OPINION In July last year, San Francisco began installing video surveillance cameras to monitor the public streets. What quietly started as a pilot program with two cameras in the Western Addition has quickly expanded, with more than 30 cameras throughout the city. The Mayor’s Office is seeking to install 22 more cameras at a number of locations, including heavily trafficked areas such as the 16th Street and Mission and 24th Street and Mission intersections.
On Nov. 15 the Police Commission will decide whether to approve the installation of additional cameras. It should reject the mayor’s proposal and send a strong message that scarce public safety dollars should be spent on less intrusive and more effective programs such as increased foot patrols, improved lighting, and community policing.
While surveillance cameras may seem like an intuitive solution to the serious problem of violent crime, in reality cameras pose significant threats to civil liberties while providing few public safety benefits. Study after study demonstrates that video surveillance does not reduce violent crime in cities.
In Britain, for example, where there is one camera for every 13 people and the average person is photographed more than 300 times a day, a recent comprehensive review of 13 jurisdictions showed that cameras do not reduce crime or fear of crime. A University of Cincinnati study found that cameras in its city merely shifted crime beyond the cameras’ view. As Cincinnati police captain Kimberly Frey mentioned in one recent news report, “We’ve never really gotten anything useful from them…. We’ve never had a successful prosecution…. We’re trying to use … money for other things.”
With limited public safety dollars, cameras deprive more effective programs of funds that would significantly reduce crime. Studies show that improved lighting can reduce crime 20 percent, and increased foot patrols have also been shown to significantly impact crime, including violent offenses.
Moreover, the ever-increasing expansion of surveillance cameras poses a significant threat to our privacy. The prospect of 24-hour surveillance of innocent San Franciscans — with video accessible to city officials and the public under state open-records laws — is chilling in and of itself. If the trend continues, cameras installed today may be paired with other new developments, such as facial recognition and Radio Frequency Identification technology, giving law enforcement the ability to develop dossiers about our personal lives.
While San Francisco has some regulations governing camera use, those regulations have already changed and may change again, due to an overreaching political response to crime concerns. To see San Francisco’s future, one need only look to the inspiration for the program — Chicago. There, Mayor Richard M. Daley recently announced a plan that by 2016 would put a camera on almost every street corner in the city.
In light of the significant privacy and free speech implications and limited public safety benefit, the Police Commission should decisively reject further camera placement and strongly urge the mayor and Board of Supervisors to pursue effective programs. San Franciscans deserve more than symbolic measures like video surveillance cameras in response to very real crime problems. Scarce public resources should not be spent on ineffective Big Brother surveillance programs. SFBG
Mark Schlosberg and Nicole A. Ozer
Mark Schlosberg is police practices policy director, and Nicole A. Ozer is technology and civil liberties policy director, respectively, for the American Civil Liberties Union of Northern California.
California
No more surveillance cameras
Yes, the news is grim, but that is why journalists need to fight back
By Bruce B. Brugmann
SOS: The news in the media is grim and getting grimmer by the day. Journalists and journalism schools and journalism organizations have been much too passive in this time of great peril and need to start fighting back, particularly through their journalism organizations. The Northern California chapter of the Society of Professional Journalists struck the right note at its splendid annual Excellence in Journalism awards dinner last Thursday night. Below, in our editorial for Wednesday’s Guardian, are some of our ideas for action. We will be presenting more on a regular basis. Check our previous ideas in the Guardian and on the Bruce blog. Meanwhile, join SPJ, Media Alliance and FAIR, and follow the media news on the Romenesko media column at Poynter.org and ChainLinks.org, the newspaper union website of news alerts and stories in the land of ChainLinks.
And support the independent voices. And support the independent- minded journalists on the chain papers who risk their jobs to fight the forces of consolidation and chains-are-us journalism, mainstream and alternative.
Much more to come, send along your ideas, B3
Midnight reflections
By Tim Redmond
The evening started out as a resounding victory for the national Democrats, a train wreck for California Democrats, and a defining night for San Francisco progressives. But the state results are getting a little tigher, and it now appears that Arnold Schwarzenegger’s huge victory won’t drag down every Democrat running for statewide office. John Garamandi may survive to be lieutenant governor (keeping far-right loon Tom McClintock out of that office). Jerry Brown will be the next attorney general, and Bill Lockyer the next treasurer.
And Prop. 90 seems to be sinking.
So all in all, a good night — except for Mayor Gavin Newsom, who must be sitting around wondering why none of the voters seem to want to do what he tells them to.
The near-certain defeat of Rob Black in District Six is a huge deal: It’s proof that a storng progressive with grassroots support and troops on the ground can beat back even a massive political assault by some of the most sophisticated and well-funded forces in the city. It’s also going to mena a few tough years for Newsom, the Golden Gate Restaurant Association, SFSOS, Don Fisher and the rest of the anti-Daly gang: Daly has proven himself an effective politician, and he has never particularly liked it when jerks like these guys try to mess with him.
One of the more interesting aspects of this election was the money that Michela Alioto-Pier spent on ads for a race in which she had no real opposition — big, pricey, video ads on sfgate, for example. What’s that about? Well, part of what it’s about is that Mark Leno is in his last term in the state Assembly, and that seat will open up in two years, which means that in the spring of 2008, a Democratic primary contest will determine the next Assembly member from the east side of San Francisco. Tom Ammiano has already announced his candidacy. Bevan Dufty has loudly proclaimed that he won’t run. Is Alioto-Pier looking at that race?
If so, she’d probably have the support of the mayor — but from the looks of things tonight, that isn’t going to help much.
In fact, from the looks of things, Newsom needs to back away from the SFSOS types and try to make peace with the progressives if he wants to accomplish anything as mayor.
Goldies Visual Art winner Chris Duncan
Artist Chris Duncan came to Northern California for the Tahoe powder — and to get away from his routine in Delaware and his native New Jersey of catching hardcore shows every weekend and doing absolutely nothing else with his life. Duncan recalls he and a friend “snowboarded for a season, and it was rad and it was horrible at the same time. Every night it was the same party with the same 40 guys and three girls, so I started to stay in and draw.”
Since then, that need to draw a line between the fun but perhaps meaningless life of nightly parties and his own creative urges has led Duncan to San Francisco, where he moved in 1996 and spent the next years working, skateboarding, and attending California College of the Arts, where he began to find direction, to chart his own personal map to the color theory of Mark Rothko and Josef Albers, and to dip into sacred geometry, string theory, Eastern philosophies, and increasingly, simple nonfigurative forms. In his current work temporal strings converge, intersect, and radiate above needle-nose pyramids, shooting off across ceilings and traversing rooms. Flat works are stitched with ragged stars or painted with dark rays that explode above kaleidoscopic ziggurats.
“For me, it’s about dealing with being fully overwhelmed by humans, to be perfectly honest,” confesses Duncan, 32, kicking back in his tidy wood box of an Oakland studio, off the downtown-area railroad tracks. Dressed head to toe in black, tattoos crawling up his neck and down his arms to hands that jerk to punctuate a point, the artist is far from slick, but he exudes an amiable earnestness raving about his young daughter, Aya-mea Mourning. “I’m also completely amazed by people. People are fantastic and can do such great things. Look how far we’ve come — and the mirror image of that is look at what we’ve done.”
What has Duncan done? Perhaps he’s captured the zeitgeist, one that’s both physical and ethereal, give or take a planet. His SF gallerist Gregory Lind says, “Chris Duncan’s laboriously rendered works on paper and his intricate string sculptures seek to combine the spiritual with the scientific, which is compelling to me in this kind of dark period we find ourselves in today.”
Whether the artist’s pieces trace strings of energy or ecstatic explosions in some acid-laced map room, he’s found a way to tap some sort of fuel source for his numerous projects, including his striking grab bag of an art zine, Hot and Cold, in which he and Griffin McPartland showcase artists like Matt O’Brien, Chris Pew, and Jen Smith. They took a page from their own periodical to produce a catalog for Yerba Buena Center for the Arts’ 2005 exhibit “The Zine UnBound: Kults, Werewolves and Sarcastic Hippies.” Duncan has also curated exhibits as part of Keepsake Society, a site he maintains with ex-girlfriend Aki Raymer, and he is editing an anthology of “my first punk show” stories for AK Press.
“When I got older and found art making, I found a spot to do the things I saw happening as a teenager, with what all my friends were doing,” he says. “I began making zines and started curating, and in terms of how active and how DIY everything was in that [East Coast hardcore] scene, I found a place to put that to use when I got a little older. And this is the perfect city for that — there are so many examples of people doing it. It’s a nice blanket to be under.”
And speaking of blankets: Duncan will be stitching together a cosmic ray–embellished quilt of sorts in memory of his recently deceased 99-year-old great-grandmother for his forthcoming show at Jeff Bailey Gallery in New York City. Much like a handmade, toy- and goodie-bundled, affordable and accessible limited-edition art zine, the project embodies an aesthetic Duncan embraces. “We just totally outdo the last thing we did and totally overwhelm people. Things don’t exist like that anymore,” explains the artist. “Everything’s so not made by hand and so not giving in a way. I think with a little energy you can give a lot, and I think that’s really important.” (Kimberly Chun)
Goldies Visual Art winner Tim Sullivan
In his most recent San Francisco exhibition, at the cozy Little Tree Gallery in the Mission, Tim Sullivan managed to reanimate the late blond bombshell Jayne Mansfield. Mind you, he did it with a low-tech visual effect — a full-color glossy of the actress attached to a flat-screen monitor, a shifting blue sky visible through little almond-shaped slits in the eyes of the photograph. But the mixture of sublime pop (the elaborate media construct of Mansfield) with an almost metaphysical art reference is a key movement in Sullivan’s appealing photography, video, and sculpture. His work is an enticing combination of funky but effective tricks, sophisticated references, and an appreciation of comedic white-trash aesthetics.
Sullivan’s work often contains gracious nods to other artists. He’s made a hilariously perverse video-sculpture homage to Bruce Nauman’s mid-1960s Self-Portrait as a Fountain and devoted an entire exhibition at the San Francisco Art Commission Gallery to the influential Dutch-born conceptual artist Bas Jan Ader, who toyed with a sad-sack persona and disappeared mysteriously while attempting to cross the Atlantic alone in a 13-foot boat. Sullivan, a striking figure with pale blond hair and dark horn-rim glasses, often appears in his own work, using self-portraiture to tangentially channel his artistic forebears. While there may be something postmodern about this strategy, you don’t have to know about contemporary art history to be captivated by his visual magic. For instance, you need only know about the 1960s-style power of Herb Alpert to appreciate Sullivan’s remake of the classic Whipped Cream and Other Delights album cover. Sullivan plays the babe, slathered in foam.
He’s also made a life-size horizontal photograph of himself seemingly levitating just above the floor against a backdrop of fabulously chintzy flecked wallpaper. It’s in lush color — the artist wears a crimson T-shirt, a color he favors, perhaps for its theatricality. The image appears at a key spot in an opening gallery in the California Biennial, a timely survey of 31 West Coast artists organized by the Orange County Museum of Art (through Dec. 31), and it’s had the effect of giving Sullivan, a San Francisco Art Institute grad, wider recognition — he reports that he sold out an edition of the photograph, and he doesn’t even have gallery representation. He was singled out in the Los Angeles Times’ review of the show, which dubbed him a purveyor of high-spirited “do-it-yourself special effects art.”
The OC show also includes a hilarious video called Magic Carpet Ride, a piece made at a Fisherman’s Wharf souvenir stand. In it Sullivan and his former teacher, the filmmaker (and Goldie Lifetime Achievement winner) George Kuchar, cavort on a roller coaster gondola. The pair exude goofball charm as they whiz over the Golden Gate Bridge past friendly drag queens. Kuchar is an instructive reference, as Sullivan also seems to dream in Technicolor. They also collaborated on a theatricalized reenactment of Chris Burden’s Shoot, the politicized 1971 gallery performance in which the Southern California conceptualist artist was shot in the arm with a pistol. The Sullivan-Kuchar version is set against an amber-hued commercial photomural of a tropical sunset. As a child of the Midwest, Sullivan expresses a continuing appreciation for and bemusement with the California dream. In another recent piece, he’s made fluorescent matchbooks emblazoned with regionally significant incendiary song titles, “California Dreaming” and “Running with the Devil” among them. This guy’s on fire. (Glen Helfand)
Goldies Dance winners Benjamin Levy and LEVYdance
Benjamin Levy entered college as a future pediatrician. He left as a dancer — not exactly what his Jewish Iranian parents had in mind. “They were not pooh-poohing it,” Levy recently recalled. “They just had no frame of reference. It was not even in their lexicon.”
After graduating from UC Berkeley, Levy danced with the Joe Goode Performance Group for two seasons. “He was such a beautiful mover. He could do anything and was a good inventor and great collaborator,” Goode says. “But it was very clear that he needed to do his own thing.” So in 2003 the newly formed LEVYdance company made its first splash as part of the second House Special, ODC Theater’s two-week residency program. The following year the company made its East Coast debut, and the dancers have been back every year since. In 2005 they were chosen for the prestigious California Regional Touring Project. Last March they performed with the Los Angeles Philharmonic as part of its “Minimalist Jukebox” festival. Last month they embarked on their first international tour — a two-week gig in Lithuania. The company has given workshops across the country and worked with college ensembles. Recently, it moved into its own large and handsome studio South of Market. And all of this with a repertory of barely a dozen pieces.
So what makes LEVYdance so hot? For one thing, the dances crawl under your skin. Levy’s pieces look a little bit like creepy film noir. Shadowy forces lurk inside the voluptuously strong dancers, but you can’t quite pin those forces down. And actually, you probably don’t really want to know why a hug turns into a chokehold or flailing limbs get so entangled that you wonder whether they’ll ever return to their owners. The intensity is fierce. The choreographer describes Violent Momentum, a 2005 commission from ODC and Meet the Composer, as “being with the rawest part of yourself. It may be an uncomfortable experience, it may be an embracing one, but ultimately, it’s an important, sobering journey.”
And yet Levy’s work is gorgeous to look at. He embeds finely detailed choreography into theatrical contexts with sophisticated lighting designs, stark but elegant costumes, and imaginative and oft-original scores. This is a man of the theater, maybe even an old-fashioned man of the theater.
Levy started to dance and choreograph in high school (“It fulfilled a PE requirement, and I didn’t want to run laps”), but his eyes were opened by his Martha Graham training. It’s as much Graham’s ethics as her movement that impressed him: “Life is too precious to mess around. If you can’t be here fully, don’t show up.” Used to seeing a lot of dance that he describes as “the ooey, gooey, never-ending releasy soup,” Levy appreciated that in Graham “a hard line could be a hard line, and it could stay there and be energized and buzz with life. That was so exciting.”
Up next is an untitled work to be premiered at the Jewish Community Center of San Francisco in 2007. It will be the biggest piece Levy has done yet. “It’s about how identity is formed in first-generation Americans who are born of parents who fled oppressive governments,” he says. “The interesting thing is that it is a veiled past — a past that is vast and influential, yet your parents don’t speak about it very much.”
So are his parents reconciled to not having a pediatrician in the family? “My mom not too long ago said to me that doctors can heal bones, but artists can heal human souls,” Levy says with a smile. (Rita Felciano)
Goldies Lifetime Achievement winner Pandit Chitresh Das
After a highly disciplined childhood, spending up to six hours a day practicing on a cement floor for his very demanding but revered guru, Pandit Ram Narayan Misra, Kathak master Chitresh Das moved from his native Calcutta (by way of a one-year stint in Maryland) to the Bay Area.
The year was 1971. Das had been hired by the Ali Akbar College of Music to teach one of the most ancient arts of India to young countercultural Americans eager to learn Eastern practices.
It was, at the very least, something of a cultural shock — for both sides. “This was the beautiful age of the flower children, the hippie generation,” Das remembers. “They were looking toward the East for answers, but I did not fit their idealized image of an Indian guru. Having been schooled in the old-world traditions — to respect and obey my teachers and elders and to assume a secondary stance in their presence — my amused bewilderment at my students’ behavior never ceased.”
Thirty-five years later Das and his American-born dancers, many of Indian descent, have more than reached harmony. His Chhandam School of Kathak has five Bay Area branches, plus outposts in Boston, Toronto, and Calcutta. The most accomplished of his Chitresh Das Dance Company members is the Floridian Charlotte Moraga, who stumbled into Das’s class at San Francisco State University — where he taught for 17 years — because the jazz dance class she wanted was full.
Das’s most important contribution to the Bay Area may well be the way he has woven Kathak into the fabric of local dance. Once an exceedingly esoteric art form, born at the Islamic courts of the Mogul Empire in northern India, Kathak now has a home in the Bay Area’s more egalitarian environment. In the ’80s, Das’s dancers were among the first participants in the SF Ethnic Dance Festival. His company regularly presents him as a solo dancer and as a choreographer of both traditional and unconventional work.
Now in his early 60s, an age at which most Western dancers have long retired from the theater, Das remains a stunning performer and the best advocate for his art. When he is onstage, you cannot take your eyes off him, whether he’s moving through the pure dance passages that require dizzying turns and mind-boggling footwork or the more expressive sections in which the dancer calls up a favorite story from the Mahabharata, impersonating all its different characters and sometimes the landscape as well.
Das thinks nothing of transforming a performance into something akin to a lecture demo if his audience will walk away with a better understanding of Kathak’s rhythmic intricacies and the vast world of the Hindu mythology in which the art is rooted. A “kathaka,” he likes to remind theatergoers, is a storyteller.
In September, Das organized “Kathak at the Crossroads,” the largest festival of its kind ever held outside India. The San Francisco event’s subtitle, “Innovation within Tradition,” could describe Das himself. A fierce traditionalist, he is also explosively freethinking. He embraces the improvisatory interaction between dancer and musician — a connection that takes place within given parameters but is never rehearsed. The way he talks about it, the dancer strives toward a kind of oneness, maybe a divine type of play that is both meditative and intensely joyful. His guru used to tell him to “dance in such a way that the sound of your [ankle] bells and the room become one.”
As traditional as Das can be, he is also an innovator. A few years ago he created a new genre of dancing, Kathak yoga, inspired by the ascetic traditions of the Himalayas. It is primarily designed as a spiritual and physical practice. Without music the dancer mentally counts the rhythms, recites and chants the embellishments aloud, and dances the footwork.
As a storytelling choreographer, Das has been a force for change ever since he first performed the clever and amusing The Train as a student at an international East-West dance conference in India. Choreographed by his guru, the piece imitates a train — traveling, speeding up, changing tracks, breaking, passing a railroad station.
Das has created traditional dance dramas (such as Darbar [1999]) but also less traditional ones, such as Impressions of the California Gold Rush (1990), in which a trio of 49ers perform in ankle bells and cowboy outfits.
Sadhana (2001) is a multimedia solo evening about different forms of practice — dance, life, meditation. For his 60th birthday he created the autobiographical Sampurnam (2004) for himself and his company.
But Das’s most innovative work has come with practitioners of other dance styles: The Guru (Bharata Natyam, 1991), Sole Music (tap and flamenco, 1986), Sugriya-Subali (Balinese, 2000), and East as Center (Kathakali and Balinese, 2003). His latest exploration in that direction is Jazz Suites, a collaboration with tap dancer Jason Samuels Smith that grew out of a friendly competition in the hallways of the American Dance Festival in 2004. The duo have been touring the piece around the country and will take it to India this winter.
While Das has been passionate about opening American eyes to the beauty of his art form, he is equally committed to doing the same for Indian audiences. He spends part of every year in Calcutta teaching, performing, and giving workshops. In 2002 he reopened his father’s old school, which had trained Kathak dancers in Calcutta even before Indian independence. Last year Das started a training program for the children of Calcutta’s sex workers; most recently he gave a lecture demonstration for professional Indian boxers about their connection with the Hindu goddess Kali and the monkey god Hanuman.
Clearly, one lifetime simply may not be enough to contain Chitresh Das, his artistry, his humanity, his passion. (Rita Felciano)
City hall’s new secrets
EDITORIAL Back in 1999 reporter Scott Rosenberg dug up a juicy little scoop for Salon: he found out that part of Microsoft’s annual report was written on an Apple computer. That caused the giant purveyor of Windows software (and Apple competitor) no small amount of embarrassment. And Rosenberg did this without any secret source or leaked records; he just looked at the metadata embedded in the files of public company documents.
Metadata is part of the new frontier of public-records law. It’s the stuff you can’t see that’s hidden in digital versions of, say, Microsoft Word documents. It shows what computer (and type of computer) created the document and often shows the revisions the document has gone through. It’s sort of an electronic history of what used to be something typed on paper — and as such, it’s extremely useful to researchers who want to follow what the government is doing.
It’s also, all too often, something that public officials want to hide. That’s the case in San Francisco, where Gloria Young, the clerk of the Board of Supervisors, has refused to release copies of the original Word versions of what are clearly public records. She wouldn’t, for example, give out a Word copy of the city’s Sunshine Ordinance.
That’s a mistake — and the Board of Supervisors needs to direct Young to change her policy.
Young isn’t refusing to release the records per se — she’s had them made into PDFs, the electronic equivalent of photocopies that don’t contain the embedded data. And she’s released those versions. The office of City Attorney Dennis Herrera concluded Sept. 19 that city officials have the right to withhold metadata and provide documents only in PDF format. The argument, contained in a six-page memo, goes more or less like this:
A Word version of a document can be edited and changed — and thus someone who requests a public record might alter it and then pass it off as a true version.
Besides, metadata might possibly contain privileged information (legal advice from an attorney). It might include early drafts of a document (which are exempt from disclosure but really shouldn’t be). And it might give somebody with evil intent the ability to hack into the city’s computer system and do a lot of damage.
In the end, deputy city attorney Paul Zarefsky argues, figuring out where there is and isn’t metadata and what it might include is a huge job that requires special skills and would be inordinately burdensome for city agencies.
The first argument is just silly. Sure, somebody could take a copy of a city record and alter it — but enterprising scammers have always been able to take real records and turn them into phonies. That’s why the city keeps the originals on file and releases only copies.
The rest of Zarefsky’s analysis is a bit more complex. But in the end the posture of the city is far too defensive. This is, after all, data that was produced by city employees on the taxpayers’ dime. And like just about everything else the city produces — with only narrow exceptions — it ought to be released to the public.
We don’t buy the argument that there are vast stores of deep secrets lurking in the metadata that might somehow damage the city’s interests. There may be a few specific cases in which documents have been reviewed by the City Attorney’s Office and might include confidential advice. But most of the material will simply show who created the document, how it was edited (and by whom), and how all of that relates to the final product. Like the Microsoft revelation, some of that might embarrass city hall — but that’s not an excuse to keep it secret.
Tom Newton, general counsel for the California Newspaper Publishers Association, noted in a Sept. 22 letter to the Sunshine Ordinance Task Force that the “CNPA is aware of no other state or local agency that has adopted this restrictive policy.”
Herrera’s office, interestingly, isn’t arguing that all metadata must be secret — the opinion only says that department employees have the ability to withhold it if they want to. That’s where the supervisors need to weigh in.
Young asked the Rules Committee on Nov. 2 for policy direction on the matter. The committee heard testimony and took the matter under advisement.
The chair, Sup. Ross Mirkarimi, should bring up the issue again at the next possible meeting, and the committee should direct Young — and all other city officials — to stop using metadata as an excuse to withhold documents. San Francisco ought to be taking the lead here and setting a policy precedent for cities across the state. SFBG
PS This is just one example of what seems to be a renewed war on sunshine at City Hall. The task force just had its budget cut and no longer has a full-time staffer assigned to it (although the Sunshine Ordinance mandates full-time staff assistance). The supervisors should make it clear that San Francisco isn’t going to slide backward into the old, dark days.
Keep police discipline public
OPINION Three years after San Francisco voters passed Proposition H, the landmark police reform initiative, the San Francisco Police Commission finds itself at a crossroad. At the heart of the matter is how the commission deals with one of the worst decisions to come out of the California Supreme Court in recent memory, Copley Press v. Superior Court. In that decision the court held that records reutf8g to police officer disciplinary proceedings are confidential and not subject to disclosure under the California Public Records Act.
Citing the Peace Officers Bill of Rights, the court even held that an officer’s identity in disciplinary proceedings is confidential. How the Police Commission deals with this ruling will determine the level of openness with which the commission — and consequently, the Police Department — will conduct its business.
In turn, this may well determine the extent to which the promise of Proposition H — transparency and accountability for the police — will become a reality.
In an effort to protect transparency and accountability, the three undersigned police commissioners, as individuals, proposed what we believe is a commonsense approach to Copley: let’s comply with Copley’s requirement of confidentiality, but let’s only be as confidential as the decision requires us to be. Stated differently, let’s follow the law — but let’s be as open as the law allows.
This is why we proposed a rather simple and measured idea — since Copley only requires the confidentiality of records in police disciplinary proceedings and since the state legislature never gave police officers the right to confidential settlements, why not continue to handle such settlements out in the open, the way they’ve been handled for 14 years without ever facing a legal challenge? To be sure that our idea would pass legal muster, we asked the City Attorney’s Office to draft a resolution that would be legally viable and could survive legal challenge. That resolution was submitted for the public and the Police Commission’s consideration last week.
One would think a resolution reflecting a tried-and-true process that was never challenged in more than a decade, a process carefully vetted with the city attorney, would satisfy even the strictest of legal constructionists. And yet, not surprisingly, the San Francisco Police Officers Association has come out against our proposal to openly handle settlements in police disciplinary cases. Without citing any legal authority, the POA argues that police officers have the right to settle disciplinary cases through backroom deals without ever revealing their identity or the terms of the deal to the public.
The POA’s position seems to be shared by a number of other commissioners, and a counterresolution essentially changing how settlements are handled was recently introduced. Both our original resolution and the counterresolution are scheduled to be heard Nov. 15. Even though it’s unclear which resolution will pass, we remain hopeful that the Police Commission will not grant police officers a right the legislature never bestowed on them — the right to cloak settlements in secrecy. This is especially true since several commissioners come from communities adversely impacted by police actions and have a long legacy in support of civil rights and public access.
Openness in the handling of settlements in police disciplinary hearings has been the norm in San Francisco for more than a decade. There is no reason to change course today. SFBG
David Campos, Petra de Jesus, and Theresa Sparks
David Campos, Petra de Jesus, and Theresa Sparks are members of the San Francisco Police Commission.
Two drug execs escape jail … for now
By G.W. Schulz
Two former executives at the San Francisco-based McKesson Corp. escaped prison sentences by the skin of their teeth late last week in this ongoing era of blind fury over corporate corruption. And McKesson’s former blue suits have the indecisiveness of just one juror out of 12 to thank.
The two were acquitted on one count of securities fraud stemming from a $9 billion accounting scandal, but a mistrial was declared after the jury deadlocked 11-1 on three of the remaining counts. Four other executives were previously convicted in a scheme by which the company allegedly overstated revenue to the tune of $300 million during its merger with an Atlanta-based outfit called HBO & Co.
McKesson is one of the nation’s largest prescription-drug wholesalers with revenue of $88 billion annually. It’s current CEO, John Hammergren, makes more each year than even the head of Bay Area-based ChevronTexaco.
One juror told the Associated Press that the rebel holdout “got to the point where he didn’t want to be talked to anymore.” U.S. Attorney Kevin Ryan’s office is determining whether to retry, which could still land the two men, Charles McCall and Jay Lapine, in jail for 10 years each.
The Guardian reported in late October that McKesson is in no small amount of trouble these days. The company, along with the New York-based Hearst Corp., which owns the San Francisco Chronicle, was charged by a group of unions in a civil suit filed in a Boston federal court last year of conspiring to inflate drug prices. Hearst owns a drug info publishing company based in San Bruno called First DataBank. The suit alleges that the effort caused consumers to overpay $7 billion for prescription drugs between 2001 and 2005. First DataBank has since settled, as we reported, but McKesson is still a major target of the lawsuit.
Big Pharma is nearly as profitable as Big Oil these days. The state of California pays out over $3 billion each year for prescription drugs through programs that benefit children and the indigent, while Santa Clara County alone — as a smaller-scale example — pays out nearly $35 million. (Santa Clara County sued a bunch of manufacturers and wholesalers a couple of years ago for allegedly rigging prices, but the case was recently tossed out of federal court in San Francisco.)
Defense attorneys for the former McKesson execs are calling last week’s ruling a victory, but Wall Street didn’t appear to see it that way. Value of the company’s shares dropped by nearly a half following announcement of the news to $35. The company quickly informed the business press just a few days later of its $1.1 billion purchase of Georgia-based Per-Se Technologies and just as soon recovered $15 per share of the drop. Guess corporate ethics don’t have to be much of a pain in the monetary ass after all.
More Impertinent Questions on Hearst shenanigans on the drug pricing scandal (part 5) Why did Hearst censor an AP story on McKesson profits?
By Bruce B. Brugmann
Let me cite yet another example of the dangers of the Hearst/Singleton move to destroy daily competition and impose regional monopoly in the Bay Area.
As attentive Bruce blog readers know, I always turn to the second page of the Chroncie/Hearst business section called “Daily Digest” to pick up the news that Hearst is censoring. Yesterday, I spotted yet another nugget
that demonstrated how Hearst was censoring a major scandal story involving its own subsidiary in San Bruno and McKesson Corp., one of the nation’s largest drug wholesalers.
The story looked harmless enough, a six paragraph Associated Press story headlined “McKesson soars above expectations,” with a lead that said that the company’s “quarterly profit climbed 37 per cent to soar past analyst expectations, prompting the nation’s largest prescription-drug distributor to brighten its financial outlook.” Another five paragraphs provided the details of this seemingly rosy McKesson story.
So, knowing there was much more to this story and getting my blogging genes at the ready, I checked the online version of the story. Imagine my surprise when I found that the guts of the Chronicle story had been cut out of the paper and the juicy stuff was tucked away in the online version. A full seven paragraphs had been chopped from the print version of a l6 paragraph story by Michael Liedtke from the San Francisco AP bureau.
Let me quote the key chopped out paragraphs to make my point: “McKesson released its results and bullish outlook after the stock market closed Tuesday. The company’s shares fell 60 cents to finish at $50.09 on the New York Stock Exchange. After an early rebound in after-hours trading, the shares shed 5 cents.
“The downturn extended a recent slump triggered nearly four weeks ago by news of a tentative legal settlement that could depress prescription drug prices. (b3: a dreadful thing.)
“The settlement covers a class-action complaint alleging that drug price publisher First DataBank Inc. (B3: a Hearst subsidiary in San Bruno) had conspired with McKesson between 2002 and 2005 to boost the wholesale cost of most prescription medicines by 5 per cent. (B3: a tidy newsworthy sum).
“Although McKesson has denied any wrongdoing and isn’t joining the settlement, investors are worried the agreement will force the company to lower its prices (b3: another dreadful thing). Consumer advocates have estimated the settlement will save health insurance plans about $4 billion (b3: a nice newsworthy figure). The settlement still needs approval by a Massachusets federal court, something unlikely to happen before April…”
Note my previous blogs to get the scope of the Hearst shenanigans at work here. AP doesn’t put Hearst into the story where it belongs and doesn’t even identify FirstDateBank as a local subsidiary owned by Hearst, the biggest daily in Northern California and a big bankroller and participant in the Singleton move to monopolize the Bay Area. Hearst doesn’t properly edit the AP story and put Hearst high up where it belongs. And Hearst actually cut the print version of the story and put the guts of it up online at SF Gate so it will be hard to spot. And of course Hearst never ran the original story of the scandal (reported first in a lead story in the Oct. 6 Wall Street Journal, with versions by the AP, the Guardian, and even the Hearst-owned Houston Chronicle, see my previous blogs.)
The hinge point: Hearst went to these embarrassing lengths to censor a major scandal story involving Hearst, and three local companies, to protect its corporate interests and refuses to explain this professionally glaring omission in the stories, or to its readers. It also refuses to answer my questions directed to Hearst corporate in New York City via Hearst San Francisco and publisher Frank Vega, Executive Editor Phil Bronstein, Managing Editor Robert Rosenthal, and Business Editor Ken Howe. And the “competitive” Singleton papers haven’t done the story either to my knowledge and won’t explain why.
Impertinent Questions: If Hearst and Singleton won’t compete on a major scandal story like this, where will they compete and when do they start? How can they censor and cover up a major story like this in the midst of investigations by Justice and the AG?
This sorry episode illustrates a key issue for the current Justice and AG investigations into whether the Hearst/Singleton deal violates U.S.and state antitrust laws. It also illustrates a key issue for the highly important Clint Reilly/Joe Alioto antitrust suit seeking to blast apart the Hearst/Singleton financial relationship. I refer again to Brugmann’s Law: Where there is no economic competition, there is no news and editorial competition. So the thrust of any real antitrust investigation ought to be to stop monopoly moves like this and insure real newspaper and media competition.
We hear that Justice is at least doing lots of interviewing. God knows what Lockyer and his antitrust crew are doing as he heads into the sunset to be state treasurer. His probable successor, Oakland Mayor Jerry Brown, operating under the thumb of the Oakland Tribune/Singleton, has refused to comment or answer questions as to whether he will continue Lockyer’s purported investigation. Reilly and Alioto are hard into discovery, working with the media documents they obtained from Justice and the AG as a result of their suit. The documents were filed by the principals in the original merger (McClatchy, Hearst, Singleton, Gannett, Stephens) to get preliminary Justice and AG approval. They are certain to be illuminating. Impertinent Question: Why is it that, once again, Relly and Alioto must do the heavy lifting in a private suit because Justice and the AG have so far knuckled under to the chains and refused to do their job.
Repeating the Impertinent Questions to Hearst and Singleton editors and publishers: Why haven’t you done this major scandal story? When will you do it? If you won’t do the stories, please explain. Until then, let’s have no more macho talk about competition between Hearst and Singleton papers. B3
P.S. Let me quote the third paragraph from the WSJ to dramatize the heft of this story: “A 2002 email by a manager of (McKesson) describes how pharmacies would be able to more than doiuble their profit for dispensing the cholestrol drug Lipitor and adds, ‘that is awesome.'” The article quoted an economist hired by the plaintiffs who estimated that savings in 2007 alone at $4 billion. There is much, much more. The Hearst and Singleton papers would cover this national scandal in a flash if it involved any other big company in their territory. Hopefully.
A tough pill to swallow by G.W. Schulz
McKesson’s fiscal 2Q profit rises 37 percent to top analyst views by MICHAEL LIEDTKE, AP Business Writer
The dark tower
With Amores Perros and 21 Grams, director Alejandro González Iñárritu (along with screenwriter Guillermo Arriaga) trademarked his filmmaking style: overlapping storylines and characters connected in seemingly random ways; a technical approach that includes gritty locations and hand-held camerawork; and a Big Theme that overarches all. His latest, Babel (read Dennis Harvey’s Guardian review here), is Iñárritu’s most ambitious effort to date.
Alejandro González Iñárritu with Gael García Bernal on the set of Babel. (Photo: Eniac Martinez)
The cast, which includes Brad Pitt, Cate Blanchett, and Amores Perros star Gael García Bernal — as well as several non-actors — is enormous, and its multi-layered tales circle the globe, with segments set in California, Mexico, Morocco, and Japan. Iñárritu’s similarly whirlwind tour in support of Babel’s release landed him in San Francisco recently, where I caught up with the Mexico City native for a chat about the film and his career to date.
MONDAY
Mon/6
Author
Listen to the messenger
Hear OC Weekly writer Nick Schou read from his book, Kill the Messenger. The book covers the story of Gary Webb, a journalist who wrote the Dark Alliance series for the San Jose Mercury News in the mid-’80s investigating connections between the CIA and Southern California crack cocaine rings and later committed suicide. Schou’s book includes interviews with editors involved with Webb who have never before spoken about the scandal. (Deborah Giattina)
7 p.m.
Cody’s Bookstore
1730 Fourth St., Berk.
Free
(510) 559-9500
Music
Lindsey Buckingham
When I was in college, we were talking about the scene in School of Rock where Joan Cusack gets drunk and dances on a table like Stevie Nicks, and this hipper-than-thou chick in my class asked smugly, “Does anyone even like Fleetwood Mac anymore?” She was nearly killed by the rain of backpacks, cell phones, and unadulterated scorn. So the moral of the story is that everyone fucking loves Fleetwood Mac and everyone fucking loves Lindsey Buckingham. (Aaron Sankin)
8 p.m.
Palace of Fine Arts
3301 Lyon, SF
$55
(415) 563-6504
www.palaceoffinearts.org
www.lindseybuckingham.com
SUNDAY
Sun/5
Event
Solidarity with Africa
Create greater support for black-led African groups like the Uhuru movement and African Socialist International on African People’s Solidarity Day at a teach-in and fundraiser featuring discussions and video presentation on the conditions and history of the African diaspora in Congo, Southern Africa, Haiti, Europe, and the United States. (Deborah Giattina)
10 a.m.-5 p.m.
Women’s Bldg.
3583 18th St., SF
Sliding-scale donation
(510) 625-1106, www.apscuhuru.org
Event
Women prisoner news
Celebrate the 10th anniversary of The Fire Inside, a newsletter for female prisoners, with former inmate Theresa Cruz, her daughter Adriana, the Drum Sistah Warriors, Maisha Quint of Poetry for the People, performing arts group Loco Bloco, and special guest Alice Walker at a party sponsored by the California Coalition for Women Prisoners. (Giattina)
2-5 p.m.
African American Art and Culture Complex
762 Fulton, SF
$10-$100, sliding scale
(415) 255-7036, ext. 304, www.womenprisoners.org http://www.womenprisoners.org/
San Francisco Jazz Festival: Something else
› a&eletters@sfbg.com
“Music is the celestial sound. And it is sound that controls the whole universe, not atomic vibrations. Sound energy, sound power, is much greater than any other power in this world.”
Swami Satchidananda addressing the audience at Woodstock, 1969
Each year, in addition to its roster of standard jazz players, the San Francisco Jazz Festival tucks a few cards up its sleeve. The past few years have seen performances by the likes of Caetano Veloso, Ravi Shankar, Orchestra Baobab, and João Gilberto, for example. This year promises to perhaps surpass even those when Alice Coltrane is joined by Charlie Haden, Roy Haynes, and her son, Ravi Coltrane, in a rare performance. It may just be one of the concerts of the year.
To some, Alice Coltrane may be overshadowed by her husband, the awe-inspiring John Coltrane, but don’t let that fool you. After all, who among jazz players isn’t in the shadow of the unrelenting, spiritually questing saxophonist, one of the 20th century’s towering musical figures? To many, however, the pieces Alice created as a bandleader between 1968 and 1975 have become landmarks of their own — perhaps especially in recent years with the renaissance of interest in cosmic music of all kinds. In fact, they are some of the most elevated, incandescent recordings of the 1960s and ’70s — and of any time, really.
After studying classical and gospel music as a child in Detroit, Alice McLeod was turned on to jazz by her brother, bassist Ernie Farrow. She played sessions with guitarist Kenny Burrell and shared the stage with Terry Gibbs. That’s when she and John Coltrane met. In 1966 they were married. It was the same year John would break up his classic quartet with McCoy Tyner, Jimmy Garrison, and Elvin Jones. With his new quintet, including Alice, Garrison, Rashied Ali, and Pharoah Sanders, John began his spiritual quest, which took him away from the modal jazz (improvisations based on scales, or modes, rather than chords) of his hits like “My Favorite Things” to the controversial outer regions of jazz on blistering free albums such as Meditations and Interstellar Space (both Impulse!, 1965 and 1967). Here, Alice’s adventurous and spiritual musical story took flight.
Though all of the trappings of jazz are in her music — and certainly, with her surname, she will always be defined by the genre — Alice Coltrane’s sound is something else.
“Well, we put labels on everything, don’t we?” Alice, 69, suggests, speaking from her home near Los Angeles, where she runs the John Coltrane Foundation with her daughter Michelle, as well as her ashram, where she teaches as a minister. “And that’s OK. I don’t see any harm in it. It lets the people go to a location where they can say, ‘OK, yeah, I understand what you’re speaking.’ But I know it’s something else. It’s much more than that. In music you hear experiences. You hear challenges.”
John died in 1967, arguably at the peak of his powers. He’d been incorporating motifs from the East, reaching for something otherworldly in scope. Alice continued playing with his last group, including Garrison, Sanders, and Ali. After a trip to India in 1970 to follow guru Swami Satchidananda, her music began to evolve, finding an altogether unique spot between the not unrelated worlds of ecstatic jazz and classical Indian forms, even Western classical music (see her interpretation of Igor Stravinsky’s The Firebird on Lord of Lords [Impulse!, 1973]). Pivotal albums like A Journey in Satchidananda, Universal Consciousness, and World Galaxy (all on Impulse!, 1970, 1971, and 1971) hold a rarefied place in the 20th-century canon. Playing harp, Wurlitzer organ, and piano, she created a style and sound that are impossible to forget — swirling harp arpeggios, long-held organ notes, and fluttering piano play among shimmering sleigh bells, tamboura, occasional tablas, and often large string sections. If it is jazz at all, it is astral jazz. Or perhaps it is what new age music, that most maligned of genres, should have been: challenging, all encompassing, ecstatic, ancient, timeless.
It’s no surprise to find devotion is of such importance to Alice, whose song titles reference nearly all cultural myths and spiritual traditions. Unsurprisingly, you won’t find dogma at the root of her devotion.
“We have our one sun in the universe,” she muses. “How many different names is it known by — through all the different languages? But it’s providing that heat and that power and energy to all of us here and throughout the rest of the universe.
“I feel that throughout our lives, if we know where to look, where to research, we will have discovery. We will find we are so much alike as humanity. We might try to focus on differences and cultural circumstances and boundaries and all these things, but as humanity, we are so close that really, we are basically one.” SFBG
ALICE COLTRANE QUARTET
Sat/4, 8 p.m.
Nob Hill Masonic Center
1111 California, SF
$25–$85
1-800-850-SFJF
www.sfjazz.org
Rock between wars: Ecstatic Sunshine
Vocalless but intensely lyrical electric-guitar duo Ecstatic Sunshine take risks on their first non-CD-R release, Freckle Wars (Carpark) — namely by eschewing a drummer or even a drum machine despite a tendency to craft manic post-rock buildups that seem to predict explosive toms and thundering cymbals. But these happy rockers are more interested in preparing sunshine than predicting rain. For two guys with guitars, they make remarkably unindulgent music.
“Most of the songs took us months to write,” Ecstatic Sunshiner Dustin Wong said on the phone from the group’s Baltimore practice space. It’s no accident that the second guitar — or one of them anyway; they’re well blended — seems to speak with a witty, melodic voice on tunes like the cascading “Power Ring,” which sounds like a deconstructed Kaki King tune, and “Beetle,” which resonates like an early Nintendo soundtrack made with an open guitar tuning on a beat-up Strat. When the Japan-raised Wong went back to Tokyo for a summer, co-Sunshiner Matthew Papich “sent e-mails with MP3s of new ideas,” Wong said. “He would record one part of the song at a time — an intro, for example — then I would record another track and send it back.” “Power Ring” is one such song. It’s as if they’ve boiled their musical ideas down to their essence.
Next on the phone, Papich told the same story, audibly excited about the musical friendship, which has only grown stronger since they signed to Carpark Records after founder Todd Hyman found out about them through Baltimore City Paper. Both musicians feel supported by the local scene. “For me, what distinguishes the scene in Baltimore — at least the one that we’re a part of — is its sense of humor and whimsy. It’s very positive, and everyone has a good time at shows,” Wong explained.
Papich and Wong met in art school when Wong, after completing two years at the California College of the Arts, transferred to the Maryland Institute College of Art. Papich had only played in grindcore bands — and not much since high school — before he started jamming with Wong for a friend’s art project.
They saw a similar spark in each other — perhaps the drive to make music with the wild vision and focused craft required by the visual arts world. “We were working with more abstract structures where we don’t repeat things,” Wong said.
There isn’t a boring moment on Freckle War’s 12 zippy, bittersweet tunes, though some sound raw — as in scratchy and frenetic — for the sake of getting someone’s attention. But so what? Wong left the CCA and San Francisco behind for no particular reason — if only we can listen with the same abandon.
Leaving San Francisco meant leaving old musical ideas behind. “Sometimes we get too comfortable with a certain structure, and then we break through that comfort zone,” he said. “To be comfortable is to be boring, and that’s not a place that I want to be in for writing music.” (Ari Messer)
ECSTATIC SUNSHINE
Wed/1, 9 p.m.
Hotel Utah Saloon
500 Fourth St., SF
$10
(415) 546-6300
So why did the SF Weekly’s Matt Smith endorse a PG@E attorney for supervisor?
Matt Smith, a columnist for the SF Weekly/Village Voice/New Times, parachuted into the Sunset to check out the field of supervisorial candidates and ended up last week all but endorsing Doug Chan as the PG@E candidate for supervisor.
What Smith’s investigation didn’t turn up was the disturbing fact that Chan is an attorney whose law firm, Chan, Doi, and Leal, has received more than $460,913 in fees from PG@E in the past five years, according to documents on file with the California Public Utilities Commission. (See my earlier blog and our editorial for more details).
Chan is also the beneficiary of a tidal wave of sleazy independent expenditure mailings to Sunset residents, probably from the same PG@E/downtown gang creating the tidal wave of IE sleaze on behalf of Rob Black in the Chris Daly race. (See our stories). The PG@E gang want Chan and Black in City Hall. I asked Smith by email if this were a continuation of the PG@E-smitten campaign that then editor John Mecklin and then reporter Peter Bryne conducted on behalf of PG@E and against the two public power campaigns in 200l and 2002. He parried the question. Chan and the Weekly both ended up in the Guardian’s Hall of Shame after the PG@E victories.
The point: maybe, if this is how the New Times would go about endorsements, it isn’t such a good idea to raise the issue. Their politics appear to be desert libertarianism on the rocks, with stalks of neocon policy. What would the Village Voice/New Times position be on the war and Bush et al? Well, back to Dan Savage, the Voice/New Times sex columnist who has been known to slip an endorsement into his column. (See my previous blog).
P.S. Full disclosure: I live out in the West Portal district a few blocks from the Sunset District. And I am getting tired of supervisors like Sean Elsbernd and Fiona Ma and supervisorial candiates like Doug Chan who come on as “neighborhood” candidates but once in office quickly become anti-neighborhood, pro-PG@E, pro-Downtown supervisors and callup votes for the mayor, PG@E, and downtown. My alternative choices for the Sunset:
Jaynry Mak and David Ferguson, who understand the perils of PG@E and the virtues of public power. B3
WEDNESDAY
Oct. 25
Theater
Hamlet and Hamlet:
Blood in the Brain
’Tis the season for dueling Hamlets – dueling unconventional Hamlets, in fact. Stuart Bousel and his No Nude Men Productions stick with the title of Shakespeare’s original but interpret the play as myth rather than canon fodder, casting the movie-length result so that male parts are played by women and female parts are played by men. Developed in partnership with California Shakespeare Theater and Campo Santo, Naomi Iizuka’s Hamlet: Blood in the Brain places the drama amid the drug-related violence of ’80s-era Oakland. Opening night forces you to overcome Hamlet-like indecision to choose one of these two versions, but at least you have a month or so to see both. (Johnny Ray Huston)
Hamlet
8 p.m. (continues Thurs.-Sat., 8 p.m.; through Nov. 18)
Climate Theater
285 Ninth St., SF
(415) 621-1503
www.horrorunspeakable.com
Hamlet: Blood in the Brain
8 p.m. (Thurs.-Sun., 8 p.m.; through Nov. 20; special benefit performance Sat/28, 7 p.m.)
Intersection for the Arts
446 Valencia, SF
$9-$20 ($25-$40 for Sat/28 benefit)
(415) 626-3311
www.theintersection.org
Film
United Nations Association Film Festival
Tonje Hessen Schei’s documentary Independent Intervention is the single most staggering doc yet made about the unholy matrimony of the military-industrial complex and the media. Using corporate newsreels, interviews with journalists, and footage from unembedded correspondents, the film relentlessly stabs its audience with egregious facts about the war in Iraq that have been avoided by mainstream reports. Both painful and empowering, this is a film everyone needs to see. Another highlight among the 31 docs playing at the United Nations Association Film Festival is Ben Lewis’s Blowing Up Paradise, which plots the history of France’s nuclear bomb testing on the French Polynesian island of Moruroa. (Sara Schieron)
Through Thurs/26
Stanford University
See Web site for program information
www.unaff.org
