Bay Guardian Archives

Deliverance

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Few American independent features in recent memory have seemed as truly capable of turning something old into something surprisingly new as Old Joy — an achingly beautiful ode to the varieties and vagaries of iPod-era young male disaffection based on a short story by Jon Raymond and transformed into something richly steeped in the increasingly remote cinematic traditions of ’70s New Hollywood by Kelly Reichardt, a filmmaker all-too-little heard from since her startlingly downbeat Badlands rethink, River of Grass, played film festivals more than a dozen years ago.
An oft-times emotionally elliptical tale of two increasingly estranged friends, Mark (Daniel London) and Kurt (Will Oldham), approaching the end of their 20s, Old Joy is, however, far more than yet another return to the once-hallowed terrain of Amer-indies past. It is resolutely modern and of the moment — in everything from its narrative nuances and politically loaded peripheral details (including a startling glimpse of the marquee for a movie house called the Baghdad) to its cognoscenti-inclined casting of Oldham as the philosopher-fool at the (off-)center of its tear-shaped universe. Old Joy finally attains escape velocity from the anomie of the past by deciding to wear its hand-me-down stripes inside out. In the process it rediscovers the sort of between-here-and-there heartbeat once found within Henry Gibson’s archly overblown anthem to Americanarama in Robert Altman’s Nashville: how far we all have come till now, and how far we’ve got to go.
Set mainly among the verdant, mountainous Cascades of rural Oregon and poignantly bookended by brief episodes in the quasi-Buddhist backyard retreats of suburban Portland and the vagrant-haunted halogen corridors of its (relatively small-town) inner-city nights, Old Joy ultimately extends well beyond those parameters even as it dissolves into them. “It’s all just one huge thing now,” Oldham’s Kurt at one point rather blankly declaims. “Trees in the city, garbage in the forest. What’s the big difference?” And though Reichardt’s film scarcely seems to have an answer to that question, her filmmaking paints a wholly deliberate picture of contemporary America in contrasting tones of talk radio babble and freak-flag-flying drum circle excess. Old Joy finally comes to limn a new millennium mural within which the collapse of dissenting voices on both the right and left of the political spectrum is an indistinguishable part of one great, awful, swirling whole.
With betweenness a central, dynamic element of Reichardt’s film, it seems somehow entirely surprising and altogether natural that she proves to be a filmmaker intent on discovering a new frontier by following the bread crumb trails of some joyfully old-fashioned cinematic extremes. No better example of that tendency can be found than in the way that Reichardt counters her own heartfelt if generationally predictable fealty to a ’70s touchstone like Five Easy Pieces (implicit in a roadside diner scene) with a far stranger red wagon reference to an altogether unlikelier era’s angry-funny relic, Steve Martin’s The Jerk. Old Joy’s adenoidally intoned expression of age-old alienation manages to escape the antigravity of tradition. Reichardt’s movie trumps the oppressive politics-present-and-accounted-for exertions of cornball kitsch like World Trade Center with a succession of mumbling inarticulations, inchoate male intimacies, and the barely stressed but overwhelmingly evident assumption that when it comes to rediscovering certain perpetually misplaced American verities, Two-Lane Blacktop may be just another way of saying Planes, Trains and Automobiles.
Loading a dog and a doggie tent into the back of a Volvo and running down the road to nowhere (occasionally in reverse) on their way to half-remembered paradises among the mighty pines, Mark and Kurt slowly begin to explore their mutual and individual disappointments with the world, themselves, and each other. Not since the windscreen mindscapes of Wim Wenders’s Kings of the Road has the conjunction of motion sickness, modern living, and the struggles of overgrown boys seeking to finally attain the status of men seemed so moving — and so at pains to find a way to get moving at all.
As the strains of Yo La Tengo’s dream-drift soundtrack and cinematographer Peter Sillen’s high-def digi-vistas of roadside splendor increasingly blur together and as Mark and Kurt at last begin to haltingly immerse themselves in the baptismal fluids of Old Joy’s promised land — the Bagby Hot Springs, a remote and rustic respite for body and soul nestled deep in the old-growth woods — Reichardt’s film finally finds a way to cross the myriad bridges briefly glimpsed from Mark’s Volvo windows as Old Joy’s relatively brief but precisely calibrated screen time whizzes by. But if what you find once Old Joy finally reaches its destination seems neither precisely a sense of uplift or letdown, rest assured that’s a carefully patterned part of Reichardt’s picture too — a moment that seems neither an ending or a new beginning but yet another frozen teardrop in a world that’s only just begun to thaw.

OLD JOY
Opens Fri/20
See Movie Clock at www.sfbg.com for theaters and showtimes
www.kino.com/oldjoy
For an interview with Old Joy writer Jon Raymond, go to Pixel Vision at www.sfbg.com/blogs/pixel_vision.

Cooking with genius

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Kenny Shopsin is a philosopher-cook who shrinks his kitchen to the size of the world and enlarges the world to the size of his kitchen, likening his old stove to ”a whore’s ass” and pasting terrorists onto the wings of flies. Here are the rules at his General Store in Greenwich Village, New York City: no parties of five or larger, and everyone has to eat. Don’t insult the cook by ordering just coffee unless you want to eat it. Also, most legendarily, if you’re not a regular, you can go fuck yourself.
Why all the candy on the shelves?
“People like to take candy,” Shopsin tells Matt Mahurin in I Like Killing Flies. And as for whomever is waiting to kill themselves to blow up America, “I wish them luck.”
Mahurin, a committed regular at the General Store, is always in the right place with his camera. We hear from kindred spirits, meet the Shopsin family, and watch Kenny, an alchemist, turn soup into soup the way Harry Smith turned milk into milk. This is the cook as a cook in a kitchen where total collapse is fended off by duct tape, cups on string, a busted red flyswatter, and the metaphysics of telling fuckers off. A tin of shredded coconut, apparently invented to keep the dish rack from collapsing, is also and finally a tin of shredded coconut — useful for dusting a stack of pancakes speed-glazed with a flaming-hot spatula.
Mahurin’s film makes this clear: genius has something to do with food if the cook is a genius and everything to do with doing what you must do.
The Shopsins were squeezed out of their old shop of 32 years in 2002. I Like Killing Flies documents their lucky move down the street. Unscrewing the front door from the jambs, Shopsin cracks that he might use it as a cheap headstone. Compared to the original spot, the new Shopsin’s General Store is a sprawling, airy tree house but still quite funky. The West Village is getting way too slick and specialized, and everything about Shopsin’s funkifies through overdiversity — too much creativity. I counted 138 different soups on the menu, including pistachio red chicken curry and Peruvian shrimp avocado, as well as dozens of “Breakfast Name Plates,” including the Twain (“huckleberry Finnish crepes”) — yet all Shopsin cares to eat, he tells Mahurin, is his own chili stewed with a splash of coffee. He compares such counterintuitive fusions to sodomy. Mara and Zach Shopsin took orders from me and my girlfriend, and the cook himself, in his Shopsin’s T-shirt (he doesn’t remove it for the whole movie) made sure that we walked out with free candy.
Mahurin’s documentary is one you can live in. Your head fits right into this furnished hollow tree. The film mentions but does not explore the death of Eve Shopsin, Kenny’s wife, in 2003, but we get to enjoy her presence for the whole first hour or more, which is a blessing in itself. (Julien Poirier)
I LIKE KILLING FLIES
Opens Fri/20
Roxie Film Center
3117 16th St., SF
(415) 863-1087
$4–$8
www.thinkfilm.com

Joy sticks

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› kimberly@sfbg.com
SONIC REDUCER Skip the cherries — life at times seems like a big fat bowl of Froot Loops — the type that figure-eight, undulate, and connect in the most unpredictable ways. For instance, Bonnie “Prince” Billy, né Will Oldham, and his ungainly, increasingly ecstatic shadow folk-country — that association’s only right and natural. Oldham and Gen X cinematic hot-spring stoner sagas — it’s altogether plausible. But Oldham and Diddy, the Bad Boy impresario identified in his own PR literature as a “mogul” before proffering the job title “artist” — huh?
What could these two possibly have in common apart from their age, 36? It’s a logical leap if you study Diddy — arriving about two hours late for his recent roundtable interview at the Ritz-Carlton with absolutely zero Burger King Whoppers for yours truly and the other journos who were ready to gnaw their own typing arms off in hunger and antsiness. Instead the mogul packs a makeup artist and hair man (who brandishes a far-from-puffy comb — sorry) and plays us no tracks from his new, still-scarce album, Press Play (Bad Boy/Universal), yet carries it in his bejeweled hand like a salesman. (Perhaps in answer to the inevitable query: with fashion design, artist development, reality TV, label jockeying in his past, and DiddyTV on YouTube currently serving up alleged shots of Sean in the john, why does he even bother making an album? Diddy’s comeback: “It’s a gift and curse, because I do so many things. I’m making sure people know how serious I am about music.”)
Well, Diddy and Oldham name games are the most obvious thread. Like Diddy, a.k.a. Puff Daddy, a.k.a. P. Diddy, a.k.a. Puffy, a.k.a. Sean Combs — Oldham is a man of many hats, personae, songs: a humble troubadour, a rambling tangent-exploring interview, a perpetual touring player, a before-his-time out-folker, a Hollywood-shunning onetime teen star of Matewan. At one point it seemed like he had a recording name for his every sound, if not every album — Bonnie “Prince” Billy was just the latest handle in a line that included Palace Brothers, Palace, Will Oldham, and at least one disc that sported no name at all. It was disorienting, delirious, and hard to track, and at times it just made you want to throw your hamburger mitts up, shave the nearest beard, and beat yourself around the face and neck.
Oldham probably feels much the same after fielding the same question repeatedly, explaining that he once thought of his albums much like films or plays and wanted to label each uniquely. “I thought it would be a way of focusing things on each record,” he says from his native Louisville, Ky. “People would say, ‘I like this record,’ rather than ‘I like the music of …’ I didn’t realize that it was sort of a definitely pointless battle — to see about maybe trying to make people focus on records as independent entities rather than representations of an individual’s or group’s work, and it became sooo energy-expending to always explain this name thing. I was finally just, like, ‘This is just bullshit.’”
And if Diddy and his whirlwind junket offered little apart from the lingering impression that for some reason it was critical for him to leave the scent of power and money (he’s reportedly worth $315 million) on local media — then Oldham is his opposite. On time and generously unearthing the contents of his mind, he’s disarmingly candid and eager to dive into the depths of his past, untangling his feelings and thoughts about acting, recording, and mentoring (he famously championed a solo Joanna Newsom and played her music for their label, Drag City). Yet unlike Diddy, who appears to be jetting around the country in search of the artistic credibility he first found in music as a producer, Oldham has never been more on top of his so-called game.
His new album, The Letting Go (Drag City), is the worthy, relatively full-blown, and outright beauteous studio follow-up to his 2005 stunner Superwolf with Matt Sweeney. This time Dawn McCarthy of the Bay Area’s Faun Fables leaves her imprint — her vocals echoing somewhere in the vicinity of Sandy Denny and Joan Baez. Under the gaze of Icelandic producer Valgeir Sigurosson (Björk’s sometime engineer whom Oldham met while touring with the swan queen), The Letting Go is awash with melancholic melodic Southern rock and blues-folk, tunes that revolve around cursed love, child ghosts, and frosty wakes. Captured in Reykjavík and decorated with an image of Makapu’u beach on Oahu, The Letting Go doesn’t sound on the surface like the product of volcanic island ramblings and rumblings — but its lyrics do hint at the tragedy of believing that each man or woman is an island.
That’s why Oldham has gone out of his way to introduce performers like Newsom and McCarthy to his audiences. “Part of it is to reveal how interconnected things could be if you want them to be,” he explains with a soft Southern drawl. “Part of it is also, if the world isn’t going your way and there’s a certain amount always of loneliness to do battle with, sometimes you realize it doesn’t have to be that way. You don’t have to be this solitary figure in the world.” The yearning to connect, this time with an old friend, surfaces in Old Joy, a film by Kelly Reichardt (River of Grass), which has caught praise on the festival circuit for its rapturously, deliberately paced meditation on two men’s slow-growth rambles through old-growth Oregon wilderness. Oldham’s first substantial starring role since Matewan (he most recently appeared in Junebug), his character, Kurt, is a slacker gone to seed, soon to be homeless, and still in search of his next high, his next life lesson, his next brush with grace. After helping Reichardt brainstorm hot-spring locales in Kentucky, the man who could have ended up like Macaulay Culkin or so many Coreys — and instead laid down the blueprint for, one imagines, Jenny Lewis — accepted the part. “I knew Kelly was going to be working in a way I like to work, which is just like a full immersion process,” he says, making the connection much as he pulls together Old Joy, his 1997 album, Joya (Drag City), Madonna, Emily Dickinson, and The Letting Go. “Everybody goes there. Everybody’s basically on call…. The line between tasks is a semipermeable membrane. That’s how I like making records too.” SFBG
BONNIE “PRINCE” BILLY
With Dark Hand and Lamplight and Sir Richard Bishop
Oct. 30–31, 8 p.m.
Great American Music Hall
859 O’Farrell, SF
$18
(415) 885-0750
For more on Will Oldham and Diddy, go to www.sfbayguardian.com/blogs/music.

Inklings

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› le_chicken_farmer@yahoo.com
CHEAP EATS The idea of love at first sight is a ridiculous thing to me. Most people I love long before I ever see them. In fact, if I’m not already in love with you, try taking your knife out of my back and calling an ambulance.
You don’t believe me. I don’t expect you to! I don’t believe me either or you or anything. All I do is see and say. And by see I mean see and feel and hear and taste shit and yeah, by way of a Purpose in Life, try and tell you about it.
For me and Orange Pop #2’s second date we went to my new favorite restaurant, Penny’s Caribbean Café. But I already reviewed it, so here’s a poem:

You can love the world
so so much yet know that
no matter how ultimately it embraces
you, it won’t, can’t return

your box of chocolates

So you hope to find
instead a person
maybe loves the world
as much as you do

or more even, and
you can play together
in a darkened room
while outside, without knocking

the earth sends flowers

That’s my poem. Remember Orange Pop #2? She got some gigs personal chefing around San Rafael and might sometimes need an assistant. So she said she was going to get me a chef’s shirt with Daniella on it.
I pointed out that technically my name is Danielle.
“I like Daniella,” she said.
Me too. She’s the boss. Sometimes, on her days off, we eat at places, talk about food and boys and whether to put the chicken in the soup before or after the water gets hot. And she showed me how to make a tart.
One day Orangey called and asked how I make chicken with rice and tomatoes, because that was what The Man wanted for dinner. I was ashamed to say how simple it was, so I made up some extra steps, like breading and browning the chicken first, and sautéing stuff and reserving this and clarifying that, and the next day she said her client loved it. “Really?” I said. I didn’t tell her (until now I guess) that normally I just throw everything in a pot, put the lid on, and wait for dinner to happen. Out of curiosity, I cooked it up the cockamamie way I’d told her to do, and it came out inedible. But I’m pretty sure that was because the expiration-date chicken I’d bought was bad.
Anyway, this time she had a cute little café in Larkspur to take me to. The Tabla Café, which I loved. Restaurants are just like people to me, except the menu is easier to read. Salads. Soups. Drinks. The Tabla’s specialty is dosas, and they’re great. They’re crepes made from rice flour and dal and wrapped around whatever you want, like scrambled eggs, smoked salmon, chicken, turkey, mushrooms…. I had to have the last one on the list because it was lamb meatballs and I liked the sound of that. It was 10 bucks, but it was big enough to feed two people if you get a salad or something else, which we did — a green one with candied walnuts and vinaigrette ($7.50).
OK, so we split all that and it was delicious. The meatballs were great, punctuated with pickled onions and cabbage and drizzled with tahini. The dosas come with a choice of dip-intos, including avocado orange salsa, apple ginger salsa, raita, and peach chutney. The chutney was good, but the dosa didn’t even need it, really.
Nice place. Like everything else in the North Bay, it’s in a plaza, but — small, bright, airy, arty, and in short, my new favorite restaurant!!!
Are you on to me? With the help of my good friend hyperbole (and maybe a dash of brute force), I mean to completely obliterate any inkling of an idea of a chance in the world for an objective and accurate restaurant review — or love. SFBG
TABLA CAFE
Tues.–Fri., 10:30 a.m.–7 p.m.;
Sat., 10:30 a.m.–3:30 p.m.
1167 Magnolia, Larkspur
(415) 461-6787
Takeout available
Beer and wine
MC/V
Quiet
Wheelchair accessible

Daytripper, yeah

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› paulr@sfbg.com
Among the many excellent reasons to do some daytripping in the Anderson Valley is to refresh one’s sense of hope that the stranglehold of chardonnay and cabernet sauvignon on California’s oenophilic imagination isn’t necessarily eternal. Oh yes, a number of the winemakers along the blissfully unbusy Highway 128 offer versions of these pedigreed old French warhorses along with versions of pinot noir and sauvignon blanc, which are only marginally less familiar and probably no less pedigreed.
But perhaps because land values in the area aren’t quite as insane as in Napa Valley and the better-known parts of Sonoma County, winemakers seem to feel a greater freedom in experimenting with varieties of grapes that are either not well known or not well regarded in this country. Brutocao, for instance, is now offering bottlings of dolcetto (a bright, midweight Italian red) and primitivo, the big red bruiser — and zinfandel sibling — from the south of Italy. Brutocao also offers a zin, and it’s pleasantly smoky, but I preferred the primitivo and its fresh-cherry kiss.
Just up the road, a pair of wineries are quietly working a revolution in white wines. A major theme here is the making of dry wines from German grapes — mainly gewürztraminer and Riesling — better known for Old World wines of considerable fruitiness and sweetness. The gewürzes at both Husch and Navarro retain the grape’s distinctive spicy-floral perfume, along with some fruit, but have a sunny tartness. Navarro’s Riesling, meanwhile, compares favorably, in my view, to many of the great Loire whites made from sauvignon blanc; it is light but solid, not as thick in the nose as the gewürzes but with a wonderful balance of acid, fruit, and a suggestion of minerality.
It is the Husch chenin blanc, though, that most captures my heart. Here we have a grape most of us would associate with one of those Paul Masson orgy wines from a jug, circa 1973. Yet the French have long known that chenin is noble, and if treated right — if not encouraged to proliferate promiscuously, if grown with concentration in mind — it can produce such splendid wines as Savennières. I am not sure Husch is quite at that level yet, but one goal of the winemakers surely is redemption for this undervalued grape, and that much at least they have already achieved.

Got capsicum?

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› paulr@sfbg.com
With time, one finds oneself bidding fond farewells to one’s spicehound friends. Oh, nothing changes too dramatically, except that bit by bit (or bite by bite), onetime fire-eaters lose their taste for the thrill of capsicum. Certain alluring foods of yore — chili, pepperoni pizza, Mongolian beef — start to cause problems, especially if eaten too near bedtime. You still go out with them, your spicehound pack, but when they point at this or that on the menu, wondering which dishes are spicy, they are plotting routes of retreat now, not angles of approach. Everybody is silently hoping to sleep through the night, like babies with dry diapers, not awaken at 2 a.m. with a remorseful jolt and a growing blaze amidships. People sip their green tea, and they do so carefully.
For years I held out against this trend. X and Y might no longer fling themselves into the spiciest dishes they could find, like boys from a Mark Twain novel plunging with a whoop into a water hole of unknown depth, but I still had a taste for flame. Then, recently, I ate at So, a modish Chinese noodle house on that insanely busy stretch of Irving just west of 19th Avenue, and I heard the bell toll. There was no need to ask for whom it was tolling: it tolled for me. It tolled and tolled, in fact, and I ignored it. Later I was sorry, but at the time I was in a bliss of tingling lips and couldn’t be bothered to heed the alarm.
So is an atypical Chinese restaurant in a number of respects. For one thing, its menu consists largely of soup and noodle — and soupy noodle — dishes, as at a Vietnamese pho house. It also has a spare, modernist youthfulness devoid of tired linoleum floors and harsh overhead lighting; the walls are bright yellow and the ceiling a rich gray blue, while a noisy crowd young enough to match the youth of the staff sits at rosewood tables on rosewood chairs. Mainly, though, So is a temple of the incendiary. I cannot recall the last time I found so much chile firepower in one place. It is the gastronomic equivalent of a munitions cache.
So … you have been warned, or summoned. I must also add that portion sizes are simply immense. The noodle soups are served in bowls the size of cantaloupe halves and can easily satisfy two if not three, especially if you open with one of the splendid starters. If you notice that these take a little longer to reach the table than is usual in Chinese restaurants (many of which rush them out in just a few minutes), it’s because they’re made to order and with care. The pot stickers ($5.50) in particular are exceptional; they reach the table nested in a pinwheel pattern, are fragrant with fresh ginger when opened, and — what is most noticeable — are wrapped in homemade dough that has a definite fresh-bread springiness and smell to it. When you eat these pot stickers, you will likely realize that most of the other restaurant pot stickers you’ve ever eaten in your life were prepackaged and reheated items. Mass-market, mass-produced stuff. So’s are revelatory.
Nearly as good are fried shrimp dumplings ($6), also powerfully gingery, and dried sautéed string beans ($5) in a thick garlic sauce. The So chicken wings ($5.25) — really a hodgepodge of wings and drumsticks — are a clever and potent Chinese retort to the American cliché of buffalo wings; So dips its poultry parts into a batter that crisps up nicely, then drizzles them with a molasses-thick sauce of garlic, ginger, and slivered red chiles for some smolder. The sauce accompanying the curry coroque ($4) — three Japanese-style potato croquettes, about the size and shape of Brillo pads — looks similar but has a stronger acid presence: hoisin with some rice wine vinegar?
The starters are tasty but not, as a rule, hot, which makes the arrival of a dish like pork with hot peppers ($6.35) — a platter heaped with a stir-fry of shredded meat, chopped jalapeños, onions, and scallions, with a spicy garlic sauce — rather bracing. Only slightly less forceful is shredded pork with garlic ($6.35), which substitutes serene water chestnuts and willow tree fungus for the raucous hot peppers and adds a splash of vinegar for clearheadedness.
“My nose is running,” said the spicehound emeritus to my left. He found himself confronting the seafood soup noodle ($6.35), a sea of spicy broth clogged with shrimp, calamari, scallops, and napa cabbage — something like an East Asian answer to cioppino. His longing gaze drifted across the table to the seaweed noodle soup ($6.35), a kind of giant egg-drop soup fortified with seaweed and spinach, peas, mushrooms, and shrimp. The flavor of the broth was deep but beatifically mild, like the blue of a lovely sunset at the end of a windless and warm — but not hot — day.
The social experience of So is nearly as intense as the peppery food. We found the place packed early on a Sunday evening; tablefuls of young folk mounted a steady roar of conversation while others waited on the sidewalk, barking into cell phones of many colors until tables opened up. The service at dinnertime is friendly and efficient but forever teetering on the brink of being overwhelmed. During a noontime visit, on the other hand, I found a rather startling calm and was able to notice that a “help wanted” sign was posted on the front door — a clue that business is quite a bit better than so-so. SFBG
SO RESTAURANT
Tues.–Thurs., 5–9:30 p.m., Fri.–Sat., noon–10 p.m., Sun., noon–9:30 p.m.
2240 Irving, SF
(415) 731-3143
Beer and wine
MC/V
Very noisy if crowded
Wheelchair accessible

GooTube is dead

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› annalee@techsploitation.com
TECHSPLOITATION By the time you read this, the meme “GooTube” will already be dead. Everyone will have stopped talking about the freakishly large amount of money Google paid for video-sharing Web site YouTube. They will therefore no longer need to refer to this event as if it were a celebrity marriage like Bennifer or Brangelina.
Despite this extremely desirable state of affairs for the English language, we will nevertheless remain perplexed and obsessed with Google’s latest bid to make all forms of digital expression searchable.
I wouldn’t mind the “make the world searchable” thing if it weren’t for the part where Google accomplishes this laudable goal by owning everything in the world first. As thousands of YouTube contributors have already pointed out grumpily, somebody should be paying them part of that $1.6 billion. Really, somebody should.
Let’s pretend for a minute, however, that Google didn’t buy YouTube for its stellar content. Let’s say — and I know I’m being crazy here, but bear with me — that Google bought YouTube for its audience of millions. News Corp. bought MySpace for the same reason last year. Like News Corp., Google wanted eyeballs, not a bunch of movies with cats freaking out and kids drinking milk until they barf.
Alright, let’s face it: you are the real reason why Google paid all that money to YouTube. And by “you” I mean the person who watched the milk barf video, then watched a bunch of clips from The Colbert Report and briefly searched for videos tagged “kaiju porn.” As those people who are done using the word “GooTube” have already pointed out, Google no doubt plans to turn YouTube into another place to paper with ads, sort of like Gmail or its search engine. It’ll monetize your eyeballs if it’s the last thing it does.
Another possible reason why Google bought YouTube is because it fits with the company’s copyright reformist agenda. Google has already been testing the limits of corporate activism in the copy wars with its frankly awesome Google Book Search. This controversial project, which led to a lot of legal chest-thumping in the publishing industry, allows people to search the full text of thousands of books. Maybe YouTube will be a kind of Google Book for movies, with fully-searchable videos that allow artists, students, and film geeks to appreciate the motion picture in a whole new way.
Even if Google hadn’t intended YouTube to be another Google Book, the media industry is treating it that way. Time Warner president Dick Parsons told the London Guardian last week that his company intends to get its copyright complaints about YouTube “kicked up to the Google level.” And by that I don’t think he means the level where you get free espresso and a lava lamp for your desk.
So Google bought you when it bought YouTube, and it also bought itself a legal headache that will hopefully lead to some better laws around digital copyright. What are you getting out of the deal? Frankly, worse than nothing. You probably won’t see the benefits from Google’s copy war anytime soon. And worst of all, I predict you’ll lose one of the best things about YouTube when Google forces it to submit to the old “make it fully searchable” regime.
The thing is, YouTube isn’t about searchability. You don’t go there to plug in a search term and find information. You go there for the same reason you go to the local independent movie theater — you want a place where somebody has put together a unique and bizarre lineup of films to watch. YouTube rules because of users who act like the owners of very tiny movie theaters or cable stations by finding cool videos and posting them on their “channels.”
These people offer findability, which is practically the opposite of searchability. When you search, you have to already know what you want to find. You have to plug in “espresso” or “fainting goats.” Findability means that you can discover things for which you’d never dream of searching. Findability is what YouTube has now, and what Google has never had.
So what will you lose when Google turns YouTube into one of its searchable data troves? You may lose the ability to find a video of a beautiful thing you never knew existed. SFBG
Annalee Newitz is a surly media nerd who was once offered $1.6 billion for her Web 2.0 company, but she said, “No way, man. I’m not gonna sell out, ’cause I gotta keep the AJAX real, just like it is on the street.”

Clean freak

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› andrea@altsexcolumn.com
Dear Andrea:
I’m 40 and experiencing a sexual renaissance. I’ve turned into a squirter, which I’m coming to terms with. Guys seem to like it: I haven’t met one yet who complained about being wet all the way down to his toes.
The problem is that occasionally when I’m really having a good time I also lose a little bit of stool. Sometimes it’s just a smearing on the sheets, sometimes it’s a little more significant. This happens with regular vaginal intercourse, even without any anal. I find it incredibly embarrassing, though the guys I’ve been with have been cool about it. One of them was very gallant: we were moving around to a rear entry position when he told me I needed to go clean up because “he had pushed some poop out of me.” Nice of him to take the blame.
So, why is this happening and what can I do about it? I’ve had hemorrhoids, though I don’t have them currently. I have some skin tags around my rectum as a result. I had a vaginal hysterectomy (I don’t have my cervix but do have my ovaries), and I wonder if there might be some rectal prolapse going on? I don’t have health insurance right now and haven’t wanted to see a doctor about what doesn’t seem terribly urgent, just embarrassing. Are there Kegels for the rectum? Do I need to start anal douching before intercourse now?
Love,
Losing It
Dear It:
I’m impressed. Of course you’re embarrassed, but a lot of people would be too mortified to go on. You, dare I say it, suffer incontinence with extraordinary aplomb. You poop with poise. How many people can claim likewise?
This didn’t sound particularly familiar to me so I read around a bit, thinking there must be some study or other connecting vaginal hysterectomy with fecal incontinence, but I really couldn’t find anything. One study specifically queried abdominal and vaginal hysterectomy patients about their bowel health and habits and concluded this: “Patients undergoing abdominal hysterectomy may run an increased risk for developing mild to moderate anal incontinence postoperatively and this risk is increased by simultaneous bilateral salpingo-oopherectomy. An increased risk of anal incontinence symptoms could not be identified in patients undergoing vaginal hysterectomy.”
Salpingo-oopherectomy, for those following along at home, is removal of ovaries and fallopian tubes, and just think, if I’d gone to med school, I could use words like that all day. Oh well. Just because those doctors didn’t find any connection doesn’t mean you haven’t experienced one. Major surgery, with the scalpels and the nerves and everything, sounds a more likely culprit than do hemorrhoids or skin tags. Seeing a proctologist or surgeon seems like a good idea — something’s wrong here — but there’s no rush on that; you’re coping rather brilliantly.
In the meantime, yes, there are Kegel-y things you can do. They’re pretty much self-explanatory: squeeze, release, repeat. Do not douche right before partnered sex, or you may regret it in yuckier ways than I can bear to get into here. The night before is safer, and do what your mother would tell you to do, provided you talked to your mother about this sort of thing: eat more of what she used to call roughage. Lots more. The idea is to get so regular and so thorough in your elimination that there’s nothing left around to put in a surprise appearance later. And then, let’s get real: get some insurance. I don’t care how, just do it. Once we’re 40, running around with no coverage ceases to be devil-may-care and starts being stupid.
Love,
Andrea
Dear Andrea:
You once wrote, “The human ass can clean itself. If it couldn’t, we’d all be dead. Internal ass hygiene requires only fiber (ingested, not shoved up there) and water (likewise).” But when I do anal, “something” is left on my penis. Isn’t there a way that my girlfriend could clean her ass so much that this would not happen? In the porno movies everything seems so clean. Not that if they had such an accident they would record it.
Love,
Tidy Guy
Dear Guy:
Yeah, I should clarify that. By “clean itself” I don’t mean “wow, it’s so clean in here — I’d eat off the floor” clean. I mean clean for the inside of a butt. I was talking about heroic measures, high colonics and suchlike, and the way hosing out your innards on a regular basis cannot possibly be a good idea.
There is, sadly, no way to guarantee that you will never see “something” again (but you might mind it less if you were using a condom, hint hint). Word has it that the pros do douche the night before. That requires a certain amount of planning, which is easy to accomplish if you know you’re going to be having anal sex from, say, 2 to 3:30 p.m., and never on Wednesdays. If you can pull that off, more power to you.
Love,
Andrea

A tough pill to swallow

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The furor over escautf8g prescription drug prices has inspired dozens of state investigations and civil lawsuits in recent years across the United States, most of them targeting manufacturers.
But another factor in the increases quietly surfaced Oct. 6 in a Boston federal courthouse. Two major Bay Area companies were accused in court documents of infutf8g the cost of prescription drugs to the tune of an estimated $7 billion between 2001 and 2005.
The Wall Street Journal first reported in early October that a drug data publishing company based in San Bruno called First DataBank had reached a settlement with a group of unions in Massachusetts and Pennsylvania over how the company gathered and presented prices in the pharmaceutical catalog that it’s maintained for years.
First DataBank is a subsidiary of the New York–based media empire Hearst Corp., owner of the San Francisco Chronicle, Esquire, and dozens of other publications across the country. Another company still being targeted by the plaintiffs is the San Francisco–based drug wholesaler McKesson Corp., which earned $88 billion in revenue last year and is ranked 16th among Fortune 500 companies.
First DataBank’s price listings play an enormous role in determining what Americans pay for medications. When you receive a bottle of antibiotics to treat an infection, for instance, your private health insurer or state Medicaid program (known as Medi-Cal here) will refer to First DataBank’s listed drug prices as a benchmark to determine what it’ll pay the pharmacy as a reimbursement. That means if the benchmark goes up, so too can your insurance premiums and the cost to state governments.
The settlement, according to federal records, forces First DataBank to adjust the formula it uses to determine those prices. An economist hired by the plaintiffs testified that the savings in 2007 alone for consumers could amount to a staggering $4 billion. First DataBank has also agreed to cease publishing the prices in their drug guides within two years.
Physicians, hospitals, pharmacists, and all manner of other health care professionals pay First DataBank a subscription rate for access to a digital clearinghouse of information on drug dosages and allergies, among other things.
More importantly, First DataBank publishes what’s known as an “average wholesale price” for more than 290,000 pharmaceuticals. There are three major drug wholesalers in the United States, including McKesson, that buy drugs directly from manufacturers and then mark up the price before selling the drugs to pharmacies. The average wholesale price — widely used around the country to determine what pharmacies will get as a reimbursement — is supposed to be a reasonable reflection of what the pharmacies pay the wholesalers for drugs.
First DataBank claimed to survey these wholesalers to come up with an average price that includes the markup, which it then lists in its drug-pricing database. But in recent years, the Journal reported, such surveys have been few and far between, and sometime around 2002, First DataBank inexplicably froze the markup at 25 percent, even though the prices pharmacies were actually paying fluctuated dramatically due to competition.
Citing testimony from one employee, the Journal notes that First DataBank began surveying only one company to come up with its average: McKesson. The cost to pharmacies still varied, but McKesson had reportedly standardized its markups on paper at 25 percent. That meant insurers and state health care administrators relying on First DataBank were making reimbursements that translated to higher profits for the pharmacies.
The employee’s testimony and documents in the case indicated that McKesson knew exactly what was happening. What remained unclear at press time was why First DataBank would choose to survey only McKesson or how it might have benefited from the decision.
The Journal notes the pharmacies were the only ones that stood to profit from the standardized markups, not McKesson directly. But internal McKesson e-mails show the company not only was aware of its impact on First DataBank’s published figures but hoped pharmacies would see McKesson working in their best interests — a marketing scheme, if you will.
An e-mail from one McKesson product manager gleefully exclaims that the profit for pharmacies dispensing a bottle of the cholesterol drug Lipitor leaped from $6.86 to $17.18.
First DataBank admitted no wrongdoing and is not paying money to the plaintiffs of the Boston settlement. The company was founded in 1977, and Hearst purchased it in 1980. Federal records show that in 1998, Hearst bought a $38 million company that owned one of First DataBank’s only real competitors, Medi-Span.
A later investigation by the Federal Trade Commission revealed that Hearst had failed to turn over key documents to the Justice Department’s antitrust division during the sale. As a result the feds slapped Hearst with a $4 million fine in 2001, at that time the largest premerger antitrust penalty in US history. The FTC also belatedly concluded that Hearst’s ownership of Medi-Span gave it a monopoly over the drug database market and not only required that Hearst give up Medi-Span but forced the company to disgorge $19 million in profits generated from the acquisition.
Hearst spokesperson Paul Luthringer directed us to a bare-bones statement when the Guardian called with questions about the Boston suit. “The allegations made in these actions have raised concerns with respect to the integrity of the pricing information that is provided to First DataBank for purposes of publishing [the average wholesale price],” the release states. “In light of these concerns, First DataBank has determined to make certain changes in its drug pricing reporting practices.”
Climbing drug costs can’t be attributed mainly to First DataBank or McKesson, of course. In fact, recent investigations and civil suits spearheaded to find out why prices have skyrocketed have focused on the manufacturers. During those inquiries First DataBank has been hit with dozens of subpoenas nationwide requesting company records and testimony, according to San Mateo Superior Court records. Many of those cases are still ongoing.
Attorneys for the plaintiffs in Boston who made McKesson and First DataBank defendants in the summer of 2005 declined to comment. McKesson also has remained tight-lipped since the Journal story was published. Spokesperson James Larkin said the company would not answer questions beyond a prepared statement.
“If First DataBank decided to survey McKesson only, it did so without telling McKesson,” the statement reads. “In fact, First DataBank has affirmed in an earlier lawsuit involving other parties that it never told McKesson that at times McKesson was the only wholesaler being surveyed.” SFBG
Here are links to key documents, including federal court records of the Oct. 6 Boston settlement with the Hearst-owned First DataBank (www.hagens-berman.com/first_data_bank_settlement.htm), the Justice Department’s antitrust fine of Hearst in 200l (www.usdoj.gov/atr/cases/indx330.htm), and the Federal Trade Commission decision requiring Hearst to give up its monopolistic subsidiary, Medi-Span (www.ftc.gov/bc/healthcare/antitrust/commissionactions.htm).

The first 40

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› bruce@sfbg.com
On Oct. 27, l966, my wife, Jean Dibble, and I and some journalist and literary friends published the first issue of the first alternative paper in the country that was designed expressly to compete with the local monopoly daily combine and offer an alternative voice for an urban community.
We called it the San Francisco Bay Guardian, named after the liberal Manchester Guardian of England, and declared in our statement of intent that the Guardian would be a new model for a big-city paper: we would be independent and locally owned and edited, and we would be alternative to and competitive with the San Francisco Examiner and San Francisco Chronicle, which were published under a joint operating agreement that allowed them to fix prices, pool profits, share markets, and avoid competition.
We stated that “the Guardian is proposed, not as a substitute for the daily press, but as a supplement that can do much that the San Francisco and suburban dailies, with their single ownership, visceral appeal and parochial stance, cannot and will not do.” And we played off the name Guardian by stating that we would be “liberal in assessing the present and past (supporting regional government, nuclear weapons control, welfare legislation, rapid transit, tax reform, consumer protection, planning, judicial review, de-escalation and a promptly negotiated settlement in Vietnam.)” But the Guardian would also be “conservative in preserving tradition (civil liberties and minority rights, natural resources, watersheds, our bay, our hills, our air and water).”
It was rather naive to challenge the Ex-Chron JOA with little more than a good idea and not much money and a wing and a prayer. We had almost no idea of what we were getting into in San Francisco, a venue that Warren Hinckle of Ramparts and many other defunct publications would later describe as the Bermuda Triangle of publishing. But we had, I suppose, the key ingredient of the entrepreneur — the power of ignorance and not knowing any better — and somehow thought that if we could just get a good paper going, the time being l966 and the place being San Francisco and the world being full of possibilities, we would make it, come hell or high water.
Well, after going through hell and high water and endless soap operas for four decades, Jean and I and the hundreds of people who have worked for the Guardian through the years have helped realize the paper’s original vision and created something quite extraordinary: an influential new form of independent alternative journalism that works in the marketplace and provides what little real competition there is to the monopoly dailies. And let me emphasize, the alternatives do not require government-sanctioned JOA monopolies and endless chains and clusters of dailies and the other monopolizing devices that dailies claim they need to survive.
Today I am delighted to report that there are alternative papers competing effectively with their local chains throughout the Bay Area (seven, more than any other region), throughout the state from Chico to San Diego (22, more than any other state), and throughout the nation (126 in 42 states, with a total circulation of 7.5 million, and more coming all the time). There are even cities with two and three competing alternatives, and there are cities where the monopoly daily is forced by the real alternatives to create faux alternatives to try to compete (it doesn’t work). And alas, there is now a Village Voice–New Times chain of 17 papers in major markets, including San Francisco and the East Bay, that is abandoning its alternative roots and moving to ape its daily brethren.
Jean and I met at the University of Nebraska at Lincoln in 1957. Two friends and I were driving around Lincoln one fine spring day, drinking gin and tonics, which were drawn from a tub of gin and tonic that we had mixed up and stashed in the trunk of our car. We happened upon Jean and her younger sister, Catherine, who had come from a Theta sorority function and were standing on a street corner waiting for their mother to pick them up and take them to the Dibble family home in nearby Bennet (population: 412). We stopped, convinced them to ride with us, and got them safely home. They declined our offer of gin and tonics, as did their astonished parents and grandmother when we arrived at the Dibble house.
Jean and I made a good team. We both had small-town Midwestern values and roots in family-owned small-business. Her father owned lumberyards in small towns in southeast Nebraska. Her maternal grandfather founded banks in Kansas and Nebraska and was the state-appointed receiver for failed banks in Kansas during the Depression. Her paternal grandfather owned a grocery store in Topeka, Kan. Jean had the business background and the ability to create a solid start-up plan — she was a graduate of the Harvard-Radcliffe Program in Business Administration and had worked in San Francisco for Matson Navigation as well as Hansell Associates, a personnel firm.
I was the son and grandson of pioneering pharmacists in Rock Rapids, Iowa. (Population: 2,800. Slogan: “Brugmann’s Drugs. Where drugs and gold are fairly sold. Since l902.”) I had the newspaper background, starting at age l2 writing for my hometown Lyon County Reporter (under the third-generation Paul Smith family); going on to the campus paper (which we called the Rag) and then the Lincoln Star (under liberal city editor “Sterl” Earl Dyer and liberal editor Jimmy Lawrence); getting a master’s degree in journalism at Columbia University in New York City; and then working at Stars and Stripes in Korea (dateline: Yongdongpo), the Milwaukee Journal (where I got splendid professional training at one of the top 10 daily papers in the country), and the Redwood City Tribune (where I plowed into some of the juicy Peninsula scandals of the mid-l960s in bay fill, dirt hauling, and the classic Pacific Gas and Electric Co.–Stanford University Linear Accelerator battle). To those who ask how Jean and I have worked together for 40 years, I just say we have complementary abilities: she handles the bank, and I handle PG&E.
Not only did I find my partner at the University of Nebraska, but I also got the inspiration for the Guardian. In fact, I can remember the precise moment of truth that illuminated for me the value of an alternative paper in a city with a monopoly daily press (then, in Lincoln, a JOA between the afternoon Lincoln Journal and the morning Lincoln Star) that was tied into the local power structure, then known as the O Street gang (the local business owners along the downtown thoroughfare O Street). The O Street gang was so quietly powerful that it once decided to fire the Nebraska football coach before anyone bothered to notify the chancellor.
As a liberal Rag editor in the spring of 1955, I had just put out an important front-page story on how one of the most controversial professors on campus, C. Clyde Mitchell, who had been under fire for years from the conservative Farm Bureau and others because of his liberal views on farm policy, was being quietly axed as chair of the agricultural economics department.
We had gotten the tip from one of Mitchell’s students and had confirmed it by talking to professors in his department who had attended the meeting where the quiet firing was announced by Mitchell’s dean. Our lead story was headlined “Ag Ex Chairman Mitchell said relieved of post, outside pressures termed cause.” And I wrote a “demand all the facts” editorial arguing in high tones that “any attempt to make professors fair game for irresponsible charges, any attempt by pressure groups unduly to influence the academic position of university personnel … is an abridgment of the spirit of academic freedom and those principles of free communication protected by the Constitution and the Bill of Rights.” It was a bombshell.
The Lincoln Journal fired back immediately with a classic daily front-page story seeking to “scotch” the nasty rumors started by that pesky Rag on the campus. The story had all the usual recognizable elements: it did not independently investigate, did not quote our story properly, did not call us for comment, took the handout denial from the university public relations office, and put it out without blushing. Bang, that was to be the end of it, on to the next press release from the university.
It made me mad. I knew our story was right, the daily story was wrong, and the story was important and needed to be pursued. And so I stoked up a campaign for the rest of the semester that ultimately emboldened Mitchell to make formal charges that the university had violated his academic freedom. He gave us the scoop for two rousing final editions of the Rag. The proper academic committee investigated and upheld Mitchell but dragged the case out and waited until I graduated to release the report.
Against the power structure and against all odds, Mitchell, the Rag, and I had won the day and an important victory on behalf of academic freedom in a conservative university in a conservative state during the McCarthy era. During this battle I learned how the power structure fights back against aggressive editors. At the height of my campaign defending Mitchell, I was kept out of the Innocents Society, the senior men’s honorary society, although my four subeditors and managers all made it in. The blackball, the campus rumor went, came directly from the regents president, J. Leroy Welch, then president of the Omaha Grain Exchange (known to our readers as the “Old Grain Head”), via the chancellor via the dean of men.
I am forever indebted to them. They taught me at an impressionable age about the power of the alternative press and why it is best exercised by an independent paper on major power structure issues. They also taught me a lot about press freedom, which they were trying to grab from the Rag and me, and how we had to fight back publicly and with gusto.
When Jean and I founded the Guardian, we did so in the spirit of my old Rag campaigns. In fact, we borrowed the line from the old Chicago Times and put it on our masthead: “It is a newspaper’s duty to print the news and raise hell.” We wanted a paper that would be willing and able to do serious watchdog reporting and take on and pursue the big stories and issues that the monopoly dailies ignored — and then were ignored by the radio, television, and mainstream media that take their news and policy cues from the Ex and Chron. In JOA San Francisco that was a lot of stories, from the PG&E Raker Act scandal to the Manhattanization of the city to the theft of the Presidio to the steady conservative downtown drumbeat on such key issues as taxes, social justice, the homeless, privatization, war and peace, and endorsements.
Significantly, because of our independent position and credibility, we were able to lead tough campaigns on public power, kicking PG&E out of a corrupted City Hall and putting a blast of sunlight on local government with the nation’s first and best Sunshine Ordinance and Sunshine Task Force.
Our first big target in our prototype issue was the Ex-Chron JOA agreement, which we portrayed in an editorial cartoon as two gigantic ostrich heads coming out of a single ostrich body, marked in the belly with a huge dollar sign. Our editorial laid out the argument that we have used ever since in covering the local monopoly and in positioning the Guardian as the independent alternative. “What the public now has in San Francisco, as it does in all 55 or so of 1,461 cities with dailies, is a privately owned utility that is constitutionally exempt from public regulation, which would violate freedom of the press. This is bad for the newspaper business and bad for San Francisco.”
The Guardian prospectus, used to raise money for the paper, bravely put forth our position: “A good metropolitan weekly, starting small but speaking with integrity, can soon have influence in inverse proportion to its size. There is nothing stronger in journalism than the force of a good example.”
It concluded, “The Guardian can succeed, despite the galloping contraction of the press in San Francisco, because there are many of us who feel that the newspaper business is a trade worth fighting for. That is what this newspaper is all about.” And we quoted the famous phrase used by Ralph Ingersoll in the prospectus for his famous PM newspaper in New York: “We are against people who push other people around.”
Our journalistic points were embarrassingly timely. A year before the Guardian was launched, Hearst and the Chronicle had formed the JOA with the Examiner and killed daily newspaper competition in San Francisco. The two papers combined all their business operations — one sales force sold ads for both, one print crew handled both editions, one distribution crew handled subscriptions and got both papers out on the streets. The newsrooms were supposedly separate — but as we pointed out over and over at the time and ever after, the papers lacked any economic incentive to compete.
The San Francisco JOA became the largest and most powerful agreement of its kind in the country, and San Francisco was the only top-10 market in the country without daily competition.
This was all grist for the Guardian editorial mills because the JOAs, most notably the recent SF JOA, were in serious legal trouble. The US attorney general was successfully prosecuting a JOA in Tucson, Ariz., claiming the arrangement was a violation of antitrust laws. Naturally, the local papers were blacking out the story. But if the Tucson deal was found to be illegal, the Chron and Ex merger would be illegal too — and the hundreds of millions of dollars the papers were making off the arrangement would be gone.
The JOA publishers, led by Hearst and the Chronicle, quietly started a major lobbying campaign in Washington for emergency passage of a federal law that would retroactively legalize their illegal JOAs. They called it the Newspaper Preservation Act. Meanwhile, the late Al Kihn, a former camera operator for KRON-TV (which was at the time owned by the Chronicle), had prompted the Federal Communications Commission to hold hearings on whether the station’s license should be renewed. His complaint: his former employer was slanting the news on behalf of its corporate interests. We pounced on these stories with relish.
For example, in our May 22, 1969, story “The Dicks from Superchron,” we disclosed how private detectives under hire by the Chronicle were probing Kihn’s private life and seeking to gather adverse information about him to discredit his complaint and to “harass and intimidate him,” as we put it. Later, I found that the Chronicle-KRON had also hired private detectives to get adverse information on me.
I was a suspicious character, I guess, because I had gone to the KRON building to check the station’s public FCC file on the Kihn complaints, the first journalist ever to do so. The way the story came out at a later hearing was that the station’s deputy director left the room as I was going through the records and called Cooper White and Cooper, then the Chronicle’s law firm. An attorney called their investigators, and four cars of detectives were pulled off other jobs and ordered to circle the building until I came out and then follow me when I left the station to return to my South of Market office. They also surveilled me for several months and even sent a detective into the office posing as a freelance writer. (The head of the detective agency and I later became friends, and he volunteered that I was “clean.” He gave me a pillow with a large eye on it that said “You are being watched.” I displayed it proudly in my office.)
Kihn and I were asked to testify before a Senate committee about the Chronicle-KRON’s use of private detectives at hearings on the Newspaper Preservation Act in Washington in June 1969. I took the occasion to call the legislation “the bill for millionaire crybaby publishers.”
I detailed the subsidies in their special interest legislation: “amnesty, immunity from prosecution, monopoly in perpetuity, the legal right to gun down what few competitors remain, and as the maraschino cherry atop this double-decker sundae, anointment as the preservers and saviors of the newspaper business.” And I summed up, “If you plant a flower on University of California property or loose an expletive on Vietnam, the cops are out of the chutes like broncos. But if you are a big publisher and you violate antitrust laws for years and you emasculate your competition with predatory practices and you drive hundreds of newspapers out of business, then you are treated as one of nature’s noble men. And senators will rise like doves on the floor of the US Senate to proffer billion-dollar subsidies.”
After I finished, Sen. Everett Dirksen (R-Illinois) rose as the first dove and characterized my testimony as “quite a dramatic recital” but said that I had not provided a “workable, feasible solution.” Sen. Philip Hart (D-Michigan) recommended that the publishers ought to “read their own editorials and relate them to their business practices.” Morton Mintz, who covered the hearing for the Washington Post, came up and congratulated me. His story, with my picture and much of my testimony, was on the front page of the Post the next day.
Back in San Francisco the Chronicle published a misleading short story in which publisher Charles de Young Thieriot avoided admitting or denying the detective charge and added he had no further comment. Less than a week later, Thieriot wrote the Senate subcommittee and admitted to the charge, saying the use of the detectives was “entirely reasonable and proper.” This statement, which contradicted his statement in his own paper, was not reported in the Chronicle. The “competing” Examiner also reported nothing — neither the original private detective story nor the Washington testimony nor the Thieriot admission.
Nor did either paper report anything about the intensive JOA lobbying campaign headed by Hearst president Richard Berlin, who twice wrote letters to President Richard Nixon threatening the withdrawal of JOA endorsements in the l972 presidential election if he refused to sign the final bill. This episode illustrated in 96-point Tempo Bold the pattern of Ex and Chron suppression and obfuscation they used to advance their corporate agenda at the expense of the public interest and good journalism, all through the years and up to Hearst’s current monopoly maneuvers with Dean Singleton and the Clint Reilly antitrust suit to stop them.
Perhaps the most telling incident came when Nicholas von Hoffman, in his Washington Post column that was regularly run in the Chronicle, called the publishers “as scurvy as the special interests they love to denounce.” He singled out the Examiner and Chronicle publishers, writing that they were “so bad that the best and most reliable periodical in the city is the Bay Guardian, a monthly put out by one man and a bunch of volunteer helpers.” Neither paper would run the column, and neither paper would publish it as an ad, even when we offered cash up front. “The publisher has the right to refuse to run anything he wants, and he doesn’t have to give a reason,” the JOA ad rep told us. The Guardian of course gleefully ran the censored column and the censored ad in our own full-page ad.
On July 25, l970, the day after Nixon signed the Newspaper Preservation Act, the Guardian filed a major antitrust action in San Francisco attacking the constitutionality of the legislation and charging that the Ex-Chron JOA had taken the lion’s share of local print advertising, leaving only crumbs for other print publications in town. We battled on for five years but finally settled because the suit became too expensive. The Examiner and Chronicle continued to black out or marginalize the story, but they and the other JOA papers gave Nixon resounding endorsements in the l972 election even though he was heading toward Watergate and unprecedented disgrace.
Well, in October 2006 the mainstream press is a different creature. Hearst and publisher Dean Singleton are working to destroy daily competition and impose a regional monopoly. The Knight-Ridder chain is no more, and the McClatchy chain has turned the KR remains into what I call Galloping Conglomerati. Even some alternatives, alas, are now getting chained. Craigslist has become a toxic chain. Google, Yahoo!, and Microsoft (known as GYM in the online world) are poised to swoop in on San Francisco and other cities throughout the land to scoop up the local advertising dollars and ship them as fast as possible back to corporate headquarters on a conveyor belt.
I am happy to report on our 40th anniversary that the Guardian is aware of the challenge and is gearing up in the paper and online to compete and endure till the end of time, printing the news and raising hell and forcing the daily papers to scotch the rumors coming from our power structure exposés and our watchdog reporting. The future is still with us and with our special community and critical mission, in print and online. See you next year and for 40 more. SFBG
STOP THE PRESSES: As G.W. Schulz discloses in “A Tough Pill to Swallow,” (a) Hearst Corp. was fined $4 million in 200l by the Justice Department for failing to turn over key documents during its monopoly move to purchase a medical publishing subsidiary, the highest premerger antitrust fine in US history, according to a Justice Department press release; (b) Hearst was also forced by the the Federal Trade Commission to unload the subsidiary to break up its monopoly and disgorge $l9 million in profits generated during its ownership; (c) Hearst-owned First DataBank in San Bruno was alleged in the summer of 2005 to have inflated drug costs by upward of $7 billion by wrongly presenting drug prices, according to a lawsuit reported in a damning lead story in the Oct. 6 Wall Street Journal. Hearst blacked out the stories. And the Dean Singleton chain circling the Bay Area hasn’t pounced on the stories as real daily competitors used to do with fervor.
STOP THE PRESSES 2: SOS alert to the city and business desks of the “competing” Hearst and Singleton papers: here are the links to the key documents cited in our stories, including federal court records of the Oct. 6 Boston settlement with the Hearst-owned First DataBank (www.hagens-berman.com/first_data_bank_settlement.htm), the Justice Department’s antitrust fine of Hearst in 200l (www.usdoj.gov/atr/cases/indx330.htm), and the Federal Trade Commission decision requiring Hearst to give up its monopolistic subsidiary, Medi-Span (www.ftc.gov/bc/healthcare/antitrust/commissionactions.htm).

Or you can read the Guardian each week in print or online.

Politics, beauty, and hope in the Guardian’s arts pages


Forty years of fighting urbicide — and promoting a very different vision of a city

The Guardian turns 40: some things never change

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As we were working away on our 40th anniversary issue, we got a new lead from an unusual venue on a 40-year-old Guardian story: Hearst was once again blacking out major stories to protect its corporate interests. And this time, the Hearst blackout was helping bolster a key point in the Clint Reilly/Joe Alioto antitrust suit aimed at breaking up the emerging Hearst/Media News Group/Dean Singleton conglomerate that would put a hammerlock on the Bay Area newspaper business.

The key point: that the Hearst/Chronicle and the Singleton papers that now ring the Bay aren’t competing, as the two publishers loudly claim, and they aren’t going to as long as there is an economic/financial umbilical cord tying them together. To explain:

The Wall Street Journal reported in a lead front page story on Oct. 6th that two Bay Area companies, Hearst and McKesson Corporation, were accused in a major federal case in Boston of inflating the cost of prescription drugs by an estimated $7 billion. The Journal reported that a Hearst subsidiary, a drug data publishing company called First DataBank, in San Bruno, had reached a settlement with a group of unions in Massachusetts and Pennsylvania over how the company gathered and presented prices in the pharmaceutical catalog it has published for years. First DataBank/Hearst price listings play an enormous role in determining what Americans pay for medications.

As G. W. Schulz makes clear in his Guardian story, “A tough pill to swallow, how a drug data publisher owned by media giant Hearst inflated the cost of medicine,” this is a major story for anybody anywhere who is agitated over the ever escalating price of prescription drugs. Moreover, it was a major local story because it involved two big San Francisco companies and a third company just down the Peninsula in San Bruno. Still more: when George started checking out the story, he found that there were more Hearst clinkers: Hearst was fined $4 million in 200l, the highest pre-merger antitrust fine in U.S. history according to Justice, for failing to turn over key documents during its monopoly move to purchase a medical publishing subsidiary. Hearst was also forced by the Federal Trade Commission to unload the subsidiary to break up its monopoly and disgorge $l9 million in profits generated during its ownership. Hot stuff. And particularly so since Justice and the AG claim to be closely investigating the terms of the Hearst/Singleton monopoly arrangement. Yet Hearst blacked out the stories-and the Singleton papers are not as yet pursuing the stories with the vigor of real competitive papers.

So the questions pop up: Will Justice and the California AG, given the recent Hearst transgressions, bear down harder on a Hearst deal aimed at destroying daily competition and imposing regional monopoly in the Bay Area? Will they disclose the documents and the results of their investigations? Questions to Hearst corporate in New York and Singleton corporate in Denver: Why didn’t you allow your city desks and business desks to cover this major local story involving prescription costs that affect most everybody? Will you now? If not, why not? Or do you want people to read the story only in the local independent alternative paper? B3

SFBG stories:
A tough pill to swallow by G.W. Schulz
The first 40 by Bruce B. Brugmann

Ignorance ain’t bliss

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Today’s New York Times Op-Ed page had a fantastic piece by Jeff Stein suggesting the real source of ongoing conflict in Iraq is the chilling ignorance of our elected representatives and counterterrorism officials. Several interviewed by Stein failed to articulate the differences between a Sunni and a Shiite, or even define what either sect supports. This wouldn’t be so disturbing if it weren’t so believable.

“The first punk rocker”

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It would be physically impossible to find a cooler film subject than the late Ed “Big Daddy” Roth, the hugely influential and wildly creative artist beloved for his customized cars and monster cartoons (including Rat Fink, born of the SoCal resident’s rejection of Mickey Mouse and all the cookie-cutter mainstreamness represented by the then-brand-new Disneyland).

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Ed Roth and car (and model car).
© Sphinx Productions 2005/ Rat Fink name and device are trademarks of Ed “Big Daddy” Roth, Inc.

Canadian director Ron Mann (Grass, Comic Book Confidential) puts a suitably offbeat spin on his doc, Tales of the Rat Fink, integrating Rat Fink vignettes, quirkily animated still photos, a jaunty surf rock soundtrack, and vintage footage into his exploration of Roth’s life, which dovetails with an enjoyable lesson on American hot rod history.

I recently phoned Mann at his Toronto office for a roundabout chat about hot-rodders, rodents, and Roth’s still-potent legacy. And what about those talking cars, anyway?

Don’t go on the boat!

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by Amanda Witherell

Seven protesters were disarmed of their placards and arrested Sunday when they crossed from public to private property at Pier 33 1/2. Arrests have been made for two weekends in a row as dozens of protesting union employees have continued to gather on the Embarcadero in front of the pier, which is the new launch and ticketing station for the ferry service to Alcatraz Island.

Signs that read “get a refund” and voices that shouted “don’t go on the boat” continued to pierce the air as two dozen police officers and a bevy of private security held back the protesters to let the paddy wagon through. At the outskirts of the crowd, union members spoke with visitors queuing in front of the ticket kiosk, trying to convince them to boycott the ferry and spend their tourist dollars more responsibly.

The seven were taken into custody for entering the landing area without invitations or tickets to ride the ferry. Though owned by the city and patrolled by the Port, the pier is leased to Hornblower Cruises and considered private property. Terry MacRae, owner of the ferry service, will be pressing charges.

Exposing SFSOS

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By Tim Redmond

Very nice piece by Daniela Kirshenbaum in the latest Fog City Journal, detailing some of thenasty history of SFSOS, the group that’s pushing big for Rob Black for supervisor in District Six. Among her other interesting points: Wade Randlett of SFSOS (which loves to push for lax restrictions on condo conversions and TICs) is a founder and major stockholder of E-Loan, a company that’s pushing TIC mortgages.

On drinking

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By Tim Redmond

There are all kinds of sordid (maybe sad is the better word) things you can say about the 39-year-old mayor dating a 20-year-old. But frankly, I’m not going to get all agitated about whether she has been drinking.

I was drinking when I was 20. Actually, I was drinking when I was 17. I those days, in New York State, the law was 18, and not tightly enforced. And guess what: Nothing terrible happened to me. In fact, I’d argue that the sort of binge drinking we see on college campuses now is directly related to the foolish 21-year-old age rule. When I was in school, it was perfectly normal to go to a local bar and have a beer — not 15 beers, just one or two. Now that a single damn beer is contraband, kids have more incentive to overdo it when it’s available, and less chance to develop a mature relationship with booze.

You can get married, go in the Army and get killed, buy a house … just about anything at 18. Except legally buy a beer. Pretty stupid.

Bloodlet

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By G.W. Schulz

Sure, street sports have become a cluster fuck for corporate sponsorships, but in some cases, that just means more money for punks with BMX bikes and less money for sleaze ball marketing execs who’d prefer spending it on tasteless furniture and bad hair.

If you haven’t been following the Mountain Dew Action Sports Tour, the final stop yesterday in Orlando proved to be a gruesome death march for nearly all of the competing riders in the BMX street finals. Almost no one managed to escape without at least a mild injury, but mostly the competition proved to be nothing less than brutal.

On parenting

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By Tim Redmond

It’s no surprise, I guess, that Jon Carroll has the most intelligent commentary on the whole Pete Wilson fiasco. His point:

“Every adventure in parenting is trial and error, generally performed by people totally unqualified for the task. I think of myself at 23, which is how old I was when my first daughter was born, and I think: Would I entrust an infant to this man? Absolutely not.”

Me, I think of myself at 41, when my son was born, and I ask the same questions. I ask them almost every day. And yet, as the always-encouraging Carroll points out:

“Here’s the thing: My wife and my older daughter both grew up into strong, well-mannered adults. Not perfect humans, but not felons or oil company executives either. The experiment worked; most of the experiments work. It is my belief that a lot of who the kid is and who she’s going to be is already there, in her nature. The best thing parents can do is provide food, shelter and a safe environment. Love your kids, teach your kids, play with your kids — and you’re doing it right. The kid will be who the kid will be; the fun part is finding out who she is.”

So much for Pete Wilson.

CLUBS: Hot gay Chilidog

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New fabulous intern Chris Cooney hit up DJ Bearded Lady’s new Tuesday night shindig, Chilidog (named after the Guardian’s second favorite sex act) at the Transfer in the Castro, and came back covered in buns. Check it out. All pics of cute gay boys by my favorite local artist “the legendary Darwin Bell” a.k.a “grandma with a camera” a.k.a “the Polaroid hemorrhoid” (just kidding, lover!) — Marke B.

Who could have predicted that by fall ‘06, the Transfer Bar would own the freshest lineup of dj nights in the Castro?

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Bearded Lady puts on the dog

Most nightspot makeovers in the neighborhood end up a little like bad collagen shots, all shiny and soulless and musically cloned. There are plenty of new choices if you’re looking for a place to throw down cosmo’s and lipsync to the Black Eyed Peas on a video loop, because everyone loves a good pop remix, especially when the lyrics are easy to remember for drunk people. But too many bars packed with tv screens and boys singing about lovely lady lumps can be discouraging.

NOISE: Stinging, singing courtesy of Matt Bauer

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Don’t hate Bay Area singer-songwriter Matt Bauer because he looks like a lost, somewhat menacing member of Neurosis. Hate him because he’s so damn good: the Kentucky native’s 2004 disc, Nandina, was frickin’ amazing, and his latest EP, Wasps and White Roses, featuring Jolie Holland, is equally excellent. Nick Drake, Iron and Wine’s Sam Beam, and all ye guitarsmiths, look out.

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Bauer performs with Tarnation and Peggy Honeywell on Tuesday, Oct. 17, at 9:30 p.m. at Hemlock Tavern, SF. $7.

CLUBS: “I’m famous, bitches — at BOOTIE!”

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Club BOOTIE is a San Francisco club treasure — as our fabulous young intern Justin Juul was to find out last weekend. Read below of his wondrous adventures with the queens of monthly mash-up nightlife — even if he didn’t cross-dress like I told him to. Hmph. — Marke B.

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What Justin didn’t wear

I have danced exactly five times in my life. Once, at a rave in Los Angeles, the designer drugs took control of my body and simply refused to let go. I cut a goddamn rug that night, dancing for hours, oblivious to dirty glances from the jungle-kid/breakers on a mission to ridicule those with comparatively bad moves. The other time was at a rave in the Inland Empire when my illegal substance cocktail made it impossible for me to sit still. I climbed up on a speaker and shook myself rotten for six hours straight. It was glorious. Then there was that other time at an outdoor rave in the high desert when… you get the picture.

3 reasons to visit Cody’s in Berkeley this Saturday Oct. 14

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By Sarah Phelan
Former Biosphere 2 crew member Jane Poynter speaks with a endearing British accent, says “bloody” when she gets excited and believes the two-year-and twenty-minute-long project of which she was part, is “one of the most publicly misunderstood and undervalued projects” of the 20th century.”

Or 21st century, given that the impact of the project—a mini-version of Biosphere 1, or Planet Earth, involving four men and four women isolated in a three-acre glass and steel structure near Tucson—continues to elude people to this very day.

All of which add up to a whole bunch of reasons for heading out to Books Inc, 301 Castro Street, Mountain View at 7:30 pm October 13 or to Cody’s, 1730 4th Street, Berkeley, at 7 pm on October 14 to hear Poynter share what it was like on the inside, when she reads from her new book, The Human Experiment” Two Years and Twenty Minutes Inside Biosphere 2.

Poynter, who prepared for this two-year long stint by living in the Australian outback for six months and then on a research boat on the open seas, says Biosphere 2 was a seminal experience in which she quickly realized what is true for all of us, (but less obvious when your biosphere happens to be Planet Earth):

“Everything that I did daily affected my life support system, and vice versa. It made me realize how disconnected we are here in Biosphere 1, where technology keeps us comfortable and separate from the ravages of nature. In Biosphere 2, that separateness was broken down. I realized I was a cog in the biospheric wheel.”

One of her first priorities on remerging back into the regular world was to put her energies into a project that was big and positive, recalls Poynter of her decision, along with her crewmember/boyfriend and now husband, to develop an aerospace company.

“I’d done some reading and learned that some people who’ve been in isolation, like in Antarctica, commit suicide upon reentry, because they’ve had this seminal experience that no one else can understand and they’re also left with a ‘Now what?’ feeling,” she explains.

Faced with the specter of global warming, Poynter says it’s “very tragic that Biosphere 2 has been sitting empty without a mission for two years.” She now has fingers crossed that it will soon resume its role as effective research tool in the global climate arena.
As for why she decided to write her book now, Poynter says that for ten years her thoughts and experiences have been stewing inside.
“I wanted to put it all behind me, but when now I see misinformation about the project, out of its historic context. It irritated me. I want people to know that it involved an enormous amount of effort and intellectual prowess. It was a huge undertaking.”
It also led to a split in the crew, an event that, in hindsight, says Poynter, was predictable.
“One of the things that’s been shown to occur when people are in isolation and in small groups is that they split into factions. The folks at NASA say we were a textbook case. After a while, you run out of psychological energy and your inner values come to the surface.”

Those friendship rifts profoundly influenced how she runs her company in the present.
‘Taber, my husband, and I made a vow to make sure that the people we worked with got their fundamental needs met.”

As for comments that Biosphere 2 was Reality TV, before reality TV even existed, Poynter says, “On the surface, we were like Survivor, I guess, but we put hats over the camera lenses, we objected to having our private lives filmed, and we to some degree we were selected to get along with each other. In Reality TV, psychologists select people who won’t get along.”

As for the broken friendships she endured as a result of being on the inside of Biosphere 2, Poynter says she interviewed the crewmembers involved for the book and tried to be “very balanced” about what went down.

“I had a story, there were certain truths to be told, we didn’t all come out smelling like roses.”

As for the future, Poynter believes that Biosphere 2 “came bloody close to recreating Planet Earth. We showed it’s possible.”

She also believes that scaled-down versions will play a role in space exploration in centuries to come.

“It’s not necessarily about human destiny, but about life in general. Life sees a vacuum. Take Planet Mars. Maybe it once had life. Who knows? But now it’s waiting for more life to go fill it. Some people believe that it’s statistically likely that we’re going to destroy ourselves. But it’s probably a good idea to have back-up plan. Great things were learned from Biosphere 2. I really do hope it gets a third chance.”

Biosphere 2 Revisited

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By Sarah Phelan
Former Biosphere 2 crew member Jane Poynter speaks with a endearing British accent, says “bloody” when she gets excited and believes the two-year-and twenty-minute-long project of which she was part, is “one of the most publicly misunderstood and undervalued projects” of the 20th century.”

Or 21st century, given that the impact of the project—a mini-version of Biosphere 1, or Planet Earth, involving four men and four women isolated in a three-acre glass and steel structure near Tucson—continues to elude people to this very day.

The Dufty baby boom

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By Tim Redmond

The press conference denouncing Pete Wilson went pretty well, and got surprisingly good and positive coverage. Strange bit, though: Dufty, the guy this was all about, didn’t show up — and in fact, wrote an email to the radio talk-show host saying he hopes he doesn’t lose his job.

Which may seem to show Dufty has class and is above the fray and all — but it made his allies, who stood there on the steps of City Hall to denounce homophbia and support him and his family — kinda look like idiots.