on-the-road adventure stories about runaway Desi girls. She’s featured in this evening of art, spoken word, humor, and music in celebration of International Women’s Day. The night also includes performances by Bay Area soul diva Jennifer Johns and poetry collective Climbing PoeTree. Aside from celebrating stories of creative resistance, the event supports the Women of Color Resource Center, which works with war vets and teaches media production to low-income women of color in Oakland. "SPEAKING FIERCE" Thurs/6, 79 p.m., $10$25 (no one turned away for lack of funds). First Congregational Church, 2501 Harrison, Oakl.; (510) 444-2700, ext. 305, www.coloredgirls.org IT TAKES A VILLAGE Chuck chicken noodle soup. Forget pho. When I’m sick, I need the warmth and sinus-clearing spice of hot and sour soup, or in a pinch, Top Ramen with lots of Tapatio. But the last time I was sick, in an effort to explore my new Outer Sunset hood, I decided to take my chances on the offerings at the almost-year-old Tofu Village. Now, I’m all about immediate gratification. So I was happy when, 30 seconds after I sat down, steaming tea arrived. Then, 30 seconds after I ordered, came little plates of banchan: seaweed salad, vinegar-soaked bean sprouts, stewed potatoes, kimchi, and fish cakes. And 30 seconds after that? A whole fried fish. (I know it’s a delicacy, but I usually hate when my meat looks like what it used to be except for cow-shaped steaks, which are fun. In this case, though, the crispy skin and tender flaky fish made my hesitant bite worthwhile.) Then came the seafood tofu soup, in a basketball-size, steaming ceramic bowl. I ordered mine spicy (out of four options, this was the third hottest), and it was almost too much even for my heat-inured taste buds. The concoction was full of silky tofu, clams, and oysters leading to my next triumph over a squeamish moment with unshelled prawns (carapaces, antennae, and pleopods oh my!). The rice was kept warm in a similar ceramic bowl a traditional touch although the server didn’t offer to mix it with green tea, as is custom. The bulgogi, served on a sizzling ceramic plate, was flavorfully marinated and tender against the fresh pop of green onion. Like a mother a brisk, efficient, multitasking, slightly hovering mother Tofu Village left me happy, stuffed, and still sniffling but feeling better. The best part? Getting all that food for just under $20. TOFU VILLAGE Mon.Thu., 11 a.m.9:30 p.m.; Fri.Sat., 11 a.m.10 p.m. 1920 Irving, SF. (415) 661-8322 REVIEW Drawn almost entirely drawn from the near-mint-condition holdings of Boston’s Museum of Fine Arts, "Drama and Desire: Japanese Painting from the Floating World 16901850" is an exhilarating survey of early modern Japan and the sumptuous and often costly pleasures that were available to the upper echelon of its newly solidified class system. One can follow the contextual trail laid down by the show and take in the long view of history inscribed with brush and natural pigments: the relocation of Japan’s capital to Edo (now Tokyo); the establishment of Yoshiwara, the city’s licensed pleasure quarters; the development of Kabuki and sumo; and most important, the rise of an urban, largely male merchant class who kept this floating world afloat. It is a panorama laid out in the pair of large folding screens of Hishikawa Moronobu (168184), both studies in hierarchical contrast between the more lowly teahouses and higher-class brothels and their characters: a starring courtesan, enfolded in thickly brocaded kimonos as battle-ready as any armored samurai, surrounded by her retinue of clients, servants, and geisha, and male customers shamefully covering their faces with their fans so they’re not recognized by rivals. The real drama of these ukiyo-e is in their details, such as in the way Katsushika Hokusai dapples the collar of young woman’s inner kimono with mica to evoke a luminescent cherry-blossom pattern in Woman Looking at Herself in a Mirror (1805). Seen from behind, her face framed by a small oval mirror, this gazing beauty is only partially regarding herself. She also seems to be taking stock of the viewer while taking pleasure in being looked at. But surely the pleasure is all ours. (Matt Sussman) DRAMA AND DESIRE: JAPANESE PAINTINGS FROM THE FLOATING WORLD 16901850 Through May 4. Tues.Sun., 10 a.m.5 p.m. (Thurs. until 9 p.m.). $10 ($5 Thurs. after 5 p.m.), $7 students, $6 for 12 to 17, free for 11 and under. Asian Art Museum, 200 Larkin, SF. (415) 581-3500 › a&eletters@sfbg.com George Sheehan, in his best-selling 1975 book of jogging-inspired philosophy, Running and Being: The Total Experience (Second Wind II), describes the endurance runner as being "twice born." The second life is the runner’s internal struggle a gauntlet of pain, failure, and disappointment that ultimately becomes the necessary condition for hope. While not exactly an advertisement for sneakers, Sheehan’s maxim illustrates something important about the Black Swans: they aren’t the spoonful of sugar that helps the medicine go down; they’re the medicine itself, a soulful salve pursuing internal aberrations because there’s something redemptive in their delivery, something undeniably good for you. For his own part, songwriter Jerry DiCicca isn’t a runner. "I’m a relentless pacer," he confesses in an e-mail interview, "and a bad chess player," proving that the author of such doleful laments as "Who Will Walk in the Darkness with You" is not without humor after all. In fact, he’s far from a self-absorbed, journal-burning auteur. "I really care about the words, but I’m pretty sure if I moaned the menu of White Castle in a minor key backed by Noel [Sayre]’s violin, the effect wouldn’t be much different for most people." It has been a bearish couple of years for the Black Swans. In late 2006 they released Sex Brain (Bwatue), an EP’s worth of variations on themes of a venal nature. After touring and getting "weirded out by some small labels that acted gross," they were able to remix a record originally made in 2005, and Change! (La Société Expéditionnaire) found its way into the light last November. As we have learned, sustained struggle can be illuminating, so to call Change! a dark record is to deny its resolve, its reconciliation with psychic disfigurement. Melancholy airs are staked by arrangements that patiently wait on DiCicca’s mossy cant "I sound like a narcoleptic caveman," he writes. On "Hope Island" he seems at peace with isolation so pure that it could have been the one true condition of his life. "Shake," a laconic waltz whose delicate piano figure trades with ocean-size guitar surges and Sayre’s tawny violin, exemplifies one of the band’s most enduring strengths: space a slowly passing landscape that allows for breathing room and time to think. The Desire-era Dylan vibe comes courtesy of Sayre, who channels Scarlet Rivera better than anyone in or outside of Columbus, Ohio. DiCicca is no Dylan dilettante. Last fall he lectured a 500-level class at Ohio State University on the bard’s career between Infidels (Columbia, 1983) and Time out of Mind (Columbia, 1997). He passed out pretzel rods to the class because, he writes, "I like to eat pretzels when I listen to Bob." Does he have further aspirations in the ivory tower? "I’m hardly a scholar," he observes, "just a semi-autistic windbag that convinced a professor otherwise." Three records into their discography Who Will Walk in the Darkness with You came out in 2004 on the Delmore Recording Society imprint the Black Swans have proved their craftsmanship, one that does not feel overparented or overdetermined. Enter the artwork on the vinyl versions of Change!, each of which sports a custom sleeve painted by artists at ARC North, a Creativity Exploredlike art studio for people with disabilities in Columbus. "I’ve purchased paintings by ARC artists because they seem freer, with less mimicry," writes DiCicca. "That’s what I aspire to well, who wouldn’t?" On a recent visit to Aquarius Records, the bins offered a copy whose palate of serene colors cornflower, aquamarine, a touch of navy are swirled violently onto the paper, leaving gauzy, haphazard brushstrokes. A storm has come to a tranquil sea or has just gone. BLACK SWANS With Oxbow and Pillars of Silence Tues/11, 9 p.m., $8 12 Galaxies 2565 Mission, SF (415) 970-9777 Every time I hear a Giorgio Moroder track, I am transported back to an exclusive Miami disco in the early ’80s. I’m Cuban drug lord Tony Montana, in my white polyester suit, disco dancing with the robotic, all-bangs, ultrablond Elvira Hancock. Her heavily stylized and mechanical moves are only bolstered by her last three nose-powdering bathroom trips. Fast-forward to a recent Saturday night at sleek Italo-disco night Ferrari, a monthly fundraiser for volunteer-based, DIY station 93.7 FM West Add Radio at Deco Lounge. While drug cartel members, big-name celebrities, and models were noticeably absent, the club still in its infancy and more baby powder than coca powder is still very insider-y, attracting a notable crew of local DJs, promoters, and scene makers. Hitting the dance floor, I was surrounded by a who’s who of San Francisco party throwers like Parker Day (Stiletto), Rchrd Oh?! (Hold Yr Horses, Lights down Low), and Juanita More (Trannyshack, Booty Call) among a mixed crowd of Mission kids, gay Tenderloin hipsters, and drag queens, all bumping on the dance floor to every conceivable disco subgenre whether it was Italo, Euro, or Hi-NRG from assorted decades. DJs Christopher Vick (Gemini, Paradise), Jordan (House Parties), Nicky B (Electric Boogie), and Connor and Primo (Night Beat), who mix more obscure ’80s dance artists Klein and MBO with innovator Donna Summer, describe their records simply as "robot rock." As I passed a couple of girls dancing like automatons with blond, heavy-on-the-bangs hair I prepared to mourn the day this club is discovered by Bridgette and Tunnel. Maybe promoters can hire a machine gunwielding security team to keep out the riffraff. But disco’s inherent inclusivity, bringing everyone together for an orgy of music and revelry, means biting the bullet and passing on the ammunition. FERRARI Second Saturdays, 10 p.m.2 a.m., $5 Deco Lounge 510 Larkin, SF (415) 346-2025, www.decosf.com There’s never been any doubt pianist Gonzalo Rubalcaba could play. The 44-year-old Cuban émigré has been a highly favored sideman to top-shelf jazz leaders since landing in the United States some 15 years ago. He’s also had a steady recording contract with Blue Note and leads his own trios, which he dominates with an imposing virtuosity, an exacting sense of Cuban musical history, and a tense, brooding personality. Now Rubalcaba has an exciting new quintet with a striking potential for challenging even his outsize talent. Culled from New York City’s best young players, his combo could be one of those very special groups whose exceptional parts create an even greater whole. Together almost a year, they’ve just released their first record, Avatar (Blue Note) and are embarking on their first West Coast tour, playing at both Yoshi’s locations over the course of a week. Avatar includes three compositions by saxophonist Yosvany Terry, whom Rubalcaba knew from their youth in Havana, Cuba, and who brings a modern, angular urbanity to the jazz traditions they are both well acquainted with. Trumpeter Mike Rodriquez played with Charlie Haden’s Liberation Music Orchestra and has become one of the most sought-after young players in jazz. Bassist Matt Brewer had been with saxophonist Greg Osby’s group and suggested the stunning drummer Marcus Gilmore. Brewer and Gilmore are still in their 20s and bring a vibrant, youthful energy to the group that complements Rubalcaba’s old-world, old-soul vibe. Avatar nods to Rubalcaba’s Latin-classical side, closing with his arrangement of Preludio Corto no. 2 for Piano by the Cuban composer Alejandro García Caturla, but the disc also showcases Terry’s funky "Hip Side," Brewer’s meditative "Aspiring to Normalcy," and Horace Silver’s enduring ballad "Peace." It’s a riveting recording and the combo’s live performances promise to be equally compelling. Of late, few major jazz ensembles stay together long enough to create really unique sounds and sensibilities. This particular quintet could have that kind of staying power. GONZALO RUBALCABA Mon/10March 12, 8 and 10 p.m., $20$24 Yoshi’s San Francisco 1330 Fillmore, SF Also March 1315, 8 and 10 p.m.; March 16, 7 and 9 p.m., $12$22 Yoshi’s 510 Embarcadero West, Oakl. (510) 238-9200, www.yoshis.com It’s been 20 years since My Bloody Valentine released their breakthrough album, Isn’t Anything (Creation) long enough for it to be wound up in a younger generation’s musical DNA. For how frequently the band is referenced by both musicians and critics, the rich double-sidedness of MBV’s peculiar attack often gets simplified as "swooning" and "ethereal." Erstwhile Deerhunter vocalist Bradford Cox is one of the few shoegaze suitors who seems clued in to the searing and often distressing tensions that distinguish My Bloody Valentine from followers like Slowdive and Ride. In Let the Blind Lead Those Who Can See But Cannot Feel (Kranky), his first official release as Atlas Sound, Cox has worked out an exquisite combination of shoegaze and laptop pop, a fucked-up beauty waiting to be adored. A self-described "queer art punk," the young Atlantan first turned heads for his Internet indiscretions and outré performances with Deerhunter. The words Cox used to describe author Dennis Cooper in ANP Quarterly may as well be his own propulsive mantra: "The only thing he does to infuriate so many people is to write honestly, expressing things that most people would prefer to stay far under the surface." While Cox’s transgressions have previously edged up to mawkishness, Let the Blind channels his confessional tendencies into a newly retrospective shape. Atlas Sound’s source material, aesthetic means, and subject are inextricable from one another in the same manner as Jonathan Caouette’s first-person film, Tarnation (2003). Much glitchier than Deerhunter’s Cryptograms (Kranky, 2007), the Atlas Sound home recordings are almost exclusively about the soul-baring, delicious isolation of being alone in your adolescence. Cox has described "Quarantined" as being about children with AIDS, though the main refrain, "I am waiting to be changed," resonates with Morrissey-like wistfulness. The music on Let the Blind drifts uneasily between bliss and terror, the heavily doctored mélange of glockenspiels and guitars conjuring a narcoleptic glow. Drone pieces like "Small Horror" and "On Guard" concentrate on specific intense emotions, while fuller arrangements like "River Card" and "Bite Marks" entangle youthful romantic obsession in soft-hewn bass melodies and howling vocals. The shoegaze textures may be Cox’s equivalent of Proust’s madeleine, but it’s in the treated, divested vocal tracking that Let the Blind achieves its deepest immersions. On "Winter Vacation," the chords seem to be pulling each other apart, reaching for different resolutions so too with the rest of the album’s balancing act of sensuousness and numbness though never so far apart as we think. Cox has written extensively about aiming for catharsis on his heavily trafficked blog, but Let the Blind comes off more as a prismatic refracting of past intensity and indolence. It’s teenage confusion done in Technicolor, and that ought to be enough to change more than a few kids’ lives. ATLAS SOUND With White Rainbow and Valet Sat/8, 10 p.m., $10 Bottom of the Hill 1233 17th St., SF >a&eletters@sfbg.com REVIEW Ah, the morality police you’ve gotta love ’em. At least artists who get free publicity from the overzealous watchdogs should. With freedom of speech still miraculously in decent shape in this country, one might be forgiven for forgetting the unique dilemma of the banned book: once branded immoral, it automatically becomes sought after. Such is the case with Yousef Al-Mohaimeed’s Wolves of the Crescent Moon (Penguin, 192 pages, $14), which was banned in Saudi Arabia by theocratic thought-cops for casting too many spotlights on societal problems that the authorities insist don’t exist. Upon being labeled dangerous and sinful, the book gained a large audience throughout the Arabic-speaking world. It has since been translated into French, and now, into English by Anthony Calderbank. While hardly as inflammatory as Saudi authorities might lead one to believe, the novel paints a troubling portrait of a traditional society embracing and fighting modernity. Government claims notwithstanding, Saudi Arabia is not free from abuse, prejudice, racism, and religious hypocrisy, and the author minces no words in giving voice to the marginalized, the abandoned, and the otherwise ignored. While the titular animal does figure prominently in the story, the main wolves appear to be of the human variety. Wolves of the Crescent Moon reveals itself in fevered rushes of storytelling that concern three characters: a one-eared bedouin, a eunuch, and a one-eyed orphan. Turad, the one-eared tribesman who has tolerated an endless run of degrading jobs since leaving the desert for the city, arrives at a Riyadh bus station without a plan. Paralyzed by indecision, he finds himself trapped in nightmarish reminiscence and speculation; thus, we are introduced to Tawfiq, Turad’s elderly eunuch coworker, whose life of misery is retold by the bedouin. While trying to decide which bus ticket to buy, Turad discovers a discarded government file involving an abandoned one-eyed baby; from there, the experimental narrative expands to include anecdotes about the orphan’s distressing childhood, as well as reveries imagined by Turad in an effort to fill in the gaps left by the impersonal official documents. His inability to inject even the briefest respite into the child’s conjectured history speaks volumes. For Turad, life is an endless chain of pain and suffering. Told over the course of an evening, and engulfed by mental fatigue, Al-Mohaimeed’s novel presents a variant of the existential dread found in works by Jean-Paul Sartre and Albert Camus, albeit with more violence. The spellbinding narrative rarely feels anchored to its chief time and place, but instead hangs suspended within a hellish realm governed by fear, agony, and resentment. In volleying between carefully recalled memories of his own suffering, detailed anecdotes about Tawfiq’s forced slavery and eventual castration, and embellishments about the abused orphan he never knew, Turad takes the role of a downtrodden Scheherazade. He’s capable of spinning 1,001 tales without the faintest hope of saving a single life. But his creator at least until he was censored speaks directly to those huddled in the margins of a secretive society. Wolves of the Crescent Moon might remain banned in Saudi Arabia for the foreseeable future; for now, Al-Mohaimeed will receive his well-deserved audience elsewhere in the world. › a&eletters@sfbg.com To say that Pedro Costa is one of the world’s greatest filmmakers might sound like a provocation. But I have said it and will repeat it: Pedro Costa is one of the world’s greatest filmmakers, and there’s nothing willfully perverse in my statement. What follows are initial notes toward understanding why Costa matters. Final judgment is left up to the audience to whom this director yields so much and should only follow from seeing his films. Watching Costa’s work gives me the chills; it’s a most mysterious, unusual, and unclassifiable oeuvre, one littered with ghosts of the past and the present. From the first frame of each Costa film, it’s apparent we’re in the company of that rare filmmaker who simply cares about people: about who his subjects are, about what they’re feeling and thinking, and just as crucially, what his viewers are thinking about them. Each work is riddled with enticing close-ups, and Costa’s pictorial attention (coming out of a sensibility equally at home with European fine art as, say, the dust bowl photography of Walker Evans) is a constant wonder. The subjects are for the most part the downtrodden inhabitants of a Lisbon, Portugal, slum called Fontaínhas, people literally overlooked by dominant cultures. He’s not trying to rub their misery in his viewers’ faces calling him a "Straubian neorealist," to quote J. Hoberman, is misleading; if anything, his films, with their rejection of rational structures, are more neosurrealist. Rather, the progression in Costa’s cinema has been to give voice to his subjects and to treat them as worthy of existing as fictional characters (Bones, 1997); then, to delve further into their world, their personalities, and their ways of living (In Vanda’s Room, 2000); and most recently, with great success, to combine the two approaches (Colossal Youth, 2006). Costa finds richness in small variations, and his evolution has led to a narrowing of both subject matter and spatial exploration. Costa has retreated from the wide-open, Monument Valleyesque volcanic surface of Cape Verde to interiors; the benefit of seeing 1994’s Down to Earth is in realizing how Costa’s characters must now feel, cramped in their disheveled surroundings. Combined with his movement toward a long-take style, this signals a shift from a cinema of space to a cinema of time. A parallel trend is an attempt to redefine beauty in cinematic terms from the exquisite monochrome 35mm of The Blood (1989) to the grubby, purposeful digital video of In Vanda’s Room and its staggeringly unique use (aided by Costa’s remarkable compositional eye) in Colossal Youth. Likewise, few contemporary filmmakers are as concerned with the juxtaposition of image and soundtrack, and each of Costa’s films reveals new ways of seeing and hearing: in Colossal Youth, the sound is a better narrative guide than the visuals making long takes a necessity. Yet the more these movies seem to be within one’s grasp, the more they slip away from comprehension. Costa seems to be saying the same thing about life today: he portrays the outside world as a labyrinth and the domestic arena as a much-needed shelter. He’s surely something of a Brechtian modernist (with Jean-Luc Godard as perhaps an even greater influence than Jean-Marie Straub), yet it’s tempting to assign the modifier post in order to understand Costa’s work. His persistent interrogation of the ways in which people live is certainly postYasujiro Ozu. And as Jeff Wall has noted, Costa can also be considered post-Bressonian in that he improves on what some find problematic about the master’s later works namely, Robert Bresson’s tendency to turn his models into intense abstractions. Costa corrects this by allowing disorder, the uncleanliness of the real world. (Bones is that rare transitional film able to stand on its own as a masterpiece, though at the same time, it doesn’t go far enough as Vanda and Colossal Youth show). The category that Costa might most willingly fit is that of a postpunk director; that the English moniker Colossal Youth distinct from the film’s Portuguese title Juventude em marcha, literally "Youth on the March" is also the only album from the stripped-down Welsh band Young Marble Giants (Rough Trade, 1980) is a surrealist coincidence. Costa’s films are complex objects in which the present and the past intermingle, both literally (in the posthuman Portuguese slums where Costa’s last three features unfold) and within the history of film. The lipstick traces of Howard Hawks, John Ford, Fritz Lang, Jacques Tourneur, and many other auteurs reappear in Costa’s films. Just as Down to Earth takes off from I Walked with a Zombie (1943), Bones remakes The Searchers (1956). (It might be perverse to say Colossal Youth is Rio Lobo [1970] to Vanda‘s Rio Bravo [1959], but … there, I just said it.) Les inrockuptibles‘s Serge Kaganski has said that Fontaínhas’s poor are like Indians in classical westerns, and that seems about right. In the same way that he recognizes Bresson’s genius, Costa nods to Hollywood even as he tries, in his unorthodox mode of production he’s created a studio system in which the crew is minimal, and in the case of Colossal Youth, technical support is provided by the actors off camera to rip it up and start again. One final, crucial note: As Costa describes, the themes in the films are highly personal. A search for family and for home threads through them, articuutf8g desire for a community that merges the personal and the political (his community is about as far from the European Commission as one can get). And in his subjects, he’s found that missing family, which is but one of many reasons why Colossal Youth is so touching. He’s also developed an alternative, collaborative model of filmmaking that is radical yet replicable, and one that will generate disciples provided a director is willing to devote the time needed to nurture similar relationships with actors. Even if Costa "only" continues to make films about downtrodden Portuguese exploring what one festival guide has called a "desperate utopian dream of a human existence" it’s a new form of cinema that will continue to reverberate, echo, and grow richer with each variation. The avenues of inquiry are innumerable. After all, John Ford only made westerns. STILL LIVES: THE FILMS OF PEDRO COSTA Through April 12 Pacific Film Archive 2575 Bancroft Way, Berk. (510) 642-5249 › superego@sfbg.com When we last left crazy-ass Kumar (Kal Penn) and his more straitlaced college pal Harold (John Cho), at the end of the 2005 stoner epic Harold and Kumar Go to White Castle, they’d just victoriously satiated their munchies with enough sliders to block a rhino’s colon. That movie was a classic bong-wielding buddy road-trip flick Question: How long does it take two potheads to get to a drive-through? Answer: Neil Patrick Harris on ecstasy that was improbably hailed by serious critics as a multicultural breakthrough. Kumar is Indian American and Harold Asian American, a combination of lead ethnicities that was new to the American mainstream. And even though lineage figures little in the characters’ daily realities, Harold’s and Kumar’s difference from the cartoonish honky inbreds and skinheads (and candid others of color) that exist beyond their postmillennial collegiate bubble and who often mistake them for Arabs fuels the plot. Dude, where’s my kufi? White Castle screenwriters Jon Hurwitz and Hayden Schlossberg giddily foreground the first movie’s subtext in their follow-up (which they also directed), Harold and Kumar Escape from Guantánamo Bay, a special presentation at this year’s San Francisco Asian American Film Festival. Mistaken for terrorists when they’re caught with a "smokeless bong" on a flight to Amsterdam, weed capital of the world, our hapless heroes ("North Korea and al-Qaeda working together," gloats their bumbling FBI nemesis) are imprisoned in Gitmo. After being presented with a jailer’s massive "cock-meat sandwich" "I’ve never sucked dick before," quips Kumar. "I bet it sucks dick!" and submitted to various tortures, they eventually escape, crashing a "bottomless" hot tub party, impersonating Crockett and Tubbs from Miami Vice, and lighting up with George W. Bush himself. No shit. I caught up with Hurwitz, Schlossberg, and actor Cho a surprisingly intellectual type who studied English at UC Berkeley as they prepared to promote the new movie at wacky comics convention WonderCon. SFBG For Arab Americans like me, this movie is like a nightmare come true. People gasp whenever I stand up on an airplane, and 9 times out of 10 I’m the one who’s pulled over for "random" searches. I know that Indian Americans often experience similar treatment. But Harold and Kumar Escape from Guantánamo Bay seems revolutionary in that it expands that situation to include the feelings of Asian Americans, and it’s playing at the [SF International] Asian American Film Fest. Do you think Asian Americans relate? JOHN CHO I would assume that every immigrant group has their own bag of individual problems. I don’t know if Asian Americans get hassled at the airport maybe they do. Traveling with Kal on the publicity tour for the first film, I got to see firsthand how he was treated and that’s real; he was patted down all the time. We were traveling together, and he’s the one that got pulled aside. I’m really happy that the film’s playing at the festival. I feared that Asian Americans wouldn’t accept this movie the subject matter isn’t discussed much in the community but it seems that the programmers feel they will. SFBG Not to state the obvious here, but Jon and Hayden, you’re a couple of white guys. I’m wondering if these scripts come from your own experiences, or if you do a lot of research? JON HURWITZ We’re white guys, but we’re Jews. So we’re already a minority subset, but I don’t really know if that plays into it. We’ve always had a large group of multicultural friends and been able to observe and have conversations with people with different points of view. As a writer and director you’re just hoping to put something out there that’s new. Something with Asian American and Indian American leads was something that hadn’t been done in the way that we were doing it. We felt that we had enough perspective as huge fans of comedy to pull it off. HAYDEN SCHLOSSBERG We didn’t set out to make this big statement, although I have to say when we looked at the first one when it was done, we said, "Wow, this is so much better than we thought." It went way beyond the fart jokes, weed humor, and nudity that we love to put up on-screen. But it’s really just a classic comedy trope. Two guys, a baggie, a voyage. . . . It was the right time to have someone finally throw ethnicity into the mix. The script took off from there. The only question now is, where else can we take this? Harold and Kumar Fly the Space Shuttle? JC And the focus is always on being funny first. The characters’ races are almost secondary. I find that so refreshing because a lot of Asian American cinema is just about being Asian American, how hard it is. Not to denigrate anyone’s work, but those movies get really repetitive, and fewer people want to see them. SFBG Speaking of space John, you’re about to be mobbed at WonderCon because you’ve accepted the role of Mr. Sulu in the upcoming Star Trek film. Following in actor George Takei’s footsteps must feel huge. JC I’m delighted. As a kid it meant so much to me to see an Asian American on television and say, "Whoa! He’s not wearing a cone-shaped hat or teaching kung fu!" It was very important, a legacy that I desperately wanted to be a part of, and something I feel my work on the Harold and Kumar movies pays tribute to. Now Asian Americans can be stoners too. HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY Sat/15, 9:15 p.m. Castro Theatre 429 Castro, SF (415) 621-6120
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Sunshine in the digital age
Editor’s Notes
Bombs — and bongs — away!
Harold and Kumar Escape from Guantanamo Bay and invade the San Francisco International Asian American Film Festival
By Marke B.
Edward Yang searches for the personal amid the street gangs of Silicon Island
By Kimberly Chun
Brillante Mendoza looks at the costs of human lives
By Johnny Ray Huston
A quick guide to some Asian American Fest features
Saint Peter
Keeping it raw
MINMAE
WILDILDLIFE
HEAVENLY STATES
XNOBBQX AND TOMES
New soup for you!
Shen Wei Dance Art
Spundae 15-Year Anniversary
Local Live: Pinhead Gunpowder
“My Name is Albert Ayler”
“Speaking Fierce”
Seafood soup for the soul
“Drama and Desire: Japanese Painting from the Floating World 1690-1850”
Free birds
Say hello to my little Ferrari
A band apart
World of echo
One ear to the ground
The young untold
SFIAAFF: Multiculti cock-meat sandwich
