Event

WEDNESDAY

0

Nov. 22

Music

Maceo Parker

If you’ve ever listened to a James Brown record, you’ve heard Maceo Parker’s name before. When the Godfather of Soul yelled “Maceo!” it was the call for his favorite player to produce from his saxophone a sound that defines funk. It’s been a long time since the days when Parker played on tracks such as “Papa’s Got a Brand New Bag.” Meanwhile, he has become a star in his own right, releasing albums on which his iconic alto sax sits front and center. (Aaron Sankin)

With Aphrodesia
9 p.m.
Fillmore
1805 Geary, SF
$27.50
(415) 346-6000
www.livenation.com

Event

Bird bake

Stuff a bird at Glide Memorial Church’s Thanksgiving Dinner preparation. Amazingly, the organization cooks about 900 turkeys every year to feed 5,000 people, but it needs your help to do so. (Deborah Giattina)

5-9 p.m.
Glide Memorial United Methodist Church
330 Ellis, SF
(415) 674-6000, www.glide.org

Three stories, three papers, one reporter

0

The merger of the San Jose Mercury News and Contra Costa Times with Dean Singleton’s Bay Area newspaper properties has already had one clear impact: There are fewer reporters and critics covering the news.
A former senior staffer at a Bay Area daily has been following the post-merger dailies, and he told us that the same bylines are now appearing regularly in the Merc, the Times and the Oakland Tribune. Where there were once several reporters covering a news event, several critics writing about music and culture, several sportswriters covering local teams, now there is often just one.
“Three months after MediaNews Group added two major Knight Ridder dailies to its far-flung Northern California newspaper group, news coverage is well on its way to being homogenized in this formerly competitive market,” the former staffer wrote.
We did our own checking, and his thesis holds true.
Before this summer, when Singleton began to take control of nearly every daily paper in the Bay Area, it was routine to see three different reporters covering major stories for the Merc, the Times and the Trib. In April, for example, each paper assigned a different staffer to cover the news of reports of how vulnerable the Delta levees were to an earthquake. The Times had Betsy Mason on the story; the Merc had Lisa M. Kriger, and the Trib had Ian Hoffman. Three different movie critics covered the release in May of the “Poseidon Adventure,” Barry Cain from the Trib, Bruce Newman from the Merc and Rnady Myers from the Times.
These days, it’s very different. The three papers all reported on a triple homicide in Oakland Nov. 24 – but all three stories carried the byline of Kirstin Bender. On Nov. 22, all three had headlines trumpeting new plans for a 49ers stadium – but the same story, by Mike Swift and David Pollack, ran underneath all three heads. A controversy on BART accepting liquor ads merited one story – by Kiley Russell – that ran in all three papers. When “History Boys” was released in late November, all three papers carried the same movie review, by Mary F. Pols.
In fact, out of ten major news, sports and culture stories we examined in November, nine carried the same bylines in all three papers.
None of the senior editors at the three papers returned our phone calls for comment. But Tom Barnidge, the Contra Costa Times sports editor, was willing to talk about the staffing changes. He told us that the use of single stories in all three papers was the result of the consolidation, and he argued that there was no need for all three papers to have beat reporters covering exactly the same things.
The problem with that theory is that it’s wrong: Even on straightforward beat stories, different reporters bring different perspectives to stories, develop different leads and sources, and provide different information. So when the Times, the Merc and the Trib lose their own independent staff reporters, the Bay Area readers lose, too.

George Bush doesn’t read the Guardian. Often.

0

Alas. Alas. (B3, disheartened by the news)

Posted Tuesday, Nov. l7th, on the website of the Guardian of London

From Guardian Unlimited: News blog 12:15pm

Here at the Guardian we have long suspected it. But today comes official confirmation: George Bush doesn’t read the Guardian often. During a press conference with the Australian PM, John Howard, in Hanoi today, Mr Bush was asked about the report in yesterday’s Guardian that he was planning a final push in Iraq involving an additional 30,000 troops.

“Is that something…,” began a reporter.

“Where was that report?” asked Mr Bush.

“In the Guardian newspaper,” the journalist replied.

“Guardian newspaper? Well, I don’t read that paper often. But I – look, I’m going to listen to our commanders, Steve. Ours is a condition-based strategy […] So I’m not aware of the Guardian article.”

Of course, the president may well have been thinking of the San Francisco Bay Guardian, a publication which also takes a sceptical editorial line on his policies. Who knows? But in the unlikely event you’re reading this, Mr President, Guardian Weekly has a four-week free trial on. Just say the word.

What you can do

0

What: Free Josh Wolf!
When: Thursday, December 7th 2006, 7:30pm
Where: Balazo, 2183 Mission Street @18th, 415-255-7227

On December 7th, journalists, activists, and local leaders will come
together to call upon the United States Government to free independent
videographer and freelance journalist Josh Wolf. He is currently in
“coercive custody” at the Federal Detention Facility in Dublin, California.
He is not charged with any crime. Please join us for a night of music,
inspiring speakers, and action in support of Josh Wolf and to demand that
Congress pass a Federal Shield Law protecting journalists and freedom of the

press. $10 Suggested Donation. No one turned away for lack of funds. For
more information about Josh Wolf go to www.joshwolf.net. Contact:
andy.blue@yahoo.com.

To read Josh’s prison blog, click here

Free Josh Wolf Support Update
11/14/06

http://joshwolf.net/blog/
http://freejosh.pbwiki.com

*****************************
In this email:
1) Legal Update
2) Josh Wins Society of Professional Journalists’ Journalist of the Year
Award
3) Josh Wins 2 Vloggy Awards
4) New Flyers!
5) Josh Can Receive More Books
6) How Can I Support Josh?
*****************************

1)Legal Update

See story

*****************************

2) Josh Wins Society of Professional Journalists’ Journalist of the Year
Award http://www.spj.org/norcal/
http://www.indybay.org/newsitems/2006/11/10/18328773.php

“On Thursday, November 9th, Northern California Chapter of the Society
of Professional Journalists held their annual banquet. Of the many
honors that were bestowed on people, arguably the most prestigious,
Journalist of the Year, went to imprisoned video documentarian, Josh
Wolf, along with other grand jury subpoena resisters, San Francisco
Chronicle sports writers, Lance Williams and Mark Fainaru-Wada.

Wolf’s mother, teacher Liz Wolf-Spada, accepted the award on behalf of
her son. Wolf, who had been imprisoned, released and then
re-imprisoned, has served a total of 82 days in a federal penitentiary
for refusing to turn over his unedited video footage of a July 2005
San Francisco protest. From: Indybay.org

Read Josh’s Acceptance Speech: http://www.joshwolf.net/blog/?p=277

*****************************

3) Josh Wins 2 Vloggy Awards

Josh’s video, All Empires Must Fall, received the Judge’s Choice Award
for Most Controversial Video and the People’s Choice Award for Best
Male Vlogger.

Read Josh’s Acceptance Speech: http://www.joshwolf.net/blog/?p=273

*****************************

4) New Flyers!

Thanks to Njeri for making these awesome flyers!

You can download them here:
http://freejosh.pbwiki.com/f/joshwolf_flyer.pdf
And view them here: http://freejosh.pbwiki.com/Flyers%20and%20Graphics

*****************************

5) Josh Can Receive More Books

Josh is ready for more books! THANKS!
http://freejosh.pbwiki.com/Send%20Josh%20Books

Please consider sending a book to Josh while he is being held in
prison. It’s a great way to show your support for him!

Josh’s Book Wish List:
Days of War, Nights of Love – The Crimething Ex-Workers Collective Logic
and Contemporary Rhetoric – Howard Kahane

*****************************

5) How Can I Support Josh?

10 WAYS TO SUPPORT JOSH http://freejosh.pbwiki.com/Help%20Support%20Josh

There are lots of things we can all be doing to help Josh.

Here are the top 10 ways

1) SEND LETTERS and maintain correspondence with Josh while he is
incarcerated. We need to let Josh know that we are thinking of him and
supporting his courageous and important stand. Visit:
http://freejosh.pbwiki.com/Write%20Josh%20Letters for info on how to
send a letter to Josh. Please remember that all of Josh?s letters are
read by the prison authorities and it may take a while for your letter
to reach him.

2) SEND A BOOK to Josh. Find Josh’s book wish list and info on how to
get him a book visit: http://freejosh.pbwiki.com/Send%20Josh%20Books

3) READ HIS BLOG from prison. Josh’s blog is still being updated by
his family and friends. Letters from Josh will be posted as they are
received. http://joshwolf.net/blog/

4) DISTRIBUTE FLYERS about his case:
http://freejosh.pbwiki.com/Flyers%20and%20Graphics

5) DONATE to Josh’s support fund via Paypal:
http://joshwolf.net/grandjury/donate.html

6) PLAN BENEFIT CONCERTS AND EVENTS to raise money. There have been
several concerts and fundraisers thrown recently to support Josh. If
you are interested in hosting a concert or other type of fundraiser
please contact Josh’s support team at: freejosh(at)joshwolf.net so we
can assist you with publicizing your event.

7) JOIN AND PARTICIPATE in the Support Josh Wolf Email List:
http://lists.riseup.net/www/info/supportjoshwolf

8) PROMOTE JOSH’S CASE. Write letters and articles of support for Josh
to your local media. Blog about his case. Link to his blog and wiki.
Post “support Josh” banners on your blogs and webpages:
http://freejosh.pbwiki.com/Flyers%20and%20Graphics

9) SEND LETTERS to the other inmates who are being incarcerated along
with Josh at FCI Dublin. You can get their contact information at:
http://freejosh.pbwiki.com/Write%20Josh%20Letters

10) BECOME INVOLVED WITH THE SUPPORT TEAM. Email:
freejosh(at)joshwolf.net or the Email List if you are interested in
getting more involved. We still need people willing to help with tech
support, organizing, fundraising, graphic design, publicity, media and
legal support. Send an email to the support team indicating how you
would like to help and we will plug you in!

TUESDAY

0

Nov. 21

Music

Pernice Brothers

Recently I was watching Iron Chef, and one of the contestants whipped up some luscious delight of lightly fried honeycomb with cream and fruit; it looked like the best dessert ever. That night I dreamed about it. Oh, how I slept like a baby! The next day I bought the latest by the Pernice Brothers, Live a Little (Ashmont), and over the course of its 12 songs I realized I was listening to the aural equivalent of that same heavenly concoction. The yearning Americana of their early releases can still be tasted, but Joe Pernice and his crew of lovelorn stargazers have added bursting power pop to the recipe. (Todd Lavoie)

With Elvis Perkins
9 p.m.
Cafe du Nord
2170 Market, SF
$12
(415) 861-5016
www.cafedunord.com
www.pernicebrothers.com

Event

Haiti’s Solidarity Conference

Learn about Haiti from SF Labor Council member David Welsh, who visited the Solidarity Conference in Port-au-Prince last August and witnessed UN troops firing into houses, at the Gray Panther November general meeting. (Deborah Giattina)

12:30-3 p.m.
Unitarian Universalist Church
1187 Franklin at Geary, SF
(415) 552-8000
http://graypantherssf.igc.org

SUNDAY

0

Nov. 19

Event

Transgender Day of Remembrance

Remember and honor victims of antitransgender hate crimes as Alameda County joins more than 200 locations around the world to hold the first Transgender Day of Remembrance. Elected officials and community members will speak at the event, which marks the anniversary of the murder of Rita Hester, a Massachusetts transgender woman. (Deborah Giattina)

4:30 p.m.
Preservation Park
MLK and 13th St., Oakl.
(510) 713-6690

Event

Unsung Heroes

Show your support for eight Bay Area residents and one organization recognized for improving lives in the African American community. The 18th annual Unsung Heroes awards ceremony features entertainment from the Praise and Sign Dancers and Stepping Knights. Local comedian Veronica Dangerfield MCs. (Deborah Giattina)

1 p.m.
San Francisco Public Library, Koret Auditorium
100 Larkin, SF
Free
www.sfpl.org

SATURDAY

0

Nov. 18

Event

Nina Hartley

Nobody has more sex than Nina Hartley. So it’s no surprise that the prolific adult-film performer and sex educator decided to write a how-to on everything you ever wanted to know about the dirty deed. Nina Hartley’s Guide to Total Sex is a humorous and candid book that outlines methods to intensify your sexual experience with or without a partner. Hartley, who is also a registered nurse, applies her years of omnisexual experience to this comprehensive manual filled with user-friendly facts and techniques and punctuated by her witty and spicy candor. At this reading Hartley will talk dirty and share some of the tricks of her trade. (Hayley Elisabeth Kaufman)

7 p.m.
Booksmith
1644 Haight, SF
Free
(415) 863-8688
www.booksmith.com

Music

Pit er Pat

The Chicago trio display less raw aggression on their new album, Pyramids (Thrill Jockey), than their last, 2005’s Shakey, but that doesn’t mean they’ve lost their bite. Now propelled by minor chords, naïf but malevolent keys, and Fay Davis-Jeffers’s gawky vocals, Pit er Pat plunge into their fears, going where aces accustomed to trad post-rock musicianship ordinarily dread stumbling. Recorded with Tortoise’s John McEntire, Pyramids hits its own original apex at around the instrumental “Swans,” throbbing and sailing away on Davis-Jeffers, bassist Rob Doran, and drummer Butchy Fuego’s transparent, ragged rhythms. (Chun)

With Ebb and Flow
9:45 p.m.
LoBot Gallery
1800 Campbell, Oakl.
$5-$10, sliding scale
(510) 282-2622
www.lobotgallery.com

Also Sun/19
With Ebb and Flow
9 p.m.
12 Galaxies
2565 Mission, SF
$8
(415) 970-9777
www.12galaxies.com

WEDNESDAY

0

Nov. 15

Event/Performance

“The Wicked Stage: Horror Theatre in Jazz Age London”

Join copresenters Thrillpeddlers (voted Best Live Onstage Bloodbath in our Best of the Bay 2006 issue) and the San Francisco Performing Arts Library and Museum for “The Wicked Stage.” Featuring professor Michael Wilson, coauthor of the forthcoming This Troublesome Theatre: London’s Grand Guignol and the Performance of Horror, this multimedia presentation will delve into the history of London’s take on this Parisian theatrical import. As fans of Thrillpeddlers’ annual Shocktoberfest are aware, Grand Guignol combines belly laughs with bloody splats, creating a roller coaster of emotional extremes. For a fitting climax to the evening’s entertainment, Thrillpeddlers will perform a scene from The Old Women, the English version of the Grand Guignol classic A Crime in the Madhouse. (Nicole Gluckstern)

7 p.m.
San Francisco Performing Arts Library and Museum
War Memorial Veterans Bldg., fourth floor
401 Van Ness, SF
$10
(415) 255-4800
www.sfpalm.org
www.thrillpeddlers.com

Music

Marc-André Hamelin

The San Francisco Symphony continues to tickle our tympana with programs of rare intelligence and far-out aural adventurousness. From Nov. 15 to 18, Montreal’s hugest pianist, Marc-André Hamelin, dazzles in the debut of überhip South African composer Kevin Volans’s oceanic mini-epic, Atlantic Crossing – 14,000 notes in 23 minutes! That’s a lot of plink-plonk for your moola. Also on tap: Russian legend Dmitry Shostakovich’s famous, ecstatic, gloves-off slap to Joseph Stalin’s face, the Symphony No. 5 in D Minor. Soviet smackdown never sounded so good. (Marke B.)

Wed/15 and Fri/17-Sat/18, 8 p.m.
Thu/16, 2 p.m.
Davies Symphony Hall
201 Van Ness, SF
$25-$110
www.sfsymphony.org

Outsourcer

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› superego@sfbg.com
SUPER EGO The best thing about childhood obesity is I can fit in all the clothes now. Dora the Explorerwear, Juicy Couture for Kids, even Mary-Kate and Ashley Teen Look. No door, no path, no avenue is closed to my cheap and whimsical fashion tastes. No “Barfin’ BILF” tube top for toddlers can squeeze me out of my juvenile fancies. Thank you, overweight preteens of America! Viva los junk foods!
And so goes the mind. I was rifling through a rack of knockoff baby Baby Phat the other day when the fluorescents at Thrift Town grew one shade of puke green lighter, and I fell into a consumerist reverie — my thoughts rippling and stretching like the toxic, Korean-stitched Spandelux beneath my gas station press-on fingertips. Tell me, has Clubland become a tangle of infinite niches? Do the tight, glowing pockets of each individual scene form a Great Barrier Reef: part of a vibrant, neon nightlife tapestry, yet each a total entity unto itself? Do the hefty-boobed metal-chick wonders at Crash form a silicone wall, the sideways-haired Casanova scruffsters a moat of cold shoulders, the overexcitable twinks at Bar on Castro an army of flamboyant spastics, their tweezed brows raised like little red flags, two high-pitched shrieks of warning?
And while we’re at it, what’s up with Nancy Pelosi’s eyes? Girl looks spun as a dinner plate at a Chinese circus. Nancy, meet Tramadol. Tramadol, Nancy.
There, like, used to be this thing that happened. The “cool” kids would start a music and nightlife scene. They’d get a couple months to revel in cooler-than-thou, bonding with freaks of like mind. Eventually, the scene would get too big for its britches and start being overrun by “normals.” Everybody wanted in, diluting the scene’s insular charms and making the original fans bitter, smugly smoking their pastel Nat Shermans and sharpening their claws on the newcomers. But that hasn’t happened since house and techno were bastardized into horrid music for aerobics classes. It’s not the kind of music that matters anymore, it’s the attitude that defines. My dreamboat rock critic, Kalefa Sanneh, calls this phenomenon “mini-monoculture.” I call it kind of boring (although I’m lovin’ the lack of scene cattiness). Without overpopularity to push you on to the next scene, it’s all too easy to get stuck. That may be why we’re all still falling backward into the ’80s. Aa-aaahhh …
But sometimes something refreshing comes totally out of left field, something no one can claim to own or hole up in. I’m talking about clubs like the monthly NonStop Bhangra, one of my favorite places to watch people of all stripes let their J/A/S/O/N/-gelled hair down and get a little silly, which does an end run around the whole American underground malaise by packing a woven hemp record bag and flying us off to the world of Bollywood and Bangalore, fronting a cosmopolitan style that totally disarms.
Punjabi by way of London, bhangra music is the tabla-driven electroclash of now, mixing 15th-century Indian folk music with bass-heavy hip-hop (henna-tinted hyphy?) — without an inkling of disco drama. Other great joints such as Dhamaal at Club Six and Bollywood Nights in Santa Clara have pumped the bang-bang-bhangra for years, but NonStop, started a couple years ago by Vicki Virk and Suman Raj-Grewal of dholrhythms dance troupe and DJ Jimmy Love, delivers the whole Punjabi enchilada to the heart of mini-mono scensterdom, Rickshaw Stop. Professional dance performances, lessons for beginners, live painting and drumming, superduper psychedelic visuals, and the fabulous, mini-multicultural sight of people shaking their bangles in glee — what’s better? The upcoming NonStop, Nov. 18 with guest DJ Sep, is the last one of the year, and it’ll be a doozy of a Delhi, a much-needed tonic for anyone feeling trapped in their scene.
Whoa. Amazing the thoughts that pop into your head while you’re stuffing fat kids’ clothes into your Wonderbra, no?
THIS JUST IN: What do club goddesses Heklina, Lady Bunny, Lady Kier from Deee-Lite, and practically every cheap-ass, to’-up drag queen in this whole gloriously damned burg have in common? That’s right, tax problems. Oh, and they’ll also be at the fantasmic, sure-to-be-scandal-ridden Miss Trannyshack Pageant on Nov. 18. I’m not pumping this long-running institution just because Trannyshack head honchette Heklina has a nail gun to my ear hole. Really. I’m pumping it because it’s wild fun! SFBG
NONSTOP BHANGRA
Every third Saturday, 8 p.m.–2 a.m. (no event in December)
Rickshaw Stop
155 Fell, SF
$10 advance, $15 door
(415) 861-2011
www.nonstopbhangra.com
MISS TRANNYSHACK PAGEANT
Sat/18, 9 p.m.–4 a.m.
Regency Center
1300 Van Ness, SF
$25 advance, $35 door
www.trannyshack.com

Journalists need to fight back

0

EDITORIAL At the annual awards dinner Nov. 9 of the Northern California Society of Professional Journalists, the mood was somber. One of the winners of the Journalist of the Year award, Josh Wolf, was behind bars for refusing to give unpublished material to the authorities. Two others, Lance Williams and Mark Fainaru-Wada of the San Francisco Chronicle, were only free pending appeal of a judge’s order that they go to jail unless they reveal the names of confidential sources.
On the eve of the dinner, the editor of the Los Angeles Times, Dean Baquet, had been fired for refusing to go along with drastic newsroom job cuts ordered by an out-of-town corporate headquarters. The event’s keynote speaker, Jerry Roberts, had been forced to leave his job as editor of the Santa Barbara News-Press after the multimillionaire publisher demanded that basic news reporting be squelched.
The buzz around the room was that more layoffs were coming at the Contra Costa Times and San Jose Mercury News, papers just recently purchased by Dean Singleton, who now owns every major daily in the Bay Area except for the San Francisco Chronicle (which is owned by Hearst, one of his business partners). And indeed, the CoCo Times announced the day after the dinner that it had cut jobs across the board and was outsourcing some production work to a firm with facilities in India.
Linda Jue, the president of the SPJ chapter, made a point in her opening remarks about the need for journalists to take a more active stance, to fight against the assault on freedom of the press and journalistic standards that’s happening across the country. She had exactly the right point — and local and national journalism groups need to wake up and start paying attention.
These are particularly ugly times — the amount of government secrecy, particularly at the federal level, is almost unprecedented. But there’s something else just as bad going on: consolidation of media ownership is destroying the profession of journalism. And that’s something that groups made of working journalists have to start addressing.
There are all sorts of ways to get started. The SPJ, both local and national, ought to formally request the federal Justice Department to overturn the deal that gave Singleton hegemony over the Bay Area market and should press for a full investigation into Hearst’s role in the deal. These organizations (including the big unions that represent newspaper workers) ought to be working with the likes of Media Alliance in demanding that the Federal Communications Commission tighten the rules on ownership of broadcast media. Publicly traded companies that own newspapers should face organized shareholder-resolution campaigns opposing debilitating newsroom cuts. They should look at ways to support San Francisco investor Clint Reilly in his lawsuit against the Singleton deal and should at the very least issue statements on it. They should send regular delegations to see Wolf in jail and should press Rep. Nancy Pelosi to demand a federal shield law — an end to the federalizaton of law enforcement investigations (which can land people like Wolf in jail).
Sure, the Internet is changing the face of the media industry, and there are all kinds of other challenges — but in the end, no matter what the publishing platform, there will always be a need in a democratic society for qualified professional reporters and editors. And those of us in that line of work need to stand up to make sure that big media chains demanding obscene corporate profits don’t suck the life out of American journalism. SFBG

Turning point

0

› news@sfbg.com
It’s amazing what the New York Times can find newsworthy. On a night when progressives in San Francisco racked up an impressive list of victories — and the popular mayor, often described as a rising star in state and national politics, got absolutely walloped — the nation’s newspaper of record led an online report on city politics with this gem: “A bike-riding member of the Board of Supervisors apparently won re-election while his wife was reported to have screamed an epithet at opponents.”
The Times story, by Jesse McKinley, called it “just another night in San Francisco’s iconoclastic politics,” meaning, apparently, that only in this city would a politician ride a bicycle and only here would a politician’s wife use foul language in public.
Please.
For the record: Sarah Low Daly — who watched her husband, Chris, get pummeled mercilessly for weeks by brutal attack ads paid for by, among others, the Golden Gate Restaurant Association — did dismiss “those motherfuckers” with a colorful epithet that no less than the vice president has used on the floor of Congress but that can’t ever appear in the New York Times.
But allow us a little context here.
Daly’s wife had every right to celebrate on election night — and every right to slam the forces that were so unwilling to accept a living wage for local workers, sick pay for employees, requirements that developers pay for affordable housing, and the rest of Supervisor Daly’s progressive agenda, which had made him the subject of a Karl Rove–style smear campaign.
And the Times (as well as the embittered blogger at the San Francisco Sentinel who leveled personal insults at the supervisor’s wife) utterly missed the point of what went on in San Francisco last week.
This was a watershed in city politics, an election that may turn out to have been every bit as important as the 2000 ballot that broke the back of the Brown-Burton machine. It was evidence that district elections work, that downtown money doesn’t always hold the day — and that Mayor Gavin Newsom made a very bad political mistake by aligning himself with some of the most intolerant, unpleasant, and ineffective forces in local politics.
NEWSOM THE LOSER
We ran into Newsom’s press secretary, Peter Ragone, the day after the election and asked him the obvious question: “Not a very good night for the mayor, huh?”
It was a hard point to argue: Newsom put immense political capital into two key races and was embarrassed in both of them. He worked hard for Rob Black, the downtown candidate trying to oust Daly in District 6, showing up at Black’s rallies, walking the streets with him, talking about the importance of the race, and helping him raise funds. His handpicked contender in District 4 was Doug Chan, a former police commissioner. Black lost by 10 percentage points; Chan finished fourth.
And a long string of progressive ballot measures that the mayor had opposed was approved by sizable margins.
Ragone began to spin and dissemble like crazy. “We endorsed [Black and Chan] but didn’t put a lot into it,” he said despite the fact that Newsom spent the last two weekends campaigning for his two favorites.
“The real key for us was Hydra Mendoza, who won [a seat on the school board],” Ragone said.
Yes, Mendoza, who works as the mayor’s education adviser, was elected — but she already had a strong base of support as a former leader of Parents for Public Schools and might very well have won without the mayor’s help.
Besides, if Newsom saw her as a top priority, why did she finish second in a race for three positions, behind Green Party candidate Jane Kim? And how significant will it be to have Mendoza on a school board that now has a solid progressive majority, one she’s not a part of?
Ragone shrugged again, sticking to his line.
But the Mayor’s Office can’t spin away the fact that, as pollster David Binder put it at a postelection event, “I don’t think Newsom had a very good night.”
“It showed that we had a progressive turnout and this is a progressive town,” Binder said.
Boris Delepine, a campaign veteran and Sup. Ross Mirkarimi’s board aide, went even further: “This election ranks up there with the 2000 supervisorial races as far as I’m concerned.”
In other words, progressives battled the downtown interests and won.
The most exciting race was in District 6, where Daly’s expected reelection was thrown into doubt a few weeks ago by some polls and the onslaught of downtown attacks on Daly (which Binder jokingly referred to as “a deforestation project” for all of the negative mailers).
The problem was that most of the material just attempted to savage Daly without really making the case for why Black would be better. That appears to have backfired.
In fact, the assault served to galvanize Daly supporters, who stepped up a vigorous campaign in the final push. “It was very efficient and very effective,” Binder said.
Or as Daly put it to his supporters on election night, “We were under attack…. San Francisco values were under attack, and you responded like nothing before. Five hundred volunteers were in the streets today to say this district is not for sale.”
The message from the Tenderloin, inner Mission, and South of Market was resoundingly clear: with district elections downtown can’t simply buy a seat on the board anymore. Money is powerful — but an organized grassroots campaign can still prevail.
The impact for the mayor is more than just the loss of a potential board ally. Newsom found himself in District 6 working closely with SFSOS — a group that has become so nasty and is so reviled, even two of its key founders, Senator Dianne Feinstein and financier Warren Hellman, have walked away in disgust.
“If all things were equal, I’d just as soon that SFSOS went away,” Hellman told us.
It’s not going to help the mayor’s reputation to be seen in that sort of company.
A HIPPER DUFTY
The District 8 race showed the power of district elections in a different way.
From the start it was going to be tough for Alix Rosenthal, a straight woman, to defeat incumbent supervisor Bevan Dufty, a gay man in what has always been a gay district. But Rosenthal says her candidacy had a clear impact on Dufty — during the late summer and fall, the onetime solid mayoral ally moved a few noticeable steps to the left, supporting Sup. Tom Ammiano’s universal health care bill and voting with the progressives (and against the mayor) for police foot patrols.
“Dufty became a much hipper person after I challenged him,” Rosenthal said.
Dufty told us the challenge made him work harder but had no impact on his votes. “What you saw on foot patrols was an immense amount of frustration with the police chief’s failures to lead the department,” he said. “That had nothing to do with this race.”
Binder pointed out that District 8 has a higher percentage of registered Democrats than any district in the city, and Dufty locked down party support early on. And even though Dufty’s voting record was less progressive than his district, he remains popular. “There are people who think he doesn’t vote the right way on the issues, but nobody thinks he doesn’t try hard,” Binder said.
The District 4 race was not only a test of the power of the mayor’s coattails in a district where Newsom has always been popular. It was also a test of how ranked-choice voting works in complex election demographics.
From early this year, when it became clear that incumbent Fiona Ma was going to the state assembly, Newsom and his allies tapped Chan as the candidate they would promote. That was an odd choice for Newsom, who claims to be a public power supporter: Chan’s law firm has received more than $200,000 in legal fees from Pacific Gas and Electric Co. in just the past two years, and like his alliance with Black in District 6, the Chan endorsement put him on the side of one of the least popular actors on the local political stage.
And in the end, the mayoral support meant little: Chan finished fourth, after Ron Dudum, Ed Jew, and Jaynry Mak.
There was a certain amount of nervousness on election night when Dudum emerged atop the candidate list at the prospect that for the first time in a generation, the board would be without Asian representation. Four Asian candidates appeared to have split the vote, allowing Dudum to win.
But when the ranked-choice voting program was run Nov. 10, that concern evaporated: the new system allowed Asian voters to divide their preferences without risking that sort of vote-split result. When it was all over, Ed Jew emerged the winner.
As Jew told us, “I think it showed that having so many Asians benefited the top Asian vote-getter.”
GREEN DAYS
The school board and community college board races get less press than the top of the ticket, but as citywide contests, they can be even tougher for progressives. And this year the Green Party had some surprising victories.
Jane Kim, a Green, finished top in the balloting — remarkable considering that she didn’t have the endorsement of the Democratic Party. Mendoza came in second, followed by Kim-Shree Maufas. That puts three new members, all of them women of color, on the board and shows that activists frustrated by the votes of longtime incumbent Dan Kelly could defeat someone who until recently was considered a shoo-in for reelection.
Peter Lauterborn, a Kim supporter, was ecstatic about the win. “This is a massive triumph,” he said. “We beat the money and we beat the establishment.”
The same goes for the community college board, where John Rizzo, a Green, appears to have edged out Johnnie Carter, bringing new reform blood to an ossified and often corrupt agency.
Binder attributed the strong finishes by Kim and Maufas to their endorsements by the Guardian, the Democratic Party, and other lefty supporters. He was surprised by Rizzo’s apparent victory (absentees could still change the outcome) but most on the left weren’t. Rizzo had a lot of grassroots support and ran a strong campaign.
Similarly, Mirkarimi — who attended the postelection briefing along with fellow supervisor Daly — didn’t agree with Binder’s line on the school board, noting that the defeat of Kelly and the election of Kim and Maufas were strong endorsements for the stand that the current board lefties — Mark Sanchez, Sarah Lipson, and Eric Mar — have taken against positions by autocratic former superintendent Arlene Ackerman and her downtown backers.
“We got four votes on the school board,” was how Delepine put it, adding, “President Sanchez, man.” SFBG
Steven T. Jones and Alix Rosenthal are domestic partners. Tim Redmond wrote the analysis of the results in District 8. Amanda Witherell contributed to this story.

The Santa Rosa Press Democrat/New York Times “censors” the annual Project Censored story. Why? Some impertinent questions for the Press Democrat

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To the Santa Rosa Press Democrat:

This morning I got an email from Carl Jensen, the founder of Project Censored at your nearby Sonoma State University, complaining that the Press Democrat published an “irresponsible page one article” about Project Censored and its annual Sonoma State Conference. He and Peter Phillips, the current director of the project, have asked for answers to the questions they have raised about your coverage.

As the editor and publisher of the alternative paper that has for years proudly run the Project Censored story, and then sent it out for publication in alternative papers throughout the country, I would appreciate your response to their charges of omission and commission as noted below. And I also have some questions. I am sending them via the Bruce blog at our website sfbg.com to the reporter, and the editors and publsher of the Post Democrat.

I have been astounded through the years that the Press Democrat has never to my knowledge written up this annual story. And then, this year, instead of running a fair story on a major local story by a major local university on its 30th anniversary, I was further astounded to find that you go on the attack mode and pick out one story and use it to lambaste the project on the front page of the Press Democrat. I find it particularly galling that, after censoring the story for three decades or so, you finally do the story on the project’s 30th anniversary, a major journalistic and academic milestone. Bush. Real bush.

Some questions:

+Will you answer the questions raised by Jensen and Phillips in their notes to you? (Please send them also to me for publication in the Guardian and the Bruce blog.) Will you run the Phillips’ answer in an op ed?

+Why have you never run this story through the years? (If you have, I would appreciate knowing about it and would love to see copies.)

+Why this year, instead of running a fair account of a nationally recognized project in journalism, did you center on just one story, which was number l8 on the list, and left out a flood of stories on important issues. (See the Guardian Censored package link below). In fact, in our coverage, we did not even go down this far on the list and concentrated on the top l0 stories, which ranged from number one (“The Feds and the media muddy the debate over internet freedom” to number ten (“Expanded air war in Iraq kills more civilians”). We did synopses and comments on the other stories and cited the source. Why didn’t you at least do this and run a list of the stories, so people had a chance to judge the project for themselves, if you were going to do a hit attack and not a fair story? (We ran the entire list in our online package.) Why didn’t you at least say this was the project’s 30th anniversary and provide some history and context?

+Why didn’t you get comments from any of the distinguished Censored judges through the years or from any of its many supporters, including Ben Bagdikian, author of “The Media Monopoly” and former dean of the UC-Berkeley Graduate School of Journalism, and Noam Chomsky, and Robert McChesney, a prominent media critic and author, and many many others. Or from any of the alternative press that regularly runs the Censored story as one of its most widely read and highly respected issues of the year?

+Each year, Censored runs l0 stories that it considers Junk Food News. Doesn’t this story qualify as a top entry this year?

I would also appreciate it you would address the larger issue of “censorship” that this project, and many of us, try to address. As the only daily paper in the Bay Area not aligned with the emerging Singleton/Hearst regional monopoly, you have a special responsbility to report the news, not censor it and mangle as you do annually with this story.

This is particularly the case with the paper of Jayson Blair, Judith Miller, and the uncritical news stories and editorials that helped march us into Iraq and a deadly occupation. The “censored” Iraq stories, let me emphasize, were a major staple of Project Censored and the Guardian, and other alternative papers that ran Censored stories and took the anti-war side and condemned the preemptive invasion before and during the war and up to the present day.

Last impertinent question: has the Press Democrat/NY Times done a major local story on the impact of the Hearst/Singleton moves to destroy daily competition and impose regional monopoly in the
Bay Area (and the Clint Reilly/Joe Alioto suit to break up the unholy alliance)? If not, why not? If not, when will you start doing this kind of major local story and stop doing attack stories on major local projects such as Project Censored? Have you run the major Hearst scandal story on prescription drug pricing (from the Wall Street Journal, the Guardian, and previous Bruce blogs). This is a story, let me emphasize, that Singleton papers are also censoring as yet another example of the Hearst/Singleton mutual benefit society. Until you do this Hearst/Singleton story and pursue it properly, until you run the major Hearst scandal story, until you start doing fair and balanced stories on major local projects such as Project Censored, you have no business criticizing anybody on much of anything involving media criticism. Thanks very much.

Dear Colleague:

On October 4, the Press Democrat published an irresponsible page one article about Project Censored and a conference it held at SSU. The article, written by Paul Payne, appeared to be set up to attack Project Censored. He interviewed two well-known critics of the project before the conference took place. They didn’t even attend the conference to know what the speaker said.

In all my years in journalism, as a journalism professor, and as an advisor to the SSU STAR, Payne’s hit-piece definitely was one of the least objective articles I have ever read.

In the weeks following, the Press Democrat published just two letters concerning the ethics of Payne’s article leading readers to believe there was little public reaction. However, there were well over 100 comments submitted to the Press Democrat on line with the great majority castigating the PD.

Following is a letter Peter Phillips, director of Project Censored, wrote to Payne questioning his article Further, Phillips is submitting an op ed article to the PD this week, in hopes of letting the public know the truth about the conference and the speaker.

I thought you, as a journalist, should be aware of this unethical behavior by Payne and the Press Democrat.

Carl Jensen

Dear Paul Payne,

Staff Writer for the Press Democrat

October 6, 2007

Subject: There’s that other theory on 9/11: SSU hosts discredited academic who says U.S. could have planned attack.? Page 1 October 4, 2006 Press Democrat

Were we at the same lecture last? Friday night?? Somehow you missed reporting? Dr. Jones’? first 45 minutes on the?collapse speeds of building 7 and the Twin towers, which where the principle physics questions? presented that evening.??

Did you? tape the lecture, because nowhere can we find Dr. Jones making a statement that the US Government did it? He was quite clear in saying he doesn’t know who placed the thermite in the building,? if indeed that is what was used.

When you write that Jones’ theories have been discredited/condemned by other scholars and critics as groundless,? it would be nice to actually cite who is making these charges.? If you look on the 9/11 Scholars for Truth website you will find the names of over 2 dozen structural engineers, physicists, chemists, and other scientists who support his work . That sounds to us like a valid scientific dispute not a total or even partial discrediting.?

When we discuss journalism at the University we clearly talk about objectivity and balance as the hallmark of solid reporting. So we are wondering how the effort by you to present both sides of the issues was missed? Obviously, the quotes from the two well-known enemies of Project Censored were obtained before you came to the lecture, but why weren’t the numerous other professors present at the event or Project Censored people, or even Jones himself given the opportunity to respond to the critics???

The article was so one-sided and biased that we will be formally requesting to Pete Golis to provide space for a 700 word response sometime within the next two weeks.??

Disagreeing on scientific issues is one thing, slandering a visiting scholar is quite another.? I saw Dr. Jones’ face when he read your article.? He didn’t deserve such a mean-spirited slight. What a terrible thing to do to him personally.??

Dr. Jones spoke at the University of Colorado the? weekend before last and I have attached the Denver Post story for your review.? Perhaps this will assist you in understanding what balanced objectivity in news is about.

Peter Phillips

THERE’S THAT OTHER THEORY ON 9/11: SSU HOSTS DISCREDITED ACADEMIC WHO SAYS U.S. COULD HAVE PLANNED ATTACK

SFBG Project Censored

Daring Darin Klein – and that Thing

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Before I ever met Darin Klein I used to see him: this cute-hot, friendly-looking, tall skinny guy with eyeliner and tattoos who’d show up and have fun at Q-Tip (Queers Together in Punkness) events back when the Epicenter by 16th and Valencia still existed. Then, as years went by, I’d hear about him: one friend would talk about something Darin had made for her, another about an event Darin put together. Sometime around 2000, Darin threw a one-night show of book arts at New College, and that’s when I knew for sure he did awesome things. Others definitely agree, because some people who took part in that largely buck-for-a-book party have gone on to sell works for hundreds or thousands of dollars (or sell thousands of works).

penisart1.tif
(Friendly Skies by Young Chung, from Darin Klein’s book/box compilation Exes Editions: Relationships I’ve been in usually ended with a break-up).

Now that I’ve had a few chances to hang out with him, I can say for sure that I admire the damn funny, unpretentious, and whip smart Darin Klein. No one has better stories about mistaking Gwen Stefani for a drag queen or attempting to give Kenneth Anger customer service. He lives in LA now, so I recently emailed him about some of his video curating and book projects, including his most recent compilation, the staple-bound penis art collection Thing.

Goldies Dance winner Funkanometry SF

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Earlier this fall Funkanometry SF celebrated their fourth anniversary at the same place, 111 Minna Gallery, that is hosting this year’s Goldies ceremony and party. They packed the joint. Between then and now the company has been places. Six core members — including directors Emerson Aquino and Gina Rosales — answered an invitation to travel to Bogotá, Colombia. There, as part of the city’s Festival de Danza Urbana, they taught classes, were interviewed on the streets for radio and television, and gave performances.
Funkanometry SF is traveling these days — this month includes a trip to Chicago — but their heart remains in the Bay Area, where every Sunday night they take over the Westlake School for the Performing Arts in Daly City. In one large room company members and new students might run through eight counts while in another, smaller classroom veteran dancers hone an upcoming performance. Before, after, and in between the dancing, everyone hangs out in the courtyard, where kids and parents stop by to see what’s up.
“I really started choreographing when I was 14,” the soft-spoken Aquino explains one such Sunday, as he, Rosales, and cofounder Kyle Wai Lin good-naturedly attempt to break down the group’s history, kidding each other all the while. “To me, choreography is about making pictures. Once you realize the amount of people you have [to work with], you can maneuver them to make pictures.”
The pictures the group creates aren’t just captivating still images — they form waves of energy as friends in the audience shout encouragement to dancers on the floor. That type of flow is no small feat, considering Aquino and the 20-some-member group tap into many different genres of music. The ladies are as slyly, stylishly sexy-tough as Amerie and Aaliyah, and the gentlemen aren’t buried under baggy clothes — they’ve got debonair flair. In other words, Funkanometry SF aren’t solemn hip-hop snobs — they’re just as likely to draw from J-pop, house, or rock as they are Bay Area hyphy. “The art of choreography involves movement that is clear,” Aquino says while discussing the fact that Janet Jackson is a dancer’s pop singer if there ever was one (an axiom that extends to Timbaland as producer). “But a lot of people focus on movement at the expense of feeling. You can just move, but if you’re not feeling the music, you’re not dancing.”
Like Aquino, Funkanometry SF’s other codirectors started dancing in high school. Before joining Funkanometry SF the energetic Rosales captained a high school team and was part of another local crew, Xplicit. Lin and Aquino are friends dating back to childhood; these days Lin oversees the business and Web creative side of the group (www.funkanometrysf.com and www.funksters.org), letting Aquino guide the dancers. “Both of us wanted to create a foundation to serve the community, to challenge dancers, and create an outlet for youth,” Lin says. Judging from the huge response to the group’s Funksters youth program — overseen by Mary Jane Huang — they’re succeeding on all fronts.
Each fall the San Francisco Hip Hop Dance Fest rolls around, and along with another community-based local company — Oakland’s Izzy Award–winners New Style Motherlode — Funkanometry SF can be counted on to represent. This year Aquino and company are preparing a new show, Funk’s Boutique, for Micaya’s annual Palace of Fine Arts event. “It’s set in a trendy boutique, and it showcases the versatility and diversity of the company,” Aquino explains. Versatility and diversity — those are just two of the qualities that make Funkanometry SF unique. Each dancer brings another reason to check out their boutique. (Johnny Ray Huston)

Goldies Lifetime Achievement winner Pandit Chitresh Das

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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)

Preparing for scary

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› sarah@sfbg.com
Nine people were shot during this year’s big Halloween celebration in the Castro, prompting city officials to announce the convening of a task force that will examine the event and its future in San Francisco. Supporters and event planners say such early attention is crucial for a gathering of this magnitude — and that the lack of proper planning contributed to this year’s problems.
Concerns that the event has gotten out of control prompted some Castro residents and Sup. Bevan Dufty to announce in July that they wanted the event cancelled, moved, or drastically scaled back. Instead, the plan was hatched to increase the police presence by 25 percent, adopt a zero tolerance policy for public drinking and other crimes, and end the event at 10:30 p.m., which they announced just days before Halloween.
More than 100,000 people showed up anyway, passing big groups of police clumped at the edges of the event but rarely undergoing even cursory searches for weapons and other contraband as they entered the cordoned area. Just after the music was turned off at the one stage (down from three last year) and police announced, “The party is over,” a conflict between two San Francisco gangs escalated, with someone being hit by a bottle and then someone pulling out a gun and opening fire in retaliation. There were no fatalities, and the shooter escaped.
Other than that one incident, which most attendees weren’t aware of until the next day, the event was pretty tame. More striking and upsetting to most who came was the fact that the event ended just as its numbers were peaking and that the end was reinforced at 11 p.m. by water trucks and street sweepers that cleared the still-large crowd.
Mayor Gavin Newsom seemed to acknowledge the lack of preparation when he told KRON-TV, “We’re not going to wait until the last few months before the event. We’re going to start planning right away.” Nonetheless, both Newsom and Dufty praised the police and the planning efforts, with the mayor telling the Chronicle, “We’d done everything we could imagine doing.”
Yet critics say that if that’s the best city officials can do, we’re in no shape to host other large events, such as the 2016 Summer Olympics, which Newsom is bidding for.
“If San Francisco wants to host the Olympics, it can’t go around telling the world that it can’t keep a party under control one night a year,” Ted Strawser of the SF Party Party told the Guardian. “Halloween is like gay Christmas. It’s a travesty to talk about canceling it.”
Other cities seem to be up to the task. Take New York’s Village Halloween Parade. Twenty-five years ago, when its crowds first topped the 100,000 mark, New York celebration artist Jeanne Fleming began working closely with local residents, schools, community centers, and the police to maintain “a grassroots feel and prepare for future growth.”
Today, the New York Village Halloween Parade is the biggest in the world, a fact organizers actively advertise on their Web site to attract sponsors and fill the city’s coffers with $80 million worth of tourists’ money annually, thanks to two million spectators and 60,000 parade participants.
And while Newsom, Dufty, Police Chief Heather Fong, Fire Chief Joanne Hayes-White, and Sheriff Michael Hennessey deliberate whether the party should continue and how to make it securer if it does, the NYPD hails the Village parade as a valuable public service that makes Halloween safe for New Yorkers.
“Maybe the SFPD needs to talk to the NYPD,” Fleming told the Guardian, noting that the Village parade has changed routes four times over the years in response to merchants’ fears and neighborhood concerns without losing its original identity. “Instead of putting up walls, San Francisco needs to open up its mind.”
That’s what Alix Rosenthal (the domestic partner of Guardian city editor Steven T. Jones) had been urging during her campaign against Dufty for his seat on the Board of Supervisors.
“Bevan Dufty has accused me of playing politics with Halloween, but he should have started working on this plan at least six months ago,” Rosenthal said at a day-after press conference. She believes that more entry points, entrance fees (with higher fees for uncostumed attendees), and a parade leading away from the Castro would be helpful. “Getting out the word that there are going to be changes has to be a huge PR effort.”
Paul Wertheimer of LA-based Crowd Management Strategies told the Guardian that talk of canceling the event is “an understandable reaction if you know you can’t do it right.”
“Organizers often fail to recognize the changing demographics and popularity of events,” Wertheimer said, pointing to the success of New Orleans in managing its Mardi Gras parades despite narrow streets and huge crowds. “You can’t have a hippie, anything-goes mentality. Once an event gets bigger than 3,000 to 5,000 people, it has to be organized and planned with the proper resources, but it can be done, because the techniques and plans are already laid out.”
Wertheimer hopes the SF Halloween task force will assess what worked and what didn’t, take a break, then begin planning no later than six months out. “And merchants’ issues have to be addressed. Merchants are always concerned, but if they can be shown ways they can benefit and be protected from vandalism, they’ll be for it.”
Or as Strawser put it, “We need to put the dollars into better management, not police overtime. Former mayor Willie Brown learned that lesson in 1997 when he tried to cancel Critical Mass. We’re a city that handles the Love Parade, Gay Pride, and Bay to Breakers. To cancel what began as a gay event because of fear of gay bashers and violence would be to give in to the terrorists.” SFBG

Bollywood dreams

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› news@sfbg.com
It was the proverbial phone call every aspiring actor waits for. An agent for a TV producer rang Raj Vasudeva in 2003 to say he would be perfect for a role in a new show that needed a dynamic lead.
Vasudeva, 33, eagerly invited the agent over to view his modeling portfolio and acting tapes. The agent flipped through a book that featured shots of the former Mr. India California crawling through the surf seductively with a dress shirt fluttering open. The agent said he was impressed. Vasudeva thought he had the role, but then the real audition began.
“‘Can I be blunt with you?’” Vasudeva recalled the agent saying. “‘Are you ready to get your ass fucked by men and older women?’”
Vasudeva laughed at the sleazy suggestion and said no. The interview ended abruptly, and the agent tossed the following advice at Vasudeva as he left the meeting in Mumbai, formerly known as Bombay: “If you’re coming to Bollywood, you have to be shameless.”
Welcome to Bollywood, or as they say in India, Bollywood mein aap kaa swaagat ho. Vasudeva, who was born in Delhi but spent much of his life in San Francisco, is trying to accomplish something no US resident has ever done: become a top star in the world’s largest film industry.
For anyone still not familiar with Bollywood, it’s entertainment on a scale that can make your average Hollywood production look like Saved by the Bell. The films are a brawling mix of Broadway-style song and dance, bling that rivals a 50 Cent video, and dizzying scene changes across two or even three continents. The pictures often mash up elements of drama, comedy, and action into a single bursting-at-the-seams melodrama that can last more than three hours.
Bollywood has grown increasingly popular in the United States over the last five years. While it was a lackluster summer for many of Hollywood’s big summer releases, Kabhi Alvida Naa Kehna (Never Say Goodbye) grossed $1.4 million in US theaters during its opening weekend in August — the best showing ever by a Bollywood movie in this country. The film shows Nov. 11 at 8:15 p.m. in the Castro Theatre as part of the San Francisco International South Asian Film Festival (www.thirdi.org/festival).
Vasudeva’s transformation into an aspiring actor might work nicely as a plot for a Bollywood film. Vasudeva came to the States in 1990 to attend college. He graduated with a degree in industrial management and seemed to be headed down the path to a respectable, if somewhat unfulfilling, white-collar future.
His acting career began as little more than a hobby in 1997. He began taking classes at San Francisco’s American Conservatory Theater. Later, he took a job in sales at Oracle in Redwood City. His friend Paul Chopra recalled Vasudeva renting a bunch of Bollywood films and then practicing lines from them in between fielding service calls to Oracle from India in the dead of the night.
He graduated to theater and film productions at the San Francisco Academy of Art, which was followed by his first feature film, Indian Fish. It traces the journey of an Indian software engineer as he makes his way through unfamiliar American culture. Vasudeva, who is tall and has boyish good looks, burnished his résumé by snagging the title of Mr. India California in 2002 on the strength of a performance of a monologue from a Bollywood film.
Vasudeva then starred in Khwaab, the story of another Indian immigrant who gives up a career in the tech world — against the wishes of his parents and friends — to pursue an acting career. Vasudeva declined to discuss whether the movie parallels his own struggles, but the similarities are striking. He said his parents were initially upset about his career choice but eventually came around.
With some solid acting experience to his name, Vasudeva decided to make the leap to Bollywood in 2004. He packed up his San Francisco apartment and moved to Mumbai. It was a shock for him.
Vasudeva found the Mumbai film industry was more freewheeling than the one in the United States. Contracts are often nonexistent; producers hit him up for money to complete films and sometimes bounce his paychecks. Then there are the thickets of “secretaries” — movie agents who serve as intermediaries for actors looking to land roles.
“There are secretaries that will squeeze every penny from you,” Vasudeva said.
Occasionally, the action off the screen seems as dramatic as that on it. The Indian underworld has been accused of threatening — and even killing — actors who won’t pay it protection money or act in its films.
It hasn’t been easy, but Vasudeva managed to get his first break by placing in the top 10 in another contest, called Grasim Mr. India, which was broadcast nationally in India. He compared the contest to Bravo’s short-lived Manhunt USA, which pitted aspiring models against each other to win a contract with an agency. A publicity photo for Grasim Mr. India shows Vasudeva was right on the mark. It features him and a stageful of hunky guys decked out in mesh shirts. (Unfortunately, mesh shirts seem to be a staple fashion for male actors in Bollywood.)
Vasudeva’s showing in the event prompted the interview with the sleazy talent agent. He has since landed a role in Kaho na Kaho, a Bollywood remake of Notting Hill. (Bollywood often liberally borrows from American films and music because, for the most part, artists in the West have not paid much attention to Bollywood, although this is coming to an end.) And he’s starred in a remake that would seem an unlikely choice for Bollywood’s romance- and family-centered cinema, The Ring. The movie is called Second Day. Both Kaho na Kaho and Second Day have yet to be released.
Lisa Tsering, who has covered Bollywood for the newspaper India West for 10 years, said Vasudeva’s chances of making it in Bollywood are “not too good.” And it has little to do with his talent.
“I think that NRIs [nonresident Indians] don’t have a certain quality they are looking for in India,” Tsering said. “They feel NRIs are too complacent and too well fed. They’re not hungry enough.”
An American has yet to crack Bollywood’s A-list, although Canadian-born actress Lisa Ray (who starred in Deepa Mehta’s Bollywood/Hollywood and Water) has generated buzz recently. Tsering said non-Indians are also at a disadvantage because many don’t have the family connections that are so important to making it in Bollywood. Unlike in Hollywood, where actors often try to obscure their family connections by changing their name (think Angelina Jolie and her father, Jon Voight), blatant nepotism is part of the game in Bollywood. It is so pervasive it has become a running joke among Indian film fans, who often complain about the latest pudgy, bad-haired, leaden-acting relation who is foisted on them. Vasudeva may be able to capitalize on this nepotistic trend: he is related to Gauri Khan, an actress and the wife of megastar Shah Rukh Khan, star of Never Say Goodbye. (Vasudeva said he doesn’t trade on his family connections.)
Vasudeva’s current role could be his most challenging yet. In the psychological thriller tentatively titled Boomerang he plays three separate characters. The movie is based on the story of a famous London crime novelist who returns to his ancestral home in India to write a novel. The novelist, played by Vasudeva, soon realizes that someone has followed him there. Drama ensues.
Vasudeva’s choice to pursue a career in Bollywood instead of in the States says as much about Hollywood as it does about the Indian film industry. Despite the exasperations of Bollywood, he’s happy with the choice and doesn’t plan to return to this country anytime soon.
“I didn’t want to spend my career playing a cab driver,” Vasudeva quipped about the limited roles for Indians in Hollywood. SFBG

GOLDIES 2006

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The Guardian turned 40 this year, and the Goldies — our annual arts awards — are now 18. Which makes them a bit like the paper’s child, a many–gendered and splendored one that reaches the US’s idea of adulthood this year. An event like that deserves a party and — after a private award ceremony in honor of this year’s winners — we’re throwing one at 111 Minna Gallery.
It’s free — a San Francisco value.
Dance is at the heart of any ceremony that matters and any party worth remembering, and it’s at the heart of this year’s Goldies thanks to three winners that demonstrate the diversity of its forms. Our cover stars, the extraordinary Benjamin Levy and LevyDANCE, prove it is past time to explode the cold post that’s been lingering in front of the phrase modern dance: close to two years after the first time I saw them perform, I still remember specific images of aggression and tender respite from their pieces. Local Hip Hop Dance Fest mainstays Funkanometry SF take the movement language of B-boys and music video choreographers, add their own signature style, and electrify and take over any room in the process. This year’s Lifetime Achievement awardee, Pandit Chitresh Das, introduced Kathak dance to this country; more recently, he has tapped into its connections to tap.
This year’s Goldie winners were selected by the Guardian’s Johnny Ray Huston, Kimberly Chun, and Cheryl Eddy with valuable input from our writers and critics, as well as members of the Bay Area arts community. The people in the following pages make noise that’s transcendental and meditative, use film to look at toxic currents of contemporary life, stage works that leap across boundaries, and vivify — and add impish prankishness to — visual art. Join us, and them, at this year’s party.
MUSIC
DEERHOOF
GRIS GRIS
OM
TRAXAMILLION

FILM
JAMES T. HONG
CHRIS METZLER AND JEFF SPRINGER

THEATER
LAST PLANET THEATRE

DANCE
FUNKANOMETRY SF
BENJAMIN LEVY AND LEVYDANCE

PERFORMANCE

SEAN DORSEY

VISUAL ART
CHRIS DUNCAN
YOON LEE
TIM SULLIVAN


LIFETIME ACHIEVEMENT

PANDIT CHITRESH DAS

Black Ops

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By Steven T. Jones
Re-reading the article I linked to in my last post reminded me to remind y’all about an event from earlier this year that goes to the heart of Rob Black’s close ties to downtown developers and why he can’t be trusted. In the incident described in this article, Black was the Alioto-Pier board aide who worked with those five developer attorneys to craft legislation designed to kill the downtown parking limitations sought by livable city advocates and Planning Director Dean Macris, all at the demand of Don Fisher, the Republican who founded the Gap and uses his money to bankroll SFSOS and the attacks on Chris Daly. My article doesn’t mention Black by name, but I have the e-mails in which he discusses the legislation and its wording with these developer attorneys. And if you want to hear Rob Black fumble to address the issue, listen to his endorsement interview here.

A shameful Halloween

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By Steven T. Jones
First of all, let me state my biases: my sweetie is Alix Rosenthal, who is running against Sup. Bevan Dufty, the architect of the city’s approach to Halloween in the Castro last night. But given what I saw and experienced last night, I feel an obligation to share a few observations with Guardian readers.
As you may have heard, there were several shootings that occurred just after the police tried to shut down the event at 10:30, an earlier than usual finish time pushed by Dufty, but a point at which the crowd seemed to be peaking in numbers. Contrary to city claims and some media reports, the police were not searching most people for weapons or alcohol as they entered the event, at least not anyone in our large group during the three times we entered the event from outside. There were certainly a ton of cops out there this year, but most of them were just standing around in groups of a dozen or more, not doing anything. I saw very few officers circulating in the crowd. Two cops on motorcycles who were doing something around 10 were rudely telling people to clear the streets and go onto the sidewalks, where other cops working sidewalk exits told us to go back into the street. That was emblematic of the obvious mismanagement that caused frustrations all night long, including streets that dead-ended and had people walking in circles in frustration.
But the point in the evening that left me feeling profoundly ashamed of this city was at 11 when a team of water trucks and street sweepers rolled in to clear the streets, accomplishing by force what the repeated announcements that “the party is over” failed to do. Why exactly were we hosing down hundreds of thousands of visitors to San Francisco? Do we really want to show an intolerant, authoritarian face to the world just as people are trying to join us in celebrating a holiday that most of us love? Judging from the reactions I saw around me among the basically well-behaved crowd, we have sullied and lowered ourselves as a city by treating people badly and with intolerance. And we spent a ton of money do it, money that could have been put toward managing the event like New Orleans manages Mardi Gras or New York manages New Year’s Eve. I love this city, but today, I’m not proud of it.

SUNDAY

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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/

THURSDAY

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Thurs/2

Music

Measha Brueggergosman
While the San Francisco Opera’s busy playing it safe this season by reprising household-name works, our Symphony’s filling in the avant-garde gap with a roster right up any classical hipster’s alley. Nov. 2 through Nov. 4, the SFS presents a “hol-eee shit” lineup that’s got young audiophiles breaking their piggy banks for tickets. Hot, hot Canadian soprano Measha Brueggergosman gets sassy with 12-tone master Arnold Schoenberg’s electric-sexy cabaret songs, then launches into the stratosphere with Gustav Mahler’s tearfully ethereal Fourth Symphony. (Marke B.)
8 p.m. (through Sat/4)
Davies Symphony Hall
201 Van Ness, SF
$25-$110
(415) 864-6000
www.sfsymphony.org
www.measha.com

Event

Día de los Muertos
To paraphrase Octavio Paz: in Mexico death is an entity to be courted, cherished, and celebrated. It is this beneficent attitude toward la Muerte that has helped make Día de los Muertos, or Day of the Dead, one of Mexico’s most treasured holidays and not surprisingly, one of the Mission District’s too. This year thousands will gather at the intersection of 24th Street and Bryant for a ritual procession to remember the dead – and to honor the living. In Garfield Park processionalists will have the opportunity to place ofrendas, or offerings of food, photographs, and other mementos, on five community altars and pay respect to smaller altars created by individuals. (Nicole Gluckstern)
7 p.m.
24th St. and Bryant, SF
Free
(415) 595-5558
www.dayofthedeadsf.org

TV is history

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› annalee@techsploitation.com
TECHSPLOITATION The most interesting social experiments are often the least flashy. A researcher at UC Berkeley’s School of Information Management, Jeff Ubois, proved that last week with the release of his meticulous study on an odd topic: why researchers can’t research TV.
Ubois found that studying one simple event in recent TV history was impossible. Copyright rules and poor archive access meant that even after months of work, he was unable to gain copies of a single primary source related to former Vice President Dan Quayle’s 1992 speech blaming TV character Murphy Brown for the nation’s decline in family values.
In a 1992 speech at San Francisco’s Commonwealth Club, Quayle claimed the Rodney King riots were spurred on by TV characters like Murphy Brown, who made single motherhood into “just another lifestyle choice.”
At the time the speech was intensely controversial. Many suggested that the first Bush administration was blaming television, not the brutal police beating of a black man, for the LA riots. As Ubois points out, it seems reasonable that future TV scholars will want access to original speeches and media reports of the incident, as well as footage from Murphy Brown in which the character responds to Quayle.
But when Ubois tried to get access to Quayle’s speech in storage at the Hoover Institute, librarians told him that copyright and contractual obligations to the Commonwealth Club prevented them from making a digital copy of the speech for educational use. Warner Bros., which owns the rights to Murphy Brown, refused to give Ubois copies of the show. Absurdly, Warner did tell Ubois he would be permitted to show lawfully obtained episodes to students, even though they wouldn’t give him any. How generous!
Of the TV networks that aired news of the speech, only ABC would allow Ubois to digitize and show segments of its newscasts in the classroom. None would give him those digital copies, though. He would have to purchase them from third-party sources like the Vanderbilt Television News Archive. The cost for getting roughly two hours of news clips ranged from $800 to $5,000, depending on the source.
Ubois concludes that a typical historian, who has little access to money, would be unable to complete a simple study of primary sources in the Dan Quayle versus Murphy Brown incident. Some of this is a result of copyright madness. In 1982 a New York judge found that archiving news clips for educational purposes was unlawful because those clips are “readily available” from rights holders. What Ubois discovered is that they aren’t available in any form for educational use. The basis of this oft-cited decision is simply wrong.
Because copyright laws gum up the process of archiving TV footage, nobody is tracking and indexing TV the way librarians do books and movies. This means scholars can’t access materials simply because they aren’t findable. As Ubois points out, “No single comprehensive catalog of television broadcasts now exists in the United States.”
In an age when digitization technologies would allow us to store all of TV history in a server room and make it fully searchable and accessible to the public, this is simply ridiculous.
Ubois cites a recent European video-archiving study that found TV tape storage begins to degrade after 20 years. That means 70 percent of existing TV footage will be gone by 2025. Imagine if 70 percent of existing books were going to be burned by 2025.
This is quite simply an atrocious situation — not just for scholars but for all US citizens whose freedom of thought requires access to their own history.
For inspiration, networks and rights holders should look to the BBC’s media archives, which aim to make most of the broadcasting company’s footage available to the public in digital form online.
Misguided greed and poorly interpreted copyright law are the only things standing in the way of a people’s history of television. I look forward to a day when the people will write it.
Scratch that — I look forward to a day when the people can research it. SFBG
Read Jeff Ubois’s paper here: www.archival.tv/
MurphyBrown-final.pdf.
Annalee Newitz is a surly media nerd who misses Murphy Brown.

WEDNESDAY

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Wed/1

Music

Justice and MSTRKRFT
Justice, the Paris-based electronic duo, churn out club jams that sound like Daft Punk on Viagra. Their infectious electro disco has been vibrating the walls of many a hipster club from Europe to the Bay. Catch them at at Mezzanine along with fellow remixers Canadian twosome MSTRKRFT, featuring Jesse F. Keeler, formerly of Death from Above 1979 (“Romantic Rights”). (Hayley Elisabeth Kaufman)
9 p.m.
Mezzanine
444 Jessie, SF
$12
(415) 625-8880
www.mezzaninesf.com
www.myspace.com/etjusticepourtous
www.mstrkrft.com

Performance/Music

Hecho en Califas Festival
By themselves Jaime Cortez, Aya de León, Guillermo Gómez-Peña, Marc Bamuthi Joseph, and Marcus Shelby are powerful. Together? These la Peña veterans are liable to blow the roof off of the cultural center that gave them a start – in addition to packing it as only a fraction of the bill for the kick-off event of this year’s Hecho en Califas Festival. Break out the old country tuxes in honor of a communal poetics that’s only growing larger and louder. (Johnny Ray Huston)
6:30 p.m. reception; 7:30 p.m. show (through Sun/5)
La Peña Cultural Center
3105 Shattuck, Berk.
$10-$12
(510) 849-2568
www.lapena.org