TAKE ACTION Hey, Donnie Yen fans! Director Wilson Yip’s Flash Point — in which the charismatic martial arts star (2002’s Hero, 1993’s Iron Monkey) plays an aggro cop on gangster-beatdown detail — is actually getting a local theatrical release. Currently, Yen is in Shanghai shooting Yip Man, which he describes as "the story of Bruce Lee’s teacher, a master of the Wing Chun kung fu style." He’s a busy guy, and he could probably flatten any fool with a flick of his pinky finger. Fortunately, he typed up some answers to my e-mailed questions instead.
SFBG On Flash Point — among other films — you’re credited as the "action director." How does that role differ from "fight choreographer," which you’ve served as on films like 2002’s Blade II and 2005’s SPL (a.k.a. Kill Zone)? Is it difficult to direct yourself when you’re also acting in the scene?
DONNIE YEN I think it’s a difference between the way action is treated in Hong Kong and in Hollywood. [In Hong Kong,] my job is to "direct" the action, and when I’m shooting the fight sequences, I take over the set. I choose the camera angles and see how the drama intercuts with the action. In Hollywood, you "choreograph" working with the main director. In the old days of Hong Kong action cinema, when the action director worked, the "drama" director went home!
SFBGWhich fight scene are you most proud of?
DY Of my own stuff? I’d have to say the final fight in Flash Point, between Collin Chou and myself. That was definitely the toughest action scene of my career, and I think it shows! I really like the way we managed to apply MMA [mixed martial arts] techniques on-screen, especially some of the dynamic takedowns, which we haven’t really seen before.
SFBG You’ve worked on both Chinese and American films. What’s the biggest difference between the two industries? Are you interested in having a Hollywood breakthrough like Jackie Chan or Jet Li?
DY As I mentioned earlier, I have much more control over the final product in Hong Kong. I mean, on Flash Point, I’m the producer, the star, the action director…. Of course, I have to give credit to [director] Wilson Yip, who I have a great relationship with. This is our third film together. However, I would still like to work in Hollywood, providing it’s the right role in the right project.
SFBG Flash Point is a "modern" film, but you’re best known for period films like Hero. Which do you prefer?
DY Honestly, I just like to keep challenging myself. For example, Flash Point has a really raw action style, very MMA influenced, but now I’m starting Yip Man, which is about Bruce Lee’s teacher, and so it’s all classical kung fu movements but presented, hopefully, in a new and dynamic way. I would say that, technically, period films are more challenging, because, like with Hero, you’re performing in traditional Chinese clothing, and the movements tend to be more complicated. The modern films, like Kill Zone and Flash Point, are tough because of the degree of real contact when you get slammed about during a fight scene. They’re both challenging in different ways.
SFBG What are your thoughts on CGI-enhanced fight scenes versus the old-fashioned kind?
DY We used a lot of CGI in [2006’s] Dragon Tiger Gate, because the story and the style of action demanded it. I think it’s probably been overused in some films to compensate for the fact that the stars of the films can’t actually do their own action! In my own films, I tend towards keeping it as real as possible, and we only use CGI for shots that would really be impossible to do live on the set. There’s definitely very little CGI in Flash Point!
SONIC REDUCER Spring has sprung, warmth has won, and winter has crept away, wondering how many more glacier-melting heat spells it must weirdly weather. And what better time for nuance to take a hike, for subtlety to go on holiday — as daylight savings time ends, morning doves coo, fixies flood the now bone-dry streets, and sunlight beams down on the joints and jowls like an all-natural, wholly organic tanning salon lamp rather than just some ironic jab at Al Gore and the 2000 presidential election. Soaking up rays in Dolores Park or gazing upon the workers tearing up Valencia, I have to ponder: what is life but a big, fat in-and-out/hot-and-not list? That’s all the cerebral cortex is good for as it gently simmers in its own gray broth in the soft, slightly gooey heat. Turn it around, make ’em outs and ins, and the fun never ends.
Out: out in April, the Boredoms’ Super Roots 9 (Thrill Jockey), the first new Super Roots installment in eight years and the noise poobahs’ first live recording to boot, a document of a Christmas Eve 2004 Japan show with a 20-strong choir. In: experiencing the raw power and glory of the long-haired, avant-psych-punk Nipponese elders live. After catching the combo pulverizing the sold-out mass at the Independent with their triple-drummer ferocity and Eye Yamantaka’s crazed musical-orb twirling, I can guarantee it’ll be ecstasy for all at the Fillmore this week, sans the chemical cuddly-wuddlies, when the Boredoms perform "in the round" for the first time stateside, while promising to brandish "Sevena," their seven-necked guitar.
Out: Dungeons and Dragons creator Gary Gygax, RIP. In: pretending every music show is a dungeon. The question is who’s the dragon: the cranky bartender who has no patience for your Screaming Orgasm shit, the doorperson who can’t find your name on the guest list, the dragon-size, 7-foot-plus dude blocking your view, or the organism with the dragon-breath yoo-hooing his buds? Minutes, if not seconds, of enjoyment.
Not: lame jokes about lame white guys singing lame sexed-up R&B ballads — not to be confused with simply dorky jabs masquerading as actual humor concerning those same sexed-up R&B ballads. No wonder Semi-Pro sucked all the air — compressed or no — from the theaters. Even OutKast’s André Benjamin couldn’t save that play. Hot: working online mundanities into your next pop hit. Witness Teyana Taylor’s "Google Me" on her MySpace (and then admire the way she smooshes her big hair beneath a single hoodie and marvel at the textlike clicks that sound like she’s clipping her toenails). Not to be mistaken for the ringtones I was planning to pen myself: "Facebook Snowballin’," "Just Wanna Be Friendsters," and "Kicking You Outta MySpace."
Naughty: not using coasters, stage diving when the sign explicitly orders you not to, and stepping on the soft, sweet skulls of all the folkie kids sitting on the floor at the next Cat Power show. Haughty: the mendicant monkish hoodie, otherwise known as the new trucker cap. I know balls-out volume dealers like Holy Fuck look cool as Franciscans pulling the hoodie hood over ye olde pate, but you’re going to risk getting stereotyped as a druid in my rock-show/D&D game.
Not: pleasantly perfumed men’s restrooms in clubland. You know which way the wind blows when Mr. P’s door flings ajar. Do non-urine-scented men’s rooms exist? Does the unrefined sense of smell most men possess actually help rather than hinder in this case? Discuss. Snot: asking the audience not to clap till the end of the set — and then thanking them sarcastically when they do applaud between songs.
Not: … realistic. I’m talking about the recent "nightclub reform legislation" proposed by Mayor Gavin Newsom, which "makes it illegal to loiter within 10 feet of a club for more than three minutes." Does taking a breather from a hot club or loading your van with gear fall under the exempt "other activity"? Does this mean that nightclubbing smokers will be forced to purchase automobiles in order to have somewhere to sit and suck their cancer sticks in peace? Snot: do the words "ultralounge bottle service" ring a bell? 2
Sparkles magic! Totting the new UnononU (Kemado), the combo is less ’80s wavo, more hard-cider ’70s psych. Wed/12, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com
MAGIK MARKERS
Powerful juju is always in the works when the Boss duo comes together again. Thurs/13, 8:30 p.m., pay what you can. 21 Grand, 416 25th St., Oakl. www.21grand.org. Fri/14, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF.
DJ MEHDI
Remixing everyone from Ghostface Killa to Architecture in Helsinki, this Parisian is somebody! Fri/14, 9 p.m., $10. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com
ALICE SMITH
The Brooklyn soul savant’s For Lovers, Dreamers and Me (2006) got a rerelease thumbs-up from Epic. With DJ Saka. Mon/17, 8 p.m., $14. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com
HANNE HUKKELBERG
Björk and Mum devotees will dig the languorous, high-drama vocals of the Norwegian singer. Tues/18, 8 p.m., $10. Café Du Nord, 2170 Market, SF. www.cafedunord.com
PREVIEW While electronics have transformed the very core of contemporary dance music, rap, and pop, so-called art music of the concert hall persuasion still centers on acoustic instruments reverberating in real time. But some of the earliest feats of sound manipulation, predating the Beatles’ trippy tape loops and even the ’60s soul tracks destined for an afterlife in eternal sampledom, were achieved by German composer Karlheinz Stockhausen, who was decidedly not a populist. In current terms, "electronic" music tends to denote the limitless reorganization of beats and breaks, but Stockhausen dispensed with regular rhythms altogether, turning his attention to the most basic components of sound itself, using now-primitive equipment to generate sine waves and splice magnetic tape. The most famous result of his experiments, aside from a nod from the Fab Four on the cover of Sgt. Pepper’s, may be the 40-minute tape-based work Kontakte, for piano, percussion, and electronics, premiered in 1960. Pianist Julie Steinberg, who also moonlights as a percussionist for this performance by the San Francisco Contemporary Music Players, emphasizes the prohibitive complexity of performing Kontakte live. "We have to know the electronics perfectly," she says of playing along with Stockhausen’s original four-channel futuristic noise collage, now a digital version realized by a sound projectionist as the performers play. Conceived in recognition of the late composer’s 80th birthday by percussionist Willie Winant, whose cutting-edge creds include work with Mr. Bungle, John Zorn, Sonic Youth, Wilco, and the Mystic Knights of the Oingo Boingo, this is a rare realization of what Winant calls "a masterwork" and a "seminal piece."
SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS Mon/17, preconcert talk 7:15 p.m., concert 8 p.m.; $10–$27; Yerba Buena Center for the Arts, 701 Mission, SF; 978-ARTS, www.sfcmp.org
Not much to say about Friday night’s hip-hop variety show at the Fillmore except that the Legends flat-out rocked it on some Altered Beast shit – that is, once again rising from the underground to save your 18-year-old daughter and all her tank-topped friends.
Grouch met with a warm reception, second only, of course, to Murs, who couldn’t get enough of the energy the crowd was giving him. Dude was bouncing around like a male cheerleader on an upskirt high at homecoming, but who could blame him? A Fillmore stuffed with youngsters was clearly about it, throwing up their double L’s and rhyming right along to Living Legends songs that have become new underground classics.
It was a grip of MCs sharing the stage together and having at posse cuts and shouting out Hieroglyphics Crew the way they’re wont to do. They themselves admitted that the audience’s youth made them feel a bit old.
Imagine sitting at home — or in your office, or in your favorite café — and listening in on what are now secret, backroom policy discussions and decisions in the San Francisco mayor’s office. Imagine having access to an immediate transcript of the talks. Imagine being able to read internal e-mail discussions among city staffers about issues that affect you — without ever filing a public records request. In fact, imagine never having to file another written request for public documents; imagine just going to a city Web site, entering a search term, and finding all of the records yourself.
Imagine filing a complaint with a city agency and tracking the issue, minute by minute, as it works its way through the system.
Imagine listening on your cell phone to any policy body as it meets in city hall.
All of this is possible, today. Much of it is not only consistent with but actually required by local law. And it won’t cost the city more than a modest amount of money.
Transparency is a common buzzword during this presidential campaign; the Barack Obama campaign has even issued a white paper describing policy and technological ways to embrace it. He’s talking about live Internet feeds of meetings about significant issues involving executive branch appointees as well as for those of regulatory departments (a program that would go far beyond what you see on C-SPAN).
So there’s no reason San Francisco can’t take the lead in using technology — generally simple, off the shelf, existing technology — to dramatically increase sunshine at City Hall and public participation in local government.
Proposition G, the city’s 1999 sunshine law, mandates that San Francisco use "all technological and economical means to ensure efficient, convenient and low cost access to public information on the Internet." Here are five easy ways to do that:
1. Fully adopt the voyeur concept for city meetings. This is the idea that the public should be able to observe and engage in government decision making — all government decision making.
All policy meetings in City Hall should at the very least be broadcast as audio on the Web and available via phone teleconference. In other words, the meetings should be streamed online, and that stream should be accessible by calling a free conference line. This is already standard practice in the business world and is working well for many investors in public companies that disclose financial information in compliance with Securities and Exchange Commission rules. It can be done for little or no cost with services like blogtalkradio.com, skype.com, freeconferencecalls.com, and webex.com.
Today only a limited number of public meetings are broadcast, mostly because the only outlet is SFG-TV and resources are limited. But audio streaming is a no-brainer — there’s no need for a staffer to control cameras, the microphones are already set up, and these days just about every room has a speakerphone.
Currently, the SFG-TV video coverage isn’t posted on the city’s Web site, sfgov.org, until two or three days after a meeting. That’s too long; the audio should be made immediately available online. And the Internet URL and dial-in options should be listed on the meeting agenda so that news media and citizen bloggers can instantly refer back to the URL with timecodes to point out specifics, and include them in their stories and blog postings.
With streaming, you can follow along in real time when you are stuck at home taking care of a sick relative, or at the office listening with headphones, or you are disabled and can’t cross town to attend in person.
The city already has a great contract for real time captioning — the text you see at the bottom of the screen for video. It’s not 100 percent accurate, but it’s pretty decent. That could be expanded to cover streaming audio, and the text could be computer translated (or translated by bilingual typists) into other common languages. The advantage of media integrated with RTC is that specialized search engines like blikx.com and everyzing.com can be used to find relevant phrases and begin playback directly at that spot. And transcriptions can be posted online in real time (somewhat like live blogging!) so that if you are late for a meeting you can quickly scan what has already transpired, and by the end of the meeting you will effectively have a draft of minutes. That saves a lot of staff time and provides an immeasurably more useful historic record.
Today, video recordings of city meetings can’t be downloaded — the only way to review it or post a clip to YouTube is to order a $10 DVD, which arrives a week after you send a check (and no, they don’t take PayPal). And while many other city meetings make audio recordings, you have to pay $1 for an audio tape and pick it up during business hours or pay more for postage. They all should be available as free podcasts.
The SFG-TV video shows more than just the speakers and officials; there are other angles, and they ought to be available too. It’s important to know who attended the meeting but never said anything, who greeted whom, and even who ignored whom.
2. Let the public do the broadcasting. All City Hall meeting rooms should provide wi-fi (and electrical outlets), and the system ought to have enough speed to allow bloggers or activists to upload high-quality video broadcasts of meetings that SFG-TV can’t afford to cover. It can be done using existing services like Justin.tv, Upstream.tv, and live.yahoo.com. This would also allow live blogging — and let people preparing to testify on an issue have access to the Web to do research on the spot. If the room had a projector and a screen, people who were unable to attend the meeting could still comment, either through video or just by posting text messages that the decision makers could read.
The audio broadcasting of meetings should be expanded to include all meetings between the mayor (or supervisors) and city staff. The law already requires public access to so-called passive meetings — those between the mayor or department heads and outside parties that influence city policy.
3. Make public most city emails and other documents as soon as they are produced.
San Francisco city employees produce thousands of records a day — e-mails, memos, reports, etc. — and the vast majority of them are and should be public record. But many are deleted and others never see the light of day. When a member of the public asks for all the records on a topic, just finding those documents can be a sizable task.
But it’s technologically simply to solve that problem: every time a city employee produces a document, the computer system should automatically send a back-up copy to a public web server. That way nothing would get lost or erased, and anyone looking for public information could simply go to that site and search for it him or herself.
For e-mails sent by city staff, one way might be to CC (carbon copy) an online message board (for example Google or Yahoo groups, which would be available at no cost to the city). Other approaches for instant messages, text messages and voicemails could be adopted as well. The Palo Alto City Council is already doing something like this for a narrow collection of e-mails (although not in real time).
We all know there are some city communications that must remain private or be redacted — for example Attorney Client discussions or human-resource conversations regarding personnel. But there are simply ways to make sure those stay confidential: one approach might simply have the user tick a flag or answer a Yes/No Possible Redaction popup when the message is sent. Certain employees — like the people who handle sensitive employee health records and certain litigators in the city attorney’s office — could have software that defaults to a confidential server.
The added advantage, of course, is that the computers could also make a record of the title and date of every confidential document — and that information could be made public. If a dispute arose over whether the city was improperly withholding records, the public would at least know that certain documents existed.
All city files could be stored on network drives (not on local drives) with one location for default public files that would not allow overwriting or deletions and would be mirrored to a Web server and another drive for the few that may require redaction first.
4. Save all the old records. After a very embarrassing lawsuit that is threatening the Missouri governor’s job, that state in January adopted an email retention system that preserves all email for at least seven years (based on federal requirements for financial records). And e-mail/instant message/text/fax retention systems are standard practice now in the financial industry (Morgan Stanley lost a $1.45 billion judgment because the company failed to preserve e-mail).
In fact, we all know storage continues to get cheaper and smaller — so San Francisco should abolish any retention timeframes for electronic records and keep them all into the foreseeable future. The world-famous Internet Archive is right here in the Presidio: I suspect that group would love to archive all the city information, and keep it online, free and forever.
When paper documents are part of the public record, they should be scanned and converted to text and posted within two days. This would include discussions between staff and individual members of policy bodies and the creation of the draft agenda and supporting materials as they are obtained.
All these methods would significantly reduce the number of public records requests to the city staff and thus save the city money.
5. Make calendars public — and keep communications public. Mayor Gavin Newsom won’t provide detailed daily calendars — even after the fact, when there is no possible security reason for keeping his workday itinerary secret. All top officials should post their calendars on the web so the public can track what they are doing.
The city needs to adopt a global policy that city business should be performed on city devices (computers, email accounts, phones) whenever possible — and when city employees or officials use their own computers or hand-held communications tools, those should be forwarded immediately to the city system and made public.
San Francisco has one of the best local Sunshine laws in the country — and at a time when activists at every level are looking for ways to use technology to expand public access, the city should be in the forefront. All it takes is some political will.
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Here are some more ways that the city could use technology to improve public access:
1. Use a program like govtrack.us to follow legislative changes.
2. Explore ways to bring nonprofits that perform traditional government services under sunshine laws.
3. Significantly improve the city’s Crimestats system (more real-time allow alerts for crimes near you) – google mashup et al. See http://chicago.everyblock.com/crime/
4. Embrace e-rulemaking technology – similar to federal rulemaking use technology to get ideas online and generate more participation for those who can’t show up in a meeting.
5. Require the Police Department to issue press credentials to bloggers.
6. Fund a few open-government lawsuits to expand the boundaries on access to public records (the law provides for attorney’s fees if the suit is successful).
7. Require city agencies to post the method for obtaining public records online. Require posting of all negative determinations on home pages.
8. At budget time, mandate that each agency provide statistics as determined by SOTF on sunshine responsiveness.
9. Require an assessment of sunshine compliance as a mandatory item for all Financial/Management audits.
10. Televise SOTF and Ethics Commission formal hearings.
11. Require active Ethics investigative files to be open.
12. Embrace fully the much-improved but incomplete example of posting online all interactions as part of large contract negotiations – as was partially done with TechConnect.
13. Host accounts payable/receivables online with the scanned images of invoices paid.
San Francisco has the best local sunshine law in the country — and there are still problems getting access to information. Even though the digital age in which we live affords government agencies with myriad ways to give citizens more access to public documents, there is too often little official will to create transparency. And often, bureaucrats are downright hostile to public scrutiny. But help is out there. This guide to local and national organizations offers a wide range of resources for journalists, citizen activists, and hell-raisers who want to track their tax money and hold their government accountable.
LOCAL ORGANIZATIONS
The California First Amendment Coalition is an independent, nonpartisan, nonprofit organization whose mission is to "promote and defend the people’s right to know" by improving compliance with state and federal access laws. CFAC’s Web site contains an archive of articles dealing with FOI issues, the texts of state FOI laws, and other useful resources. 534 Fourth St., Suite B, San Raphael, CA 94901. (415) 460-5060, cfac@cfac.org, www.cfac.org.
The California Newspaper Publishers Association is the umbrella organization to which most newspapers in the state belong, so it has an acute interest in open government. Its FOI Watch newsletter (also available online) includes a clearinghouse of sunshine news from around the state. 708 Tenth St., Sacramento, CA 95814. (916) 288-6015, tom@cnpa.com (general counsel Thomas Newton), www.cnpa.com.
Californians Aware, run by former CFAC general counsel Terry Francke, helps activists and organizations get access to public meetings and records and offers resources on the Web for citizens, public officials, journalists, and attorneys. 2218 Homewood Way, Carmichael, CA 95608. (916) 487-7000, info@calaware.org, www.calaware.org.
The Center for Investigative Reporting sponsors workshops on investigative techniques for journalists and university students. The center’s Web-based magazine provides FOI information, tips for journalists, and updates on past CIR investigations. 2927 Newbury St., Suite A, Berkeley, CA 94703. (510) 809-3160, center@cironline.org, www.muckraker.org.
The DataCenter provides on-call research, consultation, and referrals to justice organizations regarding FOI issues. It also offers research and action training. Services are free or on a sliding scale, depending on one’s ability to pay. 1904 Franklin St., Suite 900, Oakland, CA 94612. (510) 835-4692, ext. 376, www.datacenter.org.
The Electronic Frontier Foundation, an online First Amendment organization, works to uphold digital free speech, empower the online public, and protect privacy on the Internet. It provides stories and alerts on its Web site, with daily updates. Effector, an e-mail newsletter, is available through the site. 454 Shotwell St., S.F., CA 94110. (415) 436-9333, information@eff.org, www.eff.org.
The First Amendment Project is a public interest law firm that provides legal representation, educational programs, and low-cost or free advice for journalists, public interest organizations, and individual citizens with public records and FOI-related issues. In a joint publication effort with the Society of Professional Journalists, the project offers three free pocket guides, on the Brown Act, California’s Open Meeting Law, and accessing court records. The Web page has information on using the California Public Records Act as well as on getting court records. 1736 Franklin St., 9th floor, Oakland, CA 94612. (510) 208-7744, fap@thefirstamendment.org, www.thefirstamendment.org.
Media Alliance is a nonprofit media center that offers classes on journalism skills, including how to find and use public records. 1904 Franklin St., Suite 500 Oakland, CA 94612. (510) 832-9000, information@media-alliance.org, www.media-alliance.org.
The Society of Professional Journalists, Northern California Chapter, FOI Committee fights for open access to information and educates members of the public on FOI issues. The group provides a subscription e-mail list for journalists and others involved in FOI and First Amendment issues in California as well as putting on the James Madison FOI Awards. 222 Sutter St, 6th Floor, San Francisco, CA 94108 (415) 321-1700, www.spj.org/norcal.
NATIONAL ORGANIZATIONS
The Brechner Center for Freedom of Information conducts research and educates the public in mass-media law and the First Amendment, including public access to government meetings and records and litigation information. University of Florida, College of Journalism and Communications, 3208 Weimer Hall, P.O. Box 118400, Gainesville, FL 32611-8400. (352) 392-2273, www.jou.ufl.edu/brechner.
The Center for National Security Studies works with concerned citizens and groups to expose secret government policies and offers free assistance to those seeking records under the Freedom of Information Act. It also coordinates related litigation. 1120 19th St. NW, 8th floor, Washington, D.C. 20036. (202) 721-5650, cnss@cnss.org, www.cnss.org.
The FOIA Blog, created by an FOIA Washington attorney, has an updated list of documents currently being released by several government agencies infoprivacylaw@yahoo.com, www.thefoiablog.typepad.com.
The Freedom of Information Center of the University of Missouri School of Journalism has a collection of more than one million articles and documents about access to information at the local, state, and federal levels. The center works to ensure compliance with sunshine laws around the country. Its Web site contains links, updates, and tips on FOI inquiries. A free e-mail newsletter provides information on developments in FOI access and issues; you can sign up by contacting umcjourfoi@missouri.edu. University of Missouri, 133 Neff Annex, Columbia, MO 65211. (573) 882-5736, daviscn@missouri.edu, www.missouri.edu/~foiwww.
GovernmentDocs allows people to browse and search thousands of pages acquired through the FOIA and sunshine laws. Registered users can review and comment on documents.www.governmentdocs.org
GovTrack provides information on the U.S. Congress. It compiles information on federal legislation, voting records, and other congressional date and simplifies the language for ordinary citizens. It also indexes all bills, as well as changes to them, in Congress and all roll call votes www.govtrack.us.
Investigative Reporters and Editors provides educational services for investigative reporters and editors. The group’s Web site offers FOI-related resource guides, a database of FOI stories, tips for using the Freedom of Information Act, and a database of previous FOI requests. University of Missouri School of Journalism, 138 Neff Annex, Columbia, MO 65211. (573) 882-2042, www.ire.org
The National Freedom of Information Coalition is composed of First Amendment organizations dealing with FOI issues. It provides resources for the media, government officials, lawyers, and citizens who want access to public information. The coalition also offers seminars and workshops to media professionals, attorneys, academics, students, and the public on FOI issues and helps nurture start-up FOI groups and Internet sites. Its Web site offers links to relevant legislation and organizations state by state, as well as an Internet mailing list, FOI-L. 133 Neff Annex, Columbia, MO 65211. (573) 882-5736, cdavis@nfoic.org, www.nfoic.org.
OMB Watch is a member of the Public Access Working Group, a coalition of organizations promoting greater access to government information. OMB Watch offers an online newsletter, OMB Watcher, available on its Web site or by e-mail, which typically includes articles on FOI issues. To subscribe to the weekly e-mail version, e-mail join-ombwatcher@lyris.ombwatch.org. 1742 Connecticut NW, Washington, D.C. 20009. (202) 234-8494, www.ombwatch.org.
The Project on Government Secrecy is an advocacy and public education project of the Federation of American Scientists. The project has an extensive archive and provides regular news updates through its Web site and e-mail newsletter, Secrecy News. 1725 DeSales Street NW, 6th floor, Washington, D.C. 20036. (202) 454-4691, www.fas.org/sgp/index.htm.
Project Vote Smart provides information on local, state, and national candidates, including voting records, issue positions, campaign contributions, phone numbers, and mailing addresses. The database is accessible by calling the toll-free hotline at 1-888-VOTE-SMART. 1 Common Ground, Phillipsburg, MT 59858. (406) 859-8683 comments@vote-smart.org, www.vote-smart.org.
The Radio-Television News Directors Association is the world’s largest professional organization devoted to electronic journalism. It lobbies for cameras in courtrooms and strong FOI laws and provides coverage of FOI issues on its Web site. 1600 K St. NW, Suite 700, Washington, D.C. 20006. (202) 659-6510, www.rtnda.org.
The Reporters Committee for Freedom of the Press operates the 24-hour FOI Service Center at 1-800-336-4243 to answer emergency questions from journalists and others with open-records problems. 1101 Wilson Blvd., Suite 1101, Arlington, VA 22209. (703) 807-2100, rcfp@rcfp.org, www.rcfp.org.
The Society of Professional Journalists advocates for open access to information and educates members of the public on FOI issues. The society’s Web site has an FOI section with extensive links to resources and information, including a list of FOI advocacy organizations. 3909 N. Meridian St., Indianapolis, IN 46208. (317) 927-8000, questions@spj.org, www.spj.org.
State Sunshine and Open Records shares information, guidance and advice on developments and news about open records at the state and local level. They also have an extensive list of links to other sunshine blogs. www.openrecords.wordpress.com.
The Student Press Law Center works with the Reporters Committee for Freedom of the Press to cover FOI and other First Amendment issues reutf8g to high school and college journalists. It offers free advice, lawyer referrals, and analysis. 1101 Wilson Blvd., Suite 1100, Arlington, VA 22209. (703) 807-1904, admin@splc.org, www.splc.org.
The Sunlight Foundation develops a database to ensure transparency in government and fiscal accountability. They digitize new info and provide access to existing information. 1818 N Street NW, Suite 410, Washington, D.C. 20036, (202) 742-1520. www.sunlightfoundation.com.
WikiFOIAhelps people understand the FOI Act on a state and federal level by providing a how-to-guide about open records requests, as well information on how to make that request. www.wikifoia.pbwiki.com.
INTERNATIONAL ORGANIZATIONS AND RESOURCES
The Guardian Web site has extensive information and links concerning international press-freedom issues. For details on journalists under fire, including frontline dispatches and reports from the battle to keep the world safe for journalists, go to www.sfbg.com/journalists/. For updates, dispatches, and links to national and international FOI groups, go to www.sfbg.com/FOI.
The UK FOI Blog provides a glimpse into how FOI issues are dealt with across the pond by listing news and developments on FOI in Great Britain. www.foia.blogspot.com.
Local government resources
The Government Information Center, on the fifth floor of the San Francisco Public Library’s Main Branch, stocks public documents published by the city. These include annual reports for committees and departments, minutes and agendas of official meetings, environmental impact reports, and city audits, ordinances, and resolutions. San Francisco Public Library, 100 Larkin St., S.F., CA 94102. (415) 557-4500, www.sfpl.org.
The Oakland Public Ethics Commission responds to complaints and holds hearings on possible violations of the city’s Sunshine Ordinance. Records, tapes of the commission’s meetings, agendas, and minutes can be picked up at the commission’s office. 1 Frank Ogawa Plaza, 4th floor, Oakland, CA 94612. (510) 238-3593, ethicscommission@oaklandnet.com, www.oaklandnet.com/government/public_ethics/webpage.html.
The Office of Information and Privacy, U.S. Department of Justice, provides online versions of frequently requested records, opinions, policy statements, and guides to the Freedom of Information Act. The guides include detailed instructions for filing FOIA requests, average response times for different governmental offices, and a wealth of other useful information. The text of the FOIA is available on the office’s Web site. 1425 New York Ave., Suite 11050, Washington, D.C. 20530. (202) 514-3642, www.usdoj.gov/oip/oip.html.
Public Access to Court Electronic Records is an online database of court records and decisions. Web access is 8¢ a page, and requires registration through the Web at www.pacer.psc.uscourts.gov. P.O. Box 780549, San Antonio, TX 78278. 1-800-676-6856, pacer@psc.uscourts.gov.
The San Francisco Ethics Commission monitors and enforces the Sunshine Ordinance and the city’s governmental-ethics, campaign-finance, and lobbyist-reporting laws. Individuals can file complaints regarding violations of the Sunshine Ordinance. The commission meets the second Monday of each month at 5:30 p.m. in City Hall, Room 408. 25 Van Ness, Suite 220, S.F., CA 94102. (415) 252-3100, ethics.commission@sfgov.org, www.sfgov.org/site/ethics_index.asp.
The San Francisco Law Library is open to the public, though only government officials, state bar members, and judges can check out items. Main reference library: Mon.-Fri., 8:30 a.m.-5 p.m., Veterans War Memorial Building, 401 Van Ness, Room 400, S.F. (415) 554-6821. Courthouse reference room: Mon.-Fri., 8:30 a.m.-4:30 p.m., 400 McAllister, Room 512, S.F. (415) 551-3647. Financial District branch: Mon.-Thurs., 9 a.m.-9 p.m.; Fri.-Sat., 9 a.m.-5 p.m.; Sun., noon-4 p.m., 685 Market St., Suite 420, S.F. (415) 882-9310, www.ci.sf.ca.us/site/sfll_index.asp.
The Sunshine Ordinance Task Force oversees compliance with San Francisco’s sunshine law by investigating complaints from individuals who believe city officials have withheld records or conducted meetings in violation of the law. The task force meets the fourth Tuesday of each month at 4 p.m. City Hall, 1 Dr. Carlton B. Goodlett Place, Room 244 (meetings held in Room 408), S.F. For complaint forms and other information call (415) 554-7724 or go to http://www.sfgov.org/site/sunshine_index.asp
PUBLICATIONS
The California First Amendment Coalition publishes the California Journalist’s Legal Notebook, a handy guide to the legal issues surrounding telephone interviews, press passes, gags on sources, and other journalism-related topics ($36.25, $30.88 for CFAC members, shipping included). Also by CFAC is The New Brown Act: How the Open Meeting Law Has Been Revised ($12.75, $7.39 for CFAC members, shipping included). (415) 460-5060.
The Oakland Public Ethics Commission publishes a free brochure, How to Notice a Public Meeting under the Oakland Sunshine Ordinance and the Brown Act, useful for making sure a public meeting follows the requirements of the Brown Act. (510) 238-3593, (510) 238-6620, ethicscommission@Oaklandnet.com, www.oaklandnet.com/government/public_ethics/webpage.html.
Access to Courts and Court Records in California, Open Meeting Laws in California, and The California Public Records Act are free, convenient, quick-reference guides published by the Society of Professional Journalists, Northern California Chapter, and the First Amendment Project. (510) 208-7744, www.thefirstamendment.org/freepress.html.
The ACLU Freedom of Information Project publishes Using the Freedom of Information Act: A Step-by-Step Guide (#4002, $3) and Your Right to Government Information (#1190, $5.95), which covers a broader range of topics, including how to get into public meetings. Both publications can be ordered online through the ACLU’s e-store or by phone. ACLU Publications, P.O. Box 4713, Trenton, NJ 08650-4713. 1-800-775-2258, www.aclu.org.
The Government Printing Office publishes The Freedom of Information Act Guide and Privacy Act Overview ($63), a 986-page guide to the FOIA produced by the Justice Department. It can be ordered by phone at 1-866-512-1800 or online at bookstore.gpo.gov. The Citizen’s Guide is available in its entirety online at www.fas.org/sgp/foia/citizen.html.
The Freedom of Information Clearinghouse Guidebook is a free brochure about making FOIA requests and appealing agency decisions. It’s available online through the Freedom of Information Clearinghouse. www.citizen.org/litigation/free_info/index.cfm.
Paper Trails: A Guide to Public Records in California ($12.89), written by Stephen Levine and Barbara Newcombe, is published by the Center for Investigative Reporting and supported by the California Newspaper Publishers Association. It can be ordered from the CIR. An abridged, online version is coming soon. 2927 Newbury St., Suite A, Berkeley,, CA 94703. (510) 809-3160, www.centerforinvestigativereporting.org/
The fourth edition of the Investigative Reporters’ Handbook ($61, $51 for Investigative Reporters and Editors members), by Steve Weinberg, Brant Houston, and Len Bruzzese, is a comprehensive and accessible guide for novice and experienced journalists that shows how to locate and use more than 500 sources of public information. (573) 882-3364, www.ire.org/store/books.
The Reporters Committee for Freedom of the Press supplies a wealth of publications on public access and other First Amendment topics. How to Use the Federal FOI Act ($5) is a handbook on FOI rights, with instructions for appealing if your request is denied, and includes sample letters. The First Amendment Handbook ($7.50) is a journalist’s pocket guide to FOI issues. Two guides — Judicial Records: A Guide to Access ($3) and Access to Electronic Records ($5) — analyze state laws and decisions regarding access to legal records and government electronic data. Tapping Officials’ Secrets is a set of guides to state public records and open-meeting laws ($10 a state). The News Media and the Law is a quarterly magazine that includes updates on legislation pertinent to FOI ($30 a year for four issues). Some of these publications are available in their entirety online; all can be ordered online. 1-800-336-4243, www.rcfp.org.
The second edition of Law of the Student Press ($18) is a vital handbook for student newspapers. It’s extensively annotated but avoids legalese and tries to bring the law to life for students and educators. The Student Press Law Center also publishes Covering Campus Crime,Third Edition ($2) and the Student Press Law Center Report ($15 for three issues a year). (703) 807-1904, www.splc.org.
Citizen Muckraking: How to Investigate and Right Wrongs in Your Community ($9) offers advice on writing press releases, conducting interviews, and using the FOIA. The book, a collaborative effort by the Center for Public Integrity, is available through Common Courage Press. 1-800-497-3207, www.commoncouragepress.com
Click here for details on the First Amendment Awards Dinner.
Norwin S. Yoffie Career Achievement Award
DAN NOYES (COFOUNDER, CENTER FOR INVESTIGATIVE JOURNALISM)
If journalists were the subjects of trading cards like baseball players, the Dan Noyes rookie card would be just as impressive as a 2008 career highlights card. Think Reggie Jackson: a long, impressive career, spanning multiple organizations and a propensity to come out swinging big at the end of a hard-fought battle.
Over a career spanning 30 years, Noyes has pursued serious investigations, some lasting as long as a year, into everything from questionable Liberian timber imports to illicit gun trafficking from United States suppliers to the Nuestra family gang. Journalism first interested Noyes during the crucial investigative reporting that sparked Watergate scandal in the early 1970s.
In 1977 Noyes cofounded the Berkeley-based Center for Investigative Reporting (CIR), an independent news organization which produces in-depth stories and documentaries for all major news outlets. In 1979, reporting for the ABC News program 20/20, CIR broke a story on a swindling United Nations charity organization and its connections to international drug trafficking.
More recently, Noyes has done a series of print and broadcast pieces concerning gang violence in California and its effect on the lives of those surrounding the lifestyle. Noyes still holds an executive position at the CIR and continues to contribute to the world of investigative journalism.
Beverly Kees Educator Award
CLIFF MAYOTTE
Cliff Mayotte sees his Advanced Acting Class at Lick-Wilmerding High School as one that merges students’ "consciousness and awareness as young adults with their skills and energies as performance artists."
The subtitle of the course is "Theatre as Civic Dialogue," and the eight students enrolled during the 2007 spring semester used all their abilities to pull off a notable show.
After an introduction to Documentary Theatre — a form he described as "oral history turned into performance" — the group selected a topic that was important to them, giving birth to the "Censorship Project."
The students interviewed their peers, teachers, and administrators to gather perspectives on the ways in which expression and opinion can be muted or altered, both voluntarily and involuntarily. They reached out to organizations such as Project Censored, the First Amendment Project, and the Ella Baker Center for Human Rights. They transcribed interviews and studied subjects in order to capture statements, word patterns, and mannerisms of interviewees, then shaped the themes into a 60-minute performance.
Professional Journalists
WILL DEBOARD
"Being a high school sports guy, I don’t get to do this very often," the Modesto Bee‘s Will DeBoard said of his first major foray into investigative reporting. He had gotten a tip that the California Interscholastic Federation was investigating recruiting violations by the football program at Franklin High School in Stockton, which competed with schools in his area. DeBoard asked the school and CIF about recruiting violations, but the football coach flatly denied the allegations and the CIF wasn’t much more helpful.
So DeBoard decided to make formal requests for public records with the help of business reporter Joanne Sbranti, and after fighting through some initial denials, he obtained hundreds of pages of investigatory documents from CIF showing how the school was recruiting players from American Samoa. "It really was a treasure trove of great stuff. We got two weeks’ worth of stories out of these documents," DeBoard said. "It really showed us that what the school was telling us just wasn’t true."
The documents detailed the recruiting scheme and gave DeBoard tons of leads for follow-up stories, including the address of "a home owned by the coach where there were all these gigantic Samoan linemen living there." DeBoard called the effort an "adrenaline rush" better than that caused by the best game he’s covered and a high point of his journalism career.
THOMAS PEELE
Contra Costa Times investigative reporter Thomas Peele has a long history of battling for public records access on behalf of both reporters and private citizens. Peele, who helps with projects for all the newspapers under the Bay Area News Group-East Bay ownership, helped ensure the recovery of thousands of e-mails from the Oakland mayoral tenure of Jerry Brown when he left office to become the state’s attorney general in 2006. Peele also helped conduct a statewide audit of Public Records Act compliance by law enforcement agencies with the nonprofit Californians Aware, which revealed glaring inconsistencies in how police across the state make information about their activity available to the public. And he’s been a major figure in helping the Chauncey Bailey Project pry out new information about Bailey’s murder last year and it’s connection to Your Black Muslim Bakery. He began his career in 1983 at a small weekly in Bridgehampton, N.Y., and moved from there in 1988 to the Ocean County Observer in New Jersey before joining the CCT in 2000.
ROLAND DE WOLK
KTVU-TV producer Roland De Wolk is leading the investigative team of photographer Tony Hedrick and video editor Ron Acker in a quest to get the names of drivers who regularly use FasTrak lanes but don’t pay anything. But to date, says De Volk, the Metropolitan Transportation Commission has been blocking his team’s quest.
De Wolk told the Guardian that his team filed a California Public Records request when the MTC wouldn’t provide information on the amount of money it was losing thanks to drivers who don’t pay tolls when they use FasTrak lanes.
"We asked MTC for specific numbers last summer and got little information. That makes a reporter’s antennae quiver," said De Wolk.
But when he and his team asked for the numbers of people obstructing their plates, the MTC started acting squirrelly, De Wolk said.
"Finally, after six to eight weeks of asking we got an answer: a photo of a car whose plate was blank," fumed De Wolk, whose team continues to push for the names of the 10 most frequent FasTrak violators.
Broadcast News Outlet
KGO-TV
When KGO-TV reporter Dan Noyes and producer Steve Fyffe asked Muni to turn over records of public complaints against its drivers, they were ready for some bureaucratic foot dragging. But they never expected the yearlong grudge match that followed. First, the union representing Muni drivers sued to keep the records sealed. Then Muni’s parent department, the Municipal Transportation Agency, made a backroom deal with the union and released a blizzard of confusing and heavily redacted paperwork that would have made the Pentagon blush.
"It was essentially a big document dump," Fyffe told us. "There was no way to tell one form from another or which driver was which."
Noyes and Fyffe convinced their bosses at KGO-TV to file a lawsuit for full access to the records. The station prevailed, after which Noyes and Fyffe received over 1,200 pages of public complaints about 25 drivers. Recently, the station went back to court after Muni refused to release surveillance tapes of the drivers. As in the previous case, the judge ruled that the public had a right to the materials and forced the transit agency to hand the tapes over.
Fyffe said he sees KGO’s legal successes as small victories in a much larger fight. "I hope in the future that this case will make Muni and other city departments more [responsive] to records requests … these kinds of incremental victories hopefully lead, little by little, to a more open government."
Print News Outlet
SACRAMENTO BEE
The Sacramento Bee operates in a city run by top-tier politicians and their spinmeisters, so the editors and reporters there have placed increasingly high value on using documents to support their stories.
"We’ve always used public records here. Being in a state capital, we’re a little more aware of the necessarily of that," managing editor Joyce Terhaar said. "You just need to be able to tell a story about what’s really happening."
Yet she said that in recent years, the Bee has made a concerted effort to hire public-records experts and to have them share their knowledge with the paper’s staff through regular workshops. And last year, those efforts paid off with a string of big, impactful investigative stories.
Among them was Andy Furillo’s look at how much the state was spending to fight inmate care lawsuits, Andrew McIntosh’s exposé on the lack of oversight for paramedics and emergency medical technicians, and stories by John Hill and Kevin Yamamura on misconduct by the state’s Board of Chiropractic Examiners.
In selecting the Bee, Society of Professional Journalists judges recognized these individual efforts as well as the Bee‘s "institutional support of reporters and their use of public records for numerous stories."
Community Media
THE BERKELEY DAILY PLANET
One of the only ways to uncover corporate wrongdoing is to dig through court records, and it’s the job of the press to report what it discovers, said Becky O’Malley, executive editor for the Berkeley Daily Planet. She was convinced that a prior court order violated the public’s constitutional rights to see court documents, so the small daily newspaper sued and won in a California appeals court last year, making public 15,000 pages of records from a class-action suit filed against Wal-Mart in 2001.
The documents included allegations that the company had denied rest breaks to its workers and deleted hours from paychecks. In the Planet‘s freedom of information suit, the appeals court judges agreed with the paper’s attorneys that the case could set a dangerous precedent where the public would have to prove its right to access court records. "It’s becoming more of a trend for judges to grant permanent seals on court records," said O’Malley. That’s unfortunate, she added, since "the only way the public finds out about bad things going on in society is through court records."
Special Citation Award
CHAUNCEY BAILEY PROJECT
After Oakland journalist Chauncey Bailey was murdered last August, a large group of Bay Area media organizations formed a rare coalition to investigate his death and the activities of Your Black Muslim Bakery, a long-time East Bay institution believed by police to be involved in the killing. Since then, the group has produced several stories complete with audio, video, and photo presentations, the most recent of which is a series by retired Santa Rosa Press-Democrat reporter Mary Fricker detailing the sexual assault allegations made by young women once in the custody of Yusuf Bey Sr., founder of the bakery. Fricker received help from independent radio journalist Bob Butler, investigative reporter A.C. Thompson, and MediaNews staff writers Cecily Burt, Thomas Peele and Josh Richman. Other stories have reported allegations of real estate fraud against bakery associates, explored potential coconspirators in Bailey’s death, and examined the bakery’s ties to several prominent politicians. More about the project — the first of its kind since a group of journalists investigated the murder of Don Bolles more than 30 years ago in Arizona — can be found at chaunceybaileyproject.org, or at www.sfbg.com/news/chaunceybailey.
Public Official
MARK LENO
It was a staff member, Kathryn Dresslar, who told Assemblymember Mark Leno how horrible state agencies had become at complying with the California Public Records Act. Dresslar served on the board of Californians Aware, a group that advocates for open government, and she described to her boss how a 1986 audit by the organization had given every one of the 33 agencies in California government a failing grade.
Ryan McKee, then a high-school student and the son of CalAware board president Rich McKee, had visited each agency and asked for a few simple things. He wanted to see each agency’s guidelines for public access, and he requested some basic information, including the salary of the agency director. Agency after agency refused to follow the law.
So Leno introduced legislation that would have mandated that every agency post its access guidelines on the Web — and included stiff fines for agencies that violated the Public Records Act. "It put some teeth into the law," Leno told us. "And I got 120 of 120 members of the state Legislature to vote for it.
That wasn’t enough for Gov. Arnold Schwarzenegger, who vetoed the bill, saying it wasn’t needed. The governor insisted that he had already ordered state agencies to fix the problem.
"It was a great eye-opener for me, and showed me the resistance this administration has to allowing public access to state government," Leno said. "Without that access the public is at a great disadvantage."
It might be hard to believe, but in 1949 the University of California Regents, a bastion of higher education, rode the wave of anticommunist fervor and McCarthyism, forcing all UC employees to take a loyalty oath. The Board of Regents adopted the rule that UC administrators pushed forth: denounce communism and swear loyalty to the state, or face losing your job.
As could be expected, people resisted and 31 faculty, workers, and student employees lost their jobs. They appealed the case to the California Supreme Court and eventually were reinstated in 1952, but the controversy cast a pall over the UC’s reputation and divided campuses. With the help of a grant from UC President Emeritus David Gardner, archivists from UC Berkeley’s Bancroft Library and other researchers painstakingly compiled 3500 pages of text, many audio statements, and photos from four UC collections.
The online collection, which went live in December 2007, serves as primary source material for students and researchers who want to understand how UC administrators got embroiled in and came to terms with the McCarthy-era tensions that rocked the country.
Legal Counsel
RACHEL MATTEO-BOEHM
Electronic data is the new frontier for public-records law, and Rachel Matteo-Boehm, a lawyer with Holme, Roberts and Owen, last year won a key case preserving the public’s right to access to what some public agencies have tried to claim was proprietary data.
The county of Santa Clara produced a digital map showing property lines, assessors parcels and other key real-estate data, and that became the basis for a geographic information system tool. The GIS would allow users to plot everything from property taxes to street repairs, public investment, political party registration, school test scores and other trends. But Santa Clara wasn’t giving it out to the public: The database cost more than $100,000, which meant only big businesses could use it.
Boehm went to court on behalf of the California First Amendment Coalition to argue that the data was public, and must be made available without high charges. "As information begins to be collected in electronic form, and governments choose to put information in sophisticated electronic formats, you can run into real public-access problems," Boehn told us.
Boehm convinced a Santa Clara Superior Court judge that the data was indeed covered under the California Public Records Act. Now Santa Clara must make the map available to the public — and other counties with similar data, seeing the results of the suit, are following that rule.
The decision was a key one, Boehm said: "One day we’re going to wake up and all there will be is electronic records," she noted. And if governments can apply different rules to those documents, "you can kiss the Public Records Act goodbye."
Whistleblower
DAN COOKE
When Dan Cooke shared details of an alleged sewage spill on Alcatraz Island with the Guardian, the health of the national park — where he’d been working as an historical interpreter for over a decade — was foremost on his mind. But he lost his job after the story was published — apparently for taking a proactive role in noting details of the spill in the island’s log book and speaking candidly to the press about what he’d seen. Wanting nothing more than a return to his job leading educational tours of the island, he filed an administrative claim with the US Department of Labor against the Golden Gate National Park Conservancy and the National Park Service. And he called the Guardian. We reported his firing. The next time Cooke called, it was to happily report he was back on the job.
Citizen
SUPERBOLD (BERKELEYANS ORGANIZED FOR LIBRARY DEFENSE)
SuperBOLD has accomplished something entirely different from what it set out to do. Originally, the small group of devoted Berkeley public library users organized to oppose the installation of RFID tags in books. "In the process of going to library board of trustees meetings, we discovered they were vioutf8g the Brown Act," said Gene Bernardi, who heads SuperBOLD’s steering committee with Jane Welford, Jim Fisher, and Peter Warfield. They found, among other things, that certain documents were only made available to trustees and a lottery system was employed in selecting speakers during public comment. They took their complaints to the Berkeley city attorney and joined up with the First Amendment Project, which threatened a lawsuit. Things have changed, though it’s still not perfect — city council meetings only allow 10 speakers and the library trustees still play the lottery for public comment, but marginal improvements portend better days.
"Now you can speak more than once," said Bernardi. "Now you can speak on consent calendar and agenda items. So there are more opportunities to speak … if the Mayor [Tom Bates] remembers to call public comment."
Electronic Access
CARL MALAMUD, PUBLIC.RESOURCE.ORG
For years, web pioneer Carl Malamud has sought ways to use the Internet to connect average citizens with their government. His new Web site public.resource.org helps that cause by excavating buried public domain information and posting it online. Though still in its early stages, the site already allows users to tap into hard-to-find records from places like the Smithsonian, Congress, and the federal courts system.
Even though most government records are part of the public domain, fishing them out from the bureaucratic depths can be a daunting and expensive task, even for someone like Malamud. During a lecture at UC Berkeley last year, he related his recent difficulties in acquiring a simple database from the Library of Congress. Instead of turning over the materials, officials at the Library cited dubious copyright protections and presented Malamud with a bill for over $85,000 — all for access to supposedly public information.
Thanks to Malamud’s Web site, that database and millions of other documents are now available with the click of a mouse. Ultimately, Malamud hopes public.resource.org will help bring about an age of "Internet governance," in which every last byte of public data winds up online for all to see, free of charge.
THE SOCIETY OF PROFESSIONAL JOURNALISTS
NORTHERN CALIFORNIA CHAPTER presents the 23RD ANNUAL JAMES MADISON FREEDOM OF INFORMATION AWARDS DINNER
MARCH 18, 2008
NEW DELHI RESTAURANT
160 ELLIS STREET
SAN FRANCISCO
No-host bar @ 5:30 p.m.
Dinner/Awards @ 6:30 p.m.
TICKETS:
$50 SPJ members & students
$70 General public
For more information, contact David Greene (dgreene@thefirstamendment.org)
I’ve made no secret of my audiolust for Brooklyn grime-pop chanteuse (and former punk band Stiffed frontwoman) Santogold, but the new vid for her “LES Artistes,” directed by Nima Nourizadeh, is blowing me away:
Santogold’s heavily related to the stripper-loving Spank Rock scene, sharing some producers, remixers, track appearances, and party bills, although on a much higher intel tip (everyone kind of over “bitches and ho’s” DJ Assault circa 2002 ripoffs say “He-eyyy!”) — and look for many, many tired comparisons to MIA to follow in the wake of the release of her self-titled album Santogold (Downtown), which drops on April 22, and her performance at Coachella this year — because, you know, freaky women artists of color sure are similar. Still, her already-legendary bass-heavy ragga crawler club jam “Creator” has swept people onto the same global-hop dancehall dancefloors as Ms. MIA, and the more like that (and the above) the merrier, say I …
And this quote from a recent NYT article on her is priceless: “You get these images of women in sexy clothes, walking around in, like, panties,” she said. “Even Beyoncé — that’s what it is to be a woman and make music. But now there are all these other women doing cool, interesting things, wearing styles they came up with, and it’s not about being naked.”
What would make me want to spend a year of my life living in Concord?
Love.
Cheap rent. ($350/month to live with said person I loved, and another roommate.)
Bomb-ass Mexican food.
I am about to say a very controversial thing: I have yet to eat a truly good burrito in the city. I have been up and down Mission, up and down Valencia, and to El Beach Burrito by my house in the Sunset, and found nothing but decent — bordering on good — burritos. I am not impressed. (But am open to, and would really welcome suggestions…)
I don’t miss Concord, besides its tons of parking and wonderfully hot, 90-plus summers, but I do miss that Mexican food. Concord’s Mexican joints make any place in the Mission taste about as authentic as Baja Fresh.
Wicked flipping awesome! The new Iron Man trailer came out last week and is so good I could watch it backwards while doing a headstand and I’d still want more. Let’s hope the movie can live up to the hype that the trailer has sparked. Regardless, though, Tony Stark is the most badass alcoholic ever. Seriously, there is nothing quite as sexy as a dude who can hold his liquor, build impenetrable armor, and blow up a tank all by himself … AT THE SAME TIME. Drool.
Minimalism is a science too often associated with badly played and poorly written rock ‘n’ roll. That inane, barely listenable mush can become noise art in the burning hearts of burrito-munching garage enthusiasts. You know, of course, that burrito means “Hey, you in the little donkey costume.”
Thankfully, the Raveonettes‘ brand of minimalism is by no means a consumptive joke, but the enchilada proper, drowning in truth: three great good chords; a sweetly sexed, girl-on-boy approach to harmonizing whose average results in unfailingly lusty melodies; a trusty, persistently quaternary time signature; and, to my surprise, nary a kickdrum. Sune Wagner, Sharin Foo, and a would-be Taiko drummer – standing in a sleeveless T behind a tom and a snare – created a steady stream of sleepy homage to the early days of rock on Wednesday night. Lingering perhaps a bit too long on their old stuff, they eventually got around to new cuts like “You Want the Candy” and even a Stereolab cover, “French Disko,” to boot. New, old, or other, the music they play comes deadeningly [sic], unmistakably alive in its solemnity.
Their 4’s, 8’s, and 16’s are layered to taste and well loved by the San Franciscans who packed the house, one of whom couldn’t restrain his zealous “Welcome to San Francisco!” between the first and second numbers of what was to be a compact, though nonetheless decorous set. A quiet “thank you” was returned by the 6-foot, superduper-Cholula-hot Foo, who proceeded to slay the same three chords over and over to the indolently unanimous enjoyment of the audience. They even played a song in 6 (or was it 3?) towards the end of the set: good news for fans who’d like to see them expand their horizons just a bit.
Dreamy Dreamer: Michael Pitt breaks out of Pagoda mode to perform solo.
Ah, SF, gotta love your live music. There’s more music than we can shake a stick at in the next few weeks, SXSW or no SXSW. Hark, are a few more ways to get into trouble:
Kira Lynn Cain
Track The Ideal Hunter (Evangeline), singer-songwriter Cain’s forthcoming album, live as “Class of 2007”’s noirish class act opens for her paramour Jeffrey Luck Lucas and American Music Club player Danny Pearson. Wed/5, 8 p.m. doors, $5. Red Devil Lounge, 1695 Polk, SF. (415) 921-1695.
Arguably no modern film director made a better sustained entrance than Peter Bogdanovich, whose first four features were all triumphs. Targets (1968) was a chilling conceit that brought Hollywood pretend terror (Boris Karloff basically playing himself) against a modern real-world horror, the randomly mass-murdering sniper. That critical success led to a major studio deal to adapt (with then wife and collaborator Polly Platt) Larry McMurtry’s novel The Last Picture Show (1971), a melancholy black-and-white flashback to 1950s rural Texas. It won two Oscars, was nominated for five more, and served as a launching pad for actors including Jeff Bridges, Ellen Burstyn, and Cybill Shepherd. Next came What’s Up, Doc? (1972), a delightful, San Francisco–set nod to 1930s screwball comedies with Barbra Streisand and Ryan O’Neal. Its huge success was equaled by 1976’s Paper Moon, with O’Neal and daughter Tatum as a Depression-era confidence duo.
That’s a heady four hits in five years — and they’ll all be shown at the Castro Theatre in a tribute to the director presented by Midnites for Maniacs’ Jesse Hawthorne Ficks. Another four films will be seen in director’s cuts different from original theatrical versions. Further, Bogdanovich himself will be on hand at all but the earliest matinees. He’s a great raconteur who’s insightfully frank about the ups and downs of an eventually checkered career.
"Ups and downs" puts it mildly. While Bogdanovich started out on top, Hollywood relished kicking him with each downward step. But he’s still here — and especially visible recently, thanks to his role on The Sopranos as Lorraine Bracco’s shrink. Behind the camera too, he’s gotten love lately from the four-hour DVD documentary Tom Petty and the Heartbreakers: Runnin’ Down a Dream (2007). Bogdanovich, who hasn’t directed a big-screen movie since 2001’s lamentably underseen The Cat’s Meow with Kirsten Dunst, hopes to soon start shooting an adaptation of Tracey Letts’s jet-black stage comedy Killer Joe — and he’s got other irons in the fire.
If it’s thus a fine moment to be Bogdanovich, there have been many not-so-great ones. Phoning recently from Los Angeles, he recalls that before the debut of Daisy Miller (1974), his first commercial failure, critic Judith Crist asked him, "Is it good? It better be … because they’re waiting for you." Catching major flack for that film was Shepherd, the model-turned-actress he left Platt for.
"Peter and Cybill" were inseparable, possibly obnoxious. They cohosted The Tonight Show for a week and were reportedly arch as hell. They occupied the inaugural cover of People, with the headline "Living Together Is Sexy." The director quotes Cary Grant (doing a perfect vocal imitation) advising, "Petah, please stop telling people you’re happy and in love!" Asked why, Grant said, "Because they aren’t happy and in love."
Even those who liked Daisy Miller went Attila on 1975’s At Long Last Love, a lavish tribute to ’30s musicals with Cole Porter songs recorded live by some actors who were trained singers (Madeleine Kahn) and others who weren’t (Shepherd, Burt Reynolds). It was meant to be charming. It got the most vitriolic reviews this side of Battlefield Earth. Bogdanovich now says, "We rushed and fucked it up. The first preview in San Jose was an unmitigated disaster. Then we recut and remixed, and it played quite well. But I made some calamitous changes after that, and didn’t preview it again before release. We were just killed. Later we made a different edit. When Jesse called me to say he was showing it, I said, ‘Why?’ ‘I like it.’ ‘Oh, you’re the one.’<0x2009>"
The Castro will screen that improved edit — which is charming. Although the title is still a pseudonym for "turkey," At Long Last Love has never been released on video or DVD. In a town where success usually excuses all egotism, Bogdanovich had still somehow crossed a line. His failures were blamed on sheer arrogance. "I got a lot of that," he says — though back then a purportedly imperious on-set demeanor and statements like "I’m not modest, I’m not humble, and the more success I have, the more critics will resent me" surely didn’t help. He’d had the temerity to befriend Hollywood legends including Grant, John Ford, and Orson Welles — who was practically a permanent houseguest. Who the hell did he think he was?
Cynics had already interpreted Bogdanovich’s hit homages to Hollywood’s past as evidence he didn’t have an original thought in his head. Then they gloated over his nonhits. Despite the star power of Reynolds and both O’Neals, Nickelodeon was a 1976 Christmas flop. (Forced to shoot in color, Bogdanovich says, "It’s another movie in black and white" — which is how he’ll show it at the Castro.)
Despite excellent reviews, 1979’s Paul Theroux adaptation Saint Jack didn’t find an audience. Ditto 1981’s They All Laughed, an enchanting, ensemble romantic comedy. It was (among other things) a valentine to his new love and protégée, erstwhile Playboy centerfold Dorothy Stratten — who shortly after filming ended was killed by the thuggish promoter-husband she’d tried to leave amicably. That murder-suicide was followed by more ugliness: a war of words between Bogdanovich and Hugh Hefner; "dramatization" of the tragedy in 1983’s Star 80 ("I begged Bob Fosse not to do it") and a TV movie; and distribution problems for They All Laughed that cost him millions. Sympathy soured when Bogdanovich became involved with Dorothy’s younger sister, Louise — who was all of six months older than his own daughter. (Nonetheless, their eventual marriage lasted 13 years.)
Bogdanovich had a left-field comeback in 1985’s Mask, with Eric Stoltz as Elephant Kid and Cher as biker-chick mom. But even that was marred by public sparring with both Cher and studio execs. The latter substituted Bob Seger tunes for Bruce Springsteen ones key to the story’s real-life inspiration. (The Castro’s "theatrical world premiere" cut restores all the Bruuuuce.) Whether good, bad, or indifferent, his subsequent ventures flopped. In an eerie echo of past events, 1993’s The Thing Called Love came out (barely) after star River Phoenix OD’d. Bogdanovich turned to directing TV episodes (including for The Sopranos) and cable movies. It wasn’t a comedown, he says. "The scripts were good … and I got to work with actors like Cicely Tyson, Sidney Poitier, and George Segal."
Bogdanovich also relit an acting career abandoned decades earlier. Having written essays about film history (notably for Esquire) before moving to Hollywood, he thinks his industry hater trail is partly due to perception of him as critic turned filmmaker. He considers the roughly 45 stage productions he acted in (and the 6 he directed) from age 15 to 24 as his real prior job.
Given all past tempests, Bogdanovich seems on good terms with his exes — Shepherd (in town with the play Curvy Widow) has promised to show up at the Castro late Friday for The Last Picture Show and At Long Last Love; Louise is flying in to talk about her late sister when They All Laughed shows on Sunday.
Is it painful for them to see Dorothy Stratten onscreen? "Yeah, especially now that [costar] John Ritter has died," he says. "But you know, when you see it with an audience, it’s OK — it takes the pain somewhat away. One of the peripheral tragedies [to Stratten’s death] was that the movie was never properly seen in its day. You couldn’t really look at it in the way it was meant to be enjoyed."
LOCAL LIVE On the wall behind the stage at the 924 Gilman Street Project, someone has scrawled in green paint among the other graffiti, "Punk: Do It Yourself" — words that most of the volunteers, bands, and show-goers at 924 Gilman seem to live by. One longtime habitué, Billie Joe Armstrong, appeared to have abandoned the idea and the venue the day his band Green Day signed a record deal with Warner Bros. more than a dozen years ago. However, on Feb. 10, Armstrong was back on the Gilman stage for the first time in aeons in a rare appearance with his side project of 17 years, Pinhead Gunpowder.
The band sounds something like Insomniac-era Green Day, but they play at an even faster pace. And while Pinhead Gunpowder’s music reflected the sounds of so many other pop-punk bands that frequent the Gilman stage — La Plebe, Carnal Knowledge, and Zomo also performed that night — Armstrong stood out from the rest of the punk vocalists. His famously raucous showmanship transferred flawlessly from the arena to this smaller space. Here, without spotlights and pyrotechnics, his flair and drive to entertain became even more apparent.
At one point, someone in the crowd tossed a black fedora to Armstrong, who put it on his head, tilted it down over his face, and yelled, "Do I look like Michael Jackson?" Yet for the first time in years, he didn’t look like a star: the eyeliner and black suit–red tie combo of late were conspicuously missing. Dressed down in a striped shirt and sporting matted bleach-blond hair, he looked much like he did in 1994 when he stumbled on fame as a teenager. He was in his element, playing loud, fast punk.
Behind him sat Pinhead Gunpowder lyricist and drummer Aaron Cometbus, also well known for his longtime zine Cometbus. Cometbus’s lyrics and prose include tales of squatting in abandoned houses and dumpster diving, and since his stories continue to jibe with his lifestyle, he continues to be welcomed with open arms by the East Bay punk community. Nonetheless, Pinhead Gunpowder’s lyrics might as well be fiction when tumbling out of a millionaire rock star’s mouth. But this seemed to worry no one as the audience yelled along and cheered between songs.
REVIEW My Name Is Albert Ayler offers a close reading of the titular musician, a saxophone colossus who pushed the emotional limits of free jazz, but it also tells a broader story about the strange currents of American avant-garde music. Interviews with Ayler’s churchgoing Ohio family, New York City compatriots, and Scandinavian admirers trace a particular, though by no means atypical, passage. The tenor saxophonist first achieved renown in Stockholm, Sweden, where he began to experiment with the wailing, explosive runs that would some years later turn even John Coltrane’s head. ‘Trane specifically asked for Ayler to play at his funeral, and the photographs and live sound from the memorial service included in the film are searing enough to make even the staunchest defender of melody reconsider. Rather than employing warts-and-all tactics, first-time Swedish director Kasper Collin keeps a respectful distance from Ayler’s mysteries, nowhere more hauntingly than in a few late sequences regarding the musician’s purported tendency to stare into the sun. There is so much we will never know about Ayler, Collin seems to tell us, but watching former collaborators listen to his music through cracked expressions of pain and amazement is revealing enough.
MY NAME IS ALBERT AYLER runs Sun/9–Tues/11 at the Red Vic Movie House. See Rep Clock for showtimes.
There’s never been any doubt pianist Gonzalo Rubalcaba could play. The 44-year-old Cuban émigré has been a highly favored sideman to top-shelf jazz leaders since landing in the United States some 15 years ago. He’s also had a steady recording contract with Blue Note and leads his own trios, which he dominates with an imposing virtuosity, an exacting sense of Cuban musical history, and a tense, brooding personality.
Now Rubalcaba has an exciting new quintet with a striking potential for challenging even his outsize talent. Culled from New York City’s best young players, his combo could be one of those very special groups whose exceptional parts create an even greater whole. Together almost a year, they’ve just released their first record, Avatar (Blue Note) and are embarking on their first West Coast tour, playing at both Yoshi’s locations over the course of a week. Avatar includes three compositions by saxophonist Yosvany Terry, whom Rubalcaba knew from their youth in Havana, Cuba, and who brings a modern, angular urbanity to the jazz traditions they are both well acquainted with. Trumpeter Mike Rodriquez played with Charlie Haden’s Liberation Music Orchestra and has become one of the most sought-after young players in jazz. Bassist Matt Brewer had been with saxophonist Greg Osby’s group and suggested the stunning drummer Marcus Gilmore. Brewer and Gilmore are still in their 20s and bring a vibrant, youthful energy to the group that complements Rubalcaba’s old-world, old-soul vibe. Avatar nods to Rubalcaba’s Latin-classical side, closing with his arrangement of Preludio Corto no. 2 for Piano by the Cuban composer Alejandro García Caturla, but the disc also showcases Terry’s funky "Hip Side," Brewer’s meditative "Aspiring to Normalcy," and Horace Silver’s enduring ballad "Peace."
It’s a riveting recording — and the combo’s live performances promise to be equally compelling. Of late, few major jazz ensembles stay together long enough to create really unique sounds and sensibilities. This particular quintet could have that kind of staying power.
GONZALO RUBALCABA
Mon/10–March 12, 8 and 10 p.m., $20–$24
Yoshi’s San Francisco
1330 Fillmore, SF
Also March 13–15, 8 and 10 p.m.; March 16, 7 and 9 p.m., $12–$22
To say that Pedro Costa is one of the world’s greatest filmmakers might sound like a provocation. But I have said it and will repeat it: Pedro Costa is one of the world’s greatest filmmakers, and there’s nothing willfully perverse in my statement. What follows are initial notes toward understanding why Costa matters. Final judgment is left up to the audience — to whom this director yields so much — and should only follow from seeing his films. Watching Costa’s work gives me the chills; it’s a most mysterious, unusual, and unclassifiable oeuvre, one littered with ghosts of the past and the present.
From the first frame of each Costa film, it’s apparent we’re in the company of that rare filmmaker who simply cares about people: about who his subjects are, about what they’re feeling and thinking, and just as crucially, what his viewers are thinking about them. Each work is riddled with enticing close-ups, and Costa’s pictorial attention (coming out of a sensibility equally at home with European fine art as, say, the dust bowl photography of Walker Evans) is a constant wonder. The subjects are for the most part the downtrodden inhabitants of a Lisbon, Portugal, slum called Fontaínhas, people literally overlooked by dominant cultures. He’s not trying to rub their misery in his viewers’ faces — calling him a "Straubian neorealist," to quote J. Hoberman, is misleading; if anything, his films, with their rejection of rational structures, are more neosurrealist. Rather, the progression in Costa’s cinema has been to give voice to his subjects and to treat them as worthy of existing as fictional characters (Bones, 1997); then, to delve further into their world, their personalities, and their ways of living (In Vanda’s Room, 2000); and most recently, with great success, to combine the two approaches (Colossal Youth, 2006).
Costa finds richness in small variations, and his evolution has led to a narrowing of both subject matter and spatial exploration. Costa has retreated from the wide-open, Monument Valley–esque volcanic surface of Cape Verde to interiors; the benefit of seeing 1994’s Down to Earth is in realizing how Costa’s characters must now feel, cramped in their disheveled surroundings. Combined with his movement toward a long-take style, this signals a shift from a cinema of space to a cinema of time. A parallel trend is an attempt to redefine beauty in cinematic terms — from the exquisite monochrome 35mm of The Blood (1989) to the grubby, purposeful digital video of In Vanda’s Room — and its staggeringly unique use (aided by Costa’s remarkable compositional eye) in Colossal Youth. Likewise, few contemporary filmmakers are as concerned with the juxtaposition of image and soundtrack, and each of Costa’s films reveals new ways of seeing and hearing: in Colossal Youth, the sound is a better narrative guide than the visuals — making long takes a necessity.
Yet the more these movies seem to be within one’s grasp, the more they slip away from comprehension. Costa seems to be saying the same thing about life today: he portrays the outside world as a labyrinth and the domestic arena as a much-needed shelter. He’s surely something of a Brechtian modernist (with Jean-Luc Godard as perhaps an even greater influence than Jean-Marie Straub), yet it’s tempting to assign the modifier post in order to understand Costa’s work. His persistent interrogation of the ways in which people live is certainly post–Yasujiro Ozu. And as Jeff Wall has noted, Costa can also be considered post-Bressonian in that he improves on what some find problematic about the master’s later works — namely, Robert Bresson’s tendency to turn his models into intense abstractions. Costa corrects this by allowing disorder, the uncleanliness of the real world. (Bones is that rare transitional film able to stand on its own as a masterpiece, though at the same time, it doesn’t go far enough — as Vanda and Colossal Youth show). The category that Costa might most willingly fit is that of a postpunk director; that the English moniker Colossal Youth — distinct from the film’s Portuguese title Juventude em marcha, literally "Youth on the March" — is also the only album from the stripped-down Welsh band Young Marble Giants (Rough Trade, 1980) is a surrealist coincidence.
Costa’s films are complex objects in which the present and the past intermingle, both literally (in the posthuman Portuguese slums where Costa’s last three features unfold) and within the history of film. The lipstick traces of Howard Hawks, John Ford, Fritz Lang, Jacques Tourneur, and many other auteurs reappear in Costa’s films. Just as Down to Earth takes off from I Walked with a Zombie (1943), Bones remakes The Searchers (1956). (It might be perverse to say Colossal Youth is Rio Lobo [1970] to Vanda‘s Rio Bravo [1959], but … there, I just said it.) Les inrockuptibles‘s Serge Kaganski has said that Fontaínhas’s poor are like Indians in classical westerns, and that seems about right. In the same way that he recognizes Bresson’s genius, Costa nods to Hollywood even as he tries, in his unorthodox mode of production — he’s created a studio system in which the crew is minimal, and in the case of Colossal Youth, technical support is provided by the actors off camera — to rip it up and start again.
One final, crucial note: As Costa describes, the themes in the films are highly personal. A search for family and for home threads through them, articuutf8g desire for a community that merges the personal and the political (his community is about as far from the European Commission as one can get). And in his subjects, he’s found that missing family, which is but one of many reasons why Colossal Youth is so touching. He’s also developed an alternative, collaborative model of filmmaking that is radical yet replicable, and one that will generate disciples — provided a director is willing to devote the time needed to nurture similar relationships with actors. Even if Costa "only" continues to make films about downtrodden Portuguese — exploring what one festival guide has called a "desperate utopian dream of a human existence" — it’s a new form of cinema that will continue to reverberate, echo, and grow richer with each variation. The avenues of inquiry are innumerable. After all, John Ford only made westerns.
Brad Renfro wasn’t the only cinematic figure neglected in the recent Academy Awards’ "In Memoriam" montage: the academy fumbled even harder in its omission of Taiwanese filmmaker Edward Yang, who died last June of colon cancer in Los Angeles at 59. The self-taught father of Taiwan’s cinematic new wave and a runaway Seattle software engineer who abandoned the tech field that made his classmates wealthy for his true love of filmmaking, Yang only created only eight films during his short, multi-career life, but during that brief span the Shanghai-born, Taipei-raised auteur managed to lend an influential, helping hand in the difficult birth of serious Taiwanese movie making.
Yang’s so-called old drinking buddies, screenwriter Wu Nien-chen and fellow director Hou Hsiao-hsien, were more than just sodden shoulders to cry on; they grappled with manifold frustrations of working independently in the Taiwanese film industry (described by Yang as "fragmented and run-down," with only a limited pool of experienced actors). This gang of three supported each other financially and artistically: according to Jeff Yang’s account in Once upon a Time in China (Atria, 2003), Wu spearheaded the anthology In Our Time (1982), which showcased Yang’s first theatrical film, and Hou mortgaged his house to underwrite Yang’s second feature, Taipei Story (1985), which Hou also starred in — and ended up losing his shirt for after it lasted all of four days in theaters.
Twin brothers by different mothers and both born in 1947, Hou and Yang created their breakthrough films in 1986: the former’s Dust in the Wind was also — surprise! — written by Wu, while the latter’s The Terrorizers is a handsome, cerebral urban psychological drama that flaunts new wave roots like a glittering pop offspring of Jean-Luc Godard. Inspiring critic Fredric Jameson to praise its "archaically modern" textures, The Terrorizers broke down, as writer David Leiwei Li writes in Chinese Films in Focus (BFI, 2003), the hidebound binaries of East and West as "tradition versus modernity, enabling readings that recognize both the border-transcending flow of global commerce and the reflexive capacity of residual local cultures."
It’s easy to read Hou’s and Yang’s early works as responses to one another, a relic of their barroom-pal give-and-take back in the day, and some might view Yang’s masterpiece, A Brighter Summer Day (1991), as simply a rejoinder to Hou’s critically acclaimed, box office record-breaker City of Sadness (1989), though it was made amid far more hazardous conditions — 1989 was the year the bottom fell out of the Taiwanese market for locally produced films, and audiences turned to Hong Kong–made entertainments. A few critics might even tag Yi Yi: A One and a Two as Yang’s greatest feature — for its warm, humanist blend of The Terrorizer‘s postmodern urban landscape, Yang’s evocative roundelay of reflective surfaces, and the gentle gaze he levels on its quietly deteriorating family, headed by a software company manager pater familias, played by Yang’s old friend Wu, and a mother in the throes of spiritual crisis (Day‘s Elaine Jin).
For its unseen but subtly telegraphed depths, referential richness, and the sheer breadth and long-shot scope of its four-hour running time, Day nonetheless deserves the praise lavished on it. Much like City, writes Emilie Yueh-Yu Yeh and Darrell William Davis in Taiwanese Film Directors: A Treasure Island (Columbia University Press, 2005), Day‘s "local history turns the lock on long-suppressed ideas," convincingly plunging the personal into an epic sphere. Rarely screened and unavailable on DVD (much like The Terrorizer), Day has been described as a Taiwanese Rebel Without a Cause (1955) — a true descriptor if one discounts the very specific mise-en-scène of early ’60s Taipei and the film’s dense connective web of cultural, political, and familial allusions, obligations, and affiliations, one that’s as many-tendrilled and enmeshing as that of your average multigenerational Chinese family.
Ensnared by filial duty as well as street gang politics and placed in the sweepingly de-centered core of Day is its proto–James Dean, Xiao Si’r, portrayed by the baby-faced Chang Chen (the nomadic hottie in Yang’s Taiwanese cohort Ang Lee’s Crouching Tiger, Hidden Dragon [2000]). The director opens Day with Si’r’s Shanghainese intellectual father arguing with teachers about his son’s grades, and then widens his aperture imperceptibly, ingeniously onto the arboreal byways, flat-lit classrooms, vertigo-inducing corridors, and shadowy hideouts of Si’r’s world. It’s a realm in which the children of the Kuomintang live an uneasy existence much like their elders: residing in Japanese houses less than 20 years after their parents fought the Imperial army on the mainland, these Taiwanese teens listen to American doo-wop and early rock and form street gangs that parallel the battling political factions of the People’s Republic. Tanks rumble by as brownouts underline the sense of rupture.
Resembling in its panorama and chapterlike parts such historical epics as Bernardo Bertolucci’s 1900 (1976), Day unfurls like a scroll, peppered by the shouts and orders of parents, peddlers, and teachers, and peopled with pungent characters like the Tolstoy-reading, romantically heroic hood Honey and his guilelessly calcuutf8g survivor of a sweetheart Ming — as well as Si’r’s bookish father, who’s torn from his self-absorption when taken into custody by the secret police. All bear the marks of severance from one’s past, papers, homeland, and other familiar signposts of identity. The quiet, troubled, and piercing irony that Yang applies to the scene of Si’r’s father’s arrest, one in which his children repeatedly play Presley’s "Are You Lonesome Tonight" in order to translate the lyric "Does your memory stray to a brighter summer day" to sing at some future sock hop haunted by the specter of Honey’s death — shades of the Jesus and Mary Chain — makes this teeming opus worth turning over again and again in your own memory. It’s like a battle hymn to a faltering family, or a love song to the death of innocence.
CHEAP EATS I see flowers very differently. Not because I’m a woman now, or a softy, or insane, or even a chicken farmer. It’s a kid thing. I learned it from little Clara de la Cooter, who bonked into the world a year ago and very quickly became my new favorite person in it.
Probably not a lot of people get to babysit their ex’s kids. So I’m lucky in that sense, and so is Clara. She’s a passionate eater — I daresay a budding foodie. Her favorite food so far is eggs. I’m just saying …
It’s not hard to imagine who her favorite auntie will be, I’m saying.
Today I saw an ad on the side of a truck that said, "Just the freshest eggs you will ever eat." I forget the brand, but if its slogan is true, then I highly recommend it. Its eggs will be sold not by the carton but by the chicken. Yo, I’ve held warm ones in my hands on cold days between the nest and the skillet. I’ve had to postpone lunch until almost dinnertime because somebody was all stopped up.
And the boys who I’ve dated have not tended to bring flowers. But that’s OK, because most of them never knew they were dating me. I like to think of Clara de la Cooter’s first date. Some awkward, googly kid hands her a flower and she laughs.
"What?" they say, offended.
But if they knew her now, they would know better. The girl just cracks up at the sight of flowers. That’s all. For some reason they are the funniest thing in the world to her. They’re hilarious. She points and giggles, and she laughs her head off. And I think that’s beautiful. More beautiful than I used to think flowers were.
I’m inspired. I want to laugh at flowers too, and I think there’s a chance I might learn to. Yesterday we took two walks together. It’s spring. It’s Berkeley. I held her in bushes and she kicked her legs and squealed with pleasure, rattling the leaves and branches. I pushed her stroller right up into pink ones, purple ones, white ones, yellow ones, and she pointed and laughed and touched and tugged. That she also tried to eat them goes without saying, don’t you think?
Under a lemon tree I wheelied the stroller back so she could look straight up into it. The tree was loaded, and she lost it. She busted a gut. All that yellow, it was early Woody Allen to her. If she hadn’t been so strapped in, she’d have been rolling on the sidewalk.
I want this. I want one. And that alternative-weekly groan you’re hearing is all my old friends, because they know how I used to be. And people tend to expect you to stay the same. Especially those who love you most.
Which reminds me that one day Clara will not be so tickled by flowers, or not in the same way. Maybe she’ll have allergies. I had a fantasy, under the lemon tree with her, that I would live to be 84, and that she would ask me, hopefully over dinner, what she was like when she was one.
Like I started asking my own parents, and at least one of my aunts, a couple years ago. They didn’t seem to know much, maybe because I was 1 of 11. Or they forgot. Which … I don’t have the world’s best memory myself. Already. What I will have is an excessively creased and yellow newspaper clipping in my apron pocket, where I’ve been keeping it for 40 years, just in case. "You found flowers very funny," it will say. And: "We laughed till we cried."
Making limeade out of lemons is my motto in life. This was someone else’s tree, of course, but I picked a small, hard one and put it in Clara’s little hand, unwashed, let her gum and suck it. And a couple of sidewalk squares later I saw, and picked, one tiny wild strawberry, the size of a pea. This I put in her other hand, knowing she’d eat it. And that it might have been sprayed, or peed on by a dog.
——————————————————————–
My new favorite restaurant is one of my old favorite restaurants, but I never told you. It’s the 55-year-old Cinderella Russian Bakery in the Richmond, where I refueled with my soccer buds recently and dripped sweat and blood (from my nose) onto stuffed cabbages, garlicky potatoes, homemade bread, and dill in general. Wow! I think my mates were looking for more like, you know, breakfast, but for my money this is just the thing.
TECHSPLOITATION Ten years from now, surfing the Web won’t require a computer. So says futurist Jamais Cascio, a researcher with Silicon Valley’s forecasting think tank Institute for the Future. He’s been following the development of the Web for years, serving as a consultant to Web industry groups such as Mozilla, makers of the popular Firefox browser, about directions they might want to take their research over the next 10 years. He
believes the Web itself might not change much, but the way we get information from it will.
The Web, Cascio told me recently, will come to us on all kinds of devices. Already people can stream movies from the Web to a mobile, or grab a radio show from the British Broadcasting Corporation Web site to listen to on an iPod. But in a few years, all these devices will be far more specialized. You might have a special pocket-size electronic map that’s just for grabbing maps off the Web and displaying them in a simple format. At the same time, every device you own will become computer-network-ready. Instead of having a 50-inch plasma-screen TV and a computer monitor, you’ll just have a big flat-screen monitor that you can use to tune into Torchwood or read your favorite blogs. Why have two monitors when TV and the Web are both streamed over the Internet, anyway?
Cascio thinks that in the next couple of decades, Web devices will become aware of human presence, turning on and off as people move from place to place. "It wouldn’t be difficult to have your movie stop on your cell phone when you came home, and then get picked up on your big TV," he suggests.
I love this idea because it’s a corrective to the lazy futurist notion that computers will just keep evolving into bigger and better machines, with more (or fewer) blinking lights depending on who is telling the story. Think of all the sci-fi you’ve seen where everybody basically has a Macintosh 50 years from now, but the screen is transparent and dangles in the air. Or the keyboard is made of light instead of plastic. Few people are willing to challenge the regime of the PC and boldly state that this important technology will merge with other ones and basically cease to exist.
But if you look at the history of communications tech, Cascio’s vision makes more sense than a tomorrowland filled with computers that have to stay stationary at a desk and are operated by that old-fashioned typing thing. After all, a more evolved society will at least have gotten rid of typing, since it’s crippled so many people with repetitive stress injuries over the past two decades.
In the future, people will expect ubiquitous Internet access. We will be
comfortable with the idea that we live in a haze of information, and we’d be shocked at the idea that we should need one particular kind of tech to get at it. Already, the profusion of Internet-enabled mobiles attests to this shift in perception. But I’m talking about a shift that goes deeper: one that comes at a moment when everyone, not just the kids and the techies, is completely at ease with the idea that their bodies will always be connected in some way to a data network.
Yeah, in some sense I’m talking about the death of privacy as we have known it. But I’m also talking about breaking down the information juggernaut into little pieces that are easier to control. Maybe your movie will follow you from room to room, but you’ll also have more control over the devices that make that happen. Shutting off the network’s access to you may become as simple as shutting your eyes.
Or maybe it won’t. Maybe your individuality will be stripped away with your privacy, and you’ll have no room to screw up or be subversive because everything you do will be uploaded immediately to Facebook.
My personal theory is that as the Internet becomes a part of our bodies,
we’ll gain a new kind of privacy — call it temporal privacy. There will be so much information swarming around us that nobody will ever be the center of attention for very long. So you may be infamous as a dork today, but in five minutes the next dork will drift across everyone’s retina screens and they’ll forget about your Star Wars dance as they laugh at some kid’s Segway accident.
In the future, your infamy will not be remembered. Is that comforting?
I’m not entirely sure.
Annalee Newitz (annalee@techsploitation.com) is a surly media nerd who
did something really bad about 20 minutes ago, but you’ve already
forgotten about it.
As the California Department of Food and Agriculture (CDFA) pushes ahead with plans to aerially spray the Bay Area with pheromones to eradicate the light brown apple moth (LBAM), the San Francisco Board of Supervisors has signed onto state senator Carole Migden’s efforts to ask CDFA to put a moratorium on the spraying.
"We haven’t seen this level of concern and debate since the medfly days of then governor Jerry Brown," Sup. Ross Mirkarimi told the Guardian. "At this point, spraying sounds premature and reckless, even though I understand this is a nasty invasive pest."
Meanwhile, four members of the California State Assembly, including San Francisco’s Mark Leno, are working collaboratively on a group of LBAM-related measures to address health, scientific, and efficacy issues that remain unresolved since the agency’s multimillion-dollar eradication campaign began last year.
Leno’s part in this collaboration with fellow assembly members John Laird, Loni Hancock, and Jared Huffman involves demanding that CDFA complete an environmental impact report (EIR) before being able to apply pesticide in an urban area for LBAM eradication, which can be a lengthy process.
"By making this an urgency measure, it would take immediate effect," Leno told the Guardian. "We recognize that urban areas are concerned about health and safety, that LBAM is a real threat to the agricultural industry, and that the other side must be considered."
Last year, the United States Department of Agriculture (USDA) and CDFA both gave LBAM emergency status after the tiny, leaf-rolling Australian native was found in a Berkeley backyard, the first time it was confirmed in the continental United States.
As the USDA’s Larry Hawkins told the Guardian, the federal declaration of emergency allowed his department to access the Commodity Credit Corporation, a federally owned and operated entity within the USDA that supports and protects farm income and prices.
So far, the USDA has allocated $90 million to cover the costs of what Hawkins called "an expensive regulatory program," along with those of developing suitable pesticides and a nationwide survey to see if the moth has spread beyond California.
Hawkins claims the state separately declared an LBAM emergency — a move that allowed CDFA to go ahead and abate the pest — and that impacted the state’s normal EIR process.
"Emergency status doesn’t relieve [CDFA] of EIR requirements, but it allows them to do it simultaneously," Hawkins explained.
Since then some citizen activists have challenged the moth’s emergency status, claiming that there is no evidence that LBAM has severely damaged or infested local crops. But Hawkins says this purported lack of evidence proves that the government’s eradication program is working.
"We know the insect exists, that it destroys crops in other countries, and now you find the same insect here," said Hawkins, whose department has predicted that LBAM could inhabit 80 percent of the United States and nibble on 2,000 plant species.
"So, we can logically conclude it will cause damage here. The reason you haven’t seen major damage here is because we’ve found it early enough to deal with it before it becomes substantial. And the reason you won’t find reports of major LBAM damage in New Zealand or Australia is because they are constantly using pesticides," Hawkins said.
Asked if the USDA will fully disclose the ingredients of any product the state plans to use aerially, Hawkins said, "We cannot force a private company to reveal all their ingredients. But we have told all those companies that hope to provide products that they should expect to reveal them all."
Critics of the state’s pheromone spraying program observe that Suterra LLC, which manufactured the spray used over Santa Cruz and Monterey counties, refused to release the full ingredients until it was sued — and Gov. Arnold Schwarzenegger demanded immediate full disclosure.
These same critics also note that Schwarzenegger, who continues to support CDFA’s LBAM-eradication program, received $144,600 in campaign contributions from Los Angeles–based Roll International owners Stewart and Lynda Resnick, who control Suterra, Fiji Water, Paramount Agribusiness, and the Franklin Mint.
Records show the Resnicks donate broadly, mostly to Democrats — including the gubernatorial campaigns of Steve Westly and Phil Angelides, and US Sens. Hillary Clinton, John Edwards, and Barack Obama — with a lesser-size donation to Republican presidential front-runner John McCain, proving they play both sides of the fence.
With researchers testing a variety of LBAM-related products in New Zealand, Hawkins hopes to have a product formulated for California by June 1, which is when spraying is scheduled to resume in Santa Cruz and Monterey; spraying in the Bay Area is set for Aug. 1.
"We would like to give communities maximum notice, but we’re also working towards a beginning-of-June date, and as much as we’d like to insert artificial time frames, the insect couldn’t care less. It’s on a biological time table and is multiplying every day," Hawkins said.
David Dilworth of the Monterey nonprofit group Helping Our Peninsula’s Environment, which advocates the use of targeted pheromone-baited sticky traps, conceded that even if CDFA was forced to stop the aerial spraying, the USDA could spray anyway.
"But it would take them several months to organize, and we don’t believe they have the constitutional power," claimed Dilworth, whose organization is preparing a 60-day notice of intent to sue the USDA and the United States Environmental Protection Agency.
Meanwhile, organic farmers find themselves in an uncomfortable limbo that continues to shift. Take the Santa Cruz–based California Certified Organic Farmers (CCOF). Last fall, CCOF supported the aerial pheromone spray after the National Organics Program approved it, meaning sprayed farmers didn’t lose organic certification
But March 4, CCOF spokesperson Viella Shipley told the Guardian that the group is about to release a revised position on the spraying, and could not comment further "because CCOF’s government affairs committee has not yet approved this revised position."
"We lobbied for an organically approved product and supported it last fall when lots of our members were suffering because they were in quarantine and couldn’t sell beyond county lines," was all Shipley would say.
Meanwhile, organic farmers who spoke on condition of anonymity largely supported aerial spraying for economic and environmental reasons.
"If the moth isn’t dealt with now, it’ll become a bigger problem, from both an environmental and toxic perspective," one farmer told us, citing the already high costs of controlling such bugs as coddling moths and medflies.
"This is somebody else’s pest at the moment, a nonnative pest," he said. "If farmers have to start dealing with LBAM as well, they’ll be ruined."
He also cited his belief that there aren’t 40 million pheromone-soaked twist ties on the market, which is what the CDFA claims is needed to blanket infested counties from the ground up with female pheromones to confuse the males.
Nigel Walker, an organic farmer in Dixon, recalled the devastating costs of quarantine thanks to a medfly-infested mango that someone brought back from Hawaii.
"Their vacation cost me $60,000 because of lost sales," Walker said. "So, for God’s sake, don’t bring, mail, or FedEx fruit and vegetables into California, because border inspectors are looking for bombs and terrorists, not produce and moths.
"We live in a global economy, and we have trade agreements that say if one person gets a pest, you have to do something about it," Walker added. "Nobody wants to be sprayed. Even when I spray organic seaweed on my fruit trees, I wear a mask. So I understand the gut reaction. But by refusing to be sprayed, you’re punishing the wrong person — the farmer — who already has to deal with the vagaries of the weather, the marketplace, and pests like the medfly."
Chris Mittelstaedt, who lives in San Francisco with his family and runs Fruitguys, a small business that delivers organic fruit to offices, said he’s personally against the spraying. "But as a company, we are going to wait a few weeks before letting people know what we officially think or endorse as a plan of action," Mittelstaedt told us.
Other city dwellers are less ambivalent. Frank Eggers, a former Fairfax mayor who is organizing a group called Stop the Spray, said, "[World Trade Organization] stuff is driving this so-called moth emergency.
"We’re allowing other countries to quarantine our produce. And with the global economy, climate change, and travel, we’re going be facing this issue continuously. But we can’t keep putting poison on our land, or say we’ll put you in quarantine if you don’t accept our aerial bombardment," he said.
Paul Schramski, state director of Pesticide Watch, worries that the state and federal agencies are still not listening to the people of California.
"If this is not being driven by trade agreements, then I’m not sure what is the driver. We don’t have all the facts. But it’s not being driven by actual crop damage," Schramski said. "We agree that this invasive moth should be controlled, but it’s a false premise to believe that the choice is between aerial spraying or nothing. The state has known since August that the public was opposed to spraying, so why aren’t we producing more twist ties?"
CDFA, which used $500,000 in USDA funds to hire PR agency Porter Novelli last November at the height of public outcry, is currently researching pheromone products that last up to 90 days and is also planning to use pheromone-loaded twist ties, sticky traps, and stingerless parasitic wasps in its LBAM program.
"We believe this to be a biological emergency," CDFA public affairs supervisor Steve Lyle told us. "If we waited a year or two, so we could first do an EIR, we would lose the battle and become generally infested."
Ironically, California’s best hope for not being sprayed ad infinitum may lie in the discovery that the moth has spread to other states.
"It would make a significant impact if we were to find the insect established in other places," the USDA’s Hawkins told us. "It doesn’t mean we would throw up our hands and walk away, but it would remove some of the argument that the rest of America is at risk from California if other states already have it."
But until that time, Hawkins warned that if state legislators demand a moratorium, forced spraying won’t be the federal government’s only option: "Maybe California would have to be quarantined. And now we are talking about hundreds of millions of dollars."
GEORGE MICHAEL ANNOUNCES FIRST NORTH AMERICAN TOUR IN 17 YEARS, A NEW ALBUM AND MAKES AMERICAN ACTING DEBUT
George Michael
HP Pavilion in San Jose on June 19th
Tickets are onsale Monday, April 7th at 10am!
San Francisco, CA (March 24, 2008) – After performing 80 shows in 12 European countries for a staggering 1.3 million fans over the past year alone, legendary superstar George Michael will be bringing his smash 25 LIVE tour to North American Arenas in the summer of 2008, including a local show at the HP Pavilion in San Jose on June 19th, in support of his new retrospective record. This will be Michael’s first North American tour in 17 years. His last Bay Area performance was on October 1st, 1991 at the Oakland Coliseum. The new record, titled Twenty-Five, will be released April 1st and is a 29-song, 2-CD set featuring several new songs (including duets with superstars Paul McCartney and Mary J. Blige) in addition to many of Michael’s iconic songs from both his solo and WHAM! career. In addition, a companion 2-disc DVD of 40 videos will also be made available.
The 25 LIVE tour broke several ticket sales records, most notably in Copenhagen. Michael’s concert at The Parken Stadium sold over 50,000 tickets in the matter of minutes, shattering the previous ticket sales record at the venue, formerly held by U2. On the 25 LIVE tour, Michael left both fans and critics alike in awe:
“It was a master class in pop genius.” – The Observer
“George proved he is simply one of the best vocalists this country has ever produced. A stunning performance.” – The Sun
“Worth waiting for. The show was, in every single meaning of the word, perfect.” – De Morgen
“A tremendous singer, a complete showman, all George Michael needs is a mike, his songs, and the magic on stage is instantaneous.” – La Parisien
The North American leg of the 25 LIVE tour will kick off in San Diego on June 17th and will continue through San Jose, Las Vegas, Los Angeles, Seattle, Vancouver, Minneapolis, Chicago, Dallas, Houston, New York and several other major cities. The tour will incorporate 22 shows over the course of seven weeks and Michael will perform material taken from the entire span of his career, including some classic Wham! tracks. Michael has recently teamed up with iTunes and Ticketmaster to produce an innovative media package which allows fans rare access to Michael’s videos, songs, and tickets to one of his North American 25 LIVE concerts. The package goes on sale on iTunes on March 25th.
Tickets to the 25 LIVE tour at the HP Pavilion will go on sale to the general public on Monday, April 7th at 10am at www.livenation.com, Ticketmaster outlets and charge by phone at 415-421-TIXS or 408-998-TIXS. Tickets are priced at $55.50, $89.50 and $175.50 for reserved seating plus applicable service charges.
George Michael has enjoyed one of the most successful and enduring careers in the history of pop music, selling more than 85 million records globally and encompassing seven US No. 1 singles, two Grammy awards, three American Music Awards, an MTV Video Music Award and two prestigious Ivor Novello awards for songwriting. His record “Faith” has sold over 20 million copies alone. In addition, Michael has garnered 11 British No. 1 singles and seven British No. 1 albums. He recently was declared the most played British artist on radio over the course of the last 20 years. On March 27th, Michael can be seen making his American acting debut on the new hit ABC series, Eli Stone, in which each episode is titled after one of his songs.
For more information about the George Michael, please visit:
www.georgemichael.com
For media inquiries, please contact:
North America:
Cindi Berger
Bianca Bianconi
PMK-HBH Public Relations
(212) 582-1111
6/17 San Diego/San Diego Sports Arena
6/19 San Jose/HP Pavilion
6/21 Las Vegas/MGM Grand
6/22 Phoenix/US Airways Center
6/25 Los Angeles/Great Western Forum
7/2 Seattle/Key Arena
7/4 Vancouver/General Motors Place
7/7 St Paul/Xcel Energy Center
7/9 Chicago/United Center
7/13 Dallas/American Airlines Center
7/14 Houston/Toyota Center
7/17 Toronto/Air Canada Centre
7/18 Montreal/Bell Centre
7/21 New York/MSG
7/23 New York/MSG
7/26 Philadelphia/Wachovia Center
7/27 Boston/TD Banknorth Garden
7/29 Washington DC/Verizon Center
7/31 Atlanta/Philips Arena
8/2 Tampa/St Pete Times Forum
8/3 Sunrise/Bank Atlantic Center
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Aaron Siuda | Marketing Director / Northwest – Music
(:: (415) 281.9216 / (415) 243-9532 fx
8:: aaronsiuda@livenation.com
*:: 260 5th Street | San Francisco, CA, USA | 94103
PREVIEW The northwestern Italian region of Piemonte is noted for production of wine, wheat, and Fiats. Its principal city, Turin, a.k.a. Torino, was briefly the nation’s capital after unification — and soon afterward became the focus of its early film industry as well. While both crowns were eventually stolen by Rome, the area maintained a role in Italian cinema through the decades. That history is sampled in this weekend of features set in Piemonte, presented by the Associazione Piemontesi of Northern California in collaboration with the Italian Cultural Institute and Regione Piemonte. The four programs run a wide gamut, not least because they span 90 years between them. The closer on Sunday should be a major occasion: a restored print of Giovanni Pastrone’s 1914 Cabiria, the apex of the lavish costume epics that dominated Turin’s industry and proved a huge influence on the likes of D.W. Griffith and Cecil B. DeMille. This three-hour tale of ancient Rome will be accompanied live by pianist Stefano Maccagno, playing his original score. Another big international hit was 1949’s Bitter Rise, a heady brew of neorealism and noir melodrama that made Silvana Mangano — at the time a very well-developed 19 years old — into the first postwar Euro bombshell. Packed into tight clothes as a scheming peasant rice harvester, she seemed the very embodiment of wanton s-e-x years before Bardot, Monroe, and Loren came along. Mario Monicelli’s 1963 I Compagni, a.k.a. The Organizer, is a somewhat more serious labor drama, with Marcello Mastroianni, superb as usual, portraying a professor agitating for improved textile worker conditions at the dawn of the 20th century. Opening the weekend, and serving as its lightest note, is Davide Ferrario’s Dopo Mezzanote (After Midnight, 2004), a whimsical romantic comedy set in Turin’s Mole Antonelliana — a beautiful 19th-century structure that happens to house Italy’s National Museum of Film.
LATE LUNCHES One of the things that makes Don’t-call-it-Frisco such a fine place is the disproportionate ratio of successful slackers to office drones who live here. You know the type: they sleep in until 10, read the whole newspaper over a bagel and coffee, get some sort of exercise, and then spend the rest of the day creatively earning money. I’m one of them — hell, you’re probably one of them. Waiters, bartenders, freelance mortgage brokers, writers, graphic designers … there are all sorts of creative types doodling around the city during off hours, working after the sun goes down and eating their meals whenever they please. The only problem? When you finish breakfast at 11 a.m., you want lunch around 3 or 4 p.m. — and many power-lunch spots serving the corporate world close between 2 and 5 p.m., when the earliest cocktailer trickles in. So where do late lunchers eat? For those of you who think outside the cubicle, here are a few restaurants that’ll serve you no matter what time the lunch urge strikes.
Everything about Bar Bambino (2931 16th St.; 701-8466, www.barbambino.com) is carefully rustic. In the restaurant’s front window, a rough-hewn community table seats 10 and a soft white Italian marble bar reaches all the way back to an open section of the kitchen, displaying cheeses and charcuterie. A few scattered indoor tables give way to a quiet, heated outdoor patio. The menu shows owner Christopher Losa’s love for northern Italy, where he lived for several years: the food is simple, traditional Italian, like the polpetti, pork-and-veal meatballs in a rich tomato sauce with dark chard. There’s nothing superfluous on the plates (order some sides for that), and the dishes are affordable. "I’m all about gastronomic progression, but how many times a week can you eat peppered sardines in cilantro foam?" laughs Losa. "Sometimes you just want a plate of really good pasta." The highly polished Italian wine list offsets Bar Bambino’s simple food.
If you want to know where the really good meals are, follow the chefs. When San Francisco’s culinary heroes have slept off last night’s shift (and postshift drinks) and finished their coffee, they head to Sunflower (506 Valencia and 3111 16th St.; 626-5022) for cheap and authentic Vietnamese eats. Sunflower has two locations: a tiny (like, four tables tiny) space on Valencia and a larger dining room around the corner on 16th Street. Both locations share the same kitchen, which speedily produces hangover-curing dishes like sticky wontons (stuffed with pork, rolled in rice, and deep-fried) and all kinds of pho, with the requisite Mission vegan options available. The industrial-strength Thai iced tea or coffee is sweetened by plenty of condensed milk and will keep you buzzing long into the evening. The produce is fresh and the meat is nondubious, something of a rarity for a pho restaurant.
Absinthe (398 Hayes; 551-1590, www.absinthe.com) hasn’t gotten a lot of press in the past couple of years, but that’s not because the restaurant has slipped any. The Yelpers and the new-restaurant junkies may have gone to feed on fresh prey, but good ol’ Absinthe remains a staple of opera diners and cocktail connoisseurs. The bar’s lounge area stays open through Absinthe’s lunch rush, dinner rush, and the post-opera blitz. Sure, you’ll drop some coin on a meal at Absinthe (a decadent lunch for two plus cocktails runs about $100), but you’ll eat, and be treated, like royalty. Forget about the tired waitstaff dying to drop the checks so they can go home — the service here is as good as the Chartreuse cocktails and the fresh crab.
Restaurant Lulu (816 Folsom; 495-5775, www.restaurantlulu.com) is a total find in the restaurant wasteland that makes up this part of the SoMa corridor. It has the best salty, lemony mussels around, hands down. The industrial-chic decor is at odds with the impeccable and friendly service (read: no pretense, no attitude). Lulu’s is perfect for a hefty lunch circa 3 p.m., after a midday spin at the San Francisco Museum of Modern Art or the Yerba Buena Center for the Arts.
The kitchen at Perbacco (230 California; 955-0663, www.perbaccosf.com) will only do a bar menu between lunch and dinner, but it’s worth a trip to the heart of the Financial District for some ultra-authentic Italian snacks and drinks. The house specialty is the charcuterie plate (the sassy little meat-chef slices everything on a vintage machine right behind the bar), but everything’s good. Try their signature cocktail as a brightly acidic complement to the heavy, comforting meatiness offered on the rest of the menu.
OK, so you never want to hear the words "Asian fusion" again. I know: I don’t either. But buck up and check out Ozumo (161 Steuart; 882-1333, www.ozumo.com) on the backside of Steuart. If you just can’t bear to order anything with the word "fusion" in its name (your loss), you can still try the sushi. Ozumo is where the other servers in the area head for their post-lunch-shift drink — in case you wonder who the raucous group in the front lounge are. If you sit up there too, you can even pick up a wireless signal from next door. Hey, it’s like you really are in an office … but with cocktails. Viva la SF-slacker lifestyle! (Ella Lawrence)
