Independent

Eau joy

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› kimberly@sfbg.com
SONIC REDUCER Massive wood phalli. Steaming pits of gooey geothermal activity paired with shameful cages of sulky, muttonchopped Japanese monkeys. (No wonder their bottoms are red.) Fingers going pleasantly numb after noshing on fugu innards sashimi. That’s the salty floating world of old-school onsen (hot springs) life in Japan — as experienced by yours truly earlier this month.
The GOP got a well-deserved scrubbing while I was gently simmering in soupy milk-blue water at Myoban Onsen in the hills above Beppu, down south on hard-drinking Kyushu island in Japan. My kindred lady bathers sneak discreet glances at each other’s invariably saggy, soggy, well-brined flesh — appearances by the blinged-out, booted fashion-damaged dolls more common to Gwen Stefani vids and Tokyo and Osaka streets are almost nil at these OG public soakathons, though you do get the occasional yakuza, singing soulfully postbath. “Drunk!” okasan, a.k.a. my mother, hisses with disapproval. Signs of those bad boys’ continuing patronage abound: even our Osaka Hyatt’s fitness center and spa boasts a sign forbidding the excessively drunk or abundantly tattooed. We tell the attendant that we probably won’t be making the cut.
The art of onsen bathing goes a little like this: Scuttle out of the changing room starkers — locker key secured with a rubber bracelet around the wrist. Hustle to a free station — equipped with stool, wash tub, faucet, and handheld showerhead — to soap and rinse off offending personal filth. Then waddle over to the big, boiling communal tub — either mineral salted au naturel, Jacuzzi driven, or hotter than hell, as it was at the Meiji-era Takegawara Onsen in Beppu. Sink down to your neck. Sigh deeply. Sweat. Cook until just past al dente so that your muscles begin to resemble the hot noodles you suck down at the standing-room-only ramen stands on most train station platforms. Chase with a cold Sapporo.
Few Kansai and Kyushu wanderers are searching for pop culture kicks in Beppu — there’s a dank air of slightly seedy sadness lapping round the edges of the onsen town’s arcades of shuttered shops and windowless hostess bars. We suck down eggs, coffee, and custards cooked in or with the mineral water at the unbathable geothermal hot spots, otherwise known as jigokus, or hells. These tourist traps have been given a halfhearted theme-park treatment: bright red demonic statues overlook belching pits of steam, crocodiles pile in too-crowded concrete pens, and a miserable-looking crane parades psychotically in a barely big enough cage. It’s best to head into the bamboo thickets and green wilderness, toward smaller towns like Usuki, a few train stops away. The small town is graced by 10th-century stone Buddha images, delectable bird tempura at Kokoro Club, and Furen Limestone Cave, a less-traveled national monument fanged with gorgeous, eerie massive white stalactites that shame those in The Descent.
The clubs in Fukuoka are said to be just as surreally scary — eating live critters (odorigui, or “dancing-eating”) is apparently quite the height of nightlife derring-do. But instead, I ended up at the promenades of Hiroshima, near the extremely moving Hiroshima National Peace Memorial Hall for the Atomic Bomb Victims. Teenagers in spiky mullets, trailing goth getups, and trendy ethno-hippie rags commune for grub like superspicy eggplant, enoki mushroom, and sausage curry. If it gets overwhelming, duck into a virtual escape hatch like Media Center Popeye, where you can rent a cubicle and gorge on games, DVDs, Web surfing, manga, and junk food till the morning. Those nostalgic for Tower Records can stop into one of the chain’s Japanese holdouts — on the top floor of the Parco department store next to an ass-kicking musical instrument emporium. Your one-stop shop for starting your own mind-blowing Japanese band?
I’d find my inspiration in OOIOO, Boredoms drummer Yoshimi P-we’s all-XX-chromosomal foursome. The Osaka-area faux-turned-real group’s latest Thrill Jockey full-length, Taiga, is a stunner, a major flutter forward from last year’s Gold and Green (no surprise, since the latter was actually recorded in, oh my, ’00). Bookended by the primal drum chants of “UMA” and “UMO,” Taiga (Japanese for “big river”) mixes the pervasive percussion of Ai and guests Yo2ro Tatekawa and Thiam Misato — so reminiscent of the taiko beat of Japanese folk festivals — with P-we’s animal yowls and womanly harmonies. Out folkies might take note of the stinging guitar lines of Kayan, the steel-pan dementia of guest Tonchi, and the skillfully applied electronic gloss and mechanistic punctuation — at times miming the blistering peal coming from pachinko parlors, at others rhyming with the drone of train bells. Like a swift current, the mix powers past poppier releases like Feather Float (Birdman, 2001) and creates a specific aural space just as so many J-psych combos do, according to Paul Collett in Japanese Independent Music (Sonore). Theirs is a streaming, sexy binary realm that’s both drastically organic and wholly synthetic. You’re soaking in it. SFBG
IRASSHAI! OTHER RECENT JAPANESE RELEASES
ENVY, INSOMNIAC DOZE (TEMPORARY RESIDENCE)
An early ’90s hardcore act goes the moody, slow-boil route of Mogwai and Isis, with vague invocations of Jade Tree combos — and screaming vocals in Nipponese.
SOLAR ANUS, SKULL ALCOHOLIC: THE COMPLETE SOLAR (TUMULT)
One of the best band names — no buts about it. Released by Aquarius Records’ Andee Connor, this twofer retrospective clobbers with slabs of metallic Mudhoney-raving-on-rat-poison groovitude.
SUISHOU NO FUNE, WHERE THE SPIRITS ARE (HOLY MOUNTAIN)
If you missed the Tokyo group’s Oct. 19 Bottom of the Hill date, you can catch this recording by femme guitarist Pirako Kurenai and masculine ax-swinger Kageo, which had us wracked by Keiji Haino flashbacks.
SUNN O))) AND BORIS, ALTAR (SOUTHERN LORD)
Tokyo’s heavies bump throbbing uglies with Stephen O’Malley and Greg Anderson, along with the Melvins’ Joe Preston and other guests, and slow things way, way, way down.

Yes, the news is grim, but that is why journalists need to fight back

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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

SFBG: Journalists need to fight back

Goldies Music winner Traxamillion

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When I met Traxamillion, the young producer-rapper was in the lab with Balance, recording a faithful cover of EPMD’s “You’re a Customer” for a Mind Motion mixtape. Naturally, I would have preferred seeing Trax record an original, but watching him vibe to a classic was perhaps more revelatory. Where many producers insist on their isolation from outside influences, Trax is an unapologetic lover of music.
“Everybody’s a fan,” the musician, born in East Orange, NJ, and raised in San Jose, points out. “Somebody inspired somebody to make a beat, to rap. That’s how I go about my beats. I listen to shit. I get inspired. I appreciate it and harness and learn from it. I’ve always tried to mimic what’s going on, on the radio.”
Despite this unpretentious attitude toward his art, Traxamillion has developed a highly original sound of his own — bright, downright cheerful noises animate his eminently danceable grooves — and he’s already earned a place in Bay Area rap history. In June 2005 he topped the local rap charts as producer of Keak Da Sneak’s infectious independent single “Super Hyphy” (Rah), proving the Yay could hang in the mix with big-label megastars while opening up the airwaves to a long-suppressed flood of local talent.
“The beat was inspired by the youngstas,” Traxamillion says. “My little cousins came through drunk, wildin’ out on a birthday, and started dancin’. I was paying attention to their movements, thinking, ‘I gotta make some music for these cats,’ because the youngstas are really the hyphy movement. When I was making the beat, I was replaying their dancin’ in my head, and ‘Super Hyphy’ came out an hour and a half later.”
Knowing he had a hit on his hands, Trax shot the beat at Keak, who reportedly wrote the song in one session during a drive home from Tahoe. Within a few weeks “Super Hyphy” was all over the radio.
“It took two months to get to number one [on KMEL’s list of most requested tracks in June 2005],” Trax recalls. “But it was fresh, and Keak’s so abstract when he comes with something — people are fiendin’ for it. People loved it, and it still slaps to this day. It’s a big club anthem in the Bay.”
“It was weird because it was my first time on the radio, period, as a producer,” Trax says. “I was, like, ‘Man, this is crazy — all these people are going crazy to my song. This is my shit I made in my mother’s bedroom.’ I be at the club, watching everybody at the peak of the song when they would run it back like three or four times, going, ‘God-damn!’ Nobody knew it was me.”
If Traxamillion’s name wasn’t ringing bells, “Super Hyphy” was, and in short order he was working with the Team, whose “Just Go” earned the producer further spins. But when he returned to the local number one slot on KMEL’s most requested tracks in December 2005, producing “Getz Ya Grown Man On” for East Palo Alto’s then-unknown Dem Hoodstarz, Trax proved his success with Keak was no fluke. The remix — with guests Mistah FAB, San Quinn, Clyde Carson, and Turf Talk — has even picked up national airplay and features prominently on Dem Hoodstarz’s Band-Aide and Scoot (SMC) as well as Trax’s own The Slapp Addict (Slapp Addict). “The Slapp Addict is the soundtrack to the hyphy movement,” Trax says of the album. Its single-producer, multirapper format has earned it a reputation as a Bay Area Chronic. “It’s basically a Who’s Who of the Bay, produced by me. After ‘Grown Man,’ I was superhot. People were, like, ‘I want to work with you.’ In turn, everybody did songs for me, ’cause game recognize game. Damn near a year’s worth of creativity went into that album.”
In addition to spawning singles like “The Sideshow” (Too Short and FAB) and “Wakin’ ’Em Up” (Turf Talk and Hoodstarz), Slapp Addict has spun off another huge hit collaboration with Keak. “On Citas” demonstrates the producer’s special rapport with the Bay’s hottest rapper.
“When me and Keak get together, we make hits,” Trax says. “When I first met Keak, he told me, ‘Man, your beats and my voice — it’s a marriage.’ Ain’t nothin’ I’m doin’ or nothin’ he doin’ — it’s just his shit plus my shit equals hits.” (Garrett Caples)

Goldies Dance winner Sean Dorsey

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One look at Sean Dorsey — a debonair dancer with slightly mussed hair and innovative modern dance choreographer — and two words instantly come to mind: dip me!
But watching him dance, you see more of a rough-and-tumble Gene Kelly than a gliding Fred Astaire. Which isn’t to say he can’t throw down a steamy tango, as he does in Red Tie, Red Lipstick, a moving pas de deux about violence against a transgender couple. Dorsey featured the piece, with narration by trans poet Marcus Van, in his first full-length show, Outsider Chronicles, staged last year at ODC Theater and soon to be remounted Nov. 16 to 18 at the Dance Mission Theater.
Since moving to San Francisco in 2001 from Vancouver, Dorsey has blazed a fierce trail for transgender performers. He immediately became enamored with the city when he met site-specific choreographer Lizz Roman while visiting here with the Kokoro Dance company. “There was very little release technique or inversion work in Vancouver,” the native Canadian recalls. “I totally fell in love with her [Roman’s] movement and what she was doing.”
The feeling was mutual, and Roman gave the young dancer a spot in her company. Dance Brigade founder Krissy Keefer also went mad for Dorsey, granting him a solo slot in the now-defunct Lesbian and Gay Dance Festival. Even our pampered SF LGBT audience wasn’t used to seeing butch-looking dancers like Dorsey onstage, and its response was ecstatic.
By the spring of 2002 he was in ODC Theater’s Pilot Program, which nurtures emerging choreographers as they develop new work eventually showcased on the theater’s floor. Three months later he founded the groundbreaking Fresh Meat Productions, which brings trans and queer performers, filmmakers, musicians, and writers together annually to tell their stories through their chosen artistic discipline. Since the first two-day show at ODC Theater that summer, Fresh Meat has moved on to cosponsoring Tranny Fest, a festival of independent trans cinema now helmed by Dorsey’s partner, filmmaker Shawna Virago, and also helped to organize national tours of trans artists. Currently, Dorsey, the nonprofit’s artistic director, is organizing a show for a trans printmaker at the Femina Potens gallery and another solo show for a trans visual artist.
Amid all the organizing, marketing, and promoting, Dorsey brought his own point of view to queer performance with last year’s Outsider Chronicles, via an individual artist grant from the San Francisco Arts Commission. Written and choreographed by Dorsey, the program combines modern dance with music and narration in five stories that reflect the life of a transgender person — as well as any human being who has ever had a crush, a secret, or a high school guidance counselor with a textbook full of bad advice. Each vignette (most performed with dance partner Meir Culbreth) expresses a language of movement that is boldly real and acutely honest.
Through Fresh Meat and his own choreography, Dorsey has been able to combine art and activism in a way that creates alliances, fosters a community of like-minded artists, and changes our notion of what defines dance and, at its most basic level, our bodies. Next on the horizon, the onetime housing and poverty activist who realized his dance career almost accidentally while on a hiatus from grad school plans to use his Gerbode Emerging Choreographer Award to continue combining his two great passions. Tentatively titled Some Went Untold, the envisioned piece will be based on interviews Dorsey conducts with trans folk across the land.
“I’m still, like, ‘Hello, hello, hello, where are all the trans dancers?’” Dorsey says. “I’m hoping very soon that there will be more trans dancers to work with.” He also hopes to find the time to learn ballroom dance. Let the dipping begin! (Deborah Giattina)

The Guardian slate

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By Tim Redmond

So, the folks at sfist posted an item earlier today about the door-hangers with the Guardian logo and the Guardian slate on them. Sfist got it wrong, then apologized, but I want to clear up any confusion here:

The Guardian doesn’t do slate cards.

We do endorsements, based on our own independent analysis of what’s best for the city, the state and the country. When we’re done, some of the candidates inevitably decide to quote from our endorsements or use our headlines or our logo to promote their campaigns. That’s fine with me — political campaigns use newspaper quotes, headlines and logos all the time. Even if it wasn’t fine with me, I don’t think there’s anything we could do to stop it.

A few years ago, some of the progressive campaigns got together and decided to reprint the entire list of Guardian endorsements as a door hanger “slate card.” Again: Fine with me. Again: Nothing I could do if it wasn’t. Once or twice since then, as a matter of courtesy, the campaigns have called to let me know what they’re doing. I always say the same thing: Please, out of courtesy, make it clear that the card you produce is neither paid for by nor produced by the Bay Guardian. Sometimes they do, sometimes they don’t.

In this case, I guess, there was some confusion, leading some to wonder if we “sold” our endorsements. We take our endorsments more seriously than anything else we do; just ask anyone who’s been through the process or anyone who’s ever worked here. We don’t control what individual campaigns do with our endorsements. But we aren’t involved, make no money off it, don’t control content, don’t decide where the doorhangers go and many times (like this year) didn’t even know it was happening.

Hope that clears things up.

30 years and one minute: Film Arts Foundation

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The Film Arts Foundation turns 30 this year, and to celebrate it’s throwing a party at the Castro Theatre. One-minute movies are a major element of the FAF’s birthday bash — 60-second efforts by some of the organization’s filmmaking members will be shown as part of an evening program MCed by Peter Coyote and Nancy Kelly. Considering FAF members include Les Blank, Debra Chasnoff, Nathaniel Dorsky, Rob Epstein, Sam Green, George Kuchar, Amanda Micheli, Jenni Olson, Jay Rosenblatt, Caveh Zahedi, and Terry Zwigoff, the result promises to be exciting.
Normally, in early November the Film Arts Festival rolls around, but this is an important transitional year for the organization, with recent changes such as the hiring of executive director Eric Hayashi. The Film Arts Fund for Independent Cinema continues to award money to filmmakers whose visions are individual and who aren’t — unlike the vast majority of directors today — following the dictates of TV markets. This year Green (currently working on a movie about utopian visions) and recent Guardian profile subjects James T. Hong and Michelle Silva (“Wild Eyes,” 5/18/05) are among the grant recipients. (Johnny Ray Huston)
FILM ARTS FOUNDATION’S 30TH ANNIVERSARY CELEBRATION
Wed/8, 6:30–8 p.m. reception; 8 p.m. screening; 10 p.m. after-party
Castro Theatre
429 Castro, SF
$15–$75
(415) 552-FILM
www.filmarts.org/30years

Prosecute election theft

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EDITORIAL There’s no doubt at all that a group of downtown businesses operating through a series of supposedly independent political committees organized in part by attorney Jim Sutton have used every tool at their disposal to influence the outcome of the District 6 supervisorial election. And there’s no doubt that what these folks have done violates at least the spirit of the city’s election laws, which were designed to offer, as much as legally possible, a level playing field for candidates and full disclosure of campaign expenses.
There’s also no doubt that Sutton has been willing to bend and at times break the rules: in 2002 his law firm was fined $240,000 — the largest penalty of its kind in city history — for failing to disclose late contributions from Pacific Gas and Electric Co. to a campaign to defeat a public power initiative.
At some point this sort of conduct rises to the level of a crime — and at least some respectable, credible activists and observers think the attacks on Sup. Chris Daly have reached that level. In a letter to the Guardian, published on page 8, former ethics commissioner Joe Lynn argues that Sutton and his allies are guilty of attempting to steal an election.
There’s no crime in the books called “Grand Theft, Election,” although there probably should be. But Lynn says that what’s happened here — unregulated committees raising and spending tens of thousands of dollars and not fully disclosing it until late in the cycle — is not merely sleazy and unethical but criminal.
We’re always nervous about bringing the criminal justice system into political disputes (we still remember how then-mayor Art Agnos pushed the district attorney into conducting a witch-hunt investigation into the opponents of a downtown ballpark ballot measure). But we’re also sick of seeing the likes of Sutton, Don Fisher, and SFSOS operate with virtual impunity when what they are doing comes very, very close to a conspiracy to subvert local election laws. The Ethics Commission needs to conduct a full investigation here, but that body can impose only civil penalties, which means cash fines — and for billionaire Fisher, whose money is behind a lot of these shenanigans, a stiff fine is just the cost of doing business.
District Attorney Kamala Harris ought to look into this. The problem is that Sutton was her lawyer in a heated campaign in 2003 during which her opponent, Terence Hallinan, raised similar charges. So Harris is conflicted; the best solution would be to appoint outside counsel — a special prosecutor, to use the Washington terminology — to investigate whether Sutton, Fisher, SFSOS, or anyone else ought to face criminal prosecution. The sooner that process gets started, the better. SFBG

The Destroy California Initiative

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› sarah@sfbg.com
If you knew there was an initiative on the ballot that would make it impossible for government to protect the environment, build affordable housing, raise minimum wages, and mandate health care, you’d vote no on it, right?
Especially if you knew this measure would force taxpayers to spend billions to prevent developers and private property owners from doing things that harm neighborhoods, communities, and the environment.
So why is Proposition 90, which does all this and more, still leading in the polls?
It’s all about fear — and the ability of one wealthy real estate investor from New York City to fund a misleading campaign that exploits legitimate concerns about eminent domain.
Eminent domain is the legal procedure that allows the government to take over private property. It’s been used traditionally to build roads, rail lines, schools, hospitals, and the like. But it’s also been used — abused, many would say — to condemn private homes and turn the land over to developers for more lucrative projects. And after the US Supreme Court ruled in 2005 that doing so was OK, it was easy for property-rights types to whip those fears into a frenzy.
New York Libertarian and real estate investor Howie Rich, who hates government regulation, used the court decision to saddle up a herd of Trojan horses with eminent domain, stuffing the poison pills of “highest best use” and “regulatory takings” deep in their saddlebags, slapping their rumps with wads of cash, and sending them into California, Arizona, Idaho, Montana, Nevada, Oklahoma, and Washington.
Here in California, Rich’s millions went in large part toward paying petitioners a buck per signature to qualify Prop. 90 for the ballot. The pitch was stopping eminent domain — but there was little mention of the extreme provisions contained within the measure’s fine print that if passed, will mean more lawyers and fewer herons and hard hats.
For starters Prop. 90 changes the rules for calcuutf8g how much the government has to pay property owners when it takes their land. The new rules would dramatically increase the price of infrastructure and public works projects like building roads and levees, as well as purchasing open space and preserving habitats and endangered species.
Worse, Prop. 90’s language changes the valuation of regulatory takings. That’s legal mumbo jumbo, but what it amounts to is this: whenever the government takes actions that aren’t explicitly for the protection of people’s health and safety — like establishing rent control, minimum wages, and agricultural easements — property owners can claim that the value of their holdings was decreased. (Protecting an endangered species, for example, might prevent some parcels from being developed.) Under Prop. 90 those landowners can file claims of “substantial economic loss” — and put the taxpayers on the hook for billions (see “Proposition 90 Isn’t about Eminent Domain,” page 22).
THE ICE AGE COMETH
Prop. 90 opponents predict that if the measure passes, its effects will be disastrous, wide-ranging, and immediate.
Bill Allayaud, state legislative director for the Sierra Club, told us it was Prop. 90’s “regulatory takings” clause that led to unprecedented opposition after individuals and groups analyzed the measure’s fine print.
“One little paragraph activated a coalition like we’ve never seen in California history,” Allayaud says.
Prop. 90 flushes away a century of land use and community planning, including regulations and ordinances that protect coastal access, preserve historic buildings, limit the use of private airspace, establish inclusionary housing, and save parks. In short, Prop. 90 destroys everything that makes California a decent place to live.
Over at the California Coastal Commission, executive director Peter Douglas frets that his agency will no longer be able to carry out its mandate to protect the coast.
“Every decision the Coastal Commission makes where we approve projects but impose conditions to protect neighborhoods and communities will be subject to claims,” Douglas says.
“Sensitive environments like the San Francisco Bay and Lake Tahoe will be exposed, along with residential neighborhoods, ag lands, and public parklands. And it will erode the state’s ability to protect against new offshore oil drilling, new liquid natural gas terminals, harmful ocean energy projects like offshore wind turbines and wave energy machines and make it impossible to set aside essential marine reserves to restore marine life and fisheries.”
Members of the California Chamber of Commerce oppose Prop. 90 because it will make it more complicated and costly to build new infrastructure like freeway lanes, sewer lines, levees, and utility sites.
President Allan Zaremberg observes, “At a time when California is trying to finally address the huge backlog of needed roads, schools, and flood protection–water delivery systems, the massive new costs of Prop. 90 would destroy our efforts to improve infrastructure.”
Among government agencies the outlook is equally bleak. Unlike Oregon’s Measure 37, which passed in 2004 and has already led to over $5 billion in claims, Prop. 90 isn’t limited to private land but extends to private economic interests. This wide-ranging scope means that it’ll be almost impossible for government to regulate business without facing claims of “substantial economic loss,” making it prohibitive to protect consumers, establish mandatory health care coverage, or raise minimum wages.
San Francisco city attorney Dennis Herrera told the Guardian, “If Prop. 90 passes, we might as well get out of the business of local government.”
BACK TO THE FUTURE
Asked what California would look like if Prop. 90 had been law for a decade, Gary Patton, executive director of the Planning and Conservation League, paints a sprawl-filled picture.
“All the project proposals that weren’t built would have been, open space and parks wouldn’t have been preserved, almost every public works project would have been affected, and things wouldn’t have been constructed, because there would have been no money because the cost of everything would have gone up.”
Currently, the cost of a piece of land is valued by the market. Under Prop. 90 land would be valued by what it might be used for.
“For instance, a piece of land alongside a highway could one day be developed into a subdivision,” Patton explains. “So that’s the price it would have to be bought at. So unless taxes are raised, Prop. 90’s passage would mean that California would be able to do less. Traffic would be worse. The affordable housing crisis would intensify. Fewer swimming pools and civic centers would be built. Everything that’s done through spending dollars collectively would cost more.”
Within the Bay Area individual communities have chosen to adopt urban growth boundaries, but if Prop. 90 was already in place, Patton says, many environmental and community protection projects wouldn’t have happened.
“Where now we have more focused growth, which is economically and socially as well as environmentally beneficial, there’d be lots more sprawl,” Patton explains. “We’d be a lot more like Fresno and Bakersfield and San Bernardino and Los Angeles. The Bay Area is a place where more people have got together and made sure their communities did things that have been beneficial.”
As for restoring Golden Gate’s Crissy Field or the South Bay Salt Ponds or preserving bird and wildlife sanctuaries, forget about it.
“We’d be more like Houston. Prop. 90 says unless you can pay me for not developing this land, then one day I’m gonna be able to develop it,” Patton says.
A LAWYER’S WET DREAM
Mary Ann O’Malley, a fiscal and policy analyst at the state’s Legislative Analyst’s Office, helped write the legislative analysis for Prop. 90 and as such is familiar with the measure’s far-reaching but more obscure provisions.
“Governments will be required to sell land back to its original owner if they stop using the land for the purpose stated when it took the property in the first place,” O’Malley explains. “And government won’t be able to condemn property to build on another property for the purpose of increasing local government’s tax revenues, but it could do so to build roads and schools.”
As for how the “regulatory takings” section of Prop. 90 affects government’s ability to protect the environment, O’Malley says local governments frequently impose case by case mitigation requirements to uphold the Endangered Species Act, telling a developer where it can build.
“If this is simply an enforcement procedure required by the Endangered Species Act, then it probably would not be viewed as a compensatory act, but if it’s an independent local project decision, it might fall within Prop. 90’s purview.”
Although Prop. 90 supporters say it won’t affect existing laws, Douglas says it’s simplistic to believe that current zoning won’t be superceded.
“Zoning plans aren’t exclusive. They may allow ancillary uses with government’s approval. For instance, you can build additional housing and wineries on ag land, but sometimes these uses are totally incompatible with the area. At which point local government steps in and says, ‘Oh no you don’t.’ But under Prop. 90 government is vulnerable to claims.
“Taxpayers are gonna be stuck with a multibillion-dollar bill. It should be called the ‘Destroy California Initiative.’” SFBG
Read about the Proposition 90 money trail and the truth behind the campaign’s stories at www.sfbg.com.

The Sentinel’s Lobbyists

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by Amanda Witherell

It’s no secret that the San Francisco Sentinel has really slipped since Luke Thomas struck out on his own with Fog City Journal, but an article this past weekend represents a new low. “Has Anti-Incumbent Fever hit San Francisco?” makes reference to three polls showing Rob Black leading Chris Daly in the District 6 race for Supervisor. The author of the piece, Sam Lauter links to an article in the Chron about the polls, but he could have just linked to the raw data — at least one of the polls was commissioned through his political consulting firm, Barnes, Mosher, Whitehurst, Lauter(ahem) and Partners.

This lobbying firm is also a liason for much of the thousands of dollars being spent by independent expenditure committees on anti-Daly hit pieces. Before messing around in local elections, Lauter had a career in governmental relations at PG&E, though a Sentinel reader wouldn’t know it — there’s no bio included with the author’s “article,” except that it was formerly printed in a “Red Meat for a Blue State” online publication. Meanwhile, another unauthored Sentinel article criticizes Daly for supposed contributions from lobbyists, though fails to mention that the anti-Daly movement is controlled by a similar crowd of money-runners.

So why did the SF Weekly’s Matt Smith endorse a PG@E attorney for supervisor?

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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

The dirt in D6

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› amanda@sfbg.com › sarah@sfbg.com If you live in San Francisco’s District 6, it’s pretty difficult to avoid what some residents are calling a new filth polluting Tenderloin corners and SoMa streets. It’s not overflowing trash bins or urine-stained door frames — it’s the relentless election billeting that uses those images to support Rob Black and oppose Chris Daly for the district’s seat on the Board of Supervisors. “We’re tired of talk. Of loud, whining, condescending, offensive, abusive, lying, showcasing, arrogant talk,” reads a recent poster on a telephone pole. “District 6 is dirty and dangerous. District 6 is still poor. Chris Daly is why. Dump Daly. Back Rob Black.” “I was totally offended by this,” Debra Walker, a progressive activist and resident of the district for 25 years, told the Guardian. “This kind of message intentionally suppresses the vote. People I’ve talked to in the district who aren’t very political are totally turned off by the mailings from Rob Black or made in his benefit.” Some of the mailings, posters, and literature can be directly attributed to independent expenditure (IE) committees recognized by the Ethics Commission and acting legally. Some, however, have more dubious ancestry but apparent links to a campaign attorney with a long history of using millions to control the outcome of elections in San Francisco: Jim Sutton (see “The Political Puppeteer,” 2/4/04). Sutton did not return calls for comment. Most of the anonymous literature directs people to the Web site www.DumpDaly.org. SFSOS’s Wade Randlett told us his group paid for the site and a volunteer set it up. SFSOS and Sutton formed Citizens for Reform Leadership 1–6 — IE committees listed on many of the signs and much of the literature, including the poster quoted above. The committees haven’t filed any IE reports with the Ethics Commission. Walker, along with Maria Guillen, vice president of SEIU Local 790, and another District 6 resident, Jim Meko, submitted a complaint with the Ethics Commission on Sept. 29 with nine pieces of physical evidence supporting their concern that the roof had been blown off the $83,000 spending cap on the campaign, in place because all candidates agreed to public financing. The evidence submitted with the complaint varied and included three different mailers from “Concerned Residents of District 6,” a committee that has yet to exist on paper in the Ethics Commission filing cabinets. The mailers from the “Concerned Residents” are glossy triptychs critical of Daly but not explicitly advocating for another candidate. They do not state the amount the committee paid for them, which is required of any electioneering communication. On Oct. 6 the Ethics Commission released a statement saying the spending cap for District 6 was no longer in effect. John St. Croix, executive director of the commission, has identified at least $90,000 in IEs, including three unreported mailers. “At some point we will attempt to determine who distributed the mailers,” St. Croix said. “But it’s not likely before the election.” The tactic of breaking the law before the election and taking the heat after the ballots are in has been used in the past, and this new example flouts recently passed legislation. These mailings should have been filed with the Ethics Commission, according to an ordinance passed in 2005 in response to similar anonymous hit pieces that came out in the elections of 2003 and 2004 against Supervisors Gerardo Sandoval and Jake McGoldrick. (Sutton defended SFSOS’s main funder, Donald Fisher, in his successful Strategic Lawsuit Against Public Participation against Sandoval over the issue.) “It’s a strategy taken straight from Karl Rove’s playbook,” Meko, a 30-year SoMa resident, told us. Joe Lynn, former Ethics Commission member and staffer, told us “all the committees in San Francisco should turn their backs on contributions from people who are involved in this scheme — at least until they explain their involvement. These are the most sophisticated folks in San Francisco politics. I think a full investigation including possible criminal activity ought to be assigned to a master.” He said District Attorney Kamala Harris used Sutton in her race and therefore may have a conflict of interest. The Rob Black for Supervisor committee claims no connection to the literature that hangs on doorknobs and clogs mailboxes, the push polls calling people, or the postings in the streets and tucked under windshields. “I don’t support the anonymous pieces. If people are doing it on my behalf, I don’t want it,” Black told us. But Daly told us “the IEs appear to be coordinated…. The Black committee is not running a campaign that would be independently competitive. He’s only sent one piece of mail, but he’s had eight sent on his behalf.” Residents suggest it’s even more than that: Walker received three more anti-Daly mailers Oct. 20. Black confirmed that he had only sent one mailing to the district, and he’s “not surprised” that so many IEs have sent out mailings in his support. With the exception of a filing from the Police Officers Association, the only legal IEs reported with the Ethics Commission so far are from the Building Owners and Management Association (BOMA) and Golden Gate Restaurant Association (GGRA). They also trace back to Sutton, Black’s former boss at Nielsen Merksamer, a law firm that represented PG&E in the 2002 campaign against public power, for which the firm was fined $100,000 for failing to report until after the election $800,000 from PG&E, the biggest fine ever levied by Ethics. Sutton left the firm shortly after. Black stayed on until 2004, when he took a position as legislative aide with Michela Alioto-Pier. The most recent poll released by Evans McDonough purports to show Black ahead by six points (with a five-point margin of error). It was commissioned by Barnes, Mosher, Whitehurst, Lauter, and Partners, which has also been employed by Sutton through BOMA and the GGRA for the IEs in the District 6 election. The financial shenanigans have been a rallying point for the Daly campaign. More than 70 volunteers signed in at an Oct. 21 rally and hit the streets: shaking hands, distributing literature, and making phone calls raising support for Daly. Sup. Ross Mirkarimi criticized the soft money’s “ugly, nasty, mean-spirited tactics” to oust Daly. “If they have to resort to these tactics, is that the kind of government we want in San Francisco?” he asked the crowd. “This is the nastiest, most personal and hateful thing I’ve ever been involved with,” Daly said. “It’s very painful.” But, he said, “our people power is better than their money power.” Outside a volunteer shouted into a bullhorn, “Don’t let downtown interests buy your democracy!” SFBG

WEDNESDAY

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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

Save Daly — and the city

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EDITORIAL The sleaze in District 6 is utterly out of control. So far, five different organizations, all claiming to be independent of any candidate, have sent out expensive mailers blasting away at incumbent Chris Daly (and urging voters, either directly or indirectly, to support his main opponent, Rob Black).
The law says that these groups can spend all the money they want, without abiding by campaign contribution limits, as long as they aren’t coordinating with Black’s staff, but let’s not be naive here: this is a carefully planned and orchestrated campaign by a handful of wealthy, powerful interests that will spend whatever it takes to get rid of one of the board’s most reliable progressive leaders.
Daly’s a hard worker, has a solid record, and is popular in his district — but after a while, this much negative campaigning starts to take a toll. And for the sake of the progressive movement in San Francisco, Black and the downtown forces simply can’t be allowed to defeat Daly.
Daly is more than a good supervisor (although he certainly meets that qualification). He’s part of the class of 2000, one of a crew of activists who swept into power in the first district elections as a rebellion against the developer-driven politics of then-mayor Willie Brown. He has become one of the city’s most promising young leaders, someone who, with a bit more seasoning (and diplomacy), could and should have a bright future in local politics.
He’s also very much a district supervisor and a symbol of how district elections allowed the neighborhoods to take back the city. The attack on him is an attack on the entire progressive movement and all that’s been accomplished in this city in the past six years.
Daly needs help. He needs volunteers to walk precincts, distribute literature, and get out the vote. This has to be a top priority for independent neighborhood and progressive activists in San Francisco. There’s a campaign rally Oct. 28 at 10 a.m. at the northeast corner of 16th Street and Mission. Daly’s campaign headquarters are at 2973 16th St. The phone is (415) 431-3259. Show up, volunteer, give money … this one really, really matters. SFBG

SPECIAL: Scary monsters and supercreeps

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› a&eletters@sfbg.com
Halloween is the season for self-expression in all of its many glorious forms: costumes, music, dance, art, theater, and maybe even a few forms that can’t be classified. Whether you’re a trash-culture junkie or a splatter-movie freak, a pagan ritual follower or a brazen exhibitionist, you’ll definitely find something chilling, somewhere in the Bay Area. Here’s a sampling; for more Halloween and Día de los Muertos events, go to www.sfbg.com.
PARTIES AND BENEFITS
FRIDAY 27
The Enchanted Forest Cellar, 685 Sutter, SF; 441-5678. 10pm-2am. $5-10. Silly Cil presents the seventh annual Enchanted Forest costume ball; woodland nymphs and mythical creatures are welcome. DJs McD and Scotty Fox rock the forest with hip-hop and ’80s sounds.
Hyatt Regency/98.1 KISS FM Halloween Bash Hyatt Regency, 5 Embarcadero Center, SF; 788-1234. 8 pm. $28.50 advance ($30 door). KISS Radio’s Morris Knight MCs an evening of costumed revelry. DJ Michael Erickson brings the dance mix.
Rock ’n’ Roll Horror Show Rickshaw Stop, 155 Fell, SF; 820-3907. 7:30pm. $5-10 donation. Rock out and scream loud for a good cause: proceeds go to the ninth SF Independent Film Festival. A screening of 1987 B-movie Street Trash is followed by the sounds of Sik Luv, Wire Graffiti, Charm School Drop Outs, and Madelia.
SambaDa: Afro-Brazilian, Afro-Exotic Halloween Extravaganza Elbo Room, 647 Valencia, SF; 552-7788. 10pm. $8-10. Don’t feel like ghosts and goblins and blood and guts? How about samba and bossa nova grooves to keep your feet busy?
BAY AREA
Halloween Madness Speisekammer, 2424 Lincoln, Alameda; (510) 522-1300. 9pm. Free. Skip Henderson and the Starboard Watch offer hard-drinking sailor songs. Come in costume and get a free rum drink, matey.
SATURDAY 28
Exotic Erotic Ball Cow Palace, 2600 Geneva, SF; 567-2255, www.exoticeroticball.com. 8pm-2am. $69. P-Funker George Clinton, ’80s icon Thomas Dolby, and rapper Too Short are among the musical guests at this no-holds-barred celebration. Put on your sexiest, slinkiest number and admire the antics of trapeze artists, fetish performers, and burlesque show-stoppers, as well as those of the attendees.
SUNDAY 29
Fresh/Halloween T-Dance Ruby Skye, 420 Mason, SF; www.freshsf.com. 6pm-midnight. $20. Sassy, slinky, and sexy costumes abound at this Halloween dance party. DJ Manny Lehman spins.
MONDAY 30
Dead Rock Star Karaoke Cellar, 685 Sutter, SF; 441-5678. 8pm-2am. Free. Elvises, Jim Morrisons, and Kurt Cobains deliver heartrending renditions of favorite songs.
TUESDAY 31
A Nightmare on Fulton Street Poleng Lounge, 1751 Fulton, SF; www.polenglounge.com. 8pm-2am. $5-10. The third annual Holla-ween showcases a rich harvest of fat beats, thanks to the DJ skills of Boozou Bajou.
Scary Halloween Bash 12 Galaxies, 2565 Mission, SF; 970-9777. 8pm. $10. All dressed up but not feeling like heading to the Castro? Want to hear a marching band? No, wait, come back. It’s the Extra Action Marching Band, which specialize in baccanalian freak-shows. Sour Mash Jug Band and livehuman leave you grinning beneath that rubber mask.
FILM/MUSIC/THEATER/ART
WEDNESDAY 25
Art Hell ARTwork SF Gallery, 49 Geary, suite 215, SF; 673-3080. noon-5:30pm. Free. Bay Area artists render darkness, death, and all things devilishly creepy. Sale proceeds go to the San Francisco Artist Resource Center. Also open Thu/26-Sat/28, same hours.
THURSDAY 26
Babble on Halloween Dog Eared Books, 900 Valencia, SF; 282-1901. 8pm. Free. There’s nothing like shivers up the spine to go with cupcakes and wine! Bucky Sinister, Tony Vaguely, and Shawna Virago creep you out with spooky stories and bizarre performances.
A Second Final Rest: The History of San Francisco’s Lost Cemeteries California Historical Society Library, 678 Mission, SF; 357-1848. 6pm. Free. Trina Lopez’s documentary tells the story of how San Francisco relocated burial grounds in the wake of the 1906 earthquake and fire — ironically sending some of the city’s settlers on a last journey after death.
Shocktoberfest!! 2006: Laboratory of Hallucinations Hypnodrome, 575 10th St, SF; 377-4202. 8pm. $20. The Thrillpeddlers are back with a gross-out lover’s delight: public execution, surgery, and taxidermy in three tales of unspeakable horror. Also Fri/27-Sat/28, 8pm.
FRIDAY 27
BATS Improv/True Fiction Magazine’s Annual Halloween Show Bayfront Theater, 8350 Fort Mason Center, SF; www.improv.org. 8pm. $18 ($15 advance). Madcap improvisational comics of True Fiction Magazine transform audience suggestions into hilariously bizarre pulp fiction–inspired skits. In the spirit of the season, TFM is sure to throw ghoulish horror into the mix. Also Sat/28.
Hallowe’en at Tina’s Café Magnet, 4122 18th St, SF; 581-1600. 9pm. Free. What’s Halloween in San Francisco without any drag? Before you consider the sad possibilities, let Tina’s Café banish those thoughts with a deliciously campy drag queen cabaret show. Mrs. Trauma Flintstone MCs.
Rural Rampage Double Feature Alliance Française de San Francisco, 1345 Bush, SF; www.ham-o-rama.com. 7:30pm. Free. Those midnight movie aficionados at Incredibly Strange Picture Show unreel a shriekingly tasty lineup from the “scary redneck” genre: Two Thousand Maniacs and the original Texas Chainsaw Massacre.
SATURDAY 28
11th Annual Soapbox Pre-Race Party/Halloween Show El Rio, 3158 Mission, SF; 282-3325. 9pm. $7. What better way is there to get revved up for the Oct. 29 Soapbox Derby in Bernal Heights? With a full evening of good ’n’ greasy garage rock and rockabilly, thanks to the All Time Highs, Teenage Harlets, and the Phenomenauts, this party gets you in touch with your inner speed demon.
Pirate Cat Radio Halloween Bash Li Po Cocktail Lounge, 916 Grant, SF; www.piratecatradio.com. 8pm. $5. The community radio station presents an evening of crazy rock mayhem with Desperation Squad, the band now famous for getting shot down on TV’s America’s Got Talent! Wealthy Whore Entertainment, the Skoalkans, and Pillows also perform.
Shadow Circus Vaudeville Theatre Kimo’s, 1351 Polk, SF; p2.hostingprod.com/@shadowcircus.com. 9pm. $5. Shadow Circus Creature Theatre hosts a variety show of ukulele riffs, comedy, burlesque, and filthy-mouthed puppets.
Spiral Dance Kezar Pavilion, Golden Gate Park, 755 Stanyan, SF; www.reclaiming.org. 6pm. Free. Reclaiming, an international group observing pagan traditions, celebrates its 27th annual Spiral Dance with a magical ritual incorporating installations, drama, and a choral performance.
BAY AREA
Flamenco Halloween La Peña Cultural Center, 3105 Shattuck, Berk; (510) 849-2568, ext. 20. 8:30pm. $15. Flametal brings the evil to flamenco with mastermind Benjamin Woods’s fusion of metal and the saddest music in the world.
Murder Ballads Starry Plough, 3101 Shattuck, Berk; (510) 841-0188. 9pm. $8. Murder, misfortune, and love gone really, really wrong — all sung by an impressive array of garage rockers, accordionists, and female folk-metal songstresses. There’s even a duo who specializes in suicide songs! Dress up so no one can recognize you weeping into your beer.
SUNDAY 29
The Elm Street Murders Club Six, 60 Sixth St., SF; www.myspace.com/theelmstmurders. 7:30pm. $20. Loosely based on A Nightmare on Elm Street, this multimedia interactive stage show promises heaping helpings of splatter.
MONDAY 30
The Creature Magic Theatre, building D, Fort Mason Center, SF; 731-4922. 8pm. Free. Reservations required. Black Box Theatre Company gives a single performance before a studio audience of their new podcast adaptation of Mary Shelley’s Frankensten. This version tells the story from the monster’s point of view.
Independent Exposure 2006: Halloweird Edition 111 Minna Gallery, 111 Minna, SF; 447-9750. 8pm. $6. Microcinema International assembles a festively creepy collection of short films from around the world, focusing on the spooky, unsettling, and just plain gross.
TUESDAY 31
Bat Boy: The Musical School of the Arts Theater, 555 Portola, SF; 651-4521. 7pm. $20. It’s back: a Halloween preview performance of the trials and tribulations of everyone’s favorite National Enquirer icon, Bat Boy. Camp doesn’t get any better than this.
Cramps Fillmore, 1805 Geary, SF; 346-6000. 8pm. $30. Don’t get caught in the goo-goo muck. The Demolition Doll Rods and the Groovie Ghoulies also whip you up into a rock ’n’ roll frenzy.
One Plus One (Sympathy for the Devil) San Francisco Art Institute Lecture Hall, 800 Chestnut, SF; 771-7020. 7:30pm. Free. Before the Rolling Stones became some of the richest people on earth, Mick, Keith, and the boys dabbled on the dark side. At a rare screening of Jean-Luc Godard’s One Plus One, you get a chance to see them at the height of their flirtation with evil, performing the still-mesmerizing “Sympathy for the Devil.”
EVENTS/FESTIVALS/KID STUFF
FRIDAY 27
Haunted Haight Walking Tour Begins at Coffee to the People, 1206 Masonic, SF; 863-1416. 7pm. $20. How else can you explain all of those supernatural presences drifting between the smoke shops and shoe stores? Here’s a chance to find out about the more lurid chapters in the neighborhood’s history. Also Sat/28-Tues/31, 7pm.
SATURDAY 28
Boo at the Zoo San Francisco Zoo, 1 Zoo, SF; 753-7071. 10am-3pm. Free with zoo admission. Costumed kiddies can check out the Haunted Nature Trail and the Creepy Crawly Critters exhibit. Live music, interactive booths, games, and prizes keep little ghosts and goblins delighted.
Children’s Halloween Hootenanny Stanyan and Waller, SF; www.haightstreetfair.org. 11:30am-5pm. Free. The Haight Ashbury Street Fair folks provide children ages 2 to 10 with games, activities, theater, and food. Costumes are encouraged.
Family Halloween Day Randall Museum, 199 Museum, SF; 554-9600. 10am-2pm. Free. Trick-or-treaters play games, carve pumpkins, create creepy crafts, and take part in the costume parade. Jackie Jones amazes with a musical saw and dancing cat; Brian Scott, a magic show.
Hallo-green Party Crissy Field Center, 603 Mason, SF; 561-7752. 10am-2pm. $8. It’s never too early to teach your children about environmentalism. The party includes a costume contest and a chance to bob for organic apples.
House of Toxic Horrors Crissy Field Center, 603 Mason, SF; 561-7752. 10am-2pm and 4-8pm, $8. Ages 9 and older. No, it’s not a Superfund site, but it should be equally educational: the center’s first haunted house addresses the scary world of environmental horror. Sludge and smog lurk behind every corner.
BAY AREA
Boo at the Zoo Oakland Zoo, 9777 Golf Links, Oakl; (510) 632-9525. 10am-3pm. Free with zoo admission. Dress up the kids and bring them over to the zoo for scavenger hunts, crafts, rides on the Boo Choo Choo Train, puppet shows, and musical performances. Also Sun/29, 10am-3pm.
SUNDAY 29
Halloween’s True Meaning Shotwell Studios, 3252-A 19th St., SF; 289-2000. 1-3pm, $5-15 sliding scale. Kids are encouraged to come in costume for this afternoon of interactive theater led by Christina Lewis of the Clown School. Enjoy Halloween history, storytelling, role-playing, and face-painting.
Pet Pride Day Sharon Meadow, Golden Gate Park, SF; 554-9427. 11am-3pm. Free. Dress up your pet in something ridiculous and head down to Golden Gate Park to laugh at all of the other displeased pups! The pet costume contest is always a blast, as is the dog-trick competition.
BAY AREA
Haunted Harbor Festival and Parade Jack London Square, Oakl; 1-866-295-9853. 4-8pm. Free. Families can check out live entertainment, games, crafts, activities, and prizes. The extravagantly decked-out boats in the parade are not to be missed.
Rock Paper Scissors’ Annual Street Scare Block Party 23rd Ave. and Telegraph, Oakl; www.rpscollective.com. Noon-5pm. Free. Who doesn’t love block parties? The kid-friendly blowout has something for everyone: fortune-telling, craft-making, pumpkin-carving, and all sorts of wacky games and prizes. And barbecue — witches love a good barbecue.
MONDAY 30
Halloween Heroes Benefit Exploratorium, Palace of Fine Arts, 3601 Lyon, SF; (650) 321-4142, www.wenderweis.org. 6:30pm. $185 for a parent and child. A benefit for the Exploratorium Children’s Educational Outreach Program and the Junior Giants Baseball Program, this lavish costume party for kids promises to be equally fun for the parents. Many of the exhibits are turned into craft-making and trick-or-treat stations.
TUESDAY 31
Halloween in the Castro Market and Castro, www.halloweeninthecastro.com. 7pm-midnight. $5 suggested donation. You and 250,000 of your new best friends — reveling in the streets and getting down to thumping beats. Don’t even think of driving to get there, and don’t forget: no drinking in the streets.
Vampire Tour of San Francisco Begins at California and Taylor, SF; (650) 279-1840, www.sfvampiretour.com. 8pm. $20. This isn’t Transylvania, but San Francisco has had its share of vampires. Just ask Mina Harker, your fearless leader, if you dare take this tour.
DÍA DE LOS MUERTOS
ONGOING
BAY AREA
‘Laughing Bones/ Weeping Hearts’ Oakland Museum of California, 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm. $8. Guest curator Carol Marie Garcia has assembled a vibrant collection of installations produced by local artists, schools, and community groups, all celebrating the dead while acknowledging the sorrow of those left behind. Through Dec. 3.
THURSDAY NOV. 2
Death and Rebirth Precita Eyes Mural Arts Center, 2981 24th St, SF; 334-4091. 7-10pm. Free. Precita Eyes Muralists will be celebrating the work of founder Luis Cervantes with a breathtaking mural exhibit and celebration.
Día De Los Muertos Procession and Outdoor Altar Exhibit 24th St and Bryant, SF; www.dayofthedeadsf.org. 7pm. Free. Thousands of families, artists, and activists form a procession to honor the dead and celebrate life, ending at the Festival of Altars in Garfield Park, at 26th Street and Harrison. Local artists have created large community altars at the park; the public is invited to bring candles, flowers, and offerings.
Fiesta De Los Huesos’ Gala Opening Reception Mission Cultural Center for the Latino Arts, 2868 Mission, SF; 643-5001. 6-11pm. $5. Curator Patricia Rodriguez has put together a family-oriented party, with musical performances, mask carving, sugar skull–making, videos, and other tempting creations among the exhibits, altars, and installations. The exhibition opens Oct. 27.
BAY AREA
Día De Los Muertos Benefit Concert 2232 MLK, 2232 Martin Luther King Jr., Oakl; www.2232mlk.com. 7pm. $8-20 sliding scale. Hosted by the Chiapas Support Committee, this benefit concert features Fuga, los Nadies, la Plebe, and DJ Rico. Early arrivals get free pan dulce and hot chocolate.
SUNDAY NOV. 5
Dia De Los Muertos Family Festival Randall Museum, 199 Museum, SF; 554-9681. 1-5pm. $100 and up for family of five. The family event benefits the museum’s Toddler Treehouse and other toddler programs. Arts and crafts, food, and entertainment make this a rewarding educational experience for kids. Attendees learn how to make masks and sugar skulls and to decorate an altar. Los Boleros provide festive entertainment.
BAY AREA
Día De Los Muertos Fruitvale Festival International Blvd., between Fruitvale Ave and 41st Ave, Oakl; (510) 535-6940. 10am-5pm. Free. With the theme “love, family, memories,” the Unity Council in Oakland has put together a full day of family celebration. Five stages showcase music and dance performances by local and world-renowned artists. More than 150 exhibitors and nonprofits highlight wares and services. Art and altars are on view, and the Children’s Pavilion promises to be a rewarding educational experience for kids of all ages.
THURSDAY NOV. 9
Mole to Die For Mission Cultural Center For Latino Arts, 2868 Mission, SF; 643-5001. 7-10pm. $5. Try it all at this mole feeding-frenzy and vote for your favorite.

MONDAY

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Oct. 23

Music

Be Good Tanyas

Some of the finest purveyors of sepia-toned old-timey sounds, Vancouver’s Be Good Tanyas whisk together the scatterings of John Steinbeck’s dust bowl with the slow drawl of southern gothic to create songs that conjure images of moonshiners on the lam and hobos hopping trains bound for nowhere. Every now and then, they toss in a sly anachronism to remind you this isn’t your grandma’s bluegrass. This evocatively soulful troupe of dusty-trail wanderers will seduce you with their subtle coupling of bygone-era themes with a 21st-century sensibility. (Todd Lavoie)

With Ana Egge
8 p.m.
Independent
628 Divisadero, SF
$20
(415) 771-1421
www.theindependentsf.com
www.begoodtanyas.com

Music

Cursive

Three years after The Ugly Organ, Cursive find themselves in an unenviable position: how do they follow up a monolith? With Happy Hollow (Saddle Creek), the band builds a mythical Midwestern town that is happy on the surface, but upon a peek through the windows, this happiness is revealed to be hollow. Vocalist-lyricist Tim Kasher sets out his thesis on “Opening the Hymnal/Babies”: “The beautiful truth of it is, this is all we are/ We simply exist/ You’re not the chosen one/ I’m not the chosen one.” Musically, Happy Hollow moves between guitar screeches and nickelodeon keyboard riffs, but it’s the horns that never seem to stop punctuating the fact that if God isn’t dead, he’s certainly on vacation. (Duncan Scott Davidson)

8 p.m.
Fillmore
1805 Geary, SF
$18
(415) 346-6000

FRIDAY

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Oct. 20

Music

Slim Cessna’s Auto Club

Colorado’s harsh geographic and metaphoric isolation have given rise to a whole subgenre of hellfire-and-brimstone-tinged balladeering perhaps best exemplified by Slim Cessna’s Auto Club. Part old Appalachia, part new country, part salvation, and part eternal damnation, the Auto Club epitomize “the Denver Sound,” and their manic live presence, dueling vocalists, and frenetic fingerpicking will have you breaking out your best bling-bling belt buckles and spurs. (Nicole Gluckstern)

With Rykarda Parasol
and Ill Gotten Gainz
9 p.m.
12 Galaxies
2565 Mission, SF
$10
(415) 970-9777
www.12galaxies.com
www.slimcessnasautoclub.com

Music

Lyrics Born and Cut Chemist

The pairing of Lyrics Born and Cut Chemist seems like a match made in heaven. The former is a rapper for people who don’t like rappers, and the latter is a DJ for people who hate DJs. Lyrics Born’s melodic vocal style is singing as much as it is rapping, and Cut Chemist’s groovy, organic spinning is light-years away from the cut-and-paste mush-ups of everyday hip-hop DJs and the sterile pulse of the techno raveheads. (Aaron Sankin)

Also Sat/21
With Pigeon John
9 p.m.
Independent
628 Divisadero, SF
$25
(415) 771-1421
www.theindependentsf.com
www.lyricsborn.com
www.cutchemist.com

Online Exclusive: Method Man at the crossroads

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a&eletters@sfbg.com
When a bumped phone interview with hip-hop legend and putf8um artist Method Man mushroomed into a proposed
backstage post-show encounter, I naturally jumped at the chance.

Being a devotee of the ultimately more funk-based grooves of Bay Area hip-hop, I tend not to pay
attention to the doings of NYC, and I can’t claim to have ever followed the Wu-Tang Clan in general or Meth
in particular, though I have always admired both from afar. Yet one needn’t follow the Big Apple’s scene in
great detail to appreciate its impact, and with Meth’s successful film and TV career, most recently as a recurring character in this season of HBO’s cop drama The Wire, one needn’t even listen to hip-hop anymore
to appreciate his.

This situation is exactly what’s troubling Method Man. His very success in the cultural mainstream, he
feels, has been held against him by the hip hop-industry, a curious situation considering
mainstream success is the perceived goal and direct subject matter of most raps these days. Unlike the
recent fashion among rappers like Andre3000 to pooh-pooh their interest in music in favor of their
“acting career,” Meth wants to be known primarily as an MC. But Hollywood success has proved to be a
slippery slope, paved by Ice-T and Ice Cube — each in his turn the most terrifying, authentic street rapper
imaginable — to the end of your hit-making potential in hip-hop.

Couple this perception with Meth’s vocal challenges of the effect of corporate media consolidation, and it’s
not difficult to imagine why Def Jam released his fourth solo album, 4:21: The Day After, without a peep
at the end of August, as if the label had written him off despite his track record of one gold and two
putf8um plaques.

Still, no one who’s heard the angry, defiantly shitkicking 4:21 (executive produced by the RZA, Erick
Sermon, and Meth himself) or saw the show Meth put on that evening (leaping from the stage to the bar and
running across it by way of introduction, later executing a backwards handspring from the stage into the crowd by way of ending) could possibly doubt his vitality as an MC. He put on a long, exhausting show,
heavy with new material, that utterly rocked the packed house.

Shortly after the show ended, I was brought backstage by Meth’s road manager, 7, to a tiny corridor of a
dressing room crammed with various hangers on. A man in a warm-up suit with a towel over his head was
sitting alone on a short flight of steps in the center of the room.

“That’s him,” 7 said, before disappearing to take care of other business.

It was like being sent to introduce yourself to a boxer who’d just finished a successful but punishing
brawl. The face that looked up at my inquiry was that of a man who’d retreated somewhere far away into
himself, requiring a momentary effort to swim to the surface. Quite suddenly I found myself face to face
with Method Man, whose presence immediately turned all heads in the room our way as he invited me to sit down
for a brief discussion of his new album and his dissatisfaction with his treatment by the music
industry.

SAN FRANCISCO BAY GUARDIAN: I read the statement on your Web site [www.method-man.com] in which you
discuss your problems with the industry. Could you describe the problems you’ve been having?

METHOD MAN: My big problem with the industry is the way they treat hip-hop artists as opposed to artists
in other genres. Hip-hop music, they treat it like it’s fast food. You get about two weeks of promotion
before your album. Then you get the week of your album, then you get the week after, then they just
leave you to the dogs.

Whereas back in the day, you had artists in development, a month ahead of time before you even
started your campaign, to make sure that you got off on the right foot.

Nowadays it’s like there’s nobody in your corner anymore. Everybody’s trying to go into their own
little club, for lack of a better word. Everybody has their own little cliques now. Ain’t no money being
generated so the labels are taking on a lot of artists because of this at once that they don’t even have
enough staff members to take care of every artist, as an individual. Their attention is elsewhere, or only
with certain people.

SFBG: Your new single [“Say,” featuring Lauryn Hill] suggests you’ve had problems with the way critics have
received your recent work and even with the radio playing your records. How can someone of your status
be having trouble getting spins?

MM: You know what it is, man? A lot of people have come around acting like I’m the worst thing that ever
happened to hip-hop, as good as I am.

Hating is hating. I’ve been hated on, but just by the industry, not in the streets. They never liked my crew
[the Wu-Tang Clan] anyway. They think we ain’t together anymore and they try to pick at each and
every individual. Some motherfuckers they pick up. Other people they just shit on. I guess I’m just the
shittee right now, you know what I mean?

SFBG: Do you think it has to do with the age bias in hip-hop? The idea an MC is supposed to be 18 or 20?

MM: You know what I think it is? As our contracts go on, we have stipulations where, if we sell a certain
amount of albums, [the labels] have to raise our stock. A lot of times dudes just want to get out their
contracts so they can go independent and make more money by themselves. There’s a lot of factors that
play into it.

SFBG: Are you not getting enough label support?

MM: A label only does so much anyway. It’s your team inside your team that makes sure that you got a video.
Or that you got that single out there, or that your tour dates are put together correctly. The labels,
they basically just do product placement. They make sure that all your stuff is in the proper place where
it’s supposed to be at. They’re gonna make sure your posters are up. They’re going to make sure that
they’re giving out samples of other artists that are coming out also. [But i]t’s really up to us [the
artists] to make sure our music is going where it’s supposed to.

Right now there’s so many artists people can pick and choose from, don’t nobody like shit no more.

SFBG: Do you think you’re getting squeezed out of radio play as a result of corporate media
conslidation?

MM: Absolutely; this shit ain’t nothing new. It isn’t just happening to me. It’s been going on since dudes
have been doing this hip-hop music. They bleed you dry and then they push you the fuck out.

That’s why I always stress to the fans to take your power back. I always hear people talking about things
like, “Damn, what happened to these dudes? What happened to these guys? I always liked their shit.”
But the fans, not just the industry, tend to turn their backs on dudes. They get fed so much bullshit,
they be like, “Fuck it; I’m not dealing with that shit. I’m going to listen to this.”

SFBG: So what about your acting career? Do you feel like you’ve been overexposed as an actor or that
you’ve been spread too thin and are readjusting your focus?

MM: Fuck Hollywood, B.

SFBG: But I heard you say on the radio today you wanted to play a crackhead and get an Oscar….

MM: I do want to play a crackhead in a movie. I’m going to be a crackhead who dies of an overdose at the
end of the movie, and people cry, and I’m going to get me an Oscar. But fuck Hollywood; tell ‘em to come see
me. Tell ‘em to come to my door.

SFBG: Obviously, from what you said during the show and the lyrics on 4:21: The Day After you haven’t
renounced smoking marijuana, so could you discuss the concept behind “4:21”? Is it about the difficulties
of living the hard-partying lifestyle of the rap artist?

MM: It was just symbolic of a moment of clarity for me. I made a symbol for myself of a moment of
clarity. You know I’ve always been an avid 4:20 person. I like to get out there and smoke with the
best of them. But I picked “4:21” as like, the day after. I got tired of people running up on me and
being like, “You was funny in that movie,” because I was an MC first and foremost. It used to be like, “Yo,
that fuckin’ verse you did on that song, that was hot.” Now it’s like, “My kids love you; they love that
movie, How High.”

It gets to the point when even when I’m having a serious moment, or a serious conversation, people
laugh at the shit like it’s funny. But they laugh cause they thinking of the movie; they thinking of
some sitcom shit.

SFBG: Besides yourself and RZA, Erick Sermon executive produced the album. Can you talka bout your
connection with him?

MM: I’ve been fuckin’ with E ever since I’ve been fuckin’ with Redman. E knows what I like, you know
what I’m saying? The same way he knows what Redman likes. And RZA, that’s a given right there. I’ve been
down with RZA’s shit A1 since day one.

SFBG: 4:21 also features a collaboration with Ol’ Dirty Bastard. When did you guys record this track?

MM: “Dirty Meth” — that’s a posthumous joint with O.D.B. It was after he was gone already. I tell everyone
that so they know.

SFBG: But he seems to permeate the new album.

MM: He does. Good word, too. He permeates it.

Deliverance

0

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

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

Joy sticks

0

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

GooTube is dead

0

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

The first 40

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

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

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


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

The Guardian turns 40: some things never change

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

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

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

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

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

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

MONDAY

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Event

Black Panther DVD release

Celebrate the 40th anniversary of the Black Panther Party’s inception at a DVD release party for What We Want, What We Believe: The Black Panther Party Library, produced by Roz Payne of Newsreel, the 1960s independent filmmaking collective. Payne screens selections from the four-disc set, which includes exclusive material from her extensive archives of FBI documents. Former Panters join the filmmaker in conversation. (Deborah Giattina)

7:30 p.m.
AK Press Warehouse
674-A 23rd Street, Oakl.
Donations accepted
(510) 208-1700
www.akpress.org

Music

Ladytron

Back in 2001, when Liverpool electro wizards Ladytron released their debut album, 604 (Emperor Norton), hipsters everywhere seemingly decided they had found the perfect backdrop for shopping. Little wonder: the band spun stylishly retro synth sounds from the new wave and disco eras and welding them to a more rockish sensibility, crafted catchy, inventive pop songs about love, sex, and yes, shopping. Since then, Ladytron have incorporated denser, gloomier textures and occasional blurs of buzz saw guitars into their sound, culminating in the spellbinding melodrama of 2005’s Witching Hour (Rykodisc). (Todd Lavoie)

With Cansei de Ser Sexy
8 p.m.
Fillmore
1805 Geary, SF
$25
(415) 346-0600
www.livenation.com
www.ladytron.com

WEDNESDAY

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Oct. 11

Film

MCCLA Video Fest
Filmmakers from nine countries submitted pieces for judgment in the Mission Cultural Center for Latino Arts Video Fest. Each film was to be representative of the artist’s view of the Latino community, and from the looks of it, no two views are remotely alike. The winning pieces, which range from fiction and experimental to documentary, will be shown in four programs this Wednesday and Thursday at the Roxie. For anyone who is interested in amateur filmmaking, this should prove to be a visual treat indeed. (Erin Halasey)

6:45 and 9 p.m.
Also Thurs/12, 7 and 9 p.m.
Roxie Film Center3117 16th St., SF
$8
(415) 863-1087
www.roxie.comwww.videofest.blogspot.com

Music

John Scofield plays the Music of Ray Charles

Jamie Foxx has already made a lucrative career out of impersonating Ray Charles, and I’m not sure how many Charles tribute acts we really need. That said, there’s nothing normal about the music of John Scofield. Scofield is one of the best and most unpredictable jazz guitarists working today. He has more than held is own while playing with heavyweights Miles Davis and Medeski Martin and Wood. In 2005, Scofield cut an album of Ray Charles covers, That’s What I Say (Verve), that blew both the Ray movie soundtrack (Atlantic/WEA) and Genius Loves Company (Concord) out of the water. Maybe after seeing this show you’ll think all the other Charles-related tributes are a bit pointless. (Aaron Sankin)

8 p.m.
Independent
628 Divisadero
$25
(415) 771-1421
www.independentsf.com
www.johnscofield.com