Bay Guardian Archives

Small Business Awards 2007: A salute to small business

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The Brugmann family has been continuously in small business for 105 years. My grandfather, the eighth child of German immigrants who homesteaded in the Midwest’s high prairie grass, came to Rock Rapids, Iowa, in 1902 to start a drugstore.

He and my father after him spent their entire working lives in that store, known throughout the territory as "Brugmann’s Drugs, where drugs and gold are fairly sold, since 1902." I started at 12 selling stamps and peanuts and worked my way up to trimming wallpaper and waiting on trade. I also moonlighted as a writer for the Lyon County Reporter, an excellent hometown weekly under third-generation publisher Paul Smith.

My father would call on every new merchant and pass along his philosophy of how to make it in business in a small town such as Rock Rapids (population: 2,800). His message: play golf, go to church, do all your trading in Rock Rapids, and above all support the town and its community activities.

This philosophy always worked well for the Brugmanns, and ours was the only store on Main Street to make it through the depression.

When Jean Dibble and I founded the Guardian in 1966, we tried to operate with the hometown values of the Brugmanns in Rock Rapids, adding some San Francisco flair and later some Potrero Hill flair. We were delighted to find that San Francisco was a city with lively neighborhoods rich in small, locally owned businesses backed by merchant and residential associations and feisty neighborhood newspapers. From the start, the Guardian was a stand-alone independent newspaper that was of, by, and for small business. We still are.

And so when the Guardian moved to its new offices at the bottom of Potrero Hill, we were happy to join the Potrero Hill Merchants Association, meeting every month at Phil de Andrade’s Goat Hill Pizza. We pitched in on projects, from supporting the Neighborhood House and Potrero Hill History Night to instituting a real planning process to save the neighborhood. We also joined the endless battles to protect the hill and the southeastern neighborhoods from the Pacific and Gas Electric Co. and Mirant power plants and the encroaching Mission Bay complex and invasion of high-priced commercial and residential condos.

We like to say that the big downtown and chain businesses look upon San Francisco as a place from which to extract as much money as quickly as possible, much the way the strip miners saw the Sierra, whereas small, locally owned businesses see the city as a place to invest in human capital to build real community.

Jean and I and our staff are happy to salute the quiet heroes of small business with our third annual Small Business Awards. We congratulate the winners and all the small-business people in San Francisco who struggle daily against high taxes and daunting odds to keep their businesses going, their neighborhoods vibrant, and San Francisco an incomparably great city. *

The 2007 Small Business Awards

Die-Hard Independent Award
Clif Bar Co.

Golden Survivor Award
Hoogasian Flowers

Community Institution Award
Modern Times Bookstore

Solar-Powered Business Award
Oceanworks

Community Activist Award
Pet Camp

Chain Store Alternative Award
Waldeck’s Office Supplies

Cooperative Award
Woodshanti Cooperative

Previous winners

Small Business Awards 2007: Cooperative Award

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Down near the dead end of Palou Avenue, beside the old Hunters Point Shipyard, whose claim to infamy is being the city’s sole Superfund site still rife with toxic waste and radioactive material, there’s a woodworking shop that goes against the grain.

Woodshanti, a worker-owned cooperative of custom-furniture builders, strives to be as peaceful as its Hindi-inspired name suggests – "not a negative but a positive part of the ecology," cofounder Shawn Berry says. He and Tom Clossey took over the shop in 1997, when it was still run-of-the-sawmill, and transformed it into an expression of their core values: responsibility, trust, and fun. That last one is underscored by the Ping-Pong table in the break room and a print from Where the Wild Things Are hanging behind Berry’s desk.

As members of a cooperative, Berry, Clossey, and their four co-owners – Todd Rowan, Laura King, Dave Dupuis, and Zac Rose – are directly vested in the business, divide profits based on hours worked, and carry equal amounts of responsibility. Becoming an owner requires at least a three-year commitment and an ability to mesh with the group culture.

Environmentalism and sustainability are the key values of this business, making it a rarity in an industry that depends on cutting down trees. Unlike most wood shops, Woodshanti has a thumbs-up from the Forest Stewardship Council (FSC), a certification in the building trade similar to organic certification in the world of agriculture. Requirements are strict, and the shop is regularly inspected to ensure that the entire chain of custody – from the forest to the sawmill to the lumberyard – adheres to specific standards regarding how and where the trees are sawed. Wood must be responsibly harvested or "rediscovered," meaning it’s salvaged from windfalls, forest fires, or construction sites.

"We wound up doing it because there wasn’t a lot of credibility when we just asked lumberyards if the wood was responsibly harvested," Berry says. Though he believes that the field needs more improvements and the FSC certification isn’t perfect, it’s still above and beyond the conventional foresting industry, as there aren’t any restrictions on clear-cutting, mono-cropping, and using pesticides on privately owned land.

Health is also a part of the wealth of the work and workers. "This is by far the best-smelling finishing room you’ll ever be in," Berry says of the partitioned-off area where tables, bookcases, cabinets, and chairs await their departure. "This is what really sets us apart."

Most woodworkers use a petrochemical base for their finish, a fluid that dries into a slick, impermeable coat and feels more like plastic than wood. Woodshanti uses a linseed-oil-based blend of natural turpentine, rubbed into the wood by hand and designed to penetrate and protect in the way that moisturizer does dry skin. These finishes deepen, rather than stain, the arboreal hues and require additional applications over time. "We’re really up front with the customers," Berry says of the process. "If you’re not into it, there’s a shop around the corner that will do the standard finish."

They’re also forthcoming about their prices. As with most custom work, their products aren’t for the lighter purse. A basic furniture piece clocks in around $2,000; a kitchen on the cheap runs $30,000 and as much as $60,000 for more challenging joinery or costlier wood.

"Our clientele is more or less wealthy," Berry concedes. The co-op’s monetary success, in turn, allows for occasional generous donations of custom furniture to worthy causes and helps the co-op promote and foster its ideals for community outreach through such outlets as the Urban Alliance for Sustainability, an organization founded by Berry that is a clearinghouse of information for the sustainability-driven citizen and raises awareness of locally made goods and services. "What’s important is not to be individually self-sustaining," Berry says, "but to be part of a community that is." (Amanda Witherell)

WOODSHANTI COOPERATIVE

909 Palou, SF

(415) 822-8100

www.woodshanti.com

Small Business Awards 2007: Chain Store Alternative Award

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Since it opened in 1954, Waldeck’s Office Supplies in downtown San Francisco has been a true neighborhood store. In spite of the growth of now-ubiquitous large chains such as Staples and OfficeMax, this family-run retailer has carved a niche with its host of regular local customers and businesses large and small in the neighborhood.

Of the supply shop started by his father, owner Cliff Waldeck says, "Neighborhood-serving retail businesses are why people live, work, and visit specific communities." For him, seeing regulars come in is the best part. "It’s like a scene out of Cheers."

Waldeck’s also leads its industry in being environmentally conscious. Two years ago it was certified as a green business by the San Francisco Department of the Environment.

As Waldeck, a former member of the Mill Valley City Council and a current member of the Bay Conservation and Development Commission, puts it, "I always like to say, ‘In my industry we’ve killed a lot of trees, and I have sap on my hands.’ "

Having done environmental work and advocacy as a public servant, Waldeck decided to make the transition to green practices. To get green certified, he had to demonstrate to inspectors from the San Francisco Public Utilities Commission and Public Health Department that he uses good environmental practices, abiding by criteria including recycling and reusing products, conserving energy and water, and maintaining a healthy office space.

The office supplies retailer also stocks green products such as recycled copy paper, greeting cards made of recycled paper, and energy-efficient items. And you can drop off your fluorescent tubes, toner cartridges, cell phones, and other electronics for free recycling.

Survival is a constant issue for a small business, particularly one downtown, where Waldeck’s competes for retail rental space alongside billion-dollar companies. Waldeck points out, "You might have formula retail legislation that helps preserve places like North Beach and Hayes Valley, but the Financial District doesn’t have that. I have five Starbucks within five blocks." With national chains creating the market rate for retail space, he adds, "it’s extremely difficult to make it just on your foot traffic of people coming in paying cash."

Believing that green practices and the success of a small business can go hand in hand, the retailer has an interesting proposition for San Francisco’s political leaders: anyone bidding on a city contract for goods or services should be required to name seven or so green-certified San Francisco entities they do business with, which would encourage huge companies to work with small, green-certified businesses. "What I’m advocating is that since the city and county of San Francisco is the largest employer and purchaser here, they can lead by example," Waldeck says. "Procurement in SF is basically a cage match now. Whoever wants to sell a product at the lowest price is the one who gets the contract."

With a stockpile of past awards, including the San Francisco Urban Solutions Neighborhood Business Award, San Francisco Small Business Network’s Green Business of the Year, and one from the Environmental Protection Agency Region Nine, Waldeck’s plans to keep up the good work. (Julie Park)

WALDECK’S OFFICE SUPPLIES

500 Washington, SF

(415) 981-3381

www.waldecks.com

Small Business Awards 2007: Community Activist Award

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When Mark Klaiman and Virginia Donohue opened Pet Camp, a kennel for cats and dogs, in 1997 in the Bayview, they wanted to do more than just make money housing pets.

"A lot of businesses drive in, do their work, and leave. They don’t actually get involved in the community," says Klaiman, who with his wife, Donohue, worked for the Environmental Protection Agency prior to becoming an entrepreneur. "We have taken a fundamentally different approach to doing business in the Bayview."

Wedged between Third Street and the Southeast Pollution Control Plant, in a large warehouse complete with a synthetic-grass outdoor play space and a doggie swimming pool, Pet Camp is a stridently green business. It uses huge low-power fans to circulate air, sends its animal droppings to an East Bay methane plant for electricity production, and gets 75 percent of its electricity from a solar-panel-lined roof.

"You get a great view of the settling ponds from our second floor," Donohue says wryly, adding that housing activists threw around the idea of redeveloping their block for new homes.

But the gaseous and chemical smell from the tanks permeates the air, and the housing advocates quickly realized the block might not make for the best living conditions.

The Pet Camp owners are glad about that. They want to stay in the Bayview and have put in countless hours working with others on community projects.

He’s the secretary of the Bayview Merchants Association, which works to ensure that the neighborhood creates and maintains a positive environment for small businesses. During the disruption caused by the construction of the new T-Third line, he helped the group push Muni to develop an ad campaign to let people know that businesses in the neighborhood were still active. They also successfully pressured Muni to speed up the project by making construction crews work weekends and holidays.

"While everyone now thinks the light-rail is going to be great, during the five years it was under construction, it really desecrated Third Street," Klaiman recalls.

The merchant association is also working with the national group Volunteers in Medicine to establish a free health care clinic for Bayview residents.

Pet Camp has a staff of about 20 and offers all employees full benefits and profit sharing. Klaiman says these and other industrial jobs are better than those offered by the tourist and service industries.

For this reason, Klaiman has worked with the Planning Department to retain industrial jobs in the Bayview. Housing activists and other neighborhood merchants have criticized him for that relationship.

According to Al Norman, president of the merchant association, he handles the flack well and takes everything in stride. "He’s levelheaded and evenhanded," Norman says.

At the same time, Klaiman is watchful of downtown developers who are working on changing the Bayview. He keeps track of their efforts through the Planning Department and the San Francisco Urban Planning Association, which has a hand in proposed plans for the area.

"They’re downtown think tank people," Klaiman says in reference to SPUR. "They’re the type of people from north of Market who say they know what is right for the Bayview."

In order to make SPUR sensitive to the needs of Bayview businesses, Pet Camp put together a bus tour for the group to familiarize it with the business community there.

"We should get together as businesses to improve our neighborhood, not just have everything go to downtown," Klaiman proclaims. "And that’s something I think we’ll actually achieve success in – getting better organized out here." (Chris Albon)

PET CAMP

525 Phelps, SF

(415) 282-0700

www.petcamp.com

Small Business Awards 2007: Solar-Powered Business Award

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Going to a mechanic can be like paying a visit to a dentist. Sometimes it feels like they’ve done more harm to your grill than good. Needless to say, it can be a chore to find a good one. Bless your stars and garters that the steady-handed masters at Berkeley’s Oceanworks, which specializes in repairing Japanese cars, are the preeminent green and reliable mechanics around.

Since the current incarnation of the shop opened in 1991, it has developed a reputation for being affordable, trustworthy, environmentally thoughtful, and, most of all, competent. Words wished for in, but not always associated with, the world of automotive repair.

When you step into owner Angus Powelson’s small office, little details reveal that his West Berkeley shop departs from the typical automotive garage. Rather than Popular Mechanics, recent issues of the New Yorker rest on the coffee table, and the good old pot of coffee has been replaced by an antique-looking Italian espresso machine. Sure there are the smells and sounds found in any other garage, but this is about as bohemian an auto shop as you’re going to find.

It’s not only the decor that makes this place so great: Oceanworks consciously does all it can to limit the damage it causes to our beautiful bay biosphere. Upgraded in 1997, the garage receives roughly 75 percent of its power from the reflective solar panels that you see soaking up the rays on the roof. In the office the key word is reuse. Envelopes, boxes, plastic bags, Ziplocs, and cardboard continually find new raisons d’etre. The small amount of paper that is not reclaimed goes into the blue bin, along with any cans and bottles, and is sent off to the recycling yard.

In the garage the story is the same. Coolants get reused and engines are built from salvaged parts. Scrap steel and aluminum are either recovered or recycled. Salvageable car parts are sorted and stored for a chance to live again. When Powelson first took over Oceanworks, the garage filled a six-cubic-yard waste can daily. Today the can is three cubic yards and rarely gets full.

It seems hard to believe, but this mechanic and his shop tread as lightly as possible. Powelson may change oil and rebuild motors for a living, but his dedication to environmentally conscious auto repair is rivaled only by his commitment to traveling by bike as much as possible and using his truck only for work-related tasks.

While the outfit specializes in foreign cars, it’s also thinking ahead. Oceanworks deals in Swift bicycles, those nifty folding Xootr bikes that are superlightweight and can be readily stored without nuisance. "Anything to get people out of their cars," Powelson says. (Chris Jasmin)

OCEANWORKS

2703 10th St., Berk.

(510) 849-1383

www.oceanworksberkeley.com

Small Business Awards 2007: Community Institution Award

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It started in 1971, with a handful of people who worked for Socialist Revolution magazine and wanted to sell books that would give the Movement – and back then it had a capital M – some historical and theoretical perspective. The magazine’s editor, Jim Weinstein, provided the rag with a free 900-square-foot space in a building he owned. With $5,000 in raised funds, the idealistic collective opened Modern Times Bookstore in the Mission.

A lot of similar projects were launched in San Francisco during that era – co-operative businesses and ventures founded by activists with a radical social vision – and most of them folded. Modern Times grew. And while independent bookstores around the country are failing by the day, Modern Times is thriving.

"I think it’s because we’ve always had the support of the community," Michael Rosenthal, who started at Modern Times just weeks after it opened and retired this year, told us. "We were always a community bookstore."

And unlike a lot of ’60s-era institutions, Modern Times was open to adapting and changing – while preserving its core beliefs. There have always been books for sale on Marxism and socialist theory, but as Rosenthal points out, "at a certain point, we realized we were just speaking to a coterie."

Taking a broader approach, Modern Times became one of the first bookstores in the country to offer a lesbian-gay section and one on women’s issues. And these days the store has an incredible variety of books from major and small-press houses in all sorts of different genres, including Spanish-language and children’s books, and an extensive rack of zines and cultural periodicals. New College, right down the street, uses Modern Times as its school bookstore, a deal that helps both local institutions.

Modern Times has maintained its worker-ownership structure – and has always been a community resource. Its back room is abuzz with local author book signings and queer experimental poetry readings. Political and community groups use the store for everything from panel discussions on the city’s wi-fi plan to workshops on economics and how-to sessions on bike safety. The site has hosted events featuring the storied radical feminist ’80s performance art and culture-jamming group the Guerrilla Girls, and San Francisco’s innovative Cutting Ball Theater is currently in residence there. Check out the events page on the store’s Web site for a fabulous list of upcoming eclectic and wonderful writers, speakers, and interactive programs.

Modern Times has become more than just a neighborhood bookstore for the Mission. It’s also a crucial part of San Francisco’s progressive community. And it’s a sign that independent bookstores can withstand gentrification and the assault of the big chains – and make a difference. (Tim Redmond)

MODERN TIMES BOOKSTORE

888 Valencia, SF

(415) 282-9246

www.moderntimesbookstore.com

Small Business Awards 2007: Golden Survivor Award

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It didn’t seem like Harold and Larry Hoogasian were going to take up the family business, floristry. The brothers, exactly three years apart in age (both were born on Bastille Day), attended UC Berkeley in the ’70s – Harold studied genetics; Larry majored in architecture.

But a love of the customers and the family tradition drew them back into the fold. "We grew up in the business," says Larry, who remembers working with his older brother and father, Harold Sr., after school and on weekends at the flower stand that has occupied a spot in front of Gump’s on Post Street since Feb. 14, 1953.

Prior to establishing possibly the first stationary flower stand in the Financial District, the siblings’ grandfather was one of many small vendors of gardenias and violets operating a pushcart around the bustling downtown area. "One day he just got lazy and stayed in one place," Larry says, recalling what he’s always been told about his grandfather’s bold move.

It was their father who extended the reach of the business to the Cannery on Fisherman’s Wharf and Treasure Island, then a naval base. Both locations afforded the stand’s customers large doses of ’60s flower power. The tourists who flocked to the Cannery had all heard Scott McKenzie croon, "If you’re going to San Francisco …," and made sure to wear one of the Hoogasian blooms in their hair. The Treasure Island business was the spot where soldiers wired their last tokens of affection to loved ones before heading overseas.

After taking ownership, the sons brought the business to the next level. Harold took on marketing and promotions; Larry handled all of the designs and arrangements, then opened a storefront on Lombard Street, which closed shortly after he set up the current shop in South of Market six years ago.

It seems fitting that Harold and Larry, both fans of the city’s vibrant music scene as teens, would become an important part of the city’s music culture – florally speaking.

As the story goes, Harold entered a design contest at a flower show in 1976. Larry’s task was to build a gazebo. He pulled out all the stops, constructing a massive 1,000-square-foot structure. As he was nailing flowers over the trellises, a man strolled by and exclaimed, "My, my, my. I’ve never seen a pile of sticks so beautiful." That man happened to be Bill Graham. Not only did the siblings win the contest, but they also began a long relationship as the concert promoter’s florist, decking out dressing rooms for the Grateful Dead and Elton John and even putting together the wedding bouquet for Madonna’s "Like a Virgin" tour.

A career highlight for Larry, who was raised Catholic and had a contract with St. Mary’s for many years, came when he won the bid to make all of the arrangements for Pope John Paul II’s 1987 visit. "I had to chase away all the nuns," he says, explaining that many habited women were trying to snatch keepsakes from the floral decorations that were being broadcast to millions of television viewers.

His brother, Harold, has received his fair share of accolades too. His efforts have put the company in online and telephone floral service FTD’s top 100 in volume sales since the mid-’90s. To keep up with the competition, Harold has sealed contracts with 30 Walgreens, where a lot of last-minute flower sales occur these days.

Larry foresees customers soon pouring into the location on Townsend and Seventh streets as more residents move into the increasingly residential neighborhood. It looks like Hoogasian Flowers will be creating beautiful arrangements for locals on their birthdays and for their weddings and funerals for many years to come. (Deborah Giattina)

HOOGASIAN FLOWERS

615 Seventh St., SF

(415) 229-2732

www.hoogasian.com

Small Business Awards 2007: Die-Hard Independent Award

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In 2000, when Gary Erickson, founder and owner of Clif Bar and Co., told reps from Quaker Oats – the fourth largest consumer goods company in the world – that he needed to go for a walk before signing over his company for $120 million, they thought he was bluffing to secure a larger payout.

"He literally had his pen this close to the contract," recalls Sheryl O’Loughlin, outgoing CEO of the company, as she poises the tip of an ink pen a couple inches above a notepad at her desk. "The way he described it was that his hand started to shake. Something just didn’t feel right."

Erickson chewed over the life-changing dilemma as he walked the block surrounding his Berkeley office building. Did he honestly want to exchange an eight-year enterprise to produce and successfully market an appetizing assortment of energy bars and drinks for the life of an instant multimillionaire and all the attendant comforts it yields – mansions, shopping sprees, and exotic trips?

And how could the company founder not sell when the consensus among consultants, Erickson’s now ex-partner, and even some of his employees was that Clif Bar’s competitors would eat them alive if he didn’t? Deserting the Clif Bar empire before its fated downfall seemed to be the only logical move.

"Nestle had just bought PowerBar, which was really big at the time, and then Kraft bought Balance Bar," O’Loughlin explains. "So naturally there was a ton of pressure to sell, because we [supposedly] couldn’t make it on our own."

In spite of the risk or perhaps because of it, Erickson returned to his office with a new resolve and announced to the investment banker, lawyers, and his stunned partner that the deal was off. He then literally told them all to go home.

"I went from the darkest of dark to the highest of highs the moment I realized I didn’t have to sign that contract," marvels Erickson during a phone interview. The company founder – with his wife and partner, Kit Crawford – is resuming leadership of their company with just under 200 employees.

"I was more excited at that moment than probably any other moment of my life, aside from having children."

A year after ditching Quaker Oats at the altar, Erickson could identify another important reason why he did it. Although he and his partner were promised postacquisition roles in the company, as signing day neared it became clear that this was merely a typical sweet nothing often whispered in the midst of a seductive corporate takeover.

But once Quaker Oats unveiled its plan to move the Clif Bar operations to its offices in Chicago and told Erickson that his people in Berkeley would basically be out of their jobs, he got a whiff of the company’s true oats.

The decision invigorated Erickson and motivated him to define Clif Bar’s bottom line beyond its profits. He came up with what the company now refers to as the Five Aspirations: business, brand, planet, community, and people. This new mission galvanized the creators of Luna, Nectar, Mojo, and Builder’s bars to make 70 percent of each product organic and use biodiesel trucks between their bakery and destination centers.

On the community tip, Clif Bar donates approximately 1 percent of its net sales in the form of food, money, and volunteer time. Each employee volunteers at least 20 community service hours per year during paid work time, which can entail anything from assisting Habitat for Humanity in New Orleans to planting community gardens in Hunters Point.

Though a commitment to green practices and community service has boosted company morale, masseuses, salons, in-office rock climbing walls, personal trainers, and laundry facilities, among other staff perks, also serve to sustain Clif Bar’s people. How’s that for ulterior motives? (Angela J. Bass)

CLIF BAR AND CO.

1610 Fifth St., Berk.

1-800-254-3227

www.clifbar.com

All aboard the next bus performance

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Yes, they’re taking it to the steets again: John Benson’s bus will set up show at 17th and Treat streets, SF, on May 5. Let’s guesstimate the start time at around 8 or 9 p.m.

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Some dirty rat busted a window right before this show. All photos by Kimberly Chun.

Who’s gonna get it up inside? Fuck Wolf, Reagan’s Memory, Brown Um (Randy Lee), and Saberteeth. Crunch!

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Take 50

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TAKE 50: SF INTERNATIONAL FILM FESTIVAL

THURS/26

*Golden Door (Emanuele Crialese, Italy/France, 2006). Epic in scope, playful in its stylistic shifts and tonal splices, and sumptuous in its painterly framing and use of light, Golden Door looks on an age-old American saga – an immigrant family’s crossing from the Old World to the new – with startlingly fresh, impassioned eyes. Director Emanuele Crialese (Respiro) turns his sometimes wry, sometimes tender focus on a band of illiterate Sicilian peasants drawn from their dirt-poor village by pre-Photoshop pictures of giant chickens and trees laden with enormous gold coins. Led by an intrepid yet ignorant patriarch (Respiro‘s Vincenzo Amato) and a comical spiritual fixer of a grandmother (Aurora Quattrocchi), the group is joined in steerage by a cryptic gentlewoman (Charlotte Gainsbourg). Ellis Island and its proto-eugenic experiments await – along with dream sequences that fluidly transmit the otherworldly magic of the villagers’ forthcoming American mystery tour. (Kimberly Chun)

7 p.m., Castro. Opening night film and party at City Hall, $85-$125

FRI/27

Black Sheep (Jonathan King, New Zealand, 2006). Something is going baaaaaad in Lord of the Rings country. The usual science experiment-gone-wrong results in the usual creature rampage, as sheep go George Romero on humans at a rural New Zealand ranch. This jolly, diverting, ultimately too-silly horror comedy from neophyte writer-director Jonathan King is duly funny. Still, it overstays its one-joke welcome by a bleat or three. (Dennis Harvey)

10:45 p.m., Kabuki

*A Few Days Later … (Niki Karimi, Iran, 2006). Already a star from her appearances in Tahmineh Milani’s overwrought – but much beloved – melodramas, Iranian actress Niki Karimi looked to the grand master, Abbas Kiarostami, for directing inspiration. In this, her second feature, she beautifully captures a specific brand of avoidance and understatement. She plays Shahrzad, a mousy graphic designer who becomes distracted at work. At home her answering machine constantly squawks about her family’s health and well-being, and her annoying neighbor (Behzad Dorani, from Kiarostami’s The Wind Will Carry Us) keeps parking his giant SUV in her space. To her credit, Karimi never shows the expected hospital scenes, tearful good-byes, or tense confrontations that seem to be looming. Instead, she retreats inside the character’s head and brings the film to a stunningly private conclusion. (Jeffrey M. Anderson)

7:15 p.m., PFA. Also Sun/29, 12:15 p.m., Kabuki; Mon/30, 6:45 p.m., Kabuki

Murch (David and Edie Ichioka, England/US, 2006). Codirector Edie Ichioka is a disciple of legendary film and sound editor Walter Murch (Apocalypse Now, The English Patient), so you know this doc will be nothing less than a glowing portrait. But instead of a simple glorification, it is more an embellished interview (complete with jump cuts during the talking head portions), with Murch using an astounding array of metaphors – besides the obvious "editing is like putting together a puzzle," he also works in painters, sock puppets, kidney transplants, and dream therapy, among others – to explain his approach to his craft. As Murch proves, a talented editor can make a good film great and a great film a masterpiece; it all comes down to an intangible combination of technical skill, sense of rhythm, and artistic instinct. (Cheryl Eddy)

9 p.m., SFMOMA. Also Sun/29, 4:15 p.m., Castro; Tues/1, 1 p.m., Kabuki; May 5, 3:30 p.m., PFA

*Slumming (Michael Glawogger, Austria/Switzerland, 2006). Two arrogant yuppie pranksters (August Diehl and Michael Ostrowski) cruise around verbally pigeonholing others, making playthings of them. Meanwhile, a drunken, derelict poet (Paulus Manker) wanders the streets alternately cajoling and ranting at people. When the pranksters find the poet passed out on a bus station bench, they decide to transport him to a similar spot across the border, without a passport. Director Michael Glawogger (Workingman’s Death) and cowriter Barbara Albert achieve a pleasurable quirky quality with their black comedy, carefully guiding it between the precious and the preachy; they sometimes amusingly present a joke’s payoff before the setup. The film passes easily between immaculate cafes and slush-covered highways, but at its center is Manker’s wonderfully cantankerous performance. (Anderson)

9:30 p.m., Kabuki. Also Sat/28, 1:30 p.m., Kabuki; May 5, 8:30 p.m., SFMOMA; May 7, 6:30 p.m., Aquarius

SAT/28

*All in This Tea (Les Blank and Gina Leibrecht, US, 2006). Tea still has an effete connotation in this country, but David Lee Hoffman is an adventurer of the old order. An unabashed partisan of the fair drink, he regularly travels to China to ferret out farmers and distributors, sampling and savoring the Old World leaves. His dedication is total; we’re hardly surprised when Werner Herzog drops by Hoffman’s Marin home for a spot of tea, because the director is a connoisseur of aficionados, explorers, and cranks. Hoffman is capably eccentric but also unassuming, making All in This Tea a friendly primer. Codirectors Les Blank and Gina Leibrecht bring their usual ethnographic grace to this 10-years-in-the-making project. (Goldberg)

1:30 p.m., PFA. Also Sun/29, 4:45 p.m., Kabuki; May 2, 4 p.m., Kabuki

*At the Edge: New Experimental Cinema (various). Experimental showcases are always an Achilles heel for film festivals big on narrative. They’re often shoehorned with tepid concessions to so-called innovation, although sometimes they yield moments of genuine surprise. This showcase has a bit of both. Paul Clipson’s Super 8 trip of blurred urban lightscapes looks through Stan Brakhage’s kaleidoscope but can’t see beyond it. On the other hand, the sleep of reason produces monsters (slavery, social Darwinism) and some beautiful animation in Atlantis Unbound, in which Lori Hiris morphs her black-and-white charcoal sketches – evoking the mystical art of William Blake or Austin Osman Spare – of 19th-century scientists into slaves, merfolk, and other beings from beyond the pale of the Enlightenment. The banality of evil is also evoked in Xavier Lukomski’s static shots of the serene Drina River Bridge, where, as the voice-over informs us, Bosnians dredged up the victims of genocide. When viewed through a long shot, the horrors of history become more pronounced, given their calm surroundings. (Matt Sussman)

8:30 p.m., PFA. Also Tues/1, 6:15 p.m., Kabuki

*Carved Out of Pavement: The Work of Rob Nilsson On the brink of 70, longtime SF filmmaker Rob Nilsson is astonishingly prolific. No less than four work-in-progress features will be excerpted in this tribute program, including some from the nearly completed "9@Night" series of interwoven fictions made with the Tenderloin Action Group. For all his invention and industry in production, Nilsson hasn’t exactly worked overtime getting his movies seen – except at the Mill Valley Film Festival, where you can count on one or two premiering each fall. The MVFF is copresenting this special show, which will have the filmmaker reviewing a career that stretches back to the mid-’70s SF CineAction collective and 1979’s Cannes Camera d’Or-winning Northern Lights, as well as discussing latter-day digital projects with numerous current collaborators, also present. Excerpts from "9@Night" will also be projected on the SFIFF’s Justin Herman Plaza outdoor screen May 1 to 3. (Harvey)

7 p.m., Kabuki

Fabricating Tom Ze (Decio Matos Jr., Brazil, 2006). Though typically grouped with the explosive Brazilian Tropicalismo movement, Tom Ze has always been too much of an eccentric to fall properly into line. It’s a point made abundantly clear in Fabricating Tom Ze (I still haven’t figured out the title), a generally awestruck doc that makes up for its thin content with plenty of Ze’s indefatigable, abundant speech. Between the interruptions, self-mythologizing, and creative suggestions for the film’s director (all of which Decio Matos Jr. takes), Ze spills over with quixotic, brilliant epigrams on creativity and authenticity. "I have to make a small invention every time I have an idea worthy of becoming music," he reports – as if there were any doubting his inventiveness. (Goldberg)

1 p.m., SFMOMA. Also Tues/1, 8;30 p.m., El Rio; May 6, 3:30 p.m., Kabuki; May 9, 6:30 p.m., Aquarius

*Hana (Hirokazu Kore-eda, Japan, 2006). Hirokazu Kore-eda’s gentle deconstruction of that venerable institution of Japanese film the samurai movie isn’t too much of a departure from his previous features. Hana also focuses on the small, unexpected sense of community that arises out of idiosyncratic responses to tragedy or, in this case, the public’s hunger for it. It’s 1702, and like other underemployed samurai during peacetime, Sozaemon Aoki (Okada Junichi) is restless, as is the general population, which gorges itself on violent revenge plays and romanticized notions of honor. The pensive Sozaemon is bent on carrying out his duty to avenge his father’s death, even if he seems more at home tutoring the kids in the hardscrabble but lively tenement where he lives. His neighbors, who initially tease him about his lack of guts, eventually rally round his failures – and their own lowly status – and celebrate the humble resolve. To paraphrase resident dimwit Mago (Kimura Yuichi), when life gives you shit, make rice cakes. (Sussman)

4:30 p.m., Kabuki. Also May 2, 6:45 p.m.; and May 5, 5:45 p.m., PFA

*The Island (Pavel Lounguine, Russia, 2006). Not to be confused with Michael Bay’s jiggly, blow-’em-up, organ-harvesting gesture toward Logan’s Run. If Andrei Tarkovsky’s movies were lit by God, then The Island sets God to work creating an austere black-and-white landscape of unforgiving snow, rocky shores, hills of coal, and blighted driftwood. By all appearances a mad monk but in this reality a truth-talking, faith-healing saint of sorts, Father Anatoly is doing penance on the island for a wartime act that most reasonable deities would excuse. No such luck for this Russian Orthodox overseer – wearisome monastery politics and the teary negotiations of the sick and injured occupy the sooty savant in this elegantly wrought parable, which puts cheesy stateside Biblesploitation big-budgeters such as The Reckoning to shame. (Chun)

4:15 p.m., Kabuki. Also May 2, 6:45 p.m., Kabuki; May 3, 3:30 p.m., Kabuki

Once (John Carney, Ireland, 2006). A genuine sleeper at Sundance, this small Irish indie charmer will be spoiled only if you swallow all advance hype about its purported brilliance. Sometimes nice is quite enough. Real-life singer-songwriters Glen Hansard and Marketa Irglova play struggling Dublin musicians, one a native busker still living above Da’s vacuum repair shop, the other a Czech emigre supporting her family by selling flowers on the street. Their slow-burning romance is more musical than carnal, climaxing in a studio recording session. Writer-director John Carney’s film manages to play like a full-blown musical without anyone ever bursting into song. Instead, the appealing original folk rock tunes played and sound-tracked here come off as vivid commentary on a platonic (yet frissony) central relationship. (Harvey)

7:15 p.m., Kabuki. Also May 6, 9:30 p.m., Clay

Protagonist (Jessica Yu, US, 2006). Jessica Yu, the Oscar-winning director of the 1996 short documentary Breathing Lessons (she also made 2004’s In the Realms of the Unreal, a haunting look at outsider artist Henry Darger), returns with Protagonist, an initially confusing but ultimately fascinating doc about four men who couldn’t be more dissimilar on the surface. How can the themes of classical Greek tragedy link a Mexican bank robber, a German terrorist, a reluctantly gay Christian, and an aggro martial artist? Yu uses puppet interludes, revealing interviews, and a keen eye for detail as she traces their shared stages of provocation, rage, doubt, catharsis, and so on – proving the journey of an antihero has little to do with setting, be it ancient or modern. (Eddy)

6:15 p.m., SFMOMA. Also Mon/30, 4:15 p.m., Kabuki; Tues/1, 9:15 p.m., Kabuki

*Strange Culture (Lynn Hershman Leeson, US, 2006). The duly strange, as yet unresolved case of SUNY Buffalo art professor Steve Kurtz has spurred local filmmaker Lynn Hershman Leeson’s best feature to date, a documentary-dramatization hybrid. With the man himself still legally restrained from discussing his circumstances, Thomas Jay Ryan plays Kurtz, who as a founding member of the multimedia Critical Art Ensemble had long made work focusing on social justice issues and the intersection between science and government. To create an exhibition on biotechnology, he acquired for carefully safety-measured display some bacteria samples readily available online. When wife of 27 years Hope (played by Tilda Swinton) unexpectedly died of heart failure in her sleep, emergency medical personnel grew suspicious of these unusual art supplies. Soon FBI personnel evicted the distraught widower from his home, quarantined the entire block, and accused him of possessing bioterrorist weapons of mass destruction during an incredibly cloddish investigation. Kurtz’s real-life colleagues and friends were interviewed in a free-ranging yet pointed feature whose actors also step out of character to articulate their concern about the government’s post-9/11 crackdown on dissent, even the rarefied gallery kind. (Harvey)

6 p.m., Castro. Also May 4, 8: 45 p.m., SFMOMA; May 8, 7 p.m., PFA

SUN/29

The End and the Beginning (Eduardo Coutinho, Brazil, 2006). Picking a small town at random and making a film about its residents can be brave filmmaking. It can also be plain lazy, as is the case with Brazilian filmmaker Eduardo Coutinho’s directionless profile of rural Aracas, in the state of Paraiba. Unsurprisingly, people being people, he finds great interview subjects, but he doesn’t bother to connect them to one another or to the town. Only their highly region-specific Catholicism provides any unifying thread. And though Coutinho’s not exactly condescending (beyond some slight Kids Say the Darndest Things baiting of his loonier interviewees), there’s an unspoken mandate to keep things simple: his response to one woman’s enticing hint at her failed law practice is to ask about her sewing. (Jason Shamai)

7:15 p.m., Kabuki. Also Tues/1, 3:30 p.m., Kabuki; May 3, 4 p.m., Kabuki

*Singapore Dreaming (Yen Yen Woo and Colin Goh, Singapore, 2006). With their second feature, Yen Yen Woo and Colin Goh have their hearts in the right place while their eyes are on the prize of capturing a postcolonial city-state clutching at the global economy. The gently humorous, humanist realism of Edward Yang comes to mind while watching this husband-and-wife directorial team’s warm, witty depiction of the everyday lives of a working-class Singapore family who live, dream, bicker in pidgin English and Mandarin, and inhale vast quantities of herbal tea in their high-rise project. Pops buys lottery tickets, hoping to move into a slick new condo. Back from his studies in the States, the pampered son is discovering that in go-go Singapore his degree isn’t quite as covetable as it once was, and the beleaguered daughter is in her final trimester, coping with a demanding yuppie boss and a slacker hubby who yearns to be in a carefree rock band and pees in his father-in-law’s elevator. When disaster strikes, no one is thinking about the matriarch, whose only seeming desire is to properly feed and water her brood, but she ends up providing some unexpected feminist substance, rather than sustenance, under the movie’s wise gaze. (Chun)

8:30 p.m., Kabuki. Also May 4, 1 p.m., Kabuki; May 5, 3 p.m., Kabuki

12 Labors (Ricardo Elias, Brazil, 2006). Part Black Orpheus, part 400 Blows, 12 Labors is a Brazilian feature that revisits the myth of Hercules through the story of a motorcycle messenger’s rehabilitation. A kid from a rough part of Sao Paulo, Heracles gets out of juvie and tries to start a new life. To land a job as a motorcycle messenger, he has a trial day with (you guessed it) a dozen jobs to complete. An artist who never knew his father, he also writes origin stories in comic book form, which mystify his coworkers. Though Heracles’s experiences seem tinted with divinity, he inspires worry on the part of the viewer. Since all good myths have moral purpose, this one finally addresses the very current social issue of juvenile delinquency and rehabilitation in urban Brazil. (Sara Schieron)

9:30 p.m., Kabuki. Also Mon/30, 7 p.m., Kabuki; May 5, 4:30 p.m., Kabuki; May 7, 9:15 p.m., Aquarius

MON/30

*Broken English (Zoe Cassavetes, USA, 2006). "I don’t think Hollywood knows what to do with me," Parker Posey recently opined, despite having a prominent role in Superman Returns. Fortunately for us, Amerindie cinema does still know what to do with her. The SFIFF is hosting a double bill of the pushing-40 actor’s latest, reprising the title figure in Hal Hartley’s Henry Fool sequel Fay Grim and starring in Zoe Cassavetes’s feature debut. Posey is perfect as director-scenarist Cassavetes’s superficially cheery but highly insecure NYC hotelier. Some may think this low-key seriocomedy paces pat single-gal-searching paths – from Helen Gurley Brown’s Sex and the Single Girl to Sex and the City – but in its thoughtful nature and serious treatment of a clinical-depression interlude it roams well outside stock terrain. Even if the fade-out waxes a tad improbably happily-ever-after, Posey’s nuanced performance will make you root for it. (Harvey)

6:30 p.m., Kabuki. Also May 2, 2 p.m., Kabuki

Fay Grim (Hal Hartley, USA/Germany, 2006). A decade ago Hal Hartley made his best movie, the practically epic – by this miniaturist’s standards – Henry Fool. By most estimates it’s been downhill ever since. They love him in France – but perhaps he should never have left Long Island. So it was heartening news to hear he was returning to the world of Henry Fool, better still to know the sequel would revolve around the title character’s scrappy, vulnerable abandoned wife, Fay, who provided one of Parker Posey’s finest hours. She’s still good here, natch, but Fay Grim is all over the map – literally. The convoluted story line journeys from a mild farcical take on espionage thrillers to a murkily serious commentary on world politics. It’s watchable, but once again one gets the sense that with Hartley, the wider his focus, the blurrier it gets. (Harvey)

9:15 p.m., Kabuki. Also May 3, 9:10 p.m., PFA

TUES/1

Congorama (Philippe Falardeau, Canada/Belgium/France, 2006). Quebec writer-director Philippe Falardeau’s story of a revolutionary electric car and a sticky-fingered inventor is part of that ever-widening army of films that plant fairly obvious and poorly integrated details into the first act so that later, when the story is retold from another perspective, they reappear with more context to click Aha!-ingly into place. Though some of the big, unwieldy reveals are a lot of fun in a Lost sort of way, they distract from the more prosaic but more satisfying concerns of the film’s smartly drawn characters. The inventor, for instance, is a not particularly likable person who still has a believably loving, humor-filled relationship with his family. Now talk about a novel concept! (Shamai)

6 p.m., Kabuki. Also May 2, 9:15 p.m., PFA; May 6, 6:30 p.m., Aquarius

Private Fears in Public Places (Alain Resnais, France/Italy, 2006). Alain Resnais’s 17th feature is dreamy and sometimes enchanting, though it doesn’t warrant comparison to the knife-sharp moral plays made during his prime, such as Hiroshima Mon Amour and Last Year at Marienbad. Adapted from a play by Alain Ayckbourn (the two previously collaborated on Smoking and No Smoking), Private Fears in Public Places weaves the love(less) stories of a half dozen Parisians; plotlines intersect, but in light brushes rather than the solemn collisions of Babel and Crash). The artifice Resnais imposes on his film is poetic in miniature – the camera, for example, periodically floats above the set, filming actors as if they were in a dollhouse – but the sum total is stultifying, unhinging an already-adrift narration and making Private Fears in Public Places seem needlessly opaque. (Goldberg)

7 p.m., PFA. Also May 3, 6:15 p.m., Kabuki; May 7, 4 p.m., Kabuki

*Rocket Science (Jeffrey Blitz, USA, 2006). Promising to be the next best coming-of-age cultie with its sure-handed, sharp performances and Freaks and Geeks-like sobriety, Rocket Science finds new agony and indie rock-laced ecstasy in one miserable adolescent’s progress. Or to be specific, one stuttering, 98-pound weakling’s marked, often laugh-out-loud funny lack of progress. The high school years for Hal Hefner (compulsively watchable frail cutie-pie Reece Thompson) seem to be going from bad to sexy once he gets recruited for the school debate team by scarily driven, Tracy Flick-esque champ Ginny (Anna Kendrick). But his travails never quite end even as he attempts to extract nerd revenge and literally find his voice, accompanied by vintage Violent Femmes and hand-clapping quirk pop by Eef Barzelay of Clem Snide. Tapping memories connected to a speech impediment, Spellbound codirector Jeffrey Blitz turns tongue-tied prince Hal’s articulation struggles into the perfect metaphor for every awkward teen’s gropes toward individuation. (Chun)

4 p.m., Kabuki. Also May 4, 6:15 p.m., Clay

50 Movies That Have Yet to Hit the Bay Area

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We here in San Francisco and the Bay Area might have it better than anywhere else in the US when it comes to breadth and variety of movie programming. We’ve got different rep houses, the usual chains, some daring museums, possibly the best independent spaces, and so many festivals I’ve given up counting. Yet while there’s no avoiding a coming blockbuster, there’s still a chance that a great movie or a movie that at least sounds like it has potential might not come to town. In that spirit, with a monumental SFIFF 50 banquet set to commence, I’m throwing down a list of 50 movies I’d like to see — films or videos that (I think) have yet to play here. I’ve spoken with enough programmers to know that some things listed below might be impossible or overly expensive dreams, while others might simply turn out to be rotten. If something below has played SF, email me at johnny@sfbg.com, and I’ll take it off the list and replace it with something else. This list is now open — to endless revision. What do you want to see? Post your suggestions; I wanna know!

CLINT REILLY AND JOSEPH ALIOTO ANNOUNCE A PRESS CONFERENCE ON THEIR ANTITRUST SUIT AT 10:30 WEDNESDAY MORNING

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Stop the presses or rev up the presses: as the case may be. Check the Guardian website and the Bruce blog for full coverage, commentary, and viewing of all unsealed documents. B3

Media Contact: Brooke Halpin – Halpin House West 310-702-6300

MEDIA ALERT

CLINTON REILLY AND JOSEPH ALIOTO WILL BE HOLDING A PRESS CONFERENCE TO ANNOUNCE A MAJOR NEWS DEVELOPMENT REGARDING THE LAWSUIT AGAINST MEDIA NEWS GROUP, INC., THE HEARST CORPORATION; STEPHENS GROUP INC.; GANNETT CO., INC.; and CALIFORNIA NEWSPAPERS PARTNERSHIP

ATTN: BUSINESS, LEGAL and CONSUMER REPORTERS

WHAT: DETAILED NEWS REGARDING THE LAWSUIT WILL BE
DISCLOSED AT THE PRESS CONFERENCE. TIME SENSITIVE MATERIALS TO BE DISTRIBUTED.

WHEN: WEDNESDAY, APRIL 25, 2007 AT 10:30AM PACIFIC

WHERE: CLINTON REILLY HOLDINGS
MERCHANTS EXCHANGE BUILDING
465 CALIFORNIA STREET
MAIN LOBBY
SAN FRANCISCO, CA

Artists to Newsom-Lennar: Get specific

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By Sarah Jane Phelan
IMG_5026.jpg
Estrelle Akamine, shipyard artist and Spring Open Studio coordinator, at work in her Hunters Point Shipyard studio.

As the 49ers roll out the financial details behind their plan to relocate to Santa Clara, the artists at Hunters Point Shipyard are trying to work out what Mayor Gavin Newsom’s “with or without the 49ers” redevelopment proposal means for their artist colony, which has been at the shipyard for 30 years.

The artists aren’t the only ones.

At last night’s meeting at the Southeast Community Facility, the audience weren’t the only ones unable to get their hands on a hard copy of the latest version of proposal, whose wording keeps changing faster than you can say, “bait and switch.” As a result, members of the Mayor’s Hunters Point Shipyard Citizens Advisory Committee and the Bayview Hunters Point Project Area Committee ended up voting to integrate the shipyard and Candlestick Point into one big old redevelopment project—WITHOUT HAVING A COPY OF the mayor’s most recent proposal in their hands.

Another Chance to Impeach on the Beach!

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By Sarah Jane Phelan

As Bush and his pit bull Cheney try to spin their way out of their lies about Iraq, and everything else for that matter.
San Francisco cabbie and writer Brad Newsham once again invites you to lie down and send a simple message about this administration to the world: “Impeach now!”
BodyCount_IMPEACH_001.jpg
Photo Credit: John Montgomery

Paul Fenn wonders why the Chronicle ran a front page PG&E ad while covering a major CCA story in half a paragraph on page 27

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By Bruce B. Brugmann

I asked Paul Fenn, architect of San Francisco’s community choice aggregation plan and a national expert on CCA power, if the Chronicle/Hearst had contacted him about the announcement of the CCA plan last week (no) and what he thought about its coverage His answer:

“During Earth Day week and the height of the national debate on Climate Crisis, the San Francisco Chronicle failed to show up at a major City Hall press conference on April l7 on a plan to implement the largest municipal solar public works project in history–to be built by the City in San Francisco. The Chronicle blacked out not only the statements of sponsoring Supervisors Ammiano and Mirkarimi, but CCA law sponsor Senator Migden, Assemblyman Leno, and the head of Greenpeace USA, who called the Community Choice Aggregation Plan the world’s leading solution to Climate Crisis.

“Instead of informing its readers about an event that Ross Gelbspan called a ‘globally important event’ and Helen Caldicott called a ‘world leader,’ the Chronicle chose to cover a debate on restricting car access in Golden Gate Park–the equivalent of covering a bar brawl after a declaration of war. All they gave us was half a paragraph on page 27–I could not help noticing a large green PG&E ad on the Chronicle cover page that day.”

Fenn is founder and director of Local Power, an Oakland-based group promoting CCA power. For more information, go to his website at local.org.

And now Matier and Ross do a little flacking for PG&E and lots of shorting of public power

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By Bruce B. Brugmann

The day after Earth Week, the Chronicle’s star columnists continued the Hearst policy of flacking for PG@E and censoring public power and greenwashing Earth Day coverage with a telling omission in their front page story on Monday April 23 how the San Francisco 49ers are hoping to get Santa Clara to pony up $l80 million or so for their $800 million new stadium.

In listing the various public fund possibilities for Santa Clara, Matier and Ross reported as a major option: “The reserve fund for Santa Clara’s electric utility. According to city officials, that fund exceeds $300 million.”

Then, two paragraphs later, the columnists wrote “That still leaves the Niners counting on tens of millions from the Silicon Valley Power reserves.” Wow, where do you suppose that kind of money comes from in a small city like Santa Clara deep down in the Peninsula? Matier and Ross know perfectly well where that money comes from. It comes from the fact that Santa Clara is a public power city, has been for years, and therefore has cheap public power that provides low electric rates for the city at the same time it provides huge gobs of money for the utility and the city.

The political and public policy point: Santa Clara gets the enormous advantage of public power. San Francisco, the only city in the country mandated by federal law to have public power (because of the Hetch Hetchy dam and the public power mandates of the federal Raker Act), does not. PG@E gets the huge profits from our Hetch Hetchy system, not San Francisco. That is the heart of the scandal.

Question for Matier and Ross (and Hearst corporate): Why didn’t you do normal reporting on this story, properly identify the Santa Clara utility as a public power utility, and explain the PG&E/public power context? When will you start telling the truth about the PG&E scandal? (Note: the Guardian is not for a moment suggesting that Santa Clara give up its public power reserves to the 49ers. In fact, we think the city will be much better off without the 49ers and the enormous public expense of subsidizing a stadium. We just think that it is high time for San Francisco to get the same kind of huge revenues and public power benefits that Santa Clara gets.)

Stay tumed, this is the tip of the biggest scandal in U.S. history involving a city and alas you may read about it only in the Guardian and the Bruce blog. Keep a sharp eye for more media greenwashing for PG&E. Let me know. B3

The Guardian Iraq War casualty report (4/23/07)

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The Guardian Iraq War casualty report (4/23/07): 46 Iraqi civilians killed.

Compiled by Paula Connelly

Casualties in Iraq

Iraqi civilians:

At least 46 Iraqi civilians were killed today in suicide bombings across the country, according to the Associated Press.

98,000: Killed since 3/03

Source: www.thelancet.com

62,281 – 68,289: Killed since 1/03

Source: http://www.iraqbodycount.net

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

A Week in Iraq: Week ending 15 April 2007:
http://www.iraqbodycount.org/editorial/weekiniraq/41/

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

U.S. military:

3,570: Killed since the U.S. invasion of Iraq 3/20/03

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

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

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.04.html

Iraq Military:

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

153 journalists have been killed in Iraq since the start of the war four years ago, making Iraq the world’s most dangerous country for the press, according to Reporters without borders.

156: Killed since 3/03

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

Refugees:

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

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

1.6 million: Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

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

U.S. Military Wounded:

50,502: Wounded since 3/19/03 to 1/6/07

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

The Guardian cost of Iraq war report (4/23/07): So far, $419 billion for the U.S., $53 billion for California and $1 billion for San Francisco.

Compiled by Paula Connelly

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

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

A real Earth Week question: What would happen if a Hearst staffer sent up a question to Hearst corporate: Why are we forced to lie for PG&E?

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By Bruce B. Brugmann

Well, there it was, in the same bottom right hand corner of the Chronicle front page where the PG&E ad had been two days before, a story headlined “Green guardians go extra mile to save planet.”

The April 20 story, by Chronicle/Hearst environmental writer Jane Kay, reported that Maya Butterfield, the mother of fourchildren, “drives as little as possible while she waits for a car company to sell a hybrid minivan.”

The story reported that The Rev. Sally Bingham “tells her Grace Cathedral congregants that it’s an insult to the Creator if they don’t take care of the earth.”

The story reported that UC Berkeley student Sam Aarons “lobbied to move the campus toward energy efficiency.”

The story reported that lawyer turned-teacher Will Parish “installed solar panels on his roof and double panes on his windows. He takes short showers, takes his own bags to the store, and eschews bottled water in favor of good old Hetch Hetchy brew.”

Hetch Hetchy brew? What about Hetch Hetchy public power? Imagine, Jane Kay, who has been around the park a time or two, got the term Hetch Hetchy on the Chronicle front page in a story extolling the folks going an extra mile and taking lesser showers to help save the planet. Incredible.

She, and all the others on the Chronicle/Hearst green team, slaving away on green this and green that for Earth Day and the paper’s green coverage, did not mention the real green story: that there is such a thing as Hetch Hetchy public power and that PG&E has an illegal private utility in San Francisco that has been polluting the city, corrupting City Hall, corrupting the Hearst papers for decades, and keeping green public power out of the city. More: that PG&E muscled City Hall and stopped the city from sending its own cheap Hetch Hetchy public power to the city’s own residents and businesses as federal law required. (The federal Raker Act and a U.S. Supreme Court decision mandated that San Francisco must be a public power city, the only city so mandated in the U.S., because it got an unprecedented concession to dam a beautiful valley (Hetch Hetchy) inside a national park (Yosemite) for the city’s water and power supply.

We got the water, but PG@E kept us from getting our own cheap public power and instead PG&E forced the city to buy its expensive private power and decades of anti-green, pro-nuclear and fossil-burning private power. See many Guardian stories since l969).

Get the picture? The Chronicle/Hearst sprinkled friendly references to PG&E throughout their coverage while never mentioning the city’s public power mandates or movements nor any mention of the major Ammiano/Mirkarimi press conference and legislation for a real greening movement, which is community choice aggregation, the first step toward public power.

David R. Baker, who wrote so glowingly about PG@E’s $l0 million victory over public power in Sacramento, noted in his April 20 green piece that “PG&E, for example, offers free energy audits, which look at a shop or office’s total energy use and suggest steps to cut it.”

There were references to the variety of PG&E’s “energy saving resources, including a home energy analyzer,” with a helpful online reference, and the “many programs to help lower electricity use,” again with a helpful online reference. There was even, God save us all, a special top of the page shaded box on page 22 of the April 20 Green special supplement, titled “PG&E’s emissions reduction program.” The end paragraph: “Several other utilities also offer customers ways to help the environment. For more information on programs offered, contact your local utility.” Nobody wanted a byline on this blast of nonsense, so the tag just read “Chronicle staff.”

Get the picture? Repeating for clarity and emphasis: Hearst, as it has for decades, once again polluted its news columns on behalf of PG@E and blacked out any reference to public power, the city’s public power mandates, community choice aggregation, or any of the greening and financial benefits that would flow from a public power city.

Note: this is Hearst corporate policy and I do not blame reporters or editors who are forced to carry on this charade. I just wonder if sometime, somewhere, on some story like this, what would happen if a reporter or editor would send the question upstairs, why are we forced to lie for PG@E?

In any event, I am going to email the questions to Hearst corporate in New York, directly, and via their local executives Publisher Frank Vega and Editor Phil Bronstein. Why can’t Hearst tell the truth about PG@E? Why is Hearst damaging its credility and embarrassing its staff by continuing to coddle PG&E and censor public power?

Bruce B. Brugmann, looking out today from my office window at the bottom of Potrero Hill and seeing the poisonous fumes wafting up and toward the city from the Mirant private power plant, courtesy of PG&E, Hearst, and PG&E-friendly stories purporting to be Earth Day coverage

“The Cripple of Inishmaan”: Irish charm and magic

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What a wonderful mix of Irish charm and magic the Wild Irish Productions spun in the drizzle and fog of Fort Mason last Saturday night April 2l. It was the opening night for Martin McDonagh’s “The Cripple of Inishmaan” at the Magic Theater.

This is a difficult play to produce and do well, with the nuances and dark humor of Irish story telling based on the historical fact that a Hollywood producer came to a nearby island in l934 to make a documentary film. Cripple Billy, mysteriously crippled at birth and mocked for spending his time looking at cows, wants to try out for the movie to escape the poverty and hopelessness of his island home on Inishmaan.

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The cast of “The Cripple of Inishmaan”
Picture courtesy of Wilde Irish Productions

Eddie Fitzgerald gives a splendid performance as Cripple Billy, and the other actors and actresses deal with his declaration of audacity in ways that are comical, sad, and island Irish. Each character is well-crafted and believable — Breda Courtney and Esther Mulligan as Cripple Billy’s widowed aunts, Howard Dillon as the town crier who always reports on three items of gossip and news, Bryn Elizan Harris as Slippy Helen the bumptious lady of the island, and Arthur Scappaticci as Babbybobby who comes off just as his name suggests. The result is a cohesive ensemble that comes together to produce a first rate performance.

The play is another tour de force for Breda Courtney, who hails from County Dublin. She is a 20-year veteran of little theater who performs miracles in producing these blooming events and keeping the troupe going. This time around, she got excellent assistance from her daughter, Stephanie Courtney-Foss, who made her first appearance as artistic director of Wilde Irish. And her son Christopher Courtney provided the set photos. What a good show: see it.

Shows: Tuesday April 24 through Saturday April 28, all starting at 8 p.m.

Sunday April 29, 7 p.m. Building D, Fort Mason Center. For tickets go to www.wildeirish.org.

A dancer until the end.

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By Rita Felciano

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Michael Smuin photo courtesy of Smuin Ballet.

Michael Smuin, artistic director and founder of Smuin Ballet, died today of a heart attack while rehearsing a new ballet. He was 68.

Like few others, Smuin’s choreography reached far and wide. In addition to choreographing ballets, he also worked on movies, television, and Broadway. He won a Tony, three Emmys, and a Drama Desk Award; in 1983, he was honored with a Dance Magazine Award.

He was a member of American Ballet Theater and San Francisco Ballet (1973-1985), for whom he created ballets which attracted younger and new audiences. Famously, he opened one gala with a performance by hip hop dancers, probably the first time that this genre had been seen on an opera house stage anywhere. For his own Smuin Ballet he choreographed over 40 works in the last 13 years. He was known for his ebullience, unwavering commitment to his performers, and an ability to create dances which were always accessible and often innovative.

He will be missed.

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Allison Jay in Michael Smuin’s Carmina Burana, from the company’s Spring 2007 season. Photo credit: Tom Hauck.

A Stooges fan’s serenade: “Fuck, yeah!!!”

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Someone had a real good time the other night. Stooges fans Mark Breshears and David Bernstein write in with their experiences at the Warfield on Saturday, April 21. Love the black and silver balloon drop in honor of Iggy Pop’s 60th b-day that night (most memorable salutation from the crowd – “Happy birthday, you fuck!”).

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Our man in the scene is…somewhere up there.
Photos by Kimberly Chun.

Mark Breshears: So I saw the Stooges last night and it totally rocked. Iggy was on fire, and it was great to see Mike Watt play bass with him. It was a dream come true. A two-‘fer-one. The old songs were great to hear, especially “Dirt.” I’ve seen Iggy many times (seven) and have probably seen most of the songs performed last night live at least once (besides the new ones, of course). I’ve never seen him do “Dirt” before, one of my favorites songs ever, and it was excellent. The songs held up and more so.

It was Iggy’s 60th birthday, and we all sang Happy Birthday to him two-thirds of the way through. It was great to see the Asheton brothers playing with him like the old days. I loved and adored the Stooges records growing up and looked up to Ron as a guitar hero. That being said, I think Watt, another hero of mine, kept the band tight and rockin’ like no one else. Without him, or Iggy of course, this thing would not have been as good.

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Dare you to look away from the Igg-meister.

The highlight: Iggy, during “Down on the Street” (I think – I was wasted), asked people to come up and join him. I’ve seen the clips on the Internet of this and knew that he was inviting people onto the stage. Without hesitation I was bumping and pushing people out of the way as I made my way onto the stage. There were a few in front of me getting up, but I knew I’d make it. I raised myself up with others pushing up on me making it easy to get on stage. I danced and jumped and acting crazy during the song. I heard it winding down.

I thought, “I need to get to Iggy.”

The end of the Blue Angels

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By Tim Redmond

I know the show is cool (even though I’m never chosen as the journalist who gets to fly in one of the planes). And I hate to be a killjoy or anything. But I’ve always wondered why these high-performance Hornet F/A 18 military jets loaded with fuel get to perform dangerous maneuvers right over the third-densest urban area in the country.

There is, of course, the fact that the Blue Angels are really nothing more than a very expensive celebration of military might and a recruiting tool for the U.S. Navy — not somthing you’d think would be terribly approrpiate in a city that’s one of the leading anti-war centers in America.

But as we are now reminded, accidents happen — and if one of those flying bomblets crashed into, say, North Beach, the carnage would be really ugly.

NYC throws down the green gauntlet

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By Steven T. Jones
New York City Mayor Michael Bloomberg (who happens to be a Republican) yesterday unveiled a bold plan to have his city become the most energy efficient and environmentally sustainable big city in the country.
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C’mon, San Francisco, are we going to take that? Maybe it’s time for Mayor Gavin Newsom and the Board of Supervisors to finally step up and go big (or to actually act on some of the big ideas that have been thrown out, from tidal power to a completed bicycle network to more solar rooftops) . At the very least, we should support Sup. Jake McGoldrick’s plan for a congestion pricing system for those driving into the downtown core, which London has done successfully and Bloomberg is now proposing for NYC.

NYC throws down the green gauntlet

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0

By Steven T. Jones
New York City Mayor Michael Bloomberg (who happens to be a Republican) yesterday unveiled a bold plan to have his city become the most energy efficient and environmentally sustainable big city in the country.
green_apple_01.jpg
C’mon, San Francisco, are we going to take that? Maybe it’s time for Mayor Gavin Newsom and the Board of Supervisors to finally step up and go big (or to actually act on some of the big ideas that have been thrown out, from tidal power to a completed bicycle network to more solar rooftops) . At the very least, we should support Sup. Jake McGoldrick’s plan for a congestion pricing system for those driving into the downtown core, which London has done successfully and Bloomberg is now proposing for NYC.

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