Berkeley

Hearst blacks out the PG&E scandal. Again!

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By Bruce B. Brugmann

Often, on Wednesday, the San Francisco Chronicle will run a nice color PG&E ad on the lower right hand corner of its front page.

On Wednesday, April 16, the Chronicle did not run a PG&E ad on the front page, but it did run a major story on the front page above the fold that did a major favor for PG&E.

The story by Kelly Zito focused on public power and alternatives to PG&E, largely in Marin County where there’s an active and aggressive move to create a CCA (community choice aggregation) system that would replace PG&E
as an energy supplier in ll cities.

The story once again largely ignored San Francisco and its CCA movement headed by Sup. Ross Mirkarimi. It didn’t quote Mirkarimi nor any public power or CCA leaders, but instead used a dubious expert from the University of California at Berkeley, who never supported public power and generally supports PG&E private power and deregulation efforts to undermine without rebuttal the community- based anti-PG&E efforts.
And it once again followed the longtime Hearst policy of blacking out the key element of any serious public power story: the PG&E/Raker Act scandal and the fact that San Francisco is the only city in the U.S. that is mandated by federal law to have a public power system. (See Guardian stories and editorials back to 1969.)

I don’t blame Zito the reporter. She is only the latest in a long line of Hearst reporters who ends up executing Hearst policy of coddling PG&E and blacking out the Raker Act scandal. And, after years of questioning Chronicle reporters and editors and trying to get to the bottom of Hearst’s incessant censorship of and capitulation to PG&E, I really don’t know who to blame. But let me ask the questions again: who censors Hearst stories on PG&E as a matter of Hearst policy. The reporter? The city editor? The top editor? The publisher? Hearst corporate? Anybody over there?

In any event, I would much rather have a straightforward PG&E ad on the Chronicle front page, properly labeled PG&E, than stories that omit the Raker Act scandal and slant the stories for PG&E and against public power. B3

Click here for this week’s editorial, PG&E’s attack on CCA.

Click here for this week’s editorial, The floating peakers: An energy solution on the Bay?

Click here for The shame of Hearst

Ghostride the filmstrip, thizzy

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By Justin Juul

Perhaps inevitably, long-awaited doc Ghostride The Whip: The Story of The Hyphy Movement screens this Thursday, April 24th at UC Berkeley. (It’ll be available on DVD this July after it makes some rounds. )

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At first glance, it’s a movie about riding around on top of and outside your car while listening to goofy music, dropping e, and acting tough (duh). I was all set to write about how tired the film sounds and how played out the ghostriding phenomenon is, but I decided to do some research before opening my big mouth.

And now, well, what can I say? After spending an hour on Ghostride The Whip director DJ Vlad’s MySpace, I have become a full-blown fan. I still think ghostriding is ridiculous, and I can’t say I like hyphy music (or wasting gas), but holy shit, have you seen all the video tributes this Bay Area ghetto pastime has spawned? Maybe this is a perfect time to immortalize this movement onscreen. Here are a few of my favorites:

Ghostride the Granny

Extreme Ghostride!!!

The seeds of health

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› culture@sfbg.com

One warm winter day at Ruus Elementary in south Hayward, Chef Tiffany sweeps a roomful of second-graders into their only cooking class of the year. Before long, they’re shouting out the names of body parts that benefit from fresh veggies: "Eyes!" "Teeth!" "Heart!" And even if Swiss chard elicits a wary silence, the kids already know spinach from bok choy, and Chef Tiffany, known to adults as Tiffany Chenoweth, smoothly transitions from her talking points about leafy greens into the hands-on section of the class (after delivering a squirt of antibacterial gel onto the palms of each child). Meanwhile, out past the bustling blacktop, garden instructor Rachel Harris walks an ethnically diverse group of third graders through the concept of soil enrichment. They reluctantly tear down a lush patch of fava beans that reaches over their heads, pretending to pull nitrogen out of the air (hands up!) and deposit it into the soil to benefit spring crops (hands down!). This is school garden time.

If there’s a downside to teaching children how to nurture a green, nutritious school garden, it’s hard to fathom. The list of touted benefits is lengthy: students reap fresh air and physical exercise, hands-on participation, awareness of the natural environment, so called "school bonding," and an unprecedented taste for raw spinach. For school faculty, there are welcome breaks in the classroom regimen, an engaging outlet for unruly pupils, and a bridge to involvement with volunteers in the community. And parents get to share skills and experience, from farm expertise to carpentry, that once felt irrelevant to an academic setting.

But in an educational realm where standards reign supreme, the benefits of gardens can be tough to quantify. In promotional literature, the Network for a Healthy California, a funder of Hayward Unified School District’s program, stresses connections that reflect common sense, like the idea that making fresh vegetables readily accessible to low-income families will reduce the growing rate of obesity. But the future of garden instruction in the long term, when inroads against sprawling ills like obesity might become broadly measurable, is unpredictable when grants and appropriations change from year to year. Even in the Bay Area, where strawberry patches and kale flourish beside asphalt schoolyards, garden educators continually scramble to afford basic supplies, sometimes spending more time cultivating donors than mulching vegetables.

That’s how it often feels to Miriam Feiner, program director for the Willie Brown Jr. Academy Garden. "We’re pretty much our own two-person nonprofit," Feiner says of herself and assistant Joti Levy at an Arbor Day work party on March 8, where dozens of native seedlings — coffeeberry, sticky monkey flower, and other species attractive to bees — awaited planting on a weedy slope.

The duo’s fundraising efforts have been rewarded with sizable grants from SF Environment’s Environmental Justice Grant Program and Alec Shaw of the Shaw Fund, as well as partnerships with San Francisco Beautiful and Friends of the Urban Forest.

Even more rewarding though, Feiner says, weekly garden-based classes at Willie Brown have students literally begging for kale. But she concedes that ultimately the current model, which is based on constant fundraising, is "not sustainable."

Difficulties in funding aside, people like Abby Jaramillo, the youthful director of San Francisco nonprofit Urban Sprouts, will gladly explain why it’s important to find a way to sustain such programs. When Jaramillo and her team took over the Excelsior Garden, shared by the June Jordan School for Equity and Excelsior Middle School, she said she was "up to her armpits in fennel."

But the overgrown herbs weren’t the only sign of disrepair. "It was a struggling middle school desperately in need of something that would make the students have a stake," she said. Describing the community’s "food environment," a term of art in nutrition education, she listed liquor store fare and junk food as the most prevalent options. Five years and six new school gardens later, Jaramillo thinks school administrators and teachers are genuinely on board with Urban Sprouts, whose mission is to serve low-income youth in San Francisco. "When the kids come outside; they are leaders, teaching each other how to plant," she says. "We need to make the garden a core, that will remain here and make a difference."

Whether that happens depends on whether garden education becomes institutionalized, not just a supplemental benefit reliant on the assiduousness of leaders like Jaramillo and Feiner. "My dream," Jaramillo says, "is that it would be like gym." That is to say, an expected feature of the precollege landscape. I asked her if there were models for this kind of integration. She, and everyone else I spoke with, pointed to the Edible Schoolyard, the celebrated collaboration between local-food pioneer Alice Waters and Martin Luther King Jr. Middle School in Berkeley. At the Schoolyard, a beneficiary of the Chez Panisse foundation, the perpetual cycle of seasons meshes with the academic year as rising eighth graders ceremonially plant corn for incoming sixth graders to harvest in the fall, suggesting a garden practice that is truly rooted in the school experience.

According to the San Francisco Unified School District, out of 104 K-12 school sites in the city, 36 maintain "green schoolyards," with 45 new gardens planned over the next four years. Statewide, $10.8 million from Sacramento was awarded in the form of California Instructional School Garden Program grants in October. It’s not nearly enough to fulfill the California Department of Education’s stated goal of "a garden in every school." But as Jordan students prepare to sow enough lettuce to provide the entire school with a lunch salad for one day, Jaramillo is hopeful that showing even a small percentage of kids where food comes from will have a lasting effect, with lessons about healthy eating rippling out through them to their families and into the community.

With the infrastructure of garden education still in its founding stages, assessing its efficacy poses a conundrum. The kind of life-changing transformations that green schoolyard proponents hope for might not be apparent in the short term, while slashed budgets threaten to endanger the longevity of even the most lovingly planted plots. Still, educators like Harris aren’t daunted by the relative nonstandardization of their field. She’s seen the results first-hand — like the student at a Hayward school barbecue who traded a Butterfinger for a second helping of grilled zucchini. After our interview, as Harris left the grocery store where she’ll teach her class to distinguish between processed and fresh food, a Ruus student in pigtails greeted her excitedly. "Miss Rachel!" she cried, throwing her head back with a wide grin. "I like garden!"

Dark days

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› amanda@sfbg.com

› sarah@sfbg.com

Like a lot of San Franciscans, John Murphy wants to put solar panels on his roof. He’s worried about the environment, but it’s also about money: “I want it to pay for all my electricity,” he said one recent evening as we chatted in front of his house.

Murphy pays top dollar for power from Pacific Gas and Electric Co., every month hitting the highest tier of energy use and getting spanked 34 cents a kilowatt hour for it. He’s tried to cut costs by switching to energy-efficient appliances and light bulbs with motion sensors — with little incentive from PG&E’s billing department.

Murphy thought installing solar panels would be worth the up-front cost, especially if federal and state rebates made it more feasible. His roof — sturdy and pitched toward the south, unshaded by trees or other buildings, and located in the fogless hollow of the Mission District — seemed perfectly suited for solar energy.

So last fall he invited a representative from a local solar installation company to the house for a free consultation. He was told his roof could only fit a 2.8 kilowatt system, which would cover about 60 percent of his energy needs — and cost about $25,000.

Murphy is apoplectic about the results. “What’s 60 percent? That’s like going out with her for three-quarters of the night. I want to take her home,” he said.

While the federal incentive shaves $2,000 off the cost, the state rebate program — in place since January 2007 — is a set allocation that declines over time: the later you apply, the less you get. Today Murphy can get about $1.90 per watt back from the state, whereas at the start of the program it was $2.50 per watt. To him, the upfront costs are still too steep and the results won’t cover his monthly PG&E bill.

“The snake oil salesmen of yesterday are the solar panel installers of today,” Murphy said.

But Murphy still wants to install panels — and he’s not alone. The desire for clean, green energy runs deeply through San Francisco and the state as a whole. After the launch of the California Solar Initiative, the number of solar megawatts, represented by applications to the state, doubled what they’d been over the last 26 years. Almost 90 percent of the installations were on homes, indicating that citizens are jumping at the chance to decrease their carbon output.

Yet in San Francisco, where environmental sentiment and high energy costs ought to be driving a major solar boom, there’s very little action.

Back in 2000, then-mayor Willie Brown announced a citywide goal of 10,000 solar roofs by 2010. That would add up to a lowly 5 percent of the 200,000 property lots within the city of San Francisco.

But even that weak goal seems beyond reach: it’s now 2008, and the number of solar roofs in San Francisco stands at a grand total of 618 installations by the end of 2007. In terms of kilowatts per capita, the city ranks last in the Bay Area. The city’s total electricity demand runs about 950 megawatts; only 5 megawatts is currently supplied by solar.

 

WHAT’S WRONG?

Well, it’s not the weather. While heavy cloud cover can hinder panels, fog permits enough ambient light to keep panels productive. San Francisco’s thermostat isn’t much of a factor either — panels prefer cooler temperate zones, not blazing desert heat.

It’s also not for a lack of political ideas — Mayor Gavin Newsom is pushing a major solar proposal and several others are floating around, too.

But Newsom is clashing with the supervisors over the philosophy and direction of his plan. It’s complicated, but in essence, the mayor and Assessor-Recorder Phil Ting put together a task force that included representatives of solar installers and PG&E — but nobody from the environmental community and no public-power supporters.

The plan they hatched gives cash incentives to private property owners, takes money away from city-owned solar installments, and does nothing to help the city’s move to public power.

While all this plays out, the solar panels so many San Franciscans want aren’t getting installed.

 

SUN AND SUBSIDY

What makes solar work, according to local solar activists, is a combination of sun and subsidies. “Almost every area in the United States has better sun exposure than Germany, and Germany is leading the solar market worldwide today,” said Lyndon Rive, CEO of Solar City, a Foster City-based solar installer.

The price per kilowatt hour, with current state and federal subsides, is about 13 cents for solar, just two cents more than PG&E’s base rate for energy produced mostly by nuclear power and natural gas.

Still, the average installation for the average home hovers between $20,000 and $30,000. For many, that kind of cash isn’t available.

“The biggest reason for lack of adoption [of solar energy] is that the cost to install in San Francisco is higher than neighboring cities,” Rive said. It’s about 10 percent more than the rest of the Bay Area, according to a December 2007 report of the San Francisco Solar Task Force.

Why? According to Rive, system sizes are smaller. Solar City’s average Bay Area customer buys a 4.4 kilowatt system, but the average San Franciscan — with a smaller house and smaller roof — usually gets a 3.1 kilowatt installation. The smaller the system, the more the markup for retailers amortizing certain fixed costs such as material and labor. On top of that, San Francisco’s old Victorians can have issues — weak rafters need reinforcement; steep roofs require more scaffolding; wires and conduits have to cover longer distances. It adds up.

“There’s an extra cost to doing business in San Francisco,” said Barry Cinnamon, CEO of Akeena Solar and a member of the SF Solar Task Force. “I can expect $100 in parking tickets for every job I do.”

That was the motivation for Ting to establish the Solar Task Force in 2007, with the goal of creating financial incentives, including loans and rebates, to bring down the costs of San Francisco solar. The 11-member task force came up with an ambitious program that involved a one-stop shop for permits, a plan to give property owners as much as $5,000 in cash subsidies, and a system to lend money to homeowners who can’t afford the up-front costs.

The task force said installing 55 megawatts of solar would combat global warming, improve air quality by reducing pollution caused by electricity generation, and add 1,800 green collar jobs to the local economy.

The streamlined permit program is in place. None of the rest has happened.

 

THE MAYOR’S MONEY

The first obstacle was the loan fund. Newsom and Ting wanted to take $50 million currently sitting unspent in a bond fund for seismic upgrades on local buildings. Sup. Jake McGoldrick wanted to know why the money wasn’t being used to upgrade low-income housing; the city attorney wasn’t sure seismic safety money could be redirected to solar loans.

Then Newsom decided to take $3 million from the Mayor’s Energy Conservation Fund to pay for the first round of rebates. Over the next 10 years, that could add up to $50 million. McGoldrick balked again. That money, he said, was supposed to be used on public facilities (like solar panels at Moscone Center and Muni facilities and new refrigerators for public housing projects). Why should it be diverted to private property owners?

There’s a larger issue behind all this: should the city be using scarce resources to help the private sector — or devoting its money to city-owned electricity generation? “In 10 years, there could be $50 million in the fund,” McGoldrick said. “That’s a lot of money, and it’s power the city could own.”

Sup. Chris Daly agrees. “I would support this program if we were running out of municipal [solar] projects,” he said. “But we’re not.”

In addition, the progressive members of the Board of Supervisors, who have all advocated a citywide sustainable energy policy known as community choice aggregation, or CCA, weren’t represented on the Solar Task Force.

The fund Newsom wanted to tap for his project is also the source of funding for the community choice aggregation program, which the progressive supervisors see as the city’s energy plan, which in turn constitutes a far more comprehensive response to climate change, with a goal of relying on 51 percent renewable energy by 2017.

Sup. Gerardo Sandoval is working on a loan program that would allow residents to borrow money from the city for renewable energy and efficiency upgrades for their homes and pay it back at a relatively low interest rate folded into their monthly tax bills. (See “Solar Solutions,” 11/14/07.) Sandoval’s plan would enable loans of $20,000 to $40,000 at 3 percent interest to people who voluntarily put solar on their homes.

The city of Berkeley is pursuing a similar plan. But the task force never consulted Sandoval — in fact, he told us that he had no idea Ting’s task force was meeting until a few months ago.

The supervisors’ Budget and Finance Committee is slated to review Newsom’s plan April 16.

Solar installers aren’t happy about the delays: “I’m on the disappointed receiving end of that start and stop,” Cinnamon said.

While city officials duke out where the money should come from and who gets it, San Franciscans interested in purchasing panels are left in limbo. Jennifer Jachym, a sales rep from Solar City who used to handle residential contracts in San Francisco, said, “I have worked all over the Bay Area and I’d have to say it seems that the delta between interest and actual purchase is highest here.

“It was hard to get people to pull the trigger,” she continued. “What the San Francisco incentive program basically did was bring the cost incentives here to where they are everywhere else.”

The holdup has dispirited customers and solar companies. Cinnamon said he wasted 10,000 advertising door hangers because of the delay. Solar City also put on hold a handshake deal with the Port of San Francisco to rent a 5,000-square-foot warehouse in the Bayview District for a solar training academy that could turn out 20 new workers a month.

“As a San Francisco resident, I really want to see it happen there, but as a business, I have to think about it differently,” said Peter Rive, chief operating officer of the company. “Almost every city in the Bay Area is aggressively trying to get us to build a training academy in their city.”

 

TENANTS AND LANDLORDS

Another reason we don’t see more panels on San Francisco roofs is that most San Franciscans are renting and have no control over their roofs. “The landlord doesn’t care. They don’t pay the electric bill,” Cinnamon said. When asked if there were any inroads to be made there, he said, “Nope. That’s not a market I see at all.”

In spite of that, solar companies still are eager to do business here, which means there’s either enough of a market — or enough of a markup.

Rive wouldn’t tell us their exact markup for panels, but said, “The average solar company adds 15 to 25 percent gross margin to the installation. Our gross margin is in line with that.”

Rive’s company has another option for cash-poor San Franciscans, a new “solar lease.” In this scenario, Solar City owns the panels and leases them to homeowners for 15 years. The property owner pays a low up-front cost of a couple of thousand dollars and a monthly lease fee that increases 3.5 percent per year.

For Murphy, the price would be $2,754 down and $88 a month. The panels would still cover only 64 percent of his energy needs, so he would owe PG&E about $70 a month. Because he would be using less energy, PG&E would charge a lower rate, which is something Solar City typically tries to achieve with a solar system.

However, people can’t make money off their solar systems. “People ask about it all the time,” Jachym said. “Especially people in San Francisco. They say ‘I have a house in Sonoma with tons of space. Can I put panels there and offset my energy here?'”

The answer, unfortunately, is no, which means San Franciscans have no incentive to put up more panels than they need and recoup their costs by selling the energy to the grid. Unlike Germany, for example, where people are paid for the excess solar energy they make, California’s net metering laws favor utility companies. If you make more power than you use, you’re donating it to the grid. PG&E sells it to someone else.

If the law was changed — which could be a feature of CCA — citizens could help the city generate more solar energy to sell to customers who don’t have panels, helping the city to meet its overall goal of 51 percent renewable by 2017.

Under Solar City’s lease program, the company gets the federal and state rebates. If Murphy leased for 15 years he’d have an option to buy the used panels, upgrade to new ones, and end or continue the lease. If San Francisco launches the incentive program, the $3,000 from the city could cover the up-front cost and he could get the whole thing rolling for almost no cash. It sounds like a sweet deal.

Except it’s not going to work. Solar City only leases systems of 3.2 kilowatts or more, and only 2.8 could be squeezed onto Murphy’s roof. “I think it’s Murphy’s Law,” Jachym says wryly. “If you have a house that wants solar, a whole row of houses on the street nearby are better suited for it.”

She says the 3.2 cutoff has to do with the company’s bottom line. “If it’s any less than 3.2 the company is losing money.” Ironically, she tells me, “the average system size in San Francisco is even smaller” — usually less than 3.1. Solar City has set the bar high in a place where many people like Murphy are prevented from leasing.

He tells us he isn’t interested in a lease anyway: “I don’t own that.” He’s now more interested in a do-it-yourself situation and wishes the city would put some energy toward that. “If they were serious they would have a city solar store,” he said, imagining a kind of Home Depot for solar, where one could buy panels and wiring, talk with advisors, contract with installers, or just fill out the necessary paperwork for the rebates.

Some people are going ahead anyway, without city support. Nan Foster, a San Francisco homeowner now installing photovoltaic panels and solar water heating, says her middle-class family borrowed money to do these projects, “because we want to do the right thing about the environment and reduce our carbon footprint. It would be a great help to get these rebates from the city.

“The public money for the project would increase the spending of individuals to install solar — so the public funds would leverage much more investment in solar on the part of individuals and businesses,” Foster argued.

There’s another approach that isn’t on the table yet. Eric Brooks, cofounder of the Community Choice Energy Alliance, told us that the city, through CCA, could buy its own panels to place on private homes and businesses, giving those homes and businesses a way to go solar — free.

“Clearly there would be a much higher demand for free solar panels over discounted ones that are still very expensive,” he said. “And because the panels would be owned by the city, all of the savings and revenue could be put right back into building more renewables and efficiency projects, instead of going into the pockets of private property owners.”

Proponents of the mayor’s plan argue that the city can build more solar panels — faster — by diverting public funds to the private sector. “While on its face this is technically true, it is actually a dead-end path,” Brooks said. “Yes, a little more solar would be built a little more quickly. However, once those private panels are built the city will get nothing from them.”

Full disclosure: Murphy is Amanda Witherell’s landlord.

 

Nickels and dimes

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We get a lot of press releases announcing that San Francisco has made it to the top of another "greenest" list. Popular Science named SF the second-greenest city in the nation last February. Sustainlane.com called this place the second-greenest city in 2006. Reader’s Digest added honors for the fifth-cleanest city in 2005, the same year San Francisco hosted the UN’s World Environment Day.

The city’s ban on plastic grocery bags is spreading, and last year Mayor Gavin Newsom won a Green Cross Award from Global Green USA alongside Irmelin DiCaprio, the mother of film star Leonardo DiCaprio.

But none of that adds up to what the city really needs: cash.

Then the US Department of Energy in late March designated three more California cities — Sacramento, San Jose, and Santa Rosa — as new "Solar American Cities" — and this award came with money attached. And the DOE has dough: the agency requested $25 billion from Congress this year.

The solar grant was worth $2.4 million. The money was divided among 12 cities nationwide, leaving each municipality with just $200,000. And that was supposed to cover a two-year period.

Berkeley, San Francisco, and San Diego made the "Solar American Cities" list in 2007. San Francisco’s Department of the Environment received the money, and a conciliatory Johanna Partin, the renewable energy program manager there, said it was the only grant from Bush’s Solar America Initiative her office had actually applied for.

San Francisco at least will able to use the money to help the owners of large buildings assess what it would take to install solar technology. We’ve already digitally mapped the city’s grandest roofs.

Margie Bates, a project manager for the DOE’s Solar Energy Technologies Program in Golden, Colo., told us that the grant includes $200,000 in additional credit for hiring local experts to advise building owners on the technology or retain the expertise of DOE officials themselves.

"The funding is allowing us to do some pieces of our solar program that we didn’t otherwise have funding for. So in that sense it’s good," she said. "But, you know, $200,000 over two years is not a lot of money."

A solar plan that works

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EDITORIAL Solar energy makes so much sense in San Francisco that it’s crazy this city didn’t figure out years ago how to get at least a quarter or more of its power from the sun. And it’s crazy that now, with the financial benefits of solar power improving, the technology improving, and the environmental mandate getting more profound by the day, the city still doesn’t have an effective citywide solar program.

Mayor Gavin Newsom, who wants to be known as a green mayor, has a solar proposal on the table that environmental groups like the Sierra Club are reluctantly supporting. But a lot of the supervisors have serious questions — and so do we. At its most basic, Newsom’s plan is a shift of solar resources from the public sector to the private sector and does little to promote a sustainable long-term energy policy.

There’s a way to do solar right in San Francisco, and we can outline a basic blueprint.

1. Start with all the interested parties. Assessor-Recorder Phil Ting, with Newsom’s support, created a Solar Task Force in San Francisco — but none of the supervisors were invited. The Sierra Club wasn’t invited. None of the public power advocates were invited. Instead, it was dominated by solar industry people, with Pacific Gas and Electric Company along for the ride, guaranteeing that the proposals would run into political static.

2. Make it work as part of a public power plan. The future of San Francisco’s energy policy has to start and end with the notion that PG&E won’t be the long-term supplier of commercial electricity. The city has a community-choice aggregation (CCA) plan, and any solar programs should be designed to enhance and work with that plan.

3. Don’t shortchange public generation. Newsom is asking the city to take money away from a public-sector plan, which pays for solar panels on city-owned buildings, and shift it to a private-sector program, which would subsidize homeowners and commercial landlords who want to install solar panels. We’re all for encouraging solar on homes and office buildings, and we recognize that current state and federal law are skewed toward private projects. But the city has a huge interest in building its own generation capacity: city buildings now use Hetch Hetchy hydropower, and every kilowatt that can be replaced with solar frees up Hetch Hetchy power for retail sales to local homes and businesses and increases the financial rewards of public power.

4. Use the Berkeley model for private parties. The city of Berkeley is pursuing an excellent program. Homeowners and businesses would be able to borrow money from the city at very low interest (a city can raise capital at around 3 percent these days) to install solar panels and would pay the money back over 20 or 30 years through increased property taxes. This would cost the city nothing, encourages solar installations — and still leaves room for subsidies if they turn out to be necessary.

5. Look at using CCA to buy solar panels in bulk and install them free. Eric Brooks, a public power advocate, suggests this idea, and it’s a good one. A city power agency could buy panels and offer them free to property owners, with the energy going into the city grid. The residents and businesses would see their power bills drop, and the city would see environmental and financial benefits.

6. Demand two-way meters. PG&E doesn’t allow property owners to bank power that they generate beyond what they use. That means the owner of a solar system that’s actually generating surplus money is giving power free to PG&E. The city ought to be pushing for a change in state law to demand two-way electric meters. And as part of a public power plan, San Francisco could allow homeowners and commercial landlords not only to cut their power bills to zero but also to bring in cash by installing solar-generating systems.

7. Recognize that PG&E is part of the problem, not part of the solution. PG&E doesn’t want public power. The company doesn’t want widespread solar generation. In fact, the giant private utility has no incentive to do anything that keeps it from making money by selling power over its lines. You can almost judge a solar plan by one standard — if PG&E is OK with it, it must be a bad idea.

The supervisors are right to question Newsom’s plan, and in the end, they should reject it — and create a new one that meets the key tests of an effective long-term energy program for San Francisco.

From bar to book: Life Long Press turns backroom literary readings into published work

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By Ailene Sankur

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Valyntina Grenier is no stranger to poetry. By her undergrad senior year at U.C. Berkeley, she had already put together two chapbooks and now she’s in the second year of an M.F.A. in Poetry at St. Mary’s College of California.

She is also no stranger to bars: she works as a bartender at Lanesplitter () in Oakland. And it was her friendship with two other East Bay bartenders on which she built her Back Room Live (www.lifelongpress.blogspot.com) reading series. Most people go to bars to have mindless fun, relax, get wasted; Valyntina used them as a vehicle for “…a polyphony of voices, united by the desire to make art, enjoy language, and drink a pint or two.”

First, Sheila from the wonderful Hotsy Totsy Club in Albany let Valyntina read the poetry from her first chapbook. (Incidentally, the Hotsy Totsy Club, in a not particularly trendy East Bay neighborhood, wins the dive bar competition against San Francisco anyday.) The readings were well-received by the bar crowd. After those experiences, she toyed with the idea of doing another reading series at a bar. After befriending Tony, the bartender at McNally’s Irish Pub in Oakland, she asked if she could do a reading series there. He agreed, and after it proved successful Back Room Live became a monthly event—on the last Saturday of each month.

Valyntina, now in her M.F.A. program, decided to bring together others from the creative writing masters program — both students and faculty — as well as other Bay Area poets and authors.

Literary readings have long been thought of as the property of dim bookstores, mousy clerks shakily whispering introductions to authors, bad wine, and an intellectual elitist. With the Back Room Live series,Valyntina wanted to get away from that. She says, “My initial impetus was the sense that if you’re not in academia, and even sometimes if you are, you can feel left out of literary events. So I thought by bringing it to the bar, people would be engaged in it. Really just to broaden the community, get different genres of writers together and people together who wouldn’t necessarily go to hear writers…”

The reading series became so popular Valyntina decided to publish a Back Room Live Reading Series magazine, sold online and at Diesel Books, Book Zoo, and Pegasus (all in Oakland). The magazine is published through Valyntina’s other venture: Life Long Press Publishing.

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Rock’s future, decades along

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› kimberly@sfbg.com

SONIC REDUCER The money, the fame / And the public acclaim / Don’t forget who you are / You’re a rock and roll star." These bitter words by the Byrds roll over through my mind while watching the resurrection of three generations of rock hope realized — reappearing at a time when industry majors like Universal, Sony, and Warner Music are busy bowing to the social networking sphere, i.e., MySpace. The sands are shifting beneath the Rolling Stones, Bruce Springsteen, and REM, all bands I’ve waved my adoring fangirl flag for, all once toasted as the future of rock ‘n’ roll when the form was the sexiest game in town. Well, the future — along with the classic LPs, the heavily referenced and canonical tunes, the wives, the money-printing tours — has come and gone, so why not step back from an eyeballful of IMAX and think about whether such once-seemingly-ageless, now-clearly-aging mortals are holding the course or moving forward? Does size still matter?

Lord knows — and Sir Mick Jagger surely realizes — you can throw money at a prestige project: the new Stones–Martin Scorsese business partnership, Shine a Light, is proof. Sure, it’s a decent, energized Stones performance — much better than their 2005 date at SBC Park — and certainly the band comes off well in their love for the music (Keith Richards) and artfulness (Mick Jagger). Ron Wood even gets off a nice solo or two. But why bother documenting a Stones live period — the "Bigger Bang" jaunt, otherwise known as the highest grossing tour of all time — essentially recognized for simply raking in a buttload of money for the band? Not only have the Stones been the subject of a much better concert film-documentary — the Maysles brothers’ Gimme Shelter (1970), which Scorsese bows to by enlisting Albert Maysles for some camerawork — but rock fan Scorsese has already made a much more multidimensional and affecting concert flick (The Last Waltz, 1978) and a more evocative and heartfelt documentary about a musical icon (No Direction Home, 2005).

Rather, the Stones appear to be recontextualizing their dirty blues-rock for a new, well-heeled generation that can afford them: denuding "Sympathy for the Devil" of its menace and recasting it as a party anthem, far from the madding Altamont crowd. Jagger’s toned, dancer’s physique looks downright expensive as he attempts to repurpose arena poses in the intimate Beacon Theatre, as pricey as Richards’ Louis Vuitton ad and as well-fed as the scrubbed and fratty crowd down front in Shine a Light. Is such a display of power and funds sexier — or offensive — during a recession? Still, the last laugh seems to belong to the Stones: how else to read the final image of Shine a Light as the moon morphs into the Stones tongue than as, "See ya, suckers"?

Springsteen’s aging, gray-tressed mob at HP Pavilion on April 5 would never tolerate such winking behavior. As earnest and idealistic in their Silicon Valley fleece and chinos as the so-called New Dylan so many decades along, they yelled back at the holy rollers picketing the front of the Shark Tank — o demon rock "Born in the U.S.A." — and dutifully lowed, "Broooce!" after each song. Springsteen returned their devotion in kind with two and a half hours of superhuman passion that drew from new releases as well as from Darkness on the Edge of Town and The River (both Columbia; 1978, 1980). Even as Broooce rocked "Reason to Believe," off Nebraska (Columbia, 1982), as a bluesy rave-up, or told stories of leaving wife Patti Scialfa at home to monitor their teenagers, his hard-working, well-meaning decency kept shining through. These days sax sidekick Clarence Clemons may find it necessary to sit out many songs on his throne/easy chair set to stage left and organist Danny Federici is sidelined by melanoma, but the leader still possesses a unflagging fire and expansive romanticism — even if it is spent stumping for Hillary Clinton as of late. On Saturday night, what was striking was less how indebted the latest long-players by younger artists like Arcade Fire and the Killers are to Broooce than the long arm of his influence on so much ’80s radio rock: everyone from Don Henley to Patti Smith to the Pointer Sisters to John Mellencamp.

And whither goes the next greatest rock band, after Springsteen, to attain critical mass: REM? The combo drew kudos for their recent South by Southwest turn — and as with Brooce and the Stones, Michael Stipe, Mike Mills, and Peter Buck have chosen to grow louder with age, writing their new album on electric guitars rather than toning it down with dinner background Musak. More than 25 years into the band’s history, REM’s 14th album, Accelerate seems to plonk down in the Stones’ tax bracket with the opening "Living Well Is the Best Revenge," if not for the clearly articulated, biting irony of Michael Stipe’s lyric, "Baby I am calling you on that." Favoring rock ‘n’ roll blast in a compact 34 minutes, with only traces of the Velvety subtlety and Southern primitive melodicism I once treasured the band for, REM has instead picked up where "It’s the End of the World as We Know It (And I Feel Fine)" left off, retuning its glib soothsaying for post-WTO riots, post-Katrina times, driving it through a pop filter, and sprinkling "Sympathy for the Devil" whoos on the closer, "I’m Gonna DJ." "Look at the world and see plenty of reasons to be angry," guitarist Peter Buck has said, describing Accelerate. We’ll see if they still rage, live.

REM

With Modest Mouse and the National

May 31, 6 p.m.; June 1, 5 p.m., $39.50–<\d>$89.50

Greek Theatre

UC Berkeley, Berk.

www.apeconcerts.com

Bigger than life

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How would you define an improbable Tilt-A-Whirl Technicolor or Vistavision or Cinemascope view of American virtue and vice? Jean-Luc Godard’s term for it was Tashlinesque. Watching the feverish films in the Pacific Film Archive’s short Frank Tashlin retrospective, we see an artist pushing the outermost limits of cinematic realism, gorging 1950s America on its desire for bigger, better, and faster.

The Tashlinesque land of excess encompasses Jayne Mansfield’s breasts, Kool Aid-red convertibles, and bubblegum teenagers. If there is a milk bottle in a Tashlin film, it will cream when a pin-up walks by. Ten-gallon hats spontaneously ejaculate oil. "The room temperature is changing, if you catch my cruder meaning," Mansfield coos in Will Success Spoil Rock Hunter? (1957), and we do, over and over again. Tashlin’s America is a nation of alcoholics and dupes, softheaded nincompoops and sexpot cynics. France had Jacques Tati, and we had — and have — Tashlin.

Just as it did with other stateside pulp visionaries, it took the French to recognize Tashlin’s genius. "There is not a difference in degree between Hollywood or Bust [1956] and It Happened One Night [1934]… but a difference of kind," Godard wrote in a 1957 assessment for Cahiers du Cinéma. There’s a touch of cruelty (and a trace of the director’s cartoon roots) in Tashlin’s preference for physically excessive actors like Mansfield and Jerry Lewis, though the way he uses these figures to channel the distorting nature of American gluttony and naïveté is brutally effective.

It’s not just the bodies that are inflated. The frame itself seems to be stretched over the course of these films, with camera angles and props used to accentuate the horizontality of the widescreen image. Just as Preston Sturges outdid his era of talky screwballs with dialogue-mad farces, Tashlin amplified ’50s Hollywood’s taste for grandiosity and crudeness to a pointedly unmanageable extreme. His self-aware movies give a sharp sense of the studio system in its death throes.

As satire, Tashlin’s send-ups of ad men and agents are as prescient as they are unsparing. A typical Tashlin alarm is sounded when Dean Martin’s character in Artists & Models (1955) announces at the outset that he moved to New York to make money in order to study art. In Will Success Spoil Rock Hunter?, Tony Randall’s title character turns on the television to hear what the starlet Rita Marlowe (Mansfield) is saying to reporters on his front lawn — an apt commentary on the way technologies abstract reality and invade our privacy. The spin cycles continue to gain speed: the ’90s were an especially prime slice of the Tashlinesque, what with a booming economy, celebrity sex tapes, and the Monica Lewinsky scandal. Cinematically speaking, Richard Kelly just tried his hand at Tashlinesque with Southland Tales (2006), though I can’t help thinking the originator would have done better with the musical numbers.

Tashlin’s burlesque is dexterous, but it doesn’t hatch from any stable logic. Television is clearly the enemy, but the movies aren’t much better. With every bathing beauty and each overripe burst of Technicolor, the director indulges and implicates our most blithering desires. (One feels like a child reaching out for a lollipop while watching Tashlin’s films: when Godard famously quipped that there was no blood in his own 1965 Pierrot le fou but only red, he might have been quoting his American forebear.) If the plots nominally resolve themselves, the tone and visual style remain pitched between splendor and disgust.

"By exposing people to an endless stream of advertising, television taught them to take nothing at face value, to read everything ironically," Louis Menand recently wrote in the New Yorker. It was Tashlin who taught us to see this way. If there were any justice to art history, he would be in the pantheon of Pop Art, not just for his content, but also for his bold use of color and scale. But he of all people would have known that artistic success is on the same shaky ground as achievement in politics, entertainment, and business — same as it ever was.

FRANK TASHLIN: AMERICAN NONSENSE

Fri/11 through April 18

PFA Theater

2575 Bancroft, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

Indie silkscreen revelations

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By Vanessa Carr

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Independent music and DIY culture can come like flashes of hope through the dark days of teenage dorkdom. For me, it was Bikini Kill’s first album on tape.

The revelation: something better is out there. And better yet, one can actually have a role in creating it.

Once a small-town kid growing up in Neenah, Wisconsin, graphic designer and poster artist Jason Munn tapped into a similar sense of inspired possibility. As a skateboarder with a crew of like-minded friends, he was influenced early on by skateboard graphics and the album art of bands like the Promise Ring and Boys Life.

Munn, 32, now lives in Oakland, where he has been running The Small Stakes design studio since 2003. He continues to draw stylistic and psychic inspiration from punk’s handmade aesthetic and DIY ethos.

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Munn’s stunningly precise silkscreen show posters for artists, ranging from Battles and LCD Soundsystem to Sufjan Stevens and Modest Mouse, have made him a minor celebrity among design nerds and indie rockers alike. Not that you’d ever know it: in person he is soft-spoken and humble, certainly not the kind of guy who goes around telling people, for instance, that his work is part of the San Francisco MoMA’s permanent collection, or that it’s regularly featured in PRINT Magazine and Communication Arts.

This Friday night (4/4), Munn will be selling limited edition art prints and gig posters at Bloom Screen Printing in Oakland. Munn’s prints will be on sale for $5-$25. Bloom Screen Printing posters will also be for sale.

SFBG: When did you start making music-related posters?

Jason Munn: I started in [art] school. A lot of my projects were music-related even when they weren’t supposed to be, because that was what I was interested in. I was working in another design studio at the time – after school – and at night a lot I was doing these kind of things just to do what I wanted to do and also to build up a portfolio of the kind of work that I really wanted to show people, which was not necessarily the stuff I was doing at my day job.

I moved out here in 2002, again with no plans at all. About a month after I moved out here, two people I met were booking shows in Berkeley at a place they called the Ramp. It was in the basement of this church in Berkeley, and they were doing one show a month – really great shows, a lot of local bands, and a lot of bands that will play the Fillmore when they come through now: Animal Collective, Deerhoof, Why? – a lot of local things, but also touring acts. But again, it was only one show a month, and it was only open for a year. It was essentially when I started doing posters. They asked me to do a poster for each show. I wanted to silkscreen, but I didn’t know how. I had done a little bit of silkscreening in school, so I had a real basic knowledge of it. The first job I had out here I was actually temping at a silkscreen shop – I printed the t-shirts. So basically they would burn the screens for me and I would print from home. I made a huge mess and it was a huge learning process.

I probably did six or seven posters, and then I met a guy in Oakland who was printing another job for me that I did the design work for. His name is Nat and he runs a screenprinting shop in Oakland called Bloom Screen Printing. It’s a small shop, and he basically taught me a ton about printing. I started printing my stuff there, and he was showing me lots of tricks, random things that I was having trouble with. He was looking at the stuff I was doing at home and was like, “This is what you’re doing wrong.” It was really cool. I still print there – he also prints larger jobs for me, although he is a pretty in-demand printer.

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SFBG: How do you make it work financially?

“Protest in Paris 1968: Photographs by Serge Hambourg”

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REVIEW While most Americans equate 1968 as the ground zero of political tumult in Chicago, New York City, and throughout the South, the revolutions that spread across Europe that year were of equal historical importance. Largely a reaction to the political asphyxiation of post–World War II policy and a much larger rejection of the feudal monarchist, industrial-capitalist, and communist regimes that had subjugated the masses for many years, the continent was suddenly positioned at the precipice of deconstruction. To paraphrase a Nietzsche epigram that appeared in spray paint frequently that year, Europe was discovering "the chaos inside to give birth to a dancing star."

The University of California, Berkeley Art Museum’s "Protest in Paris 1968: Photographs by Serge Hambourg" relives and reveals this spirit through the incredible work of former Le nouvel observateur photographer Serge Hambourg. Capturing the protests that began in the suburbs of Paris in March of that year and quickly spread throughout the country by May, Hambourg’s lens centers on the students, artists, and anarchists who swept up and down the Left Bank.

Some of Hambourg’s photographs capture an air of comedy: one shows the very photogenic Nanterre student leader Daniel Cohn-Bendit shouting down the superannuated Surrealist poet Louis Aragon before a delighted crowd. Other photos — such as the image of a gas grenade shown in close-up before being thrown into a crowd — convey how quickly the protests degenerated into violence. As with the Parisian nouvelle vague auteurs, Hambourg redefines the city’s streetscapes from the singular moments of Eugène Atget or Henri Cartier-Bresson as a kinetic intersection of bodies and machines — everything in the process of becoming. As the protests wound down and the Gaullists regained control, the photos depict a city picked clean of its history — a Pyrrhic victory for the government.

PROTEST IN PARIS 1968: PHOTOGRAPHS BY SERGE HAMBOURG Through June 1. Wed., Fri.–Sun., 11 a.m.–5 p.m.; Thurs., 11 a.m.–7 p.m. UC Berkeley Art Museum, 2626 Bancroft, Berk. $4–$8 (free first Thurs). (510) 642-0808, www.bampfa.berkeley.edu

Superlist: Cultural center dining

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What better way to experience the fuzzy warmth of good home cooking — and avoid the stress that sometimes comes with family — than to chow down on some authentic cuisine from the mother country. Likewise, any epicurean can appreciate the opportunity to partake in rich cuisines of different origin. Given the promise of indulging in a jumbo portion of paella or satisfying a noodle craving, the only obstacle between you and fulfillment is scrounging up directions.

Nothing brings out the joys of a French and Spanish union in quite the same way as Basque cuisine. You can taste the region’s flavors in such traditional dishes served at the Basque Cultural Center (599 Railroad Avenue, South SF; 650-583-8091, www.basqueculturalcenter.com) as lentil soup, Paté de Campagne, and Veal Forestière. In this sit-down restaurant, a staff reminiscent of your own kindly ma regularly restocks your plate with portions that fill even the bellies of growing teenage boys.

Ernest Hemingway would be proud to hear you express an interest in Spanish cuisine, and there’s no better way to dive in than at the Spanish Cultural Center’s Patio Español (2850 Alemany Boulevard, SF; 415-587-5117, www.patioespanol.com). Score both hot and cold tapas like the Calamares Fritos or the Chorizo Manchego, and if you’re craving a bigger zing in the seafood department, give its Paella Marinera a try. You can partake of this authentic experience in either its Spanish-style restaurant or bar, Wednesday through Sunday. If you’re in need of culturally enjoyable hangover sustenance, stop by on Sunday mornings for its buffet brunch.

Visit the friendly Sunday food fair at the Thai Temple and Culture Center (1911 Russell, Berk.; www.tccsfbayarea.org) in Berkeley to get a sampling of Thai cuisine. From the traditional restaurant fare like Pad Thai, various curries, and papaya salad to beef noodle soup, fried chicken, and favorite desserts like mangos and sticky rice, the selection makes it difficult to not turn dining at the temple into a habit. It starts serving as early as 9 a.m. and lasts until 2 p.m., so take your time trying everything the center has to offer.

Who doesn’t have a craving for a good Bolognese sauce from time to time? The Italian American Social Club (25 Russia Ave, SF; 415-585-8059) in the Excelsior district makes it easy to fill your tummy with a spread of antipasti and olive samplings, varying pastas, and, to top off your meal, ice cream. The low-key, quaint decor will have you longing for trips to Italy during the lazy summer months. Go for lunch or dinner — but unfortunately, it’s only open Wednesday through Friday.

Nestled in Oakland’s Chinatown, this center satisfies a sweet tooth. Located on the lower floor of the Oakland Asian Cultural Center (388 Ninth St., Oakl.; 510-637-0455, www.oacc.cc), the "Sweet Booth" features Asian-style shaved ice topped with condensed milk, boba balls, and red beans. Their sesame, avocado, and coconut ice creams, made in-house, should be sampled and accompanied by the ever-enjoyable staple of pearl milk tea. If you’re in the mood for a little something different, get a taste of its passion fruit, papaya, or mango pearl shakes.

Edging toward the edge

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A title like Tragedy: a tragedy has, you might think, promises to keep. But what exactly are they? The repetition already flags, and flogs the futility in the gesture, announcing amusingly this post-tragic age. Instead, a sardonic scene suggests itself, nothing summing up the post-tragic like the daily litany of tragic stories on the news. And still, according to New York playwright Will Eno, whose previous works include 2004’s Thom Pain (based on nothing), tragedy will out, even in the tragedy business.

Scattered over the Thrust Stage at the Berkeley Rep, where Tragedy is enjoying its sharp American premiere, stand three garrulous TV reporters. In one granite-lined corner is legal expert Michael (Max Gordon Moore); in another, home front correspondent Constance (Marguerite Stimpson) perches, just as dependably, in front of a home; and out on a jutting bit of lawn in the enveloping night is John in the Field (Thomas Jay Ryan). The three are arrayed, out on location, around the central and imposing studio-lighted, half-circle desk of anchorman Frank (a quietly impressive David Cromwell, looking and presenting very much the part of a slowly crumbling John Chancellor). One unnamed Witness (Danny Wolohan) stands by, in street clothes with a knapsack slung snug over both shoulders, more or less mute until nearly the end of the 70-minute single act.

As the scene unfolds, it’s clear this is a special news day, in fact one long day’s journey into perpetual night. The sun is missingoverdue or something — and apparently not coming back. It’s the kind of catastrophic event unfolding in real-time that musters all the energies, ego, and élan of the news professionals. It’s what they train for: the unending crisis that calls for unending comment, a filibustering of fate.

A substitute family, a set of everyday heroes, a security blanket of authoritative remarks and assurances — god knows just what we see in them. Weighing in with weightless commentary and heavy-handed air, the reporters pass the feed, the buck, the potato, and the cliché as the earth settles into darkness.

"Is the sense of tragedy palpable?" asks our anchor. "Absolutely, Frank," a reporter assures him. "You can feel it!" Constance, in charge of empathy, dutifully sympathizes in all directions, sometimes in phrases so convoluted and meandering they are all but incomprehensible, and further undermined by her own invading guilty preoccupations. Michael, erect and rapid-fire, relays the governor’s increasingly inept and despairing statements ("Let the looting begin!"). Meantime, adds John in the Field, the neighborhood dogs are doing what they, in the face of overwhelming tragedy, can be counted on to do, including "making their tags and collars jingle."

If improvising reporters have a knack for somehow coining clichés, Eno’s generally inspired dialogue succeeds partly by trading hilariously on just this cursed gift. But the barrage of verbiage, the real blanket of night over us all, slowly unravels as the play moves through its short, sure arc toward a somewhat predictable but nevertheless gently moving anticlimax. Sputtering empty phrases, our reporters begin steadily edging toward the edge (to coin a representative phrase), teetering over into the void on the precipice of some personal point of view, some secret feeling, impression or memory; something actually felt, if not fully understood.

As the reporters spend themselves over the course of an hour like guttering candles, all but flickering out by the end, our Witness finds his voice. Angling fairly nimbly past one or two well-worn conceits, Eno’s play reaches a not-unsatisfying end in a little night-blooming flower of an image, no more than a precise rendering of a mundane detail. Nothing really, but more than enough to awaken a sense of evanescence. And it’s that gentle pinprick that lets the blood flow at last.

If playwright Eno began Tragedy: a tragedy in 1999, as the program indicates, it surely picked up some thematic momentum after 2001, when principal televised upheaval gave way to an unending worldwide war against terror — just the kind of tragedy (in capital letters) that serves all the better to lull those on the home front into a dull, deflated night of everyday horrors. But Eno’s very funny play — featuring an enjoyable, expert ensemble and deftly directed by Les Waters — is no political tract. It instead remains, like his babbling newscasters, precisely vague about everything — all the better in the play’s case to sneak up on the sensation and insight hiding behind the minutely, fleetingly particular. Maybe tragedy, it suggests, is already tautology, since we’re born into it, and every peaceful little moment that brushes us so lovingly also whispers demise.

TRAGEDY: A TRAGEDY

Through April 13

Wed.and Sun., 7 p.m. (also Sun, 2 p.m.)

Tues. and Thurs.–Sat., 8 p.m. (also Sat., 2 p.m.), $13.50–$69

Berkeley Repertory Theatre

Thrust Stage

2025 Addison, Berk.

(510) 647-2949, www.berkleyrep.org

Positive space

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In 2003, filmmaker and CalArts professor Thom Andersen completed Los Angeles Plays Itself, an ambitious and inventive undertaking that combines clips from a library’s worth of different movies set in Los Angeles into a long, discursive, highly opinionated film. Divided into three parts, this treatise presents an intriguing account of the numerous ways Los Angeles has been cinematically conceived, represented, and perceived. Through the cameras of thousands of filmmakers, Hollywood’s neighbor has been viewed either in accordance with or (more often) at odds with its particular geography and range of architectural styles.

The German artist-filmmaker Heinz Emigholz is attempting a similar spatial exploration — one that started long before Andersen’s, in 1993, and one that continues today. The five films in the Pacific Film Archive’s Heinz Emigholz: Architecture as Autobiography are part of a larger "Photography and Beyond" project Emigholz has been working on for the last 24 years. This handful of works captures constructions by important but somewhat neglected architects of the 20th century. One aim of Emigholz’s endeavor is to provide an alternative kind of biography: a biography in which knowledge about the architect is derived directly from his or her creations.

All five of the cinematic explorations of space in "Architecture as Autobiography" are presented starkly, so that, as Emigholz explained to Siegfried Zelinski in an interview, "The eye reverts back to what it always was: an extension and interface to the brain, and one that needs no codes. It thinks and feels at the same time."

In Emigholz’s movies, there is no voice-over narration to share background facts about architects, their aesthetics, and the reasons for their historical importance. Instead, intertitles on the screen inform the viewer about the names of the buildings, their locations, when they were built, and when they were photographed. This information is juxtaposed with long, medium, and close static shots of the buildings, accompanied by sound from the locations.

Described this plainly, Emigholz’s films might sound boring. But watching them proves to be a surprising and fascinating experience. In Sullivan’s Banks (1993-2000), the long succession of shots depicting banks that the American architect Louis H. Sullivan was commissioned to build from 1906 to 1920 slowly allows us, the viewers, to make certain connections. Through observing Sullivan’s banks in their surroundings (from various exterior angles) and in the context of their use, we come to understand his intention of harmoniously uniting function and form. Upon entering one of Sullivan’s imposing, cathedral-like buildings, you feel like you’re in a serious institution — one where your finances are absolutely secure.

Similarly, in Maillart’s Bridges (2001), the quiet repetition of photographs featuring bridges designed and built between 1910 and 1935 by the Swiss civil engineer Robert Maillart points to his obsessive experimentation with arches. In looking at Maillart’s curved constructions, one can’t help but marvel at their flowing shapes and forms, and also at the discrete ways in which they mingle with their natural environs.

This concern is even more evident in Goff in the Desert (2002-2003), where the filmmaker unobtrusively records — repeatedly — buildings that American architect Bruce Goff created from the 1920s through the 1970s. Goff’s attempts at simuutf8g the environments around his buildings yield imaginative constructions. Multilevel room divisions and novel uses of circle formations are two characteristics of his unique approach to spatial perception.

The residences in Schindler’s Houses (2007) — including one owned and occupied by none other than Los Angeles Plays Itself filmmaker Thom Andersen — are less preoccupied with fitting within a broader physical environment and more concerned with the harmony of their interiors. In the process of observing the ornament-free constructions that the Austrian American architect Rudolph Schindler built in Los Angeles from 1921 to 1952, Emigholz reveals the architect’s insistence on creating spacious, breezy, and minimal interiors for outwardly bulky houses.

The relative freedom Emigholz allows the viewer in terms of contemplation is one major reason among many that give his unusual films intrigue. Emigholz’s filmmaking technique moves several steps beyond — or in a different direction from — Los Angeles Plays Itself‘s concerns regarding spatial conception, representation, and perception. It does so while remaining true to one filmmaker’s particular perspective of how we experience and understand space.

"I believe that everyone perceives space differently, and that art and structure arise out of the perception of these nuances," Emigholz has said. In his films, this idea takes a number of different forms. Through his own understanding of space, Emigholz interacts with and presents other people’s conceptions and perceptions of it. In the process, he also creates his own artful cinematic structures — films that stimulate our understanding of space while in a sense simultaneously creating and navigating a visual maze. Mind boggling, isn’t it?

HEINZ EMIGHOLZ: ARCHITECTURE AS AUTOBIOGRAPHY

Through April 17

$5.50–$9.50

Pacific Film Archive Theater

2575 Bancroft, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

Jewish Music Festival

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PREVIEW Few genre-themed music festivals enjoy as much freedom in programming as Berkeley’s Jewish Music Festival, now in its 23rd year. For who’s to say what the criteria are? Jewish music expresses joy and pathos, success and failure, the thrill of adventure and the solace of tradition, assimilation, ostracism, whimsy, and gravity, as much as music — and only music — can. And so goes the festival, staking out its territory with challenging and alluring forays all over the Jewish cultural map.

Klezmatics frontman Frank London opens the proceedings with "A Night in the Old Marketplace," a newly commissioned song cycle based on a Yiddish play penned in 1907 by I.L. Peretz. Of course, if Berkeley is the birthplace of slow food, you might call "The Ark: Cyclical Rituals," the most ambitious program of the festival, "fast music." In the space of a week, nine notable performers, including London and influential Bay Area composers John Schott and Jewlia Eisenberg, will board a creative Noah’s Ark, devising a collaborative debut on themes of ritual and tradition.

Two more sure bets: violinist Kaila Flexer and oud player Gari Hegedus of the acoustic ensemble Teslim play Middle Eastern and Sephardic traditional music with understated mastery of melody and ornamentation. And, straight out of the promised land of New York City, the punk-rock klezmer band Golem expands the limits of the shtetl songbook with show-stopping stage presence and a remarkable grasp of Yiddishkeit.

JEWISH MUSIC FESTIVAL Fri/22–Sun/30. (510) 848-0237, visit www.jewishmusicfestival.org for specific times and locations.

Hot fusion

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If you’ve done any traveling at all, you know about Peruvian dance and music. You will have seen the small groups of black-caped musicians (occasionally accompanied by dancers) playing pan pipes anywhere from Tokyo to New York City, Copenhagen to Atlanta. But there is another aspect of this country’s culture, one that originated halfway around the world. Early in their sixteenth century conquests, Peru’s Spanish colonial powers imported slaves from Africa to work the silver mines. But with the abolition of slavery in 1854, the thriving Afro-Peruvian culture gradually started melting away. By the mid-twentieth century it was composed of fading memories, dances half-remembered, and musical instruments in disrepair. One was the cajon, today known from flamenco dancing; a wooden box Afro-Peruvians used for percussion instead of the forbidden drum. One man, Ronaldo Campos, realized what a tragedy the loss of these cultural traditions would be. In 1969 he founded Perú Negro (now run by his son), and with the help of ethnologists they began to save and revitalize Peru’s African heritage. If you have seen the Bay Area’s El Tunante perform Peru’s national dance, the zamacueca (now often called the marinera), at the San Francisco Ethnic Dance Festival, you’ll have had a taste of how European, Indian, and African cultures have mixed in Peru. Perú Negro’s one-night-only concert presents a collection of dances, including the percussive zapateos; the popular zamacueca, which is danced with handkerchiefs; the landó, originally from Angola but entering Peru by way of Brazil; and the toro mato, which mocks the stiff-boned formality of the European minuet. Thematically, the dances both lament and celebrate the slaves’ daily working and living conditions. In addition to the guitar, you may also hear quijadas, or jaw bones, and cajitas, small box drums worn around the neck. (Rita Felciano)

PERÚ NEGRO

Thurs/20, 8 p.m., $22–$42

Zellerbach Hall

UC Berkeley, Lower Sproul Plaza (near Bancroft at Telegraph), Berk.

(510) 642-9988

www.calperfs.berkeley.edu

Alone again, or

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In memoriam: Ike Turner, Buddy Miles, Teo Macero, and Arthur Lee

"Music won’t have no race, only space…." — an eternal lyric sung by that titanic philosopher Marvin Gaye, echoing many other dusky voices, from that of pioneer Afronaut Estevanico the Black, whose exploits across the sixteenth century, proto–American West supersede words, to the United Kingdom’s newest alt-country composer Lightspeed Champion. This sensibility is at the core of the Afro-Baroque aesthetic currently being revived as Arthurian legend — King Arthur Lee, that is. From punk-haired black girls in East New York City digging his hybrid soul on the subway through their iPods, to the foremost articulators of the genre’s lush, neoclassical Afropean clash — his Los Angelean heir Stew and the Houston-born boy-king Devonte Hynes, aka Lightspeed Champion — the Arthurly is wrecked no mo’. And it’s way past prime time for the original Love man to be honored on the black-hand side.

PASSING PHASES AND STAGES


The lure of fair Europa held sway over Arthur Lee’s next-gen singer-songwriter from Crenshaw-Adams in South Central Los Angeles: Stew. No more "California Dreamin’" or uneasy rock for this brer who eschewed his colored cloister for liberation abroad. Only Stew’s Negro Problem followed him to Western Europe and then to Gotham, where he’s brought it to the Great White Way in the format of Passing Strange (2007). What makes this choreo-poem Afro-Baroque is that at this play’s core it’s a conjure of sacrifice — lush and hybridized sonic bleeding for those Negro chillun who are nominally free but not weightless enough to swing a ride on ancient Kemet’s Ark of a Million Years.

Akin to Lightspeed Champion, Stew is the product of a God-fearing background and is prone to vanguard aesthetic allusions in parallel to his younger counterpart’s preoccupations with a blend of meditation, country, gospel, punk, Rocky Horror, French minimalist composer Alain Goraguer, and my friend Galt MacDermot’s Afro-fusionist musical score for Hair. The elder art-punk Stew can go head-to-head with the Afro-punk whippersnapper over Arthurly’s thorny crown, and nothing goes over so well during Passing Strange as the first act sequence when two costars, Daniel Breaker’s Youth and Eisa Davis’s Mother, enact their tense separation in homage to European avant-garde cinema.

Yass y’all, Passing Strange, which was incubated at the Berkeley Repertory Theater and Sundance Institute, is a bona fide masterpiece, yet not without flaw. On the structural tip, even with the move from downtown to midtown requiring a tightening up of the boho flow, the second "abroad" act still lacks a satisfying resolution and includes less of Stew’s meta-Pentecostal exhortations and fourth wall–smashing. And some aspects of the play are problematic, mostly on the score of gender politricks. On Broadway, Davis’s embodiment of her Mother role seems whittled down somehow — but I ain’t gon’ get into the thick of what goes on between black men and they mamas. Then there’s the grumbling from my historian sibling and others about the play’s valorizing of the second act’s European muses above the sacred black feminine. The title is derived from Shakespeare’s Othello, and after almost two decades of experience observing America’s black rock scene, it has struck me repeatedly the degree to which many black male rockers feel they can only truly rock by acquiring a baby mama who resembles Joni Mitchell circa 1970 or, nowadays, Feist. This, even when these black Atlantic boys believe Monika Danneman murdered their beloved Saint Jimi!

Still, Stew’s genius doesn’t make me want to put the hoodoo on him or Passing Strange. Rather, when he exhorts freedom from the podium with Arthur’s Little Red Book, Stew makes me wanna holler in Little Richard’s whoo-hoo! and reach back to my Baptist pastor granddaddy’s church in Georgia for my pious MLK Jr. hand fan with the wavy popsicle stick handle.

To wit: I have seen Passing Strange several times since being taken to see it for my birthday last spring at the Public Theatre (Mayday! Mayday!). While I applaud its leap to Broadway as a lifelong supporter of black difference and arts, my obsession with it is purely personal. Aside from Stevie Wonder at a distance, whose mother died a month before mine in 2006, no one feels my pain nor comes as close to articuutf8g the loss as Stew’s play. A mid-Atlantic chile from the opposite coast, I, like Stew, come from a restrictive Christian background — A.M.E. partisans on the maternal side and preaching as virtual family biniss on the paternal — that would condemn and cast me out for my atheism. Like me at an Allmans concert, Passing Strange is a spook in the Broadway buttermilk, probing the deep history of rock ‘n’ roll incubation and conservatism in the black church.

Although Stew’s a decade older than I, I also spent my youth in the ’70s plotting how to dance my way out of the constrictions of the black bourgeoisie horrorshow. And I loved punk and other subcultural provocations for the anarchic possibilities they presented in terms of society and style. Above all, I, too, long mistook songs for love — until now, when I’m in the grips of a hurt that music ultimately cannot heal. But while I appreciate my education abroad, I differ from Stew on the Europa-as-Utopia tip. Nothing breeds contempt like familiarity.

MR. MIDDLE PASSAGE


Stew’s alter-ego, Youth, comments that, "America can’t deal with freaky Negroes!" So there’s always been black in the Union Jack, leastways when it comes to rock ‘n’ roll — from Brian Jones’s ace boon Jimi Hendrix through to today’s new eccentric Lightspeed Champion. The UK has been perennially more hospitable to creative Africans who would be free, despite Ruth Owen of Mama Shamone’s faintly damning radio doc of last year, which took the pulse of the black rock orbit on both sides of the Atlantic.

Lightspeed Champion reminds me less of this ‘n’ that name-checked Britpopper than Modesto’s recently retired armchair critic of freeway flight and exurban strip-mall anomie: Granddaddy’s Jason Lytle. Perhaps this cracked Americana element stole into the proceedings since Hynes recorded his solo debut in Omaha amongst the cabal of Bright Eyes’ Saddle Creek-dippers, but it seems such wry "from inside the scene looking out" songs as "Everyone I Know Is Listening to Crunk" suggest the subjectivity of a disaffected young man looking for a room of his own far from the urban, madding crowd of druggies, chavs, and black authenticity dealers that surround its narrator. Like Lytle’s renovation of country and western — with an emphasis on restoring the western part of the early twentieth century modern genre from the perspective of what happens when America’s run out of room for expansion — Lightspeed Champion’s brand of high lonesome is borne out of England’s dreaming during the insular nation’s nightmarish era of being "overrun" by immigrants, urban blight, and various forms of terrorism.

It is rather fascinating that Texas-born Hynes should have escaped parochial black American life due to his itinerant parents’ lifestyle only to seek out Omaha-as-omphalos for requisite head space to craft his new opus, Falling Off the Lavender Bridge (Domino). Why? Precisely because it’s his attaining maturity in England that permitted Hynes to become the swooning, anxious, vulnerable almost to the point of fey version of black manhood that pervades his finely wrought songs. His brand of Afro iconoclasm — which got him signed as a Test Icicle at 19 and now gets him fêted for sepia twang in his early 20s — would have encountered far more roadblocks on American shores where young black males are required to be consistently hard and never punks (catch the final season of The Wire). Plus ça change, eh, Josephine et Jimmy? Of course, Hynes’s will-to-flight was telegraphed from childhood when he penned a comic about a superhero from Planet Voltarz whose power derived from wielding mathematical equations. The superhero’s moniker? Lightspeed Champion, whose power in maturity will likely rest on "touring until I die."

When he performed at that East Village hip cloister Mercury Lounge before a small fawning audience sporting about — a record — six Negroes, the fur-helmeted Champion in David Ruffin’s black glasses, a self-willed superhero and Urkel-in-Little Richard’s hairpiece, seemed to be signaling that the secret power propelling him out of the dystopic urban milieu he described was not merely blowing up in America but striving to refine a hyperliterate and well-enunciated language to get his Romantic apologias across. And don’t let the widescreen alt-country symphony "Galaxy of the Lost" fool you — our Devonte’s still black enough for ya, with his disc being inspired by a lot of hip-hop and by closing his debut with an ode to his Mama: "No Surprise (For Wendela)." If Falling Off the Lavender Bridge does the biniss projected, this postmodern Professor Longhair is on his way. Watch his space.

Despite the decades of separation, Stew and his fellow black Atlantic jumper Lightspeed Champion are both still seeking newer sonic horizons, even as that campaigning purveyor of "Them Changes," B-rack Obama, is traveling electric miles to paint the White House black.

Clubs: Got soul? Succumb to Soul Knockout

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soulnight sml.jpg
Scenesters go with the soul at Missouri Lounge. Photo by Joshua Rotter.

By Joshua Rotter

If it’s a soul night – be it Memphis, Philly, or Northern – I’m the first on the floor, spinning, flipping, and back-dropping. Still, I’ve never fully understood why white people, myself included, so identify with the genre – and seeing The Commitments several times has done little to clarify this for me.

So like a modern-day Penelope Spheeris, I took an anthropological adventure – to what felt like 20,000 leagues under and across the Bay via BART – to Berkeley’s Missouri Lounge for Soul Knockout to gain a better understanding of this phenomenon.

About to hit its first anniversary, Soul Knockout is hosted by DJ Hot Grits, Sweats the Bed, and seasoned veteran E Da Boss (Slept On Records) at a renovated dive bar that has become a pit stop for hip white kids, while still remaining down-home.

Big “Footprints”

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Since its inception in 2004, the SFJAZZ Collective has changed out six of its eight original members. But now in the midst of its fifth season, the band sounds and, more importantly, interacts more cohesively than ever.

"All the people we’ve had, have been very beneficial to the band," says pianist and original member Renee Rosnes, during a recent rehearsal at the Masonic Auditorium. "They just bring another color to the music." Veteran saxophonist Joe Lovano, who joined last summer and replaced Joshua Redman, now nominally serves as resident sage, the position formerly held by vibraphonist Bobby Hutcherson. Also last summer, youthful Stephon Harris took Hutcherson’s slot, and this spring trombonist Robin Eubanks was added for the San Francisco residency and both the national and European tours. Despite the shifts, the ensemble’s firepower hasn’t diminished and the members are especially eager to tackle Wayne Shorter’s quixotic music, which they’ll be playing along with their own.

Saxophonist Shorter’s career has evolved from writing and playing on the front line of hard-bop standard-bearing Art Blakey’s Jazz Messengers to a similar position with Miles Davis’s great shape-shifting quintet of the early ’60s. While playing with Davis, Shorter compiled one of the most distinguished solo careers ever with an incomparable series of albums on Blue Note (1964’s JuJu and Night Dreamer and 1965’s The All Seeing Eye) that forever cemented his stature as a major composer. Subsequent turns as the cofounder of Weather Report and now the leader of an exquisite quartet have simply embellished Shorter’s reputation.

Rosnes considers her time playing with Shorter a revelation. "It was such an impactful experience," Rosnes explains. "The intensity and passion that he played with literally took my breath away."

On the brief 1988 tour that took the all-star band through the United States and Europe, Rosnes played a nightly duet with Shorter on his Brazilian ballad "Diana." "There was complete spontaneity from night to night. He cherishes a lot of freedom within the music, and that really opened up my mind," she says.

Since each Collective member arranges a tune from the season’s composer, Rosnes has written the chart for "Diana" as well as Shorter’s classic "Footprints." Other arrangements include "Armageddon" by saxophonist Miguel Zenón, "Aung San Suu Kyi" by trumpeter Dave Douglas, "El Gaucho" by bassist Matt Penman, "Yes or No" by drummer Eric Harland, and "Infant Eyes" by saxophonist Lovano. Rosnes says the arrangements give the band a more personal voice, which is appropriate when considering Shorter’s considerable body of work. "He plays life," Rosnes says, "through his horn."

SFJAZZ COLLECTIVE

Sat/15, 8 p.m., $34–<\d>$52

Zellerbach Hall

UC Berkeley, near Bancroft at Telegraph, Berk.

www.calperfs.berkeley.edu

Freedom of Information: A citizen’s guide to fighting secret government

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San Francisco has the best local sunshine law in the country — and there are still problems getting access to information. Even though the digital age in which we live affords government agencies with myriad ways to give citizens more access to public documents, there is too often little official will to create transparency. And often, bureaucrats are downright hostile to public scrutiny. But help is out there. This guide to local and national organizations offers a wide range of resources for journalists, citizen activists, and hell-raisers who want to track their tax money and hold their government accountable.

LOCAL ORGANIZATIONS


The California First Amendment Coalition is an independent, nonpartisan, nonprofit organization whose mission is to "promote and defend the people’s right to know" by improving compliance with state and federal access laws. CFAC’s Web site contains an archive of articles dealing with FOI issues, the texts of state FOI laws, and other useful resources. 534 Fourth St., Suite B, San Raphael, CA 94901. (415) 460-5060, cfac@cfac.org, www.cfac.org.

The California Newspaper Publishers Association is the umbrella organization to which most newspapers in the state belong, so it has an acute interest in open government. Its FOI Watch newsletter (also available online) includes a clearinghouse of sunshine news from around the state. 708 Tenth St., Sacramento, CA 95814. (916) 288-6015, tom@cnpa.com (general counsel Thomas Newton), www.cnpa.com.

Californians Aware, run by former CFAC general counsel Terry Francke, helps activists and organizations get access to public meetings and records and offers resources on the Web for citizens, public officials, journalists, and attorneys. 2218 Homewood Way, Carmichael, CA 95608. (916) 487-7000, info@calaware.org, www.calaware.org.

The Center for Investigative Reporting sponsors workshops on investigative techniques for journalists and university students. The center’s Web-based magazine provides FOI information, tips for journalists, and updates on past CIR investigations. 2927 Newbury St., Suite A, Berkeley, CA 94703. (510) 809-3160, center@cironline.org, www.muckraker.org.

The DataCenter provides on-call research, consultation, and referrals to justice organizations regarding FOI issues. It also offers research and action training. Services are free or on a sliding scale, depending on one’s ability to pay. 1904 Franklin St., Suite 900, Oakland, CA 94612. (510) 835-4692, ext. 376, www.datacenter.org.

The Electronic Frontier Foundation, an online First Amendment organization, works to uphold digital free speech, empower the online public, and protect privacy on the Internet. It provides stories and alerts on its Web site, with daily updates. Effector, an e-mail newsletter, is available through the site. 454 Shotwell St., S.F., CA 94110. (415) 436-9333, information@eff.org, www.eff.org.

The First Amendment Project is a public interest law firm that provides legal representation, educational programs, and low-cost or free advice for journalists, public interest organizations, and individual citizens with public records and FOI-related issues. In a joint publication effort with the Society of Professional Journalists, the project offers three free pocket guides, on the Brown Act, California’s Open Meeting Law, and accessing court records. The Web page has information on using the California Public Records Act as well as on getting court records. 1736 Franklin St., 9th floor, Oakland, CA 94612. (510) 208-7744, fap@thefirstamendment.org, www.thefirstamendment.org.

Media Alliance is a nonprofit media center that offers classes on journalism skills, including how to find and use public records. 1904 Franklin St., Suite 500 Oakland, CA 94612. (510) 832-9000, information@media-alliance.org, www.media-alliance.org.

The Society of Professional Journalists, Northern California Chapter, FOI Committee fights for open access to information and educates members of the public on FOI issues. The group provides a subscription e-mail list for journalists and others involved in FOI and First Amendment issues in California as well as putting on the James Madison FOI Awards. 222 Sutter St, 6th Floor, San Francisco, CA 94108 (415) 321-1700, www.spj.org/norcal.

NATIONAL ORGANIZATIONS


The Brechner Center for Freedom of Information conducts research and educates the public in mass-media law and the First Amendment, including public access to government meetings and records and litigation information. University of Florida, College of Journalism and Communications, 3208 Weimer Hall, P.O. Box 118400, Gainesville, FL 32611-8400. (352) 392-2273, www.jou.ufl.edu/brechner.

The Center for National Security Studies works with concerned citizens and groups to expose secret government policies and offers free assistance to those seeking records under the Freedom of Information Act. It also coordinates related litigation. 1120 19th St. NW, 8th floor, Washington, D.C. 20036. (202) 721-5650, cnss@cnss.org, www.cnss.org.

The FOIA Blog, created by an FOIA Washington attorney, has an updated list of documents currently being released by several government agencies infoprivacylaw@yahoo.com, www.thefoiablog.typepad.com.

The Freedom of Information Center of the University of Missouri School of Journalism has a collection of more than one million articles and documents about access to information at the local, state, and federal levels. The center works to ensure compliance with sunshine laws around the country. Its Web site contains links, updates, and tips on FOI inquiries. A free e-mail newsletter provides information on developments in FOI access and issues; you can sign up by contacting umcjourfoi@missouri.edu. University of Missouri, 133 Neff Annex, Columbia, MO 65211. (573) 882-5736, daviscn@missouri.edu, www.missouri.edu/~foiwww.

GovernmentDocs allows people to browse and search thousands of pages acquired through the FOIA and sunshine laws. Registered users can review and comment on documents. www.governmentdocs.org

GovTrack provides information on the U.S. Congress. It compiles information on federal legislation, voting records, and other congressional date and simplifies the language for ordinary citizens. It also indexes all bills, as well as changes to them, in Congress and all roll call votes www.govtrack.us.

Investigative Reporters and Editors provides educational services for investigative reporters and editors. The group’s Web site offers FOI-related resource guides, a database of FOI stories, tips for using the Freedom of Information Act, and a database of previous FOI requests. University of Missouri School of Journalism, 138 Neff Annex, Columbia, MO 65211. (573) 882-2042, www.ire.org

The National Freedom of Information Coalition is composed of First Amendment organizations dealing with FOI issues. It provides resources for the media, government officials, lawyers, and citizens who want access to public information. The coalition also offers seminars and workshops to media professionals, attorneys, academics, students, and the public on FOI issues and helps nurture start-up FOI groups and Internet sites. Its Web site offers links to relevant legislation and organizations state by state, as well as an Internet mailing list, FOI-L. 133 Neff Annex, Columbia, MO 65211. (573) 882-5736, cdavis@nfoic.org, www.nfoic.org.

OMB Watch is a member of the Public Access Working Group, a coalition of organizations promoting greater access to government information. OMB Watch offers an online newsletter, OMB Watcher, available on its Web site or by e-mail, which typically includes articles on FOI issues. To subscribe to the weekly e-mail version, e-mail join-ombwatcher@lyris.ombwatch.org. 1742 Connecticut NW, Washington, D.C. 20009. (202) 234-8494, www.ombwatch.org.

The Project on Government Secrecy is an advocacy and public education project of the Federation of American Scientists. The project has an extensive archive and provides regular news updates through its Web site and e-mail newsletter, Secrecy News. 1725 DeSales Street NW, 6th floor, Washington, D.C. 20036. (202) 454-4691, www.fas.org/sgp/index.htm.

Project Vote Smart provides information on local, state, and national candidates, including voting records, issue positions, campaign contributions, phone numbers, and mailing addresses. The database is accessible by calling the toll-free hotline at 1-888-VOTE-SMART. 1 Common Ground, Phillipsburg, MT 59858. (406) 859-8683 comments@vote-smart.org, www.vote-smart.org.

The Radio-Television News Directors Association is the world’s largest professional organization devoted to electronic journalism. It lobbies for cameras in courtrooms and strong FOI laws and provides coverage of FOI issues on its Web site. 1600 K St. NW, Suite 700, Washington, D.C. 20006. (202) 659-6510, www.rtnda.org.

The Reporters Committee for Freedom of the Press operates the 24-hour FOI Service Center at 1-800-336-4243 to answer emergency questions from journalists and others with open-records problems. 1101 Wilson Blvd., Suite 1101, Arlington, VA 22209. (703) 807-2100, rcfp@rcfp.org, www.rcfp.org.

The Society of Professional Journalists advocates for open access to information and educates members of the public on FOI issues. The society’s Web site has an FOI section with extensive links to resources and information, including a list of FOI advocacy organizations. 3909 N. Meridian St., Indianapolis, IN 46208. (317) 927-8000, questions@spj.org, www.spj.org.

State Sunshine and Open Records shares information, guidance and advice on developments and news about open records at the state and local level. They also have an extensive list of links to other sunshine blogs. www.openrecords.wordpress.com.

The Student Press Law Center works with the Reporters Committee for Freedom of the Press to cover FOI and other First Amendment issues reutf8g to high school and college journalists. It offers free advice, lawyer referrals, and analysis. 1101 Wilson Blvd., Suite 1100, Arlington, VA 22209. (703) 807-1904, admin@splc.org, www.splc.org.

The Sunlight Foundation develops a database to ensure transparency in government and fiscal accountability. They digitize new info and provide access to existing information. 1818 N Street NW, Suite 410, Washington, D.C. 20036, (202) 742-1520. www.sunlightfoundation.com.

WikiFOIA helps people understand the FOI Act on a state and federal level by providing a how-to-guide about open records requests, as well information on how to make that request. www.wikifoia.pbwiki.com.

INTERNATIONAL ORGANIZATIONS AND RESOURCES


The Guardian Web site has extensive information and links concerning international press-freedom issues. For details on journalists under fire, including frontline dispatches and reports from the battle to keep the world safe for journalists, go to www.sfbg.com/journalists/. For updates, dispatches, and links to national and international FOI groups, go to www.sfbg.com/FOI.

The UK FOI Blog provides a glimpse into how FOI issues are dealt with across the pond by listing news and developments on FOI in Great Britain. www.foia.blogspot.com.

Local government resources

The Government Information Center, on the fifth floor of the San Francisco Public Library’s Main Branch, stocks public documents published by the city. These include annual reports for committees and departments, minutes and agendas of official meetings, environmental impact reports, and city audits, ordinances, and resolutions. San Francisco Public Library, 100 Larkin St., S.F., CA 94102. (415) 557-4500, www.sfpl.org.

The Oakland Public Ethics Commission responds to complaints and holds hearings on possible violations of the city’s Sunshine Ordinance. Records, tapes of the commission’s meetings, agendas, and minutes can be picked up at the commission’s office. 1 Frank Ogawa Plaza, 4th floor, Oakland, CA 94612. (510) 238-3593, ethicscommission@oaklandnet.com, www.oaklandnet.com/government/public_ethics/webpage.html.

The Office of Information and Privacy, U.S. Department of Justice, provides online versions of frequently requested records, opinions, policy statements, and guides to the Freedom of Information Act. The guides include detailed instructions for filing FOIA requests, average response times for different governmental offices, and a wealth of other useful information. The text of the FOIA is available on the office’s Web site. 1425 New York Ave., Suite 11050, Washington, D.C. 20530. (202) 514-3642, www.usdoj.gov/oip/oip.html.

Public Access to Court Electronic Records is an online database of court records and decisions. Web access is 8¢ a page, and requires registration through the Web at www.pacer.psc.uscourts.gov. P.O. Box 780549, San Antonio, TX 78278. 1-800-676-6856, pacer@psc.uscourts.gov.

The San Francisco Ethics Commission monitors and enforces the Sunshine Ordinance and the city’s governmental-ethics, campaign-finance, and lobbyist-reporting laws. Individuals can file complaints regarding violations of the Sunshine Ordinance. The commission meets the second Monday of each month at 5:30 p.m. in City Hall, Room 408. 25 Van Ness, Suite 220, S.F., CA 94102. (415) 252-3100, ethics.commission@sfgov.org, www.sfgov.org/site/ethics_index.asp.

The San Francisco Law Library is open to the public, though only government officials, state bar members, and judges can check out items. Main reference library: Mon.-Fri., 8:30 a.m.-5 p.m., Veterans War Memorial Building, 401 Van Ness, Room 400, S.F. (415) 554-6821. Courthouse reference room: Mon.-Fri., 8:30 a.m.-4:30 p.m., 400 McAllister, Room 512, S.F. (415) 551-3647. Financial District branch: Mon.-Thurs., 9 a.m.-9 p.m.; Fri.-Sat., 9 a.m.-5 p.m.; Sun., noon-4 p.m., 685 Market St., Suite 420, S.F. (415) 882-9310, www.ci.sf.ca.us/site/sfll_index.asp.

The Sunshine Ordinance Task Force oversees compliance with San Francisco’s sunshine law by investigating complaints from individuals who believe city officials have withheld records or conducted meetings in violation of the law. The task force meets the fourth Tuesday of each month at 4 p.m. City Hall, 1 Dr. Carlton B. Goodlett Place, Room 244 (meetings held in Room 408), S.F. For complaint forms and other information call (415) 554-7724 or go to http://www.sfgov.org/site/sunshine_index.asp

PUBLICATIONS


The California First Amendment Coalition publishes the California Journalist’s Legal Notebook, a handy guide to the legal issues surrounding telephone interviews, press passes, gags on sources, and other journalism-related topics ($36.25, $30.88 for CFAC members, shipping included). Also by CFAC is The New Brown Act: How the Open Meeting Law Has Been Revised ($12.75, $7.39 for CFAC members, shipping included). (415) 460-5060.

The Oakland Public Ethics Commission publishes a free brochure, How to Notice a Public Meeting under the Oakland Sunshine Ordinance and the Brown Act, useful for making sure a public meeting follows the requirements of the Brown Act. (510) 238-3593, (510) 238-6620, ethicscommission@Oaklandnet.com, www.oaklandnet.com/government/public_ethics/webpage.html.

Access to Courts and Court Records in California, Open Meeting Laws in California, and The California Public Records Act are free, convenient, quick-reference guides published by the Society of Professional Journalists, Northern California Chapter, and the First Amendment Project. (510) 208-7744, www.thefirstamendment.org/freepress.html.

The ACLU Freedom of Information Project publishes Using the Freedom of Information Act: A Step-by-Step Guide (#4002, $3) and Your Right to Government Information (#1190, $5.95), which covers a broader range of topics, including how to get into public meetings. Both publications can be ordered online through the ACLU’s e-store or by phone. ACLU Publications, P.O. Box 4713, Trenton, NJ 08650-4713. 1-800-775-2258, www.aclu.org.

The Government Printing Office publishes The Freedom of Information Act Guide and Privacy Act Overview ($63), a 986-page guide to the FOIA produced by the Justice Department. It can be ordered by phone at 1-866-512-1800 or online at bookstore.gpo.gov. The Citizen’s Guide is available in its entirety online at www.fas.org/sgp/foia/citizen.html.

The Freedom of Information Clearinghouse Guidebook is a free brochure about making FOIA requests and appealing agency decisions. It’s available online through the Freedom of Information Clearinghouse. www.citizen.org/litigation/free_info/index.cfm.

Paper Trails: A Guide to Public Records in California ($12.89), written by Stephen Levine and Barbara Newcombe, is published by the Center for Investigative Reporting and supported by the California Newspaper Publishers Association. It can be ordered from the CIR. An abridged, online version is coming soon. 2927 Newbury St., Suite A, Berkeley,, CA 94703. (510) 809-3160, www.centerforinvestigativereporting.org/

The fourth edition of the Investigative Reporters’ Handbook ($61, $51 for Investigative Reporters and Editors members), by Steve Weinberg, Brant Houston, and Len Bruzzese, is a comprehensive and accessible guide for novice and experienced journalists that shows how to locate and use more than 500 sources of public information. (573) 882-3364, www.ire.org/store/books.

The Reporters Committee for Freedom of the Press supplies a wealth of publications on public access and other First Amendment topics. How to Use the Federal FOI Act ($5) is a handbook on FOI rights, with instructions for appealing if your request is denied, and includes sample letters. The First Amendment Handbook ($7.50) is a journalist’s pocket guide to FOI issues. Two guides — Judicial Records: A Guide to Access ($3) and Access to Electronic Records ($5) — analyze state laws and decisions regarding access to legal records and government electronic data. Tapping Officials’ Secrets is a set of guides to state public records and open-meeting laws ($10 a state). The News Media and the Law is a quarterly magazine that includes updates on legislation pertinent to FOI ($30 a year for four issues). Some of these publications are available in their entirety online; all can be ordered online. 1-800-336-4243, www.rcfp.org.

The second edition of Law of the Student Press ($18) is a vital handbook for student newspapers. It’s extensively annotated but avoids legalese and tries to bring the law to life for students and educators. The Student Press Law Center also publishes Covering Campus Crime, Third Edition ($2) and the Student Press Law Center Report ($15 for three issues a year). (703) 807-1904, www.splc.org.

Citizen Muckraking: How to Investigate and Right Wrongs in Your Community ($9) offers advice on writing press releases, conducting interviews, and using the FOIA. The book, a collaborative effort by the Center for Public Integrity, is available through Common Courage Press. 1-800-497-3207, www.commoncouragepress.com

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Freedom of Information: 2007 James Madison Award winners

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Click here for details on the First Amendment Awards Dinner.

Norwin S. Yoffie Career Achievement Award

DAN NOYES (COFOUNDER, CENTER FOR INVESTIGATIVE JOURNALISM)


If journalists were the subjects of trading cards like baseball players, the Dan Noyes rookie card would be just as impressive as a 2008 career highlights card. Think Reggie Jackson: a long, impressive career, spanning multiple organizations and a propensity to come out swinging big at the end of a hard-fought battle.

Over a career spanning 30 years, Noyes has pursued serious investigations, some lasting as long as a year, into everything from questionable Liberian timber imports to illicit gun trafficking from United States suppliers to the Nuestra family gang. Journalism first interested Noyes during the crucial investigative reporting that sparked Watergate scandal in the early 1970s.

In 1977 Noyes cofounded the Berkeley-based Center for Investigative Reporting (CIR), an independent news organization which produces in-depth stories and documentaries for all major news outlets. In 1979, reporting for the ABC News program 20/20, CIR broke a story on a swindling United Nations charity organization and its connections to international drug trafficking.

More recently, Noyes has done a series of print and broadcast pieces concerning gang violence in California and its effect on the lives of those surrounding the lifestyle. Noyes still holds an executive position at the CIR and continues to contribute to the world of investigative journalism.

Beverly Kees Educator Award

CLIFF MAYOTTE


Cliff Mayotte sees his Advanced Acting Class at Lick-Wilmerding High School as one that merges students’ "consciousness and awareness as young adults with their skills and energies as performance artists."

The subtitle of the course is "Theatre as Civic Dialogue," and the eight students enrolled during the 2007 spring semester used all their abilities to pull off a notable show.

After an introduction to Documentary Theatre — a form he described as "oral history turned into performance" — the group selected a topic that was important to them, giving birth to the "Censorship Project."

The students interviewed their peers, teachers, and administrators to gather perspectives on the ways in which expression and opinion can be muted or altered, both voluntarily and involuntarily. They reached out to organizations such as Project Censored, the First Amendment Project, and the Ella Baker Center for Human Rights. They transcribed interviews and studied subjects in order to capture statements, word patterns, and mannerisms of interviewees, then shaped the themes into a 60-minute performance.

Professional Journalists

WILL DEBOARD


"Being a high school sports guy, I don’t get to do this very often," the Modesto Bee‘s Will DeBoard said of his first major foray into investigative reporting. He had gotten a tip that the California Interscholastic Federation was investigating recruiting violations by the football program at Franklin High School in Stockton, which competed with schools in his area. DeBoard asked the school and CIF about recruiting violations, but the football coach flatly denied the allegations and the CIF wasn’t much more helpful.

So DeBoard decided to make formal requests for public records with the help of business reporter Joanne Sbranti, and after fighting through some initial denials, he obtained hundreds of pages of investigatory documents from CIF showing how the school was recruiting players from American Samoa. "It really was a treasure trove of great stuff. We got two weeks’ worth of stories out of these documents," DeBoard said. "It really showed us that what the school was telling us just wasn’t true."

The documents detailed the recruiting scheme and gave DeBoard tons of leads for follow-up stories, including the address of "a home owned by the coach where there were all these gigantic Samoan linemen living there." DeBoard called the effort an "adrenaline rush" better than that caused by the best game he’s covered and a high point of his journalism career.

THOMAS PEELE


Contra Costa Times investigative reporter Thomas Peele has a long history of battling for public records access on behalf of both reporters and private citizens. Peele, who helps with projects for all the newspapers under the Bay Area News Group-East Bay ownership, helped ensure the recovery of thousands of e-mails from the Oakland mayoral tenure of Jerry Brown when he left office to become the state’s attorney general in 2006. Peele also helped conduct a statewide audit of Public Records Act compliance by law enforcement agencies with the nonprofit Californians Aware, which revealed glaring inconsistencies in how police across the state make information about their activity available to the public. And he’s been a major figure in helping the Chauncey Bailey Project pry out new information about Bailey’s murder last year and it’s connection to Your Black Muslim Bakery. He began his career in 1983 at a small weekly in Bridgehampton, N.Y., and moved from there in 1988 to the Ocean County Observer in New Jersey before joining the CCT in 2000.

ROLAND DE WOLK


KTVU-TV producer Roland De Wolk is leading the investigative team of photographer Tony Hedrick and video editor Ron Acker in a quest to get the names of drivers who regularly use FasTrak lanes but don’t pay anything. But to date, says De Volk, the Metropolitan Transportation Commission has been blocking his team’s quest.

De Wolk told the Guardian that his team filed a California Public Records request when the MTC wouldn’t provide information on the amount of money it was losing thanks to drivers who don’t pay tolls when they use FasTrak lanes.

"We asked MTC for specific numbers last summer and got little information. That makes a reporter’s antennae quiver," said De Wolk.

But when he and his team asked for the numbers of people obstructing their plates, the MTC started acting squirrelly, De Wolk said.

"Finally, after six to eight weeks of asking we got an answer: a photo of a car whose plate was blank," fumed De Wolk, whose team continues to push for the names of the 10 most frequent FasTrak violators.

Broadcast News Outlet

KGO-TV


When KGO-TV reporter Dan Noyes and producer Steve Fyffe asked Muni to turn over records of public complaints against its drivers, they were ready for some bureaucratic foot dragging. But they never expected the yearlong grudge match that followed. First, the union representing Muni drivers sued to keep the records sealed. Then Muni’s parent department, the Municipal Transportation Agency, made a backroom deal with the union and released a blizzard of confusing and heavily redacted paperwork that would have made the Pentagon blush.

"It was essentially a big document dump," Fyffe told us. "There was no way to tell one form from another or which driver was which."

Noyes and Fyffe convinced their bosses at KGO-TV to file a lawsuit for full access to the records. The station prevailed, after which Noyes and Fyffe received over 1,200 pages of public complaints about 25 drivers. Recently, the station went back to court after Muni refused to release surveillance tapes of the drivers. As in the previous case, the judge ruled that the public had a right to the materials and forced the transit agency to hand the tapes over.

Fyffe said he sees KGO’s legal successes as small victories in a much larger fight. "I hope in the future that this case will make Muni and other city departments more [responsive] to records requests … these kinds of incremental victories hopefully lead, little by little, to a more open government."

Print News Outlet

SACRAMENTO BEE


The Sacramento Bee operates in a city run by top-tier politicians and their spinmeisters, so the editors and reporters there have placed increasingly high value on using documents to support their stories.

"We’ve always used public records here. Being in a state capital, we’re a little more aware of the necessarily of that," managing editor Joyce Terhaar said. "You just need to be able to tell a story about what’s really happening."

Yet she said that in recent years, the Bee has made a concerted effort to hire public-records experts and to have them share their knowledge with the paper’s staff through regular workshops. And last year, those efforts paid off with a string of big, impactful investigative stories.

Among them was Andy Furillo’s look at how much the state was spending to fight inmate care lawsuits, Andrew McIntosh’s exposé on the lack of oversight for paramedics and emergency medical technicians, and stories by John Hill and Kevin Yamamura on misconduct by the state’s Board of Chiropractic Examiners.

In selecting the Bee, Society of Professional Journalists judges recognized these individual efforts as well as the Bee‘s "institutional support of reporters and their use of public records for numerous stories."

Community Media

THE BERKELEY DAILY PLANET


One of the only ways to uncover corporate wrongdoing is to dig through court records, and it’s the job of the press to report what it discovers, said Becky O’Malley, executive editor for the Berkeley Daily Planet. She was convinced that a prior court order violated the public’s constitutional rights to see court documents, so the small daily newspaper sued and won in a California appeals court last year, making public 15,000 pages of records from a class-action suit filed against Wal-Mart in 2001.

The documents included allegations that the company had denied rest breaks to its workers and deleted hours from paychecks. In the Planet‘s freedom of information suit, the appeals court judges agreed with the paper’s attorneys that the case could set a dangerous precedent where the public would have to prove its right to access court records. "It’s becoming more of a trend for judges to grant permanent seals on court records," said O’Malley. That’s unfortunate, she added, since "the only way the public finds out about bad things going on in society is through court records."

Special Citation Award

CHAUNCEY BAILEY PROJECT


After Oakland journalist Chauncey Bailey was murdered last August, a large group of Bay Area media organizations formed a rare coalition to investigate his death and the activities of Your Black Muslim Bakery, a long-time East Bay institution believed by police to be involved in the killing. Since then, the group has produced several stories complete with audio, video, and photo presentations, the most recent of which is a series by retired Santa Rosa Press-Democrat reporter Mary Fricker detailing the sexual assault allegations made by young women once in the custody of Yusuf Bey Sr., founder of the bakery. Fricker received help from independent radio journalist Bob Butler, investigative reporter A.C. Thompson, and MediaNews staff writers Cecily Burt, Thomas Peele and Josh Richman. Other stories have reported allegations of real estate fraud against bakery associates, explored potential coconspirators in Bailey’s death, and examined the bakery’s ties to several prominent politicians. More about the project — the first of its kind since a group of journalists investigated the murder of Don Bolles more than 30 years ago in Arizona — can be found at chaunceybaileyproject.org, or at www.sfbg.com/news/chaunceybailey.

Public Official

MARK LENO


It was a staff member, Kathryn Dresslar, who told Assemblymember Mark Leno how horrible state agencies had become at complying with the California Public Records Act. Dresslar served on the board of Californians Aware, a group that advocates for open government, and she described to her boss how a 1986 audit by the organization had given every one of the 33 agencies in California government a failing grade.

Ryan McKee, then a high-school student and the son of CalAware board president Rich McKee, had visited each agency and asked for a few simple things. He wanted to see each agency’s guidelines for public access, and he requested some basic information, including the salary of the agency director. Agency after agency refused to follow the law.

So Leno introduced legislation that would have mandated that every agency post its access guidelines on the Web — and included stiff fines for agencies that violated the Public Records Act. "It put some teeth into the law," Leno told us. "And I got 120 of 120 members of the state Legislature to vote for it.

That wasn’t enough for Gov. Arnold Schwarzenegger, who vetoed the bill, saying it wasn’t needed. The governor insisted that he had already ordered state agencies to fix the problem.

"It was a great eye-opener for me, and showed me the resistance this administration has to allowing public access to state government," Leno said. "Without that access the public is at a great disadvantage."

Library

UC BERKELEY’S BANCROFT LIBRARY LOYALTY OATH PROJECT


It might be hard to believe, but in 1949 the University of California Regents, a bastion of higher education, rode the wave of anticommunist fervor and McCarthyism, forcing all UC employees to take a loyalty oath. The Board of Regents adopted the rule that UC administrators pushed forth: denounce communism and swear loyalty to the state, or face losing your job.

As could be expected, people resisted and 31 faculty, workers, and student employees lost their jobs. They appealed the case to the California Supreme Court and eventually were reinstated in 1952, but the controversy cast a pall over the UC’s reputation and divided campuses. With the help of a grant from UC President Emeritus David Gardner, archivists from UC Berkeley’s Bancroft Library and other researchers painstakingly compiled 3500 pages of text, many audio statements, and photos from four UC collections.

The online collection, which went live in December 2007, serves as primary source material for students and researchers who want to understand how UC administrators got embroiled in and came to terms with the McCarthy-era tensions that rocked the country.

Legal Counsel

RACHEL MATTEO-BOEHM


Electronic data is the new frontier for public-records law, and Rachel Matteo-Boehm, a lawyer with Holme, Roberts and Owen, last year won a key case preserving the public’s right to access to what some public agencies have tried to claim was proprietary data.

The county of Santa Clara produced a digital map showing property lines, assessors parcels and other key real-estate data, and that became the basis for a geographic information system tool. The GIS would allow users to plot everything from property taxes to street repairs, public investment, political party registration, school test scores and other trends. But Santa Clara wasn’t giving it out to the public: The database cost more than $100,000, which meant only big businesses could use it.

Boehm went to court on behalf of the California First Amendment Coalition to argue that the data was public, and must be made available without high charges. "As information begins to be collected in electronic form, and governments choose to put information in sophisticated electronic formats, you can run into real public-access problems," Boehn told us.

Boehm convinced a Santa Clara Superior Court judge that the data was indeed covered under the California Public Records Act. Now Santa Clara must make the map available to the public — and other counties with similar data, seeing the results of the suit, are following that rule.

The decision was a key one, Boehm said: "One day we’re going to wake up and all there will be is electronic records," she noted. And if governments can apply different rules to those documents, "you can kiss the Public Records Act goodbye."

Whistleblower

DAN COOKE


When Dan Cooke shared details of an alleged sewage spill on Alcatraz Island with the Guardian, the health of the national park — where he’d been working as an historical interpreter for over a decade — was foremost on his mind. But he lost his job after the story was published — apparently for taking a proactive role in noting details of the spill in the island’s log book and speaking candidly to the press about what he’d seen. Wanting nothing more than a return to his job leading educational tours of the island, he filed an administrative claim with the US Department of Labor against the Golden Gate National Park Conservancy and the National Park Service. And he called the Guardian. We reported his firing. The next time Cooke called, it was to happily report he was back on the job.

Citizen

SUPERBOLD (BERKELEYANS ORGANIZED FOR LIBRARY DEFENSE)


SuperBOLD has accomplished something entirely different from what it set out to do. Originally, the small group of devoted Berkeley public library users organized to oppose the installation of RFID tags in books. "In the process of going to library board of trustees meetings, we discovered they were vioutf8g the Brown Act," said Gene Bernardi, who heads SuperBOLD’s steering committee with Jane Welford, Jim Fisher, and Peter Warfield. They found, among other things, that certain documents were only made available to trustees and a lottery system was employed in selecting speakers during public comment. They took their complaints to the Berkeley city attorney and joined up with the First Amendment Project, which threatened a lawsuit. Things have changed, though it’s still not perfect — city council meetings only allow 10 speakers and the library trustees still play the lottery for public comment, but marginal improvements portend better days.

"Now you can speak more than once," said Bernardi. "Now you can speak on consent calendar and agenda items. So there are more opportunities to speak … if the Mayor [Tom Bates] remembers to call public comment."

Electronic Access

CARL MALAMUD, PUBLIC.RESOURCE.ORG


For years, web pioneer Carl Malamud has sought ways to use the Internet to connect average citizens with their government. His new Web site public.resource.org helps that cause by excavating buried public domain information and posting it online. Though still in its early stages, the site already allows users to tap into hard-to-find records from places like the Smithsonian, Congress, and the federal courts system.

Even though most government records are part of the public domain, fishing them out from the bureaucratic depths can be a daunting and expensive task, even for someone like Malamud. During a lecture at UC Berkeley last year, he related his recent difficulties in acquiring a simple database from the Library of Congress. Instead of turning over the materials, officials at the Library cited dubious copyright protections and presented Malamud with a bill for over $85,000 — all for access to supposedly public information.

Thanks to Malamud’s Web site, that database and millions of other documents are now available with the click of a mouse. Ultimately, Malamud hopes public.resource.org will help bring about an age of "Internet governance," in which every last byte of public data winds up online for all to see, free of charge.

THE SOCIETY OF PROFESSIONAL JOURNALISTS
NORTHERN CALIFORNIA CHAPTER presents the 23RD ANNUAL JAMES MADISON FREEDOM OF INFORMATION AWARDS DINNER

MARCH 18, 2008
NEW DELHI RESTAURANT
160 ELLIS STREET
SAN FRANCISCO
No-host bar @ 5:30 p.m.
Dinner/Awards @ 6:30 p.m.

TICKETS:
$50 SPJ members & students
$70 General public
For more information, contact David Greene (dgreene@thefirstamendment.org)

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Girls Rocked!

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By Justin Juul

girlsrock.jpg

What? You haven’t seen “Girls Rock! The Movie” yet? It’s a documentary about a rock n’ roll camp in Portland Oregon that teaches young girls how to overcome oppression, fight off attackers, and most importantly how to rock! I recently attended the film’s East Bay premier at The Shattuck Cinema in Berkeley with my girlfriend, Heather Duthie, who has been working with the film’s co-directors Arnie Johnson (a frequent Guardian contributor) and Shane King for the past six months. So there’s your full disclosure of my interest in the movie. But really: I never knew girls could be so awesome!

Two different bands played to a sold-out theater full of prepubescent girls and their super hip mothers or fathers. The girls entered the theater timid and meek, but after hearing The Kitties play a punk version of “These Boots Are Made for Walkin’” and watching Girls Rock! star, Palace, scream obscenities and punch people in the face, they were able to bang their heads and throw up the horns without a touch of bashfulness. Let’s hope and pray they stay the course. The last thing we need is another Britney, however punk rock she has become.

Here’s where to see it.

And here’s some pics from the event

The young untold

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› a&eletters@sfbg.com

To say that Pedro Costa is one of the world’s greatest filmmakers might sound like a provocation. But I have said it and will repeat it: Pedro Costa is one of the world’s greatest filmmakers, and there’s nothing willfully perverse in my statement. What follows are initial notes toward understanding why Costa matters. Final judgment is left up to the audience — to whom this director yields so much — and should only follow from seeing his films. Watching Costa’s work gives me the chills; it’s a most mysterious, unusual, and unclassifiable oeuvre, one littered with ghosts of the past and the present.

From the first frame of each Costa film, it’s apparent we’re in the company of that rare filmmaker who simply cares about people: about who his subjects are, about what they’re feeling and thinking, and just as crucially, what his viewers are thinking about them. Each work is riddled with enticing close-ups, and Costa’s pictorial attention (coming out of a sensibility equally at home with European fine art as, say, the dust bowl photography of Walker Evans) is a constant wonder. The subjects are for the most part the downtrodden inhabitants of a Lisbon, Portugal, slum called Fontaínhas, people literally overlooked by dominant cultures. He’s not trying to rub their misery in his viewers’ faces — calling him a "Straubian neorealist," to quote J. Hoberman, is misleading; if anything, his films, with their rejection of rational structures, are more neosurrealist. Rather, the progression in Costa’s cinema has been to give voice to his subjects and to treat them as worthy of existing as fictional characters (Bones, 1997); then, to delve further into their world, their personalities, and their ways of living (In Vanda’s Room, 2000); and most recently, with great success, to combine the two approaches (Colossal Youth, 2006).

Costa finds richness in small variations, and his evolution has led to a narrowing of both subject matter and spatial exploration. Costa has retreated from the wide-open, Monument Valley–esque volcanic surface of Cape Verde to interiors; the benefit of seeing 1994’s Down to Earth is in realizing how Costa’s characters must now feel, cramped in their disheveled surroundings. Combined with his movement toward a long-take style, this signals a shift from a cinema of space to a cinema of time. A parallel trend is an attempt to redefine beauty in cinematic terms — from the exquisite monochrome 35mm of The Blood (1989) to the grubby, purposeful digital video of In Vanda’s Room — and its staggeringly unique use (aided by Costa’s remarkable compositional eye) in Colossal Youth. Likewise, few contemporary filmmakers are as concerned with the juxtaposition of image and soundtrack, and each of Costa’s films reveals new ways of seeing and hearing: in Colossal Youth, the sound is a better narrative guide than the visuals — making long takes a necessity.

Yet the more these movies seem to be within one’s grasp, the more they slip away from comprehension. Costa seems to be saying the same thing about life today: he portrays the outside world as a labyrinth and the domestic arena as a much-needed shelter. He’s surely something of a Brechtian modernist (with Jean-Luc Godard as perhaps an even greater influence than Jean-Marie Straub), yet it’s tempting to assign the modifier post in order to understand Costa’s work. His persistent interrogation of the ways in which people live is certainly post–Yasujiro Ozu. And as Jeff Wall has noted, Costa can also be considered post-Bressonian in that he improves on what some find problematic about the master’s later works — namely, Robert Bresson’s tendency to turn his models into intense abstractions. Costa corrects this by allowing disorder, the uncleanliness of the real world. (Bones is that rare transitional film able to stand on its own as a masterpiece, though at the same time, it doesn’t go far enough — as Vanda and Colossal Youth show). The category that Costa might most willingly fit is that of a postpunk director; that the English moniker Colossal Youth — distinct from the film’s Portuguese title Juventude em marcha, literally "Youth on the March" is also the only album from the stripped-down Welsh band Young Marble Giants (Rough Trade, 1980) is a surrealist coincidence.

Costa’s films are complex objects in which the present and the past intermingle, both literally (in the posthuman Portuguese slums where Costa’s last three features unfold) and within the history of film. The lipstick traces of Howard Hawks, John Ford, Fritz Lang, Jacques Tourneur, and many other auteurs reappear in Costa’s films. Just as Down to Earth takes off from I Walked with a Zombie (1943), Bones remakes The Searchers (1956). (It might be perverse to say Colossal Youth is Rio Lobo [1970] to Vanda‘s Rio Bravo [1959], but … there, I just said it.) Les inrockuptibles‘s Serge Kaganski has said that Fontaínhas’s poor are like Indians in classical westerns, and that seems about right. In the same way that he recognizes Bresson’s genius, Costa nods to Hollywood even as he tries, in his unorthodox mode of production — he’s created a studio system in which the crew is minimal, and in the case of Colossal Youth, technical support is provided by the actors off camera — to rip it up and start again.

One final, crucial note: As Costa describes, the themes in the films are highly personal. A search for family and for home threads through them, articuutf8g desire for a community that merges the personal and the political (his community is about as far from the European Commission as one can get). And in his subjects, he’s found that missing family, which is but one of many reasons why Colossal Youth is so touching. He’s also developed an alternative, collaborative model of filmmaking that is radical yet replicable, and one that will generate disciples — provided a director is willing to devote the time needed to nurture similar relationships with actors. Even if Costa "only" continues to make films about downtrodden Portuguese — exploring what one festival guide has called a "desperate utopian dream of a human existence" — it’s a new form of cinema that will continue to reverberate, echo, and grow richer with each variation. The avenues of inquiry are innumerable. After all, John Ford only made westerns.

STILL LIVES: THE FILMS OF PEDRO COSTA

Through April 12

Pacific Film Archive

2575 Bancroft Way, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

SFIAAFF: Multiculti cock-meat sandwich

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› superego@sfbg.com

When we last left crazy-ass Kumar (Kal Penn) and his more straitlaced college pal Harold (John Cho), at the end of the 2005 stoner epic Harold and Kumar Go to White Castle, they’d just victoriously satiated their munchies with enough sliders to block a rhino’s colon. That movie was a classic bong-wielding buddy road-trip flick — Question: How long does it take two potheads to get to a drive-through? Answer: Neil Patrick Harris on ecstasy — that was improbably hailed by serious critics as a multicultural breakthrough. Kumar is Indian American and Harold Asian American, a combination of lead ethnicities that was new to the American mainstream. And even though lineage figures little in the characters’ daily realities, Harold’s and Kumar’s difference from the cartoonish honky inbreds and skinheads (and candid others of color) that exist beyond their postmillennial collegiate bubble — and who often mistake them for Arabs — fuels the plot. Dude, where’s my kufi?

White Castle screenwriters Jon Hurwitz and Hayden Schlossberg giddily foreground the first movie’s subtext in their follow-up (which they also directed), Harold and Kumar Escape from Guantánamo Bay, a special presentation at this year’s San Francisco Asian American Film Festival. Mistaken for terrorists when they’re caught with a "smokeless bong" on a flight to Amsterdam, weed capital of the world, our hapless heroes ("North Korea and al-Qaeda working together," gloats their bumbling FBI nemesis) are imprisoned in Gitmo. After being presented with a jailer’s massive "cock-meat sandwich" — "I’ve never sucked dick before," quips Kumar. "I bet it sucks dick!" — and submitted to various tortures, they eventually escape, crashing a "bottomless" hot tub party, impersonating Crockett and Tubbs from Miami Vice, and lighting up with George W. Bush himself. No shit.

I caught up with Hurwitz, Schlossberg, and actor Cho — a surprisingly intellectual type who studied English at UC Berkeley — as they prepared to promote the new movie at wacky comics convention WonderCon.

SFBG For Arab Americans like me, this movie is like a nightmare come true. People gasp whenever I stand up on an airplane, and 9 times out of 10 I’m the one who’s pulled over for "random" searches. I know that Indian Americans often experience similar treatment. But Harold and Kumar Escape from Guantánamo Bay seems revolutionary in that it expands that situation to include the feelings of Asian Americans, and it’s playing at the [SF International] Asian American Film Fest. Do you think Asian Americans relate?

JOHN CHO I would assume that every immigrant group has their own bag of individual problems. I don’t know if Asian Americans get hassled at the airport — maybe they do. Traveling with Kal on the publicity tour for the first film, I got to see firsthand how he was treated — and that’s real; he was patted down all the time. We were traveling together, and he’s the one that got pulled aside. I’m really happy that the film’s playing at the festival. I feared that Asian Americans wouldn’t accept this movie — the subject matter isn’t discussed much in the community — but it seems that the programmers feel they will.

SFBG Not to state the obvious here, but Jon and Hayden, you’re a couple of white guys. I’m wondering if these scripts come from your own experiences, or if you do a lot of research?

JON HURWITZ We’re white guys, but we’re Jews. So we’re already a minority subset, but I don’t really know if that plays into it. We’ve always had a large group of multicultural friends and been able to observe and have conversations with people with different points of view. As a writer and director you’re just hoping to put something out there that’s new. Something with Asian American and Indian American leads was something that hadn’t been done in the way that we were doing it. We felt that we had enough perspective as huge fans of comedy to pull it off.

HAYDEN SCHLOSSBERG We didn’t set out to make this big statement, although I have to say when we looked at the first one when it was done, we said, "Wow, this is so much better than we thought." It went way beyond the fart jokes, weed humor, and nudity that we love to put up on-screen. But it’s really just a classic comedy trope. Two guys, a baggie, a voyage. . . . It was the right time to have someone finally throw ethnicity into the mix. The script took off from there. The only question now is, where else can we take this? Harold and Kumar Fly the Space Shuttle?

JC And the focus is always on being funny first. The characters’ races are almost secondary. I find that so refreshing because a lot of Asian American cinema is just about being Asian American, how hard it is. Not to denigrate anyone’s work, but those movies get really repetitive, and fewer people want to see them.

SFBG Speaking of space — John, you’re about to be mobbed at WonderCon because you’ve accepted the role of Mr. Sulu in the upcoming Star Trek film. Following in actor George Takei’s footsteps must feel huge.

JC I’m delighted. As a kid it meant so much to me to see an Asian American on television and say, "Whoa! He’s not wearing a cone-shaped hat or teaching kung fu!" It was very important, a legacy that I desperately wanted to be a part of, and something I feel my work on the Harold and Kumar movies pays tribute to. Now Asian Americans can be stoners too.

HAROLD AND KUMAR ESCAPE FROM GUANTANAMO BAY

Sat/15, 9:15 p.m.

Castro Theatre

429 Castro, SF

(415) 621-6120

>> Complete Asian American Film Fest coverage