› paulr@sfbg.com
As you step into Roy’s Restaurant, you will notice the names of many cities stenciled in gold on the glass door — places where other Roy’s Restaurants can be found. You might feel as if you are sidling into one of the branches of a Parisian house of couture or the district office of some international brokerage firm. My eyes darted briefly to the end of the two-columned list, half expecting to see the reassuring words “FDIC insured.” I didn’t see them. But then, insurance, whether from the Federal Deposit Insurance Corporation or some other gracious entity, isn’t really necessary at Roy’s. The place has found its feet here, and they are feet that move with a definite San Francisco style.
When our Roy’s opened six years ago, I walked through the doors into a fabulous inaugural dinner party and was disappointed. It was a lovely restaurant, yes, with innovative and well-prepared food conceived by Roy Yamaguchi, the founding chef and eponym — but it wasn’t in Hawaii, and the island magic seemed lost on the streets of San Francisco. The handful of Roy’s Restaurants in Hawaii are among the original ones, and they reflect the islands’ paradisial temper; life moves a little more slowly there, and people are less tense with the metropolitan urgencies. The Roy’s on the Big Island even has, for alfresco types, a kind of docklike deck extending over the water, and if you take a table there, you can practically hear the just-caught fish flopping around on the weathered timbers. The cooking reflects the immediacy and locality of the ingredients — seafood just minutes from the sea, beef from cattle raised on the Big Island — as well as the distinctive blend of influences, from Japan, Polynesia, and Europe, that give the Hawaiian Islands much of their gastronomic and cultural flavor.
Transport all this to a gritty and often chilly stretch of Mission Street and you have the restaurant equivalent of a heart transplant. There is no dock whose pilings are lapped by soft, warm waves, no purple sunset or palm fronds waving in a gentle breeze; there is just damp concrete and Muni buses. Even the interior decor is mostly in the urban vein: a huge exhibition kitchen and a honeycomb of wine bottles similar to the one at Bacar. If, like me, you remember Roy’s as part of the Hawaiian enchantment, you might well find the difference shocking and even disappointing. But this is unfair to our Roy’s, which in truth has become an excellent restaurant very much in the metro-California manner. If the long list of cities on Roy’s front door reveals that Yamaguchi has built an empire, it also tells us that, like the Roman Empire and its ecclesiastical successor, he has done so by adapting a core formula to local conditions, tastes, and expectations.
Roy’s core mostly has to do with the food, and its center of gravity (the menu’s term of art is “classic”) lies within the confines of the prix fixe, a $35, three-course dinner. The street signage describes the restaurant’s cooking as “Hawaiian fusion,” and for me the fusion isn’t so much East-meets-West as East–meets–West Hollywood. Yamaguchi cooked in Los Angeles in the 1980s, and he has a Wolfgang Puckish flair for boldness — grilled shrimp (part of the prix fixe first course) served with wasabi cocktail sauce, for instance, or a large, spherical crab cake ($15) mounted like a trophy on a pedestal of tinglingly spicy kimchi — sweet, hot, sour, and rich, all in the same bite.
The fixed-price dinners all open with the same appetizer trio, of which the shrimp is a constituent. Its companions include a single, but heavily meaty, baby back rib — tender as the night, Szechuan spiced and wood grilled — and a chef’s-choice item that might be a nicely crisped pot sticker. On the question of main dishes, choices open out. Here we find four possibilities, reflecting a world of influences. Large prawns in a tangle of pad thai — threads of carrot and daikon radish tossed with rice noodles — seem quite comfortably Southeast Asian, while charbroiled short ribs (of beef) are as tender and engagingly stringy as Grandma’s pot roast on a chilly Iowa night.
I was pleased that the hibachi-grilled salmon was wild king salmon presented on a molded pad of jasmine rice, though it seemed a bit late in the season for the fish to be local. The dish I found most representative of Roy’s local sensibility was a mahimahi filet, crusted with macadamia nut crumbs (a very Hawaiian touch), then sautéed and served with lobster-butter sauce (a rather French touch, I thought) and thick slices of new potatoes. The overall effect was less one of fusion than of California cooking. One minor note of discontent: the potatoes were undercooked.
Our friends, who are Roy’s devotees, urged upon us the melting hot chocolate soufflé, an innocuously cakey-looking object that was indeed filled with melted chocolate. At the touch of a fork, it oozed out like lava onto the plate. Less dramatic, but also texturally memorable, was a macadamia nut almond tart — a disk of one’s own, tasting a lot like pecan pie and topped with crumbles of macadamia nuts and a shift knob of vanilla bean ice cream. The tart was almost too sweet for me.
The devotees made a point of saying they prefer Roy’s to Boulevard. I am not sure I agree with them, but I understood their point, and perhaps the real news is that Roy’s and Boulevard can be mentioned in the same sentence these days — can be compared. The two, while neighbors, are very different sorts of restaurants, but each is a San Francisco restaurant, sprinkled with a bit of the local pixie dust. For Roy’s, member of a chain whose roots are halfway across the Pacific, that’s certainly some dust it’s glad to have. SFBG
ROY’S RESTAURANT
Lunch: Mon.–Fri., 11:30 a.m.–2 p.m.
Dinner: Mon.–Thurs., 5:30–10:30 p.m.; Fri.–Sun., 5–11 p.m.
575 Mission, SF
(415) 777-0277
www.roysrestaurant.com
Full bar
AE/DC/DISC/MC/V
Moderately noisy
Wheelchair accessible
Local
East meets West Hollywood
A sound proposition
› a&eletters@sfbg.com
There are huge, expensive, city-sponsored monuments to the arts lined up on Van Ness Avenue, opposite City Hall, and I’ve seen some of the best music in the world performed there.
The formidable San Francisco Symphony took a run at Igor Stravinsky’s Rite of Spring at Davies Symphony Hall years back — a feat not dissimilar to juggling chainsaws while riding a unicycle along a plank over a pit of alligators — and pulled it off with both precision and gusto. And more recently, the San Francisco Opera made me, a lifelong doubter of wobbly-voiced wailing, an instant convert. The occasion was a spectacular staging of Billy Budd, Herman Melville’s great tragedy of miscarried justice as hauntingly rendered by Benjamin Britten.
The opera and the symphony — though deriving much of their revenue from foundations, corporate sponsorships, and ticket sales — also enjoy considerable subsidization from government. According to the SF Symphony’s IRS Form 990, it received almost $800,000 in government grants in 2005 alone.
These subsidies are good, but there needs to be a lot more of them — and they need to serve all citizens of San Francisco much more effectively. It could not be said, for example, that a typical Friday night at the SF Opera is either affordable or appealing to a significant portion of the city’s residents.
And it’s certainly not true that there isn’t enough music and art in San Francisco for all its citizens. This place is bursting at the seams with creativity. You could put on a live performance by a local band or DJ crew in Justin Herman Plaza each week for a solid year and not run out of talent.
In fact, that’s not a bad idea! Why not, as a matter of city policy, support the staging of one free, live, outdoor musical performance per week year-round? We can keep it cheap. Once you bring things inside, it gets a bit expensive, stops being DIY, and starts meaning forms, insurance, and union-scale wages — all substantial barriers to entry for your local experimental jazz combo. The space would, in fact, have to be donated — not impossible, but not always likely.
So outdoors it is. Rain or shine. Bring your own PA. Do your own flyering. According to Sandy Lee of the Parks and Recreation Department, the nonprofit rate for using any outdoor musical facility is $500 for as many as 1,000 people. If you want to do one show weekly for a year, that’s $26,000 total. I’ll wager that San Francisco’s major arts funders could easily cover that annual fee through a matching grant program paid directly to Rec and Parks.
That’s a bump on a log in the world of arts funding, and such an arrangement isn’t unprecedented. San Francisco’s Hotel Tax Fund picks up the user fee for the Golden Gate Park Band, which has a regular Sunday gig April through October in the unremodeled band shell in the newly remodeled Music Concourse.
So we’re certain just about everyone will agree that more free live music outdoors would also be pretty much awesome. Now we get to program 52 weeks of free live music in San Francisco. Booking, or perhaps curating is a better term, would be done democratically, ethically, and, of course, pro bono by volunteers called up from the performance and presentation community. Local venue and club bookers, noncommercial and — ulp! — pirate radio DJs, festival programmers, musicologists, and the like. Remember, we have 52 weeks to fill, so there’s room for everyone.
At this point it’s clear that there would be hang-ups to unhang. There would be the danger of favoritism and payola in the booking — underpaid musicians and bookers are often hungry and desperate. There would definitely be aesthetic disagreements. Where, for example, will the punk and metal bands play? The thumping DJ crews? Lee noted that the department is “very sensitive” to NIMBYs opposed to amplified music.
Nevertheless, she said, the city is full of outdoor venues for amplified music, all available for the $500 nonprofit use fee. These include McLaren Park, the Civic Center, Mission Dolores Park, Union Square, Justin Herman Plaza, the Marina Green, and Washington Square. In Golden Gate Park the Hardly Strictly Bluegrass Festival has sprawled magnificently across the Speedway, Marx, and Lindley meadows; both Reggae and Opera in the Park regularly occupy Sharon Meadow; and the band shell, a.k.a. Spreckel’s Temple of Music, is also back in action after being closed for three years during the de Young reconstruction.
“The band shell is open to any group that wants to perform there,” Lee said, and that’s a great place to start.
Get city backing for a pilot program and set up a spring-to-fall season similar to that of the Golden Gate Park Band, whose musicians are volunteers. Shoot for radical diversity in the booking to get a true cross section of the city’s ethnic, cultural, contemporary, and historic musical palette. Schedule performances opportunistically: during lunch hours downtown, at 2 p.m. on a sunny Saturday in the park. Stage local music showcases on weekends or holidays for full afternoons of free music. Pick the lively bands for fog season so folks have a reason to jump around. Switch venues each week to keep the NIMBYs off balance. And remember that commercial radio stations would have to pay the commercial user fee of $5,000 if they want to get in on the game. This will keep things focused on the grassroots.
We must create an expectation for this kind of low-cost local arts subsidy. It’s true that music and culture thrive like weeds in the cracked cement of oppression. But keep in mind that $26,000 for a year of venue-user fees for local music is 3.25 percent of the symphony’s government subsidy. The city can take an unprecedented step in support of genuinely accessible, relevant arts programming. At a time of gutted arts funding around California and the nation, San Francisco could set an example for pragmatic, affordable, nonelitist, human-scale public arts for the entire community.
The only thing stopping us is cultural elitism, NIMBYs, and acres of bureaucracy. Piece o’ cake! SFBG
JOSH WILSON’S TOP 10
•Project Soundwave’s experimental, participatory music showcase
•Godwaffle Noise Pancakes at ArtSF and beyond
•Resipiscent Records release party, Hotel Utah, Oct. 20
•Sumatran Folk Cinema and Ghosts of Isan, presented by Sublime Frequencies at Artists’ Television Access, July 14
•William Parker Quartet, Yoshi’s, May 24. Jazz wants to be free!
•Experimental music showcases staged weekly at 21Grand
•Deerhoof! Castro Theatre, April 27
•Gong Family Unconvention, the Melkweg, Amsterdam, Nov. 3–<\d>5, featuring Steve Hillage playing his first rock guitar solo since 1979, Acid Mothers Temple with the Ruins guesting on drum ’n’ bass, and local guitar superstar Josh Pollock invoking the spirit of Sonny Sharrock with Daevid Allen’s University of Errors (a truly explosive combo including ex-local DJ Michael Clare)
•Hawkwind, the same weekend as the Gong Uncon, in nearby Haarlem, full on with alien dancers, lasers in the stage fog, and Dave Brock announcing the encore: “If fuckin’ Lemmy kin play ‘Silver Machine,’ we kin fuckin’ play ‘Motörhead’!”
•Noncorporate radio in San Francisco: KUSF, KPOO, Western Addition Radio, Pirate Cat
Leno vs. Migden in 2008? Maybe
By Tim Redmond
This is still at the early whisper stages, but there are a number of people urging Mark Leno to run for state Senate against fellow Democrat Carole Migden in 2008 — and the word is that Leno is actively considering it.
Talk about wild campaigns.
Both are formidable fundraisers and good campaigners, both have had strong bases of support in the city — but Leno seems to be more on the political upswing these days. He’s was just re-elected easily, has few visible enemies in town, and is chairing the powerful Appropriations Committee. Migden angered some local progressives with her strong support of Steve Westly for governor over Phil Angelides (although she can certainly argue that the outcome of the election lends credence to her claim that Westly had a better chance of beating Schwarzenegger).
Leno and Migden have never been best pals; Migden supported former Sup. Harry Britt against Leno in the often bitter 2002 Assembly primary.
Migden’s a fighter; a primary challenge wouldn’t be easy. But the fact that it’s even under discussion suggests that Leno thinks there is some dissatisfaction with the incumbent.
Keep an eye on this one.
Give, give, give
It’s happened again. December has rolled around, and last year’s promise not to buy gifts for anyone has melted into a familiar panic. “Just a few people,” I thought — and those few quickly snowballed into a dozen, that dozen into many, that many into, well, the onset of a big ol’ holiday freak-out. What the hell to buy for everyone? The thought of going to a mall gives me the all-overs. Too many people, too many shiny displays. Too many “it” items this year — though I must admit, this season is mild compared to past years of Tickle-Me-Elmos and Furbies. Furbies really freaked me out, man. At least there aren’t any Furbies this year.
It’s not that I’m a Scrooge. In fact, on a holiday scale from “Ho, ho, ho!” to “Bah humbug!” my seasonal sentiments rate a solid “Fa la la la la.” I’m just oozing with holiday cheer — what I’m lacking is the cash to spread that cheer around.
Another major deterrent to the mother of all shopping seasons: people scare the hell out of me. Last year I almost lost an eyeball attempting to navigate around the umbrellaed masses of Union Square. There was barely a light drizzle, but the umbrellas were up, the people combative, and once I reached the safety of the Disney Store, there was another enemy force: children. Screaming, snot-nosed children. Sleep-deprived mothers trailing behind, trying to wrangle the ankle biters to the next shopping destination.
Is it worth all the stress? Not in my estimation. That’s where good planning comes in. I have three rules. One: make every gift thoughtful, personal, and original. Two: stay the hell away from shopping centers, big-box stores, and those umbrella-wielding maniacs of Union Square. Three: spend as few of my hard-earned dollars as possible. I’m no expert on shopping, but I’ve made enough mistakes to know I’ll need one hell of a strategy to pull off the perfect shopping caper. The plan? Divide and conquer. Get ’er done. Make it up.
DIVIDE AND CONQUER
Consider who the most important people on your list are. The people you love the most are always the most difficult to shop for. Get the important stuff out of the way early to minimize stress. Special people call for special circumstances — that’s why shopping at smaller, local businesses is best. Your big brother might love that copy of Bob Dylan’s Chronicles, but you can bet your ass he saw it on the Border’s clearance shelf for $6.98.
THE HEAD HONCHO
Chances are most bosses have received more bad gifts from their underlings than they can fill their oversized offices with. Steer clear of tchotchkes and give the gift of booze. A good bottle of wine goes a long way. Try K and L Wine Merchants (638 Fourth St., SF; 415-437-7421, www.klwines.com) for a huge selection and a staff so helpful they could explain the nuances of a petite sirah to a donkey. Or try Coit Liquor (585 Columbus, SF; 415-986-4036, www.coitliquor.com). This San Francisco landmark looks like your basic bodega, but the corner haven offers one of the best selections of fine wines in the city.
YOUR COWORKERS
If you have to buy for half the office, at least take comfort that these are the only people on your list who truly understand your financial woes. Think stocking-stuffer small. Think clever. Think original. Think Wishbone (601 Irving, SF; 415-242-5540, www.wishbonesf.com) for all the odds and ends of your shopping this season. Everyone loves adorable useless bullshit.
YOUR (FEMALE-GENDERED) SWEETIE
Known affectionately among locals as “Oh — that store with all the skulls?” Martin’s Emporium (3248 16th St., SF; 415-552-4631, www.martinsemporium.com) also happens to have an obscenely large collection of antique jewelry. So if your honey has an itch for F. Scott Fitzgerald, get her all Gatsbyed up with some jazz age earrings, brooches, and pendants. Or pull a Clinton: find a signed or first edition of your lady’s favorite book among the antique items at Thomas A. Goldwasser (486 Geary, SF; 415-292-4698, www.goldwasserbooks.com) or the pulp paperbacks of Kayo Books (814 Post, SF; 415-749-0554, www.kayobooks.com).
YOUR (MALE-GENDERED) SWEETIE
I blame Sears. Men are hard to shop for, yeah, but it seems like department stores have all but given up. Steer clear of the mall stores with the prepackaged wallet–<\d>watch–<\d>grooming kit gift sets. Stay away from the cologne-aftershave-and-soap-on-a-rope gift set he’ll never use, and think outside the little boxes. If you can’t spring for the PlayStation 3 that he really wants, you can agree to let him loose for an afternoon in Isotope Comics (326 Fell, SF; 415-621-6543, www.isotopecomics.com). Or if you refuse to feed his geeky side, go for his cuddly one. The San Francisco Society for the Prevention of Cruelty to Animals (2500 16th St., SF; 415-554-3000, www.sfspca.org) always has little friends who need loving homes. What’s better than a faceful of puppy kisses for the holidays?
MOM
It’s hard to skimp on Mom’s gift. Something heartfelt, personal, and dirt cheap — is that so much to ask? Lucky for us, moms these days are hardly the June Cleaver types. Give her something original, social, and rewarding. She’ll thank you for foregoing another year of bath salts. Classes make great gifts, and she’ll never expect it. It’s never too late to learn a new language: The Alliance Français (www.afsf.com) has beginner courses starting at $365. The Goethe-Institut (www.goethe.de/sanfrancisco) will teach Mom German starting at $230. For every other language in the world, starting at $175, try the ABC Language School (www.abclang.com). For even cheaper options, hit up Craigslist for a private tutor (most start at around $20 an hour) or send her packing to City College.
If you don’t think Mommy Dearest is into spending her days conjugating verbs, she might give yoga a try. At Mission Yoga (2390 Mission, SF; 415-401-9642, www.missionyoga.com), the Bikram program rules. The huge studios are open every day of the year, and they even offer Spanish language classes! Yoga Tree (www.yogatreesf.com) has locations all over town and offers tons of different styles. Perfect if Mom still thinks “asana” is a swear word.
DAD
Ah — my Republican Dad. We both love Johnny Cash and mob movies — that’s pretty much where the similarities end. Instead of delving into the dangerous world of politically themed gifts (boy, was that year fun), hiding behind an ugly tie, or grabbing yet another ratchet set, shoot for the common ground. Records are great because they are traditional, and Daddy can get all nostalgic about how much better Gordon Lightfoot sounds on vinyl. Check out Grooves Inspiralled Vinyl (1797 Market, SF; 415-436-9933) for a huge country section.
YOUR BFF
Time to play Let’s Make a Deal. No gifts until January. My closest friends and I are all always broke, so we have a tradition of buying each other dinner for birthdays, holidays, and special occasions. More often than not, by the time our schedules align we all owe each other at least one meal. This means we can justify an outlandishly expensive restaurant, split the bill evenly, and settle all debts. If this won’t swing in your inner circle, go for something experiential. Close friends are close for a reason — usually a common interest. Bond over art? Buy each other yearly memberships to the SF Museum of Modern Art (www.sfmoma.org) or Yerba Buena Center for the Arts (www.yerbabuenaarts.org). Love music? Concert tickets at Slim’s (333 11th St., SF; 415-255-0333, www.slims-sf.com) and the Independent (628 Divisadero, SF; 415-771-1421, www.theindependentsf.com) are as cheap as CDs and, as something you can do together, much more personal.
LITTLE BRO OR SIS
It’s every older sibling’s privilege — nay, responsibility — to introduce the younger family members to the more subversive side of life. If the kids happen to be teenagers, now is the time to pump them full of all the J.D. Salinger and Jack Kerouac you can get your hands on. Go to the source of the rebellion and buy from City Lights (261 Columbus, SF; 415-362-8193, www.citylights.com). If you really want to start a fire, hit up anarchist ground zero Bound Together Books (1369 Haight, SF; 415-431-8355). You are also well-placed to mold their fallible little minds into appreciating good music. Find all the songs that riled you up in your adolescence at Streetlight Records (3979 24th St., SF; 415-282-3550, www.streetlightrecords.com). Even if they hate your picks, you’ll have taught them a valuable lesson about snubbing all that fancy marketing and finding their own taste. You’re such a good role model.
BIG BRO OR SIS
It’s always hard to shop for the person who made your young life a living hell. To help you turn the page on that awkward history of rivalry, sign your tormentor up for the gift that keeps on giving. Magazine subscriptions are always a great idea for the holidays — but really, who wants to funnel their money into publishing houses all the way out in New York? We have tons of extraordinary publications based right here in the Bay Area! You can’t go wrong with Planet (www.planet-mag.com) for culture vultures, SOMA (www.somamagazine.com) for artsy types, Mother Jones (www.motherjones.com) for the world conscious, or Wired (www.wired.com) for the tech savvy.
THE YOUNG ’UNS
The only reason I tolerate the holiday shopping madness is that it offers a valid excuse for grown people like myself to play with toys. Now that there are some nephews in the picture, I don’t feel so creepy fondling everything on display at the Discovery Channel Store (865 Market, SF; 415-357-9754, shopping.discovery.com) in the Westfield Center. I know, you have to brave the big, scary new mall, but the payoff is strong. From crime scene kits to talking globes, this store will make you feel like a kid again. Everything is educational, but the children will never know. Ambassador Toys (186 West Portal, SF; 415-759-8697, www.ambassadortoys.com) has all the lovely LeapFrog (a local company!) baby things and tons of interesting multicultural stuff too.
GRANDPARENTS
Mom-mom and Pop-pop are so easy. If you remember to call, they’re thrilled. Getting them a gift? Oh, you’re such a honey pie! Head to Paxton’s Gate (824 Valencia, SF; 415-824-1872) and pick up some orchids or carnivorous plants for her to fawn over. Grandpa will probably be happy if you just show him how to use the digital camera you got him last year, but go the extra mile and start an aquarium for him. This way you’ll know exactly what to get him every year: more fish! The folks over at Ocean Aquarium (120 Cedar, SF; 415-771-3206) will get you started right.
PETS
Don’t forget about your little critters this season. San Franciscans like to give their pets the run of the house — in my case, the tortoise Bukowski has the painfully slow and woozy stagger of the place, but you get the idea. Bukowski will be getting a tasty bouquet of dandelion greens from Golden Produce (172 Church, SF; 415-431-1536) in his stocking this year. Fido probably won’t enjoy chewing the weeds, so try Babies (235 Gough, SF; 415-701-7387, www.babiessf.com). This store is pretty much the holy grail for spoiled little dogs.
DREADED EX
Admit it, you have an inkling that your ex is probably stalking you on MySpace. Why not call the sneak out with some kitschy spy wear from the International Spy Shop (555 Beech, SF; 415-775-47794, www.internetspyshop.com)? Nothing says “I can still see right through you” like some X-ray glasses. The Fisherman’s Wharf shop is also ground zero for all things private dick.
THE IN-LAWS
Just put your name on the damn card. Fin.
GET ’ER DONE
So you waited until the last minute — you haven’t bought a single gift. People have started dropping hints about the great things they’ve found for you (some of these people weren’t even on your list — the jerks). What the hell do you do now? Don’t panic. Get to the Castro. Stat.
Cliff’s Variety (479 Castro, SF; 415-431-5365, www.cliffsvariety.com) is the best store in San Francisco. OK, I’ve shown my hand. The toy section is top-notch. It’s got games, gizmos, and playthings galore. Great for the kids, even better for your coworkers and casual friends. The windup animals, novelty tokens, and traditional knickknacks will have them waxing nostalgic for days. The kitchenware section has the best in sleek, smaller appliances (FYI: giving a French press or percolator to everyone on your list who still subsides on drip coffee will make you a hero for years to come) and unnecessary (but totally useful) gadgetry. Check out the annex for swanky furniture, household items, baby clothes, and all things craft. Oh, and shopping at Cliff’s is dirt cheap.
MAKE IT UP
Do yourself a favor and don’t put all your holiday stock in a DIY project you’ve never tried. Even if you have every intention of knitting scarves for the 35 people on your list, even if you bought every spool of fancy yarn in the city, even if you took three weeks off from work to do the project — if you still don’t know how to handle the needles, you may as well shoot yourself in the foot. Your peeps will get squat, and all you’ll have is a three-by-five-inch scrap of knotty wool. There are safer ways to craft. Here are some:
Use those concert tees. Music is a huge part of my life — likely one of the reasons I’m always broke and most certainly the reason I have an enormous collection of swag I never wear. This year that T-shirt collection overflowing the closet is going to shrink. The quick how-to: Pick out the ones with obscure bands, ridiculous logos, or just great colors and restructure them into cost-free, made-with-love gifts. Cut a big square out of the center of both sides of the shirt (this should include whatever graphic is involved). Put the insides on the outside. Stitch around all four sides, leaving a three-inch gap in the center of one side. Turn right-side out and stuff (use cotton, newspaper, more old shirts — whatever isn’t perishable). You just made a pillow! Simple quilts and tote bags are also pretty easy to swing with limited knowledge of sewing. If all you learned in junior high home ec has escaped, run over to the Stitch Lounge (182 Gough, SF; 415-431-3739, www.stitchlounge.com) in Hayes Valley. The rockin’ ladies there will show you the ropes for a nominal fee. Bonus: they offer gift certificates, so you can give the gift of craftiness even if you gave up on threading the needle.
Feeling guilty for paring down your list? Making personal holiday cards for everyone you snubbed will cure your ills. This project will only take an afternoon (or an evening with friends and lots of liquor), and you already have the supplies! Look at all the paper crap you’ve collected around the house. Those calendars you got at a discount last January have some high-quality photos. Magazines stacked everywhere, coffee table books on their last legs, and all that cheesy holiday junk mail. Got scissors? Glue? You know what to do. Try Paper Source (www.paper-source.com) if your home stock won’t cut it.
Since you’ve already made such a mess, here’s another project for you. Well, let’s not get ahead of ourselves. First, sit back and let me tell you a thing or two about gift baskets. They suck. They are predictable, boring, and awkward as hell to carry on Muni. The day of basket-wrapped gifts is over. Instead, take all that stuff you’re cutting up and do some decoupage. My favorite gift vessels are mason jars and shoe boxes — both are simple, portable, and look great once you start decorating them. Stick to themes and you’ll be golden. Example: decoupage a box with images from Italy and fill it with gourmet noodles, a decent wine, and that killer sauce recipe you have. Add a cheap vintage apron from Held Over (1543 Haight, SF; 415-864-0818), and voilà — you have a gift!
Use your skills. Computer savvy? Check your list for any artist, comedian, musician, or writer who could benefit from your illustrious Web site–<\d>designing skills.
Take great photos? This is San Francisco — chances are several people on your shopping list are in struggling bands. Bands need press kits. Press kits need photos. Photos are expensive. You take great photos. Are you there yet?
Do you give Rachael Ray a run for her perky money? Baking for people is still way festive — just steer clear of fruitcakes, and your gift will be well received. Or cheat like hell — that’s why they put cookie dough in those convenient little tubes.
If you totally suck at the DIY thing, you aren’t alone. Lucky for you there are some people in the city who are very, very good at making things. Needles and Pens (3253 16th St., SF; 415-255-1534, www.needles-pens.com) showcases a variety of paper goods and clothing made by local craftsters. My favorite is the 2007 Slingshot Organizer, but be sure to check out the other DIY goodies at this little shop that loves you back.
The salt point
As a partisan of salt, I could hardly help but love a restaurant called Salt House, and I did — and do — but … how funny that there apparently are no saltshakers at the bar. I was casting about for one, wanting to salt something up a little while waiting for someone to arrive, but I had to settle instead for pouring myself more water from the glass jugs the staff set out for your very own. Water is nice, of course, but sometimes only salt will do.
Salt House is the latest project from the brothers Rosenthal, Mitchell and Steven, who for the last decade or so have run the kitchen show (and I mean this quite literally) at Wolfgang Puck’s Postrio, where the exhibition kitchen is of the capital-E sort. The first stage of the Rosenthals’ exit strategy involved opening their own restaurant, Town Hall, in an old SoMa building a few years ago. Salt House is their Chapter Two and coincides, more or less, with the end of their reign at Postrio.
Like Town Hall (which is just around the corner), Salt House has been installed on the ground floor of a venerable structure, a century-old building that used to be a printing plant. The restaurant’s street-front space is boxy, fairly narrow, and deep — like a garage bay for an 18-wheeler, if there are such bays. In keeping with SoMa’s postindustrial fashionability, there are exposed wood beams (including a kind of indoor arbor, sans greenery, near the host’s station) and exposed brick, along with a line of light fixtures that look like barrels beginning to explode above the dining room and neoquaint incandescent bulbs dangling over the zinc bar.
Mostly, though, I noticed the windows, huge multiglazed modern marvels that admit oceans of light while giving the entire redo a distinctly sleek, Mies van der Rohe cast. If you want to know if an old building has been rehabbed, look at the windows; if you see a certain waviness, like heat rising from pavement on a hot day, you are probably looking at original window glass and an unrehabbed building. If you see gleaming perfection, a sheen like the undisturbed surface of a pond, you are looking at renovation money, and perhaps at Salt House.
The food might be called California pub food, but it is pub food of a high order. As at Postrio, the Rosenthals have orchestrated a brass band of big flavors. Even the little bar snacks are vivid: the house-made “pot o’ pickles” ($5) — an array of vegetables including cauliflower, baby carrots, pearl onions, and wax beans — jumps with a vinegar charge in its fist-sized crock; and the mixed nuts ($5) — almonds, pistachios, a cast of thousands — are roasted with one of life’s great improbables, truffle honey, along with sea salt. (This was the dish I was trying to salt up at the bar, incidentally. The sea salt had settled at the bottom of the crock, a fact we discovered only when the crock was nearly empty.)
Nearly every dish has some flavor kazoo. In the poutine ($7 at dinner, $10 at lunch), basically a plate of potato chips dribbled with short-rib gravy, it’s the layer of gorgonzola, which not only gives a textural effect like that of nachos but adds a tremendous charge of pungency up the nose. In the shellfish stew ($19), mainly mussels and shrimp, it’s a broth infused with saffron aioli. In the pizzalike preserved tomato tart ($11), it’s the intensity of the preserved tomatoes — along with the squares of luxuriously buttery pastry crust they sit on. In the chili-roasted oysters ($13), it’s the fiery chili sauce, which, it must be said, makes the dish a little top-heavy.
The watchword for fish is crispy. This cannot be a bad thing. A mackerel filet ($9) wears a waistcoat of golden panko (Japanese-style bread crumbs), while pan-roasted skate wing ($24) gets a nice searing on both sides before being plated with roasted, quartered brussels sprouts, chunks of salsify, and dabs of a tarragon salsa. Skate wing, with its corrugated texture, is one of the most interesting fish to eat — getting the last of the flesh away from the bone is like cleaning stray hairs from a comb — and yet we should not be eating it. Too late I learned from Seafood Watch that skate are seriously endangered and should be avoided. Like sharks, they reproduce slowly, and they are taken through the highly destructive method of trawling. (Mackerel are in the “best” category, but that was just a lucky stab for us.)
I would be glad to learn that skate had been replaced on the menu by petrale sole or some other type of local, floundery fish that might not be as fascinatingly ribbed but isn’t teetering on the brink, either. The Rosenthals are eminences here; if they set a good and conspicuous example, others will follow. It would be a great help to ordinary diners if restaurants simply refused to buy and serve any seafood whose populations aren’t in sustainable shape (per Seafood Watch or some similar authority) and indicated as much on their menus — maybe with a smiling or dancing fish icon?
Sundries: desserts ($7) are mostly in the American grain, including a lewdly moist warm chocolate Bundt cake and some nostalgia-laced butter pecan ice cream, presented in two scoops. The house-blend wines, including a fruity-floral white, are available on tap (from steel barrels) and are presented in several sizes of nifty apothecary bottles, near relations of the water jugs and perhaps of the saltshakers, if they ever come to pass.<\!s>
SALT HOUSE
Mon.–<\d>Fri., 11:30–<\d>1 a.m.; Sat., 5 p.m.–<\d>1:30 a.m.; Sun., 5 p.m.–<\d>midnight
545 Mission, SF
(415) 543-8900
Full bar
AE/MC/V
Noisy
Wheelchair accessible
Songs of devotion
Accessible to anyone who might be interested in a deeper understanding of his or her own senses, Nathaniel Dorsky’s book, Devotional Cinema (Tuumba Press), explores the physical properties we share with the film medium. Within the book, Dorsky draws upon films by Roberto Rossellini, Carl Theodor Dreyer, Yasujuro Ozu, and others to illustrate his insights on filmic language. But if another person were capable of writing Devotional Cinema, he or she could just as effectively draw upon Dorsky’s films, which connect intrinsic facets of cinema to intrinsic truths about human experience.
Capable of discovering at least half a dozen fields of vision (or planes of existence, or worlds) within a single shot, Dorsky’s films can fundamentally alter — and heighten — one’s own perception, and his editing skill, tapped by many local directors, is as fundamental to his work as his image making. Sam Mendes took American Beauty’s floating bag sequence from Dorsky’s Variations, which he read about during filming. (Dorsky has noted that the image isn’t a new one — and it isn’t necessarily the richest among his luminous, phantasmagoric visions.)
In conversation with filmmaker Michelle Silva of Canyon Cinema, Dorsky paraphrases the observation of his friend, anarchist writer Peter Lamborn Wilson (a.k.a. Hakim Bey), that we’re trapped in a “light age” of meaningless information. “In the dark ages, there were little areas of light, where there might be alchemical investigations,” Dorsky says. “Now we have to find little areas of darkness.” This week brings an opportunity to explore those little areas, at a San Francisco Cinematheque program that will present Dorsky’s three most recent films, Song and Solitude, Threnody, and The Visitation, in alphabetical and reverse chronological order. (Intro by Johnny Ray Huston)
SFBG I remember running into you last year when you might have been shooting Threnody. You were in Chinatown perched right over a parking meter, and you had your camera hidden underneath you. You were so still I almost didn’t notice you — you were blending in with the background. I started thinking about the rules of quantum physics and that it’s impossible to not affect the object that you’re observing. Yet you seem to manage to do just that in your films — you don’t disturb the environment.
NATHANIEL DORSKY If you’ve ever gone into the woods and sat very still for half an hour, all the animals will come back and gather around you. You have to be part of the inanimate world, so the animate world can feel relaxed and come around. Also, you can find these little psychic backwaters on the street — there are places where the energy doesn’t quite flow, and you can kind of tuck yourself [within those places]. It has to do with the angle of the light and so forth.
SFBG My interpretation of your film Song and Solitude is that it is like a silent odyssey through shadow words and the introverted psyche. There are several masks and layers of reality that you’ve collapsed into one. There’s a depth of field in many shots, and the different layers aren’t aware of themselves, while you’re aware of all of them. Could you talk about your visual language in the new film and your state of mind while making it?
ND There are a number of things involved. One is that I’d made a film right before [Song and Solitude], called Threnody, which was an offering to Stan Brakhage after his death. In that film I was trying to shoot images while I had a sense of Stan looking over his shoulder one last time while leaving the world, having one last glance at the fleeting phenomena of life.
Song and Solitude I made along with a friend, Susan Vigil, who was in the last year of her life with ovarian cancer. [She’s] a person who was extremely important to the San Francisco avant-garde film community and helped support the San Francisco Cinematheque throughout the ’70s and ’80s. She was a wonderful, wonderful friend. She came and looked at camera rolls every Friday when I’d get them back from the camera store. There was that atmosphere going on of being with someone so close who was also involved in a terminal illness. But also you might say that with Threnody the camera was placed somewhere back around the ears looking out of your head. In Song and Solitude I actually placed the camera in a sense behind my own head — for a feeling like looking through your own head out [at the world].
Most of my films are more about seeing or about using seeing as a way to express being. [Song and Solitude] is more about being, where seeing is an aspect of the being. The world is seen through the whole fabric of your own psyche as a foreground. Through that foreground exists the visual world, almost as a background.
I also wanted to see if I could photograph things which you’d traditionally call nature and things you’d call human nature with the same primordial sense, to see the slight rub of what human nature is and what nature is, where they are similar and where they feel different. How is muscular movement different from wind? I wanted the film to rest in a very primordial place in its visual essence.
SFBG One time I was questioning you about why we torment ourselves making films, and you said, “It’s to attract a mate.” Could you elaborate on that?
ND I myself met my friend Jerome, who I still live with, on the night that I premiered my first film, when I was 20. So in a way it happened right away for me. But I’ve worked for many people in the film industry as an editor, especially in the area of documentary, and at least three or four times I’ve worked for someone who was looking for a mate.
Once, a friend, Richard Lerner, was producing and directing a film on Jack Kerouac called What Happened to Kerouac?, which I edited. It came time to write out an enormous check to make a 35mm print from the video material. He was really hesitant, and he was single at the time. I said, “Don’t worry. There is no way you won’t get a permanent relationship from this film.” He got irritated, because it was something like the third time I’d said that to him. But a woman approached him after the film premiered at the San Francisco International Film Festival, and they’ve been married ever since.
That has happened with at least four other filmmakers. I worked with Kelly Duane, who made a wonderful film [Monumental] about David Brower, the guy who radicalized the Sierra Club. She was single. She met someone when she showed the film in LA at an environmental film festival, and now she’s married and has a child.
SFBG Is that why you’ve earned the reputation of being the editing doctor of San Francisco?
ND Yes. I work for a lot of single women.
But to answer your question in a more simple way: birds sing, and every February or March a mockingbird always appears in my backyard and sings all night. If it’s a bad singer, there can be trouble. One bird three years ago was not a good singer. It sang from February until the first week of July before another bird sang along with it — then it disappeared. But sometimes they sing for four nights, and it’s over. They’ve gotten someone, because they’re really good singers.
SFBG I’d never thought of filmmaking as a mating call, but you’re right.
ND Many people don’t understand that, and they try to win their mate by making horrible and aggressive conceptually based films. No one is drawn to them, and then they get even more conceptual and aggressive. It can be a downward spiral.
It’s difficult, because you’d think anyone who’d want to make a so-called handmade film would do so to have complete control of the situation. It’s also a chance to make a film that isn’t based on socialized needs. When you make your own individual film, it’s generally an opportunity to be completely who you are and share the intimacy with someone else. In my experience, the more purely individual a film is, the more universal it is. The less successful attempts at filmmaking occur when people are trying to make something which functions within the context of current belief systems. It’s like trying to get a good grade in society, even if it’s alternative society, rather than actually taking the risk of letting the audience feel your heart and your clarity and [to] touch them with that.
SFBG We might be in a dark age in architecture, design, fashion, and everything that involves representing ourselves visually. Aesthetics are ignored, intellect isn’t challenged, nor is spirituality. In contrast, all of those things are at the foundation of your work. Does it bother you that the audience is small?
ND I’m not sure. I’m 63 now, and in the last few years while showing my films in Europe and Canada and the US, I’ve noticed that people in their 20s are really loving them. There’s some kind of interesting face-off between my own generation and people who are in their 20s now.
Within the avant-garde there’s the virgin syndrome, which is that every showcase will only show a film that’s never been screened before. Everyone wants a virgin for their temple. A good avant-garde film is made to be seen 10, 15, 20 times. But because of the virgin syndrome, because they only sacrifice virgins at the temple altar at this point, audiences rarely get to experience a film a number of times.
SFBG Lastly, I want to ask about the roles of silence and sound in your films. Do you prefer silent films?
ND The first time I saw a silent Brakhage film, it seemed quite odd. If you’re used to having sugar with your coffee and someone gives you coffee without sugar, you might find it strange. But you can also get used to it, so that when someone puts sugar in your coffee it seems sort of obnoxious.
It’s an acquired taste, silence, definitely an acquired taste. But once acquired, it has many deep rewards. For one thing, a sound film is more like sharing a socialized event, where to me a silent film is more like sharing the purity of your aloneness with the purity of someone else’s aloneness. The audience has to work a little harder, of course, to participate — everything isn’t just spoon-fed to them. But if they do work a little bit harder, they’re more than rewarded for that effort.<\!s>
SILENT SONGS: THREE FILMS BY NATHANIEL DORSKY
Sun/10, 7:30 p.m. (sold out) and 9:30 p.m.
Yerba Buena Center for the Arts
701 Mission, SF
$6–<\d>$10
(415) 978-2787
www.sfcinematheque.org
For a longer version of this interview, go to www.sfbg.com/blogs/pixel_vision.
No pass for Newsom
EDITORIAL Mayor Gavin Newsom may tell the media that he’s not sure he wants his job anymore, but the reality is that he’s been running for reelection for months. His campaign team is in place, the fundraising is about to kick into high gear, and when 2007 dawns Newsom will start to line up endorsements, put money in the bank, and do everything possible to clear the field. That’s not just a campaign consultant’s fantasy: right now there’s no clear, obvious opponent for a mayor whose poll ratings are almost unimaginably high.
But Newsom can’t be allowed to run without any credible opponent. Somebody has to challenge Newsom — and it’s not as impossible as it might seem.
As Steven T. Jones reports (“Blood in the Water,” page 12), Newsom’s popularity is broad but not terribly deep. He’s got a lot of feel-good political capital that dates back to the same-sex marriage days, but there are a lot of really serious problems facing the city — and when you get right down to it, Newsom hasn’t done a hell of a lot to address any of them. For the past year San Francisco politics and public policy have been driven by the Board of Supervisors, with the mayor reacting. Other than cutting welfare payments for homeless people, it’s hard to think of a single major local initiative that the mayor has taken on. He certainly hasn’t ended homelessness. He hasn’t brought down the violent crime level. He hasn’t improved Muni. He hasn’t done much to create jobs and clearly hasn’t made the city a better place for small locally owned independent businesses.
He’s letting developers call the shots at the Planning Department, letting landlords drive housing policy, following the lead of some very bad actors downtown on education, and letting the city’s structural budget problems fester.
In 2003, Newsom was a strong front-runner from day one and beat back a dramatic challenge from Matt Gonzalez, in part because he had so much money. This time around, money may not be the deciding factor: with public financing in place, a candidate who can raise a respectable sum (a few hundred thousand, not a few million) will be able to mount a competitive effort. And with ranked-choice voting (RCV), several candidates challenging Newsom from different perspectives might leave the mayor unable to pull together a clear majority. (If RCV had been in place in 2003, it’s entirely possible, if not likely, that Gonzalez would have been elected mayor.)
The list of people who have either talked about running or are being pushed by one interest group or another is long, and some of the strongest potential challengers seem to be biding their time. It’s true that the filing deadline isn’t until August, and in both 1999 and 2003 late entrants in the progressive camp made the best showings.
Still, if Newsom has the field to himself all spring and summer and nobody challenges his statements, questions his record, or offers people an alternative, the incumbent will try to anoint himself as the inevitable winner.
So at the very least, progressives need to make sure the mayor isn’t allowed to coast this spring. The supervisors need to keep pushing issues like police reform. They need to make sure the budget hearings point up the mayor’s real priorities. And elected officials and civic activists should hold off on endorsing Newsom by default, unless and until he presents some evidence that he’s going to do a lot better in the next four years than he’s done in this term.
The Lowell lessons
EDITORIAL When someone — quite possibly a faculty member or administrator — poured pink paint on a gay teacher’s computer at Lowell High School and left a racist, homophobic note, the administration tried to keep it quiet. Teachers say they were told not to discuss the hate crime with students. Other than a tiny notice in the San Francisco Chronicle — and whatever rumors may have been swirling around campus — the students at the city’s premier public high school had no idea what was going on.
That was terrible judgment on the part of the interim principal, Amy Hansen. When this sort of thing happens on a school campus — particularly a school like Lowell in a city like San Francisco — the administration should immediately go public, make an announcement to faculty, students, parents, and the larger school community, arrange for discussions in smaller groups, and make it clear that intolerance won’t be tolerated.
Instead, the incident was allowed to fester — until the student paper, the Lowell, defied administration wishes and did a story.
The report was fair and accurate, and it gave everyone on campus some insight into what had happened.
The hate crime report was one of several scoops that got the students in hot water this year. Earlier, a Lowell reporter had learned the identity of a student who slashed a teacher’s tires and reported why the student did it — but refused to reveal the offender’s name to the administration. Reporters, the student journos said, are not agents of the police, and they have every legal and ethical right to protect confidential sources.
Hansen was unhappy about those stories (and several others) and required the Lowell’s staffers to meet with her while she expounded on ethics. Fortunately, neither the Lowell staff nor their faculty advisers backed down an inch.
There are two important lessons here. The first is that student journalists have the same rights as professionals and that school administrators ought to respect those rights and not try to intimidate the campus press.
The other is that student newspapers are an essential part of any high school community.
In the past few years, with money short all over, the San Francisco Unified School District has taken a lackadaisical attitude toward campus papers. Today only eight of the city’s 21 high schools have active papers. The hate crime incident at Lowell demonstrates exactly why that’s unacceptable.
Student papers are obviously a wonderful teaching tool. They get kids to think about writing in a different way; they open up opportunities and stimulate debate. But they also serve a community purpose: the students know (often better than anyone else) what’s really going on in a high school and with proper support and guidance can hold administrators and teachers accountable, prevent the spread of misinformation and rumor, and make the school a better place.
Student papers don’t have to be expensive items. Printing isn’t free, but with a bit of prodding, we suspect the dailies in town might be willing to do the work at a steep discount. And Web publishing is practically free. Giving one teacher the time to serve as an adviser isn’t going to break anyone’s budget.
The school board ought to establish a policy that every local high school have a functioning campus newspaper — and ought to tell the administrators to refrain from trying to censor the student press.
NOISE: Saturday, it’s a free-for-all of other worlds, Crumar, and Pens…
Free stuff on a Saturday — we are so there, after blowing our wads of nonexistent cash on holiday gifties.

Don’t stare – it’s Phil Crumar. Courtesy of asphodel.com.
First off: Phil Crumar, SF beat maker and Asphodel artist, will be ho-ho-ho-ing for the man, the Virgin man, that is — when he performs Saturday, Dec. 2, 3 p.m., at the Megastore at Stockton and Market. Word has it Organer and the Court and Spark’s Mike Taylor will be playing earlier at 2 p.m. Sounds like quality, quality local rock and hop — on a chilly, sparkly weekend afternoon. Wanna meet next to the mint chocolate Citizen Cupcake cupcakes?
Later that evening — if you’re not going to see Jana Hunter in SF — head over to the free opening of “Other World,” curated by Bay Area artist Christine Shields, at Eleanor Harwood Gallery, 1295 Alabama at 25th Street, SF. It runs 7-10 p.m. The show offers “visions into the realm of spirits, shadows, forests, night creatures and those who have passed on. Worlds parallel to ours but less physical in nature sometimes seep into this world leaving curious images, sensations, or sounds. “Other World brings the work of 13 artists into one space creating a place in between this world and the Other.” Or so the press release/email blast sayeth.
Artists in the show include Lara Allen, Adam J Ansell, Julianna Bright, Alice Cohen, Georganne Deen, Veronica De Jesus, Colter Jacobsen, Jason Mecier, Donal Mosher, Kyle Ranson, Amy Rathbone, Jovi Schnell, and Shields herself. There will be a performance by Mosher and music by SteepleChase.

While you’re in the Mission on Dec. 2, stop into Needles and Pens, 3253 16th St., SF, for the reception for “The Dispossessed,” which showcases new work by Monica Canilao. The opening runs 6-9 p.m., and Ghost Family provide the haunting sounds.
Boo! I mean, yeh! Free art!
Questions to Byron Calame, public editor of the New York Times? Why won’t the Times and its Santa Rosa Press Democrat cover Project Censored?
By Bruce B. Brugmann
Carl Jensen, the founder of Project Censored, Peter Phillips, the current director, and I have been waiting anxiously for weeks now to see if the New York Times/Santa Rosa Press Democrat would answer our questions about why they once again censored and mangled the annual story of Project Censored, celebrating its 30th anniversary this year at Sonoma State University? (See previous blogs.) We heard nothing.
So I am posing the following questions to Byron Calame, public editor of the New York Times, who answers questions about Times coverage and policies in his twice monthly column in the Op ed section of the Week in Review in the Sunday Times.
l. Why in 30 years has the New York Times never covered nor written about Project Censored, a nationally recognized media criticism project locating the 25 most important stories that were overlooked, under-covered, or censored?
2. Why in 30 years has the local New York Times/Santa Rosa Press Democrat either censored or mangled Project Censored, a local journalism/media criticism project done at a local university by local professors and local students?
3. Why did the Press Democrat this year, on the 30th anniversary of the Project, continue its censorious policy by sending a reporter to the celebration, not to do a real story on the project, its stories, and its history, but to do what amounted to a hatchet job on the project via one story, Censored Story No. l8, “Physicist challenges official 9/ll story?”
4. Why won’t the Press Democrat/New York Times answer the questions and complaints from Jensen and Phillips (and the Guardian, as the publisher of the project each year) as to why it censors and/or mangles this major story every year? What is going on here?
5. After the problems with the reporting of Jayson Blair and Judith Miller et al, how do you recommend targets of Press Democrat/New York Times news policy complain effectively and get some fair and balanced news coverage of a major local story?
In my accompanying email note to Calame, I wrote, “The Guardian has been doing this story for years, front page, with our local version of censored stories, and sending it out to the alternative press across the country. It is one of our most widely read and highly respected stories of the year and people look forward to it as a major journalistic and academic gem of distinction. I hope you see this as the terribly important and relevant issue it is, since much of the mainstream press helped Bush march us into a war without end at the very time that Project Censored, and its censored stories, were providing an alternative and more realistic point of view.”
Note the supporting material below, this year’s Guardian story on Project Censored, and the archives of some 750 or so issues or stories over a 30 year period of time. B3
San Francisco Bay Guardian : Home Page
… BY AMANDA WITHERELL Rob Strange Project Censored
Bruce B3: The Santa Rosa Press Democrat/New York Times “censors” the annual Project Censored story.
Bruce B3: The Santa Rosa Press Democrat/New York Times: still no answers on why…
A snapshot of what is going on these days in the world of the Galloping Conglomerati
Rumors just in:
This illustrative note came to me a few minutes ago from Chain Links, the online publication of the Newspaper Guild, which is fighting fires on all fronts in these days of the Galloping Conglomerati.
The email note:
“I wanted to let you know that two reporters from The (Santa Cruz) Sentinel called me today, wanting to know if I’d heard any rumors that CNHI, the Birmingham, Ala.-based company that just bought the Sentinel, is talking with Media News (Singleton) about a possible swap involving the Monterey Herald. Apparently–and this is what a source told one of the reporters–MediaNews would get a CNHI paper in Pennsylvania (the Sharon Herald in Sharon, Pa.) in exchange for the Herald. An announcement, according to the source, is supposed to come sometime this week and there is a meeting going on today between CNHI and Media News.”
So? Or not so? We shall see. We made some calls to check, but got nowhere. In any event, whether this rumor is true, it illuminates some sad truths about the current state of daily newspapers hereabouts: (a) that the chains are flipping papers about as if they are no more than playing cards in a game at the local pool hall and (b) that
these are the kinds of unsettling rumors flying about the newsrooms and boardrooms of the Galloping Conglomerati, the phrase I use for the chains at play. (See my previous blogs). Where it all will end knows only God. Alas. Alas. B3
SATURDAY
Dec. 2
Music
Norfolk and Western
Having featured paintings of Civil War soldiers and dusty old pianos on their album covers, Portland’s Norfolk and Western play rustic folk that evokes a slower epoch. Favoring a gentler, casual, front porchy orchestration organized around mandolin, banjo, dulcimer, violin, accordion, and similar less decibel-centric instruments, songwriters Adam Selzer and Rachel Blumberg and their troupe of bygone-era nostalgists beguile the listener with intimately recalled tales resembling pages from a scrapbook found in the attic. (Todd Lavoie)
With Corrina Repp and Victor Krummenacher
9 p.m.
Hotel Utah Saloon
500 Fourth St., SF
$8
(415) 546-6300
www.thehotelutahsaloon.com
www.norfolkandwestern.org
Event/Music/Visual Art/Film
“An Evening of Art, Fashion, Film, and Music”
Having trouble figuring out what gift to give the guy or girl who has everything? Look no further! Chillin’ Productions’ “An Evening of Art, Fashion, Film, and Music” will instantly lift you out of the pesky present-buying rut with inspirational ideas from innovative local talent. The incredible lineup boasts 60 fashion designers, 80 painters and photographers, 60 filmmakers, and six DJs to bring the noise, making your gift scouting more eventful. (Hayley Elisabeth Kaufman)
8 p.m.
Mezzanine
444 Jessie, SF
$6
(415) 625-8880
www.mezzanine.com
www.chillinproductions.com
Over easy
› paulr@sfbg.com
Changing public consciousness is an inglorious task that seems to involve a great deal of repetition. There is an art to repetition, to saying the same thing over and over without boring or infuriating people or losing one’s patience at their benightedness and resorting to jeremiads. But observation suggests that this branch of the suasive arts is, in our drink-Bud-or-we’ll-kill-you culture, at least slightly in eclipse.
Still, despite the rather dismal state of the art and the basic human resistance to change — our preferred mode of advance is evolutionary not revolutionary, as science instructs us — change does appear, sometimes with notable swiftness. The imperilment of the world’s fish, for instance, is a matter lately ascendant in the global consciousness. (Yes, I know I have mentioned this glum subject before — artfully, I hope.) In Honolulu on Nov. 10, I picked up a copy of the local paper, the Advertiser, to find that the op-ed page carried both an editorial calling for “aggressive management” by Hawaii’s Department of Land and Natural Resources of the state’s marine life — in particular, for enhanced protection of the bottom-dwelling and vulnerable species opakapaka and onaga — and an opinion piece (by Bruce Anderson, president of the Oceanic Institute) arguing that aquaculture, if responsibly practiced, can ease human pressure on the seas as a source of food. Research and innovation are critical here.
I was pleased, though not surprised, to find major Hawaiian media paying serious attention to the plight of fisheries locally and around the world. I was also pleased — and surprised — to find that awareness of the issue has seeped to deeper levels. While on a brief visit to a friend recovering from surgery at the Towers (the continuum-of-care facility on Cathedral Hill), I glanced at a menu in one of the dining rooms and saw on offer mahimahi, ling cod, and swordfish — all line-caught, the first and last in Hawaiian waters. There are some questions with all of these fish, and I would not give the menu a perfect ecoscore, since apart from everything else, “line-caught” is ambiguous. Some lines are better than others. Still, it was evident that even in some institutional kitchens, care is now being taken that might not have been taken five years ago. There must be more than a few people in the Towers asking an artful question or two about the food they’re being served.
EDITOR’S NOTES
› tredmond@sfbg.com
Like far too many liberals, I spend far too much time listing to NPR, which can lead to a special kind of brain rot: I once actually sat through an hour-long program on Mormon folk songs that included a long, upbeat, and respectful ode to Brigham Young “and his five and 40 wives.” Jesus, that’s a lot of wives.
But there are things I love, and Science Friday is one of them. While I was fighting the traffic on my way back from a friend’s house in Healdsburg last week, I heard a fascinating interview with Michael Pollan, the UC Berkeley journalism professor who’s written a series of New York Times articles and now a book on how truly weird food production is in the United States in 2006.
Of course, everyone was digesting a big Thanksgiving dinner, and Pollan wasted no time getting to his thesis: if we are what we eat, then most of us are a mixture of corn and petrochemicals.
He’s got evidence of this too: he has a friend in the biology department at Berkeley who ran a bunch of samples of fingernail and hair clippings from students and learned that much of the carbon that makes up the basic organic structure of a lot of human bodies can be traced back to one Midwestern grain and some fossil fuels.
The cow or turkey or pig you ate was fed with corn. The sugar in the salad dressing came from corn. The calories in the sodas the kids were drinking came from corn. And the corn came in part from ammonium nitrate fertilizer, which came from petroleum.
The point of all of this is that America has created a monocrop food system (well, duocrop — a lot of the animal protein that we eat comes from soybeans). That’s not healthy for a long list of ecological reasons — and it’s really bad for the economy.
The thing is, very little of what we eat comes from anywhere near where we live. Iowa, one of the most agriculturally productive parts of the world, imports almost all of its food these days. The corn grown in the state is shipped to giant centralized animal feedlots, which ship meat elsewhere.
I mention all of this, which is hardly news to a lot of people, because it plays into something that’s going on the first week in December in San Francisco. Dec. 4 through 10 is Shop Local First Week, which sounds kind of like small-town-Chamber-of-Commerce-boosterish stuff (and indeed, Mayor Gavin Newsom, who clearly isn’t paying attention, has formally endorsed it), but there’s a lot more behind this. The Business Alliance for Local Living Economies, which sponsors the event, actually has a fairly radical economic platform emphasizing how local merchants — and not big chain stores and other out-of-town corporations — benefit local economies. In the food world, that means buying stuff grown somewhere near you (not hard around here). In the arena of holiday shopping (and consumer behavior in general), it means patronizing locally owned outfits — and not giving your dollars to the chains.
Our main news story this week (see “The Morning After,” page 18) illustrates well how big chain owners operate: the combine owned by Dean Singleton, which now controls almost all the big papers in the Bay Area, is laying off journalists and (maybe) outsourcing jobs to India. The San Francisco Chronicle is outsourcing its printing, killing the local press operators union.
And the money all leaves town. SFBG
Newsom should comply with Prop. I
OPINION Much has been said about Mayor Gavin Newsom’s stunning defeat at the ballot Nov. 7. Newsom’s slate of endorsements went down in flames — from supervisorial candidates Rob Black and Doug Chan to the contenders he hoped would take control of the school board to a host of progressive ballot propositions, including worker sick leave and relocation assistance for evicted tenants. Every incumbent supervisor was also reelected, indicating an overall approval level of the Board of Supervisor’s performance. And the voters took a further unprecedented step with the passage of Proposition I, which asked the mayor to appear before the board in person once a month to discuss city policy. The voters sent a clear message that they want the mayor to work with the supervisors rather than against them.
Will Newsom respect the mandate and comply with Prop. I? It’s anyone’s guess right now. The measure is not legally binding, and he vehemently opposed it. Here are five reasons why Newsom should comply with Prop. I:
1. The voters asked him to. Newsom claims to care about the will of the voters. He cited the “will of the voters” as his basis for vetoing a six-month trial of car-free space in Golden Gate Park — even though a trial has never been voted on. Will he respect the voters this time?
2. The status quo is not working. The homicide rate, traffic deaths, and Muni service have gotten worse every year under the Newsom administration. Commissioners aren’t being appointed on time, police reform is off track, promised low-income housing is delayed, all bicycle improvements are on hold, and our roads are falling apart. Popular public events such as the North Beach Jazz Fest are under attack by a city government that can’t keep Halloween revelers safe. Meanwhile, the mayor focuses on political damage control related to his apparent loss of the 49ers in 2012 and the Olympics in 2016.
3. Newsom consistently opposes ideas coming from the Board of Supervisors but doesn’t seem to have any of his own. The homicide rate is at an all-time high and keeps getting worse. But Newsom has opposed every significant measure proposed by the supervisors, including funding for homicide prevention and assistance for victims’ families via Proposition A, as well as police foot patrols. Fare hikes and service cuts haven’t solved Muni’s problems, but Newsom sided with the local Republican Party in opposing Proposition E, which would have provided much-needed funding for Muni through an incremental increase in the car parking tax.
4. Newsom has been missing in action too long. The mayor spent almost the full first three years of his four-year term fundraising around the country to pay off his 2003 campaign debts. This busy fundraising schedule, combined with the demands of his relentless PR machine, has sent the mayor chasing photo ops in China; Italy; Washington, DC; Los Angeles; Chicago; New York; and a host of other places. The majority of the voters are now siding with progressives, the Guardian, and even the San Francisco Chronicle in asking “Where is the mayor?”
5. The voters asked him to. Really, that should be enough. No? SFBG
Ted Strawser
Ted Strawser is the founder of the SF Party Party.
Clint Reilly wins a big one against Hearst and Singleton. Fighting to keep one newspaper towns from becoming a one newspaper region.
By Bruce B. Brugmann
On April 26, 2006, the McClatchy newspapers and the Chronicle/Hearst and MediaNews/Singleton publicly announced a complex series of transactions that resulted in Singleton owning three major Bay Area dailies (Contra Costa Times, San Jose Mercury News, and the Monterey Herald) that had been previously owned by Knight-Ridder and then McClatchy.
On the same day, April 26, 2006, Hearst and Singleton secretly signed a key centerpiece deal that set up a secret arrangement between Hearst and Singleton that in effect would allow them to join forces, destroy daily competition in the Bay Area, and establish a regional monopoly for the duration.
The key point: the two big publishing chains from New York and Denver lied in effect about the monopolizing features of their deal, and in effect concealed key evidence in the Clint Reilly antitrust case, according to Federal Judge Susan Illston. And then the two chains, who love to holler about freedom of the press and government suppression of documents, moved to keep the documents under seal, including the incriminating letter outlining the monopoly agreement. Their coverage amounts largely to rummy little business stories buried deep in their papers.
Illston neatly skewered the Hearst/Singleton lie that their deal was harmless and would not interfere with vigorous competition between the two companies. Illston quoted the April 26 letter, which she pointed out was not disclosed in the first hearing on a request for a temporary restraining order. (Alioto got the letter in discovery. It is an even bigger bombshell than his charge in the first Reilly trial that Hearst was “horesetrading” favorable coverage for political favors with then Mayor Willie Brown and others to get political help on its moves to create a morning monopoly.)
The letter of agreement was from Hearst Corporation Vice President James Asher to Joseph Lodovic, president of MediaNews. She quoted “in pertiment part” these statements: “The Hearst Corporation and Media News Group agree that they shall negotiate in good faith agreements to offer national advertising and internet advertising sales for their San Francisco Bay Area newspapers on a joint basis, and to consolidate the San Francisco Bay area distribution networks of such newspapers, all on mutually satisfactory terms and conditions, and in each case subject to any limitations required to ensure compliance with applicable law.
“In addition, Hearst and MediaNews agree that, with respect to the newspapers owned by each of them on the date of this letter, they shall work together in good faith to become affiliated with the networks operated by Career Builder…and Classified Ventures) on the same terms, and each of Hearst and MediaNews further agrees that neither of them shall enter into any agreement, arrangement, or understanding to participate in Career Builder or
Classified Ventures or their respective networks with respect to such newspapers unless the other party is offered the opportunity to participate on identical terms…”
Illston quoted extensively from the “secret” letter, but the Guardian and nobody else can see the letter, oor the supporting documents and depositions, that would further flesh out monopoly deal. That is a terrible position, let me emphasize, for big daily chains to be taking in federal court these days.
Illston said the letter “casts serious doubt on several key findings underlying” her previous order denying a temporary restraining order. She said that she had previously accepted Hearst arguments that “Hearst’s involvement in the transactions was solely that of a passive investor.” But she continued, “Though (Hearst and Singleton) offered no explanation why Hearst was willing to finance an acquisition that would only make competition stronger, the Court did not understand that Hearst expected, or would receive, any quid pro quo. However, the April 26 letter suggests, at the very least, that Hearst’s involvement was specifically tied to an agreement by MediaNews to limit its competition with Hearst in certain ways.”
This “cooperation” between Hearst and Singleton, she said, was “in fact, quid pro quo for Hearst’s assistance to MediaNews in acquiring two of the Bay Area papers.” (The quid pro quo was also a $300 million Hearst investment in Singleton, which I think might evaporate should Illston ultimately nix or water down the deal.) Illston also said the letter indicated that the Chronicle may not continue to be “strong competition” for the other Bay Area papers.
Had the letter been disclosed to the court, she said, it would have “affected the court’s analysis of the McClatchy-MediaNews-Hearst transactions in this case.” Summing up, she stated that “such agreements, the mere existence of the letter, and the cooperation between Hearst and MediaNews they reflect, increase the likelihood that the transactions at issue here were anti-competitive and illegal.”
And so she granted a temporary restraining order in part and temporarily restrained and enjoined Hearst and Singleton from entering into any agreements “of the nature described in the April 26 letter, including agreements to offer national advertising sales for their San Francisco Bay Area newspapers on a joint basis, and consolidation of the Bay Area distribution networks for their papers.” She ordered Hearst and Singleton to show cause at a Dec. 6 hearing why she should not impose a preliminary injunction. Quite an opinion.
As an antitrust attorney told us after reading the opinion, “How the hell does Joe Jr. keep getting the Hearst people to lie under oath, then cough up the documents that prove it? Haven’t they figured out that judges don’t react well to that little character flaw?”
Implicit in all of this is Brugmann’s Law of Journalism: where there is no economic competition, there is no news or editorial competition. Suddenly,for the first time ever by the terms of the proposed deal, daily competition would be eliminated and one of the most liberal and civilized areas of the world would be firmly under the monopoly thumb of conservative billionaires from New York and Denver. The result would give ad rates a monopoly boost, gut and centralize editorial staffs, make editorials and endorsements ever more uniform and conservative, and send all profits out of town on a conveyor belt to headquarters to buy more properties. The carnage is well underway (note our stories and those carried on ChainLinks, the newspaper guild publication)
Illston should disclose the letter and other documents in open court. And the U.S. Justice Department and California Attorney General should awake from their long naps and jump into this case and stop this secretive march to regional monopoly. Meanwhile, thank the Lord for Reilly and Alioto. Keep on rolling. B3, celebrating San Francisco values since l966
P.S. We are running lots of material on this story, including the judge’s order, because it amounts to a “censored” story in the mainstream media. Each year, as the local part of our Project Censored package, we cite the monopolization of the press story. We will follow the current version along in the Guardian and the Bruce blog. Send us your comments and evidence of Eurekas or Censored material. (See previous blogs)
The morning after by G.W. Schulz
While drunk on big newspaper purchases, Dean Singleton promised competitive papers and no layoffs. Now he’s swinging the ax, cutting deals with Hearst, and decimating local news coverage
Judge slams daily-paper chains by Tim Redmond
With a federal court ruling exposing a secret plan by Hearst and Singleton to join forces and end competition, the federal and state Justice Departments should intervene – and all records in the case should now be open
More on Singleton by G.W. Schulz
Read the judge’s decision
Judge Susan Illston’s ruling on Hearst-MediaNews collaboration
‘Pro-competition collaboration’
By G.W. Schulz
Real estate mogul Clint Reilly’s attempt to stop a major media buyout involving MediaNews and the Hearst Corp. turned a corner earlier this week when Reilly’s attorney, Joe Alioto, asked a federal judge for a temporary restraining order to stop certain business activities taking place at both companies that could change the dimensions of the Bay Area newspaper establishment.
Alioto fears that if changes at several of the local daily papers become too significant, no decision made during trial could turn them back, including recently announced job cuts at the papers. The judge has yet to rule, but a decision will likely to be handed down by Monday.
The hearing on Thursday devolved at times into a heated exchange between Alioto and the Hearst attorney, Daniel Wall. Alioto says an April letter confirms that Hearst and MediaNews have been discussing the possibility of combining some circulation and ad functions. Wall fired back that the San Francisco Chronicle is bleeding millions of dollars annually and the only way to save it is to reduce costs through “pro-competition collaboration.”
