Media

Editor’s Notes

0

› tredmond@sfbg.com

I remember watching Jimmy Carter make a speech on TV back in early 1980, when he was trying to deal with a wrecked economy, a national "malaise" that was only partially a figment of his imagination, and the Iran hostage crisis, and all I remember telling my college roommates was this:

The guy looks like a goddamn ghost.

Carter had aged at least 20 years since his upbeat 1977 inauguration. His face was creased and haggard. His eyes were empty hollows. He appeared to be having trouble focusing on what he was saying. It was pretty clear that Carter was burned toast.

I never got that feeling about Bill Clinton. Through the health care mess, the Newt Gingrich era, Monica Lewinsky, and impeachment, he always seemed to have a grip.

But like Jimmy Carter 27 years ago, George W. Bush is falling apart.

W. was never terribly bright to begin with, but he always had that confident swagger, that tone in his voice that suggested he believed in what he was saying. On the night of Jan. 10 it was all gone.

Even on TV, with all the makeup and careful background and lighting, the president was a wreck. He looked like hell. If the guy weren’t a sober, reformed alcoholic, I’d have sworn he’d been shit-faced for the past three days. He’s just falling apart. If he weren’t such an evil prick, I’d actually feel sorry for him.

The military escalation in Iraq is such a brainless notion that I can’t figure out how Karl Rove and co. ever let it get out of the Oval Office. This is a no-win deal: even the mainstream news media, including the papers and commentators who supported the invasion and stuck with the war for years, are now pointing out that Iraq has no functioning government, that the place is run by sectarian militias and is in a state of civil war. Twenty thousand new American soldiers won’t help a bit — they’ll just be another group of targets for extremists and opportunists. Too many of them will soon be filling body bags, and too many more will be in military hospitals trying to rebuild their lives with missing limbs, near-fatal injuries, and the kind of scarred psyches that can only come from realizing you might very well be John Kerry’s famous last man to die for a mistake.

As we note in an editorial, this is probably the greatest political gift an incumbent Republican president has given the Democratic Party since Richard Nixon had his pals engage in a third-rate burglary in the Watergate office complex. The worst president in modern history is finally on the defensive, way on the defensive, and unless Nancy Pelosi and Harry Reid truly bungle things, there’s no way he’s going to recover.

I’m still for impeachment (and the case looks better every day). But right now what I’m for the most is some congressional pluck. The Constitution is pretty clear on the fact that the legislative branch handles the purse strings and has the right to declare war. There’s an easy way to get the troops out of Iraq: stop writing the checks.

The war isn’t even in the Bush budget. He keeps coming back and asking for more off-line money for it. Pelosi can simply say no — not another damn dime. I wish I thought she had the courage and principles to do it. *

Introducing the Edward R. Murrow of the Bush crisis in 2007: Keith Olbermann of MSNBC

2

By Bruce B. Brugmann

The mainstream media who helped President Bush march us into war in Iraq have a lot to answer for.

One of the most eloquent answers these days comes from Keith Olbermann, who has become a passionate critic of the war and the Bush administration as the host of MSBNC’s “Countdown.”
He has night after night laid out some of the most scalding commentaries ever made on televsion by a major broadcast figure against a wartime president.

On Thursday night, after the President’s Wednesday night address to the nation on Iraq,
Olbermann rose to the occasion with an editorial titled “Bush’s Legacy: The President Who Cried Wolf,” with the subhead “Bush’s strategy fails because it depends on his credibility.”

For those of us who remember the way Edward R. Murrow started his War II radio broadcasts, “This is London,” Olbermann had the chilling ring of Murrow authority and credibility.

He started in on Bush with a lead that caught the essence of one of the most serious crises in American history: “Only this president, only in this time, only with this dangerous, even messianic certitude, could answer a country demanding an exit strategy from Iraq, by offering an entrance to Iran.”

And he ended with a flourish of trumpets, “You have lost the military. You have lost the Congress to the Democrats. You have lost most of the Iraqis. You have lost many of the Republicans. You have lost our allies.

“You are losing the credibility, not just of your presidency, but more importantly of the office itself.

“And most imperatively, you are guaranteeing that more American troops will be losing their lives, and more families their loved ones. You are guaranteeing it!

“This becomes your legacy, sir: How many of those you addressed last night as your ‘fellow citizens’ you just sent to their deaths.

“And for what, Mr. Bush?

“So the next president has to pull the survivors out of Iraq instead of you?”

Perhaps, as the crisis deepens by the day in Washington, Olbermann should start his evening commentaries by saying, “This is Washington.” Last night he ended his commentary with the trademark Murrow phrase, “Good night and good luck.” Let us wish all the good luck in the world to Olbermann and MSNBC in keeping him and his kind of distinguished commentary on the air. (This is the full text of his commentary, carried by truthout.org. Note also his other commentaries.) B3

http://www.truthout.org/docs_2006/011207A.shtml

HAILING ALL MEDIA NERDS

1

by Amanda Witherell

If you didn’t make it down to Memphis for the Third National Media Reform Conference, there was a great show on Democracy Now this morning about it. Amy Goodman and Juan Gonzalez are broadcasting from Tennessee for the duration of the conference and had a conversation this morning with Robert McChesney of the Free Press and Jonathan Adelstein, one of the two Democratic FCC commissioners. Here’s the show.

And here’s the conference, where you can find the latest and greatest on media, which is supposed to be giving you the latest and greatest of what’s going on in the world.

We accept you — one of us!

0

I’ve been at the Guardian awhile — it’ll be eight years next month, in fact. I started as a fresh-faced, eager intern, and since 1999 I’ve met many other fresh-faced, eager interns, intent on careers in media or academics or giraffe-tending (for real! If you’re out there, intern-who-reviewed-movies-but-was-also-a-zookeeper, email me and let me know how you’re doing.) But I’ve only known a few who were determined to segue from film writer to filmmaker — and one of ’em was Dina Gachman, who just finished her graduate thesis film at USC.

Flush ‘N Fish

0

We’ve been inundated with emails promoting this amazing toilet-cum-aquarium for the past few weeks — to the point that some of us around the office have created a running joke about making a movie about a killer fish that lives in the toilet called FIN ROT! It’s a fish tank, it’s a toilet tank, it’s a terrarium (yes you can put a lizard in there), it’s …..

fishnflush.jpg

FISH ‘N FLUSH! Interactive and events can be found here!

Yes, there’s fish in the clear tank — don’t worry, they come to no harm And even the mainstream Web media is into it. What next? Koalas in my dryer? Oh, you kids ….

PS on Google one of the search returns for this thingie is titled “Flushing Nemo” heh

The McClatchy Strib: RIP? WTF? Pruitt’s Folly, big-daily blues, and the invasion of the stripper-flippers

0

By Bruce B. Brugmann

The above head was on the best analysis so far of the McClatchy sale of the Minneapololis Star Tribune to an unknown New York private equity firm with no newspaper holdings nor experience.
It was written by Steve Perry, longtime editor of City Pages, the alternative paper in Minneapolis, and ran in Monday’s edition.

It is a classic alternative press story by an editor who is also good reporter and it shows once again the indispensable value of an alternative paper that is fulfilling its real mission to be alternative to and competitive with the local monopoly daily. No other daily or magazine, in Minnesota or probably anywhere else, will do this kind of excellent media criticism and local power structure reporting and analysis. And nobody will follow the story as City Pages will undoubtedly do.

Let me cite one paragraph of Perry’s report to make the point. Perry sets Pruitt up with some self-immolating quotes and asks the question: “So again: How exactly does selling off this paper at this moment, for considerably less than prevailing industry standards would have dictated, constitute prudent fiscal management?”

Perry provides some answers: “Mike Meyers thinks he knows the answer: It makes no sense at all. The paper’s 57-year-old economics reporter is a figure legendary around the newsroom for his gruffness, acuity, and anti-sentimentality. (‘Don’t ask me how I feel about the sale,’ he growled by way of a howdy=do when I phoned him.
‘I don’t deal in feelings. What matters is the set of facts surronding the sale, which are very clear.’) He has no compunction about sharing his theory of events (‘no, on the record. I hate people who go off the record’), which is simple and to the point: McClatchy management fucked up and put itself in a position where it had to sell something to pay its tax bill.”

And then Meyers and Perry lay out their answer to the question headline that led the story: “PRUITT’S FOLLY: IS THERE A SMOKING GUN IN THE STRIB FIRE SALE?”

Note: Why is the silence out here so deafening–owners, managers, staff, unions– in commenting publicly on the capers of the Galloping Conglomerati (Hearst, Singleton, McClatchy, Gannett, Stephens) who are moving as quietly as they can, sealing key documents in a critical federal court case, to set up a regional monopoly? If anybody knows anybody who wants to talk publicly, let us know at the Guardian. Meanwhile, I am getting no comment from Hearst corporate via Chronicle Publisher Frank Vega and Chronicle Editor Phil Bronstein. Soon, I will tell you why. B3

City Pages: The McClatchy Strib: RIP. WTF?

THURSDAY

0

jan. 11

event

POOR Press Reading

The Bay Area is particularly rife with innovative niche publications, one of which is POOR Magazine. POOR’s mission is to provide media access to and advocacy for very-low- to no-income inhabitants of San Francisco and beyond and has birthed both a multifaceted news service (PNN: PoorNewsNetwork) and a small-press publishing company (POOR Press). Join POOR editor Lisa Gray-Garcia at City Lights as she reads from her new book, Criminal of Poverty: Growing Up Homeless in America (City Lights, 2007), with a posse of POOR Press authors. (Nicole Gluckstern)

7 p.m., free
City Lights
261 Columbus, SF
(415) 362-8193
www.citylights.com

performance

In the Blood

What if Hester Prynne were a down-and-out African American woman living in an urban wasteland who instead of wearing the scarlet letter has the word slut spray-painted over her makeshift home under a decrepit bridge? Welcome to the brainchild of Pulitzer Prize-winning playwright Suzan-Lori Parks, whose In the Blood turns the Hawthorne classic on its head while confronting questions of gender, race, and sexuality with gritty dialogue and cynical humor. (Hayley Elisabeth Kaufman)

8 p.m., $10
Through Sun/14
California State University, East Bay
25800 Carlos Bee Blvd., Hayward
(510) 885-3261
http://class.csueastbay.edu/theatre

Surreal genius

0

Are Kasper Hauser’s members the funniest people in San Francisco? Just try not busting a gut over the sketch troupe’s new SkyMaul: Happy Crap You Can Buy from a Plane, a takeoff on the SkyMall catalogs you find on airplanes. An uncanny takeoff. It’s stuffed with lovingly photographed faux products (including Our Safest Electric Jungle Gym, a steal at $599.99) and excessively cheerful copy (for the Racial Globe Toaster: "Press any country, and your toast will toast to the shade of its inhabitants’ skin!").

If you’ve seen Kasper Hauser live, you’ve witnessed their ability to write sketches that mash up the familiar and the absurd. And then there’s Kasper Hauser’s Web site, www.kasperhauser.com, which further showcases their talent for injecting surreal elements into a variety of media: short videos ("A Solution for Male Camel Toe") and the popular Kasper Hauser Comedy Podcast, plus a takeoff on Craigslist that’s equal parts bizarre and hilarious. The busy comedians are also working on a pilot proposal for Current TV.

As the quartet prepared for SkyMaul-themed shows at both the Chicago and San Francisco Sketchfests (local performances are Jan. 17, 19, and 21), I visited KH HQ in the Mission, where Dan Klein, Rob Baedeker, James Reichmuth, and John Reichmuth — former Stanford classmates who’ve been performing together since 2000 — chatted about parody, creativity, and the importance of staying staunchly San Franciscan. (Cheryl Eddy)

SFBG Have you noticed that audiences have more awareness of sketch comedy, given the rise of festivals like SF Sketchfest? Or do people still want to yell things out like it’s an improv show?

JOHN REICHMUTH I don’t really like to use the word sketch very much because it usually gets a bad reaction. That is what we are, but people take that as sort of a euphemism for "quick and undeveloped" and "over the top." "Zany." We hate the word zany — random, zany, silly. Those are just words that mean that the person did not watch you. [Other members laugh.] I think that each city that has a sketch fest has seen [awareness of the form] grow. Clearly, it’s happened in San Francisco; what you have is an audience with much more clearly defined expectations.

SFBG What can audiences expect from this year’s show?

ROB BAEDEKER With SkyMaul, we adapted material from the book and then used some old characters and sketches and sort of cobbled together a show that’s new in most ways.

JOHN REICHMUTH It’s a narrative about the company, the imaginary [SkyMaul] company, but it’s surreal like we are. It just sort of transcends time and space and physical laws.

SFBG How did you come up with the premise for the book? Obviously, everyone who’s been on a plane has seen a SkyMall catalog.

DAN KLEIN We’d fly to festivals, basically, and we’d grab the SkyMall….

JAMES REICHMUTH We would write captions above [the photos] and try to crack each other up.

KLEIN We have a great book agent, Danielle Svetkov, who actually came to us and said, "You guys gotta have a book in you somewhere." When we gave her the proposal, we had two offers in two days.

JOHN REICHMUTH We also started the proposal with the words "fuck you." [Everyone laughs.] It said "Fuck you. No, I’m serious. Fuck you — that is such a great idea."

BAEDEKER That was all in quotes, and then it said, "That’s what people say when they hear that we’re working on this book."

JOHN REICHMUTH That is actually how we pitched it. The first words of our pitch were "fuck you." But one of the things that we deal with now is wanting to make sure people read the book — we don’t want people to think that it’s just funny photos but to find the little gems in the writing.

SFBG Anything that didn’t make it into the book?

JAMES REICHMUTH Our publishers suggested very few changes contentwise. There were two products that they said no to: al-Qaeda action figures, which I’m sure someone has done, and the "One True Cock Ring." But that was more of a Lord of the Rings copyright thing.

SFBG You’ve obviously found ways to channel your creativity into a variety of avenues, not just live performance. How has living in San Francisco influenced you?

JAMES REICHMUTH As a comedian, staying in San Francisco is to really choose to have a different kind of career. The biggest choice you make as a comedian is to not move to LA or New York.

JOHN REICHMUTH It takes you off this track where you’re waiting for someone else to validate you or make you into a star or something. You just make your own business. You create something different.

SFBG You’ve performed in SF Sketchfest every year since its inception. What’s your take on the festival?

JAMES REICHMUTH If you look at the lineup now, it’s one of the best comedy festivals in America, without question. Their ambition every single year is astounding, and it’s all Dave Owen, Janet Varney, and Cole Stratton who just make this happen. The thing that’s so great about it is that it’s not just sketch comedy — it’s basically everything but straight stand-up. And straight stand-up is the one kind of comedy that everybody in America has seen way too much of. So anything they see at the festival is bound to be surprising to them as well as being at least as funny as anything they’ve seen before.

SFBG When you’re writing, do you have a pretty good sense of what’s going to be funny to an audience?

KLEIN There have been a couple of things that have made all four of us laugh over and over and just — if the audience doesn’t laugh at some point, you just gotta give up and move on.

JAMES REICHMUTH It’s pointless to say something like "Well, that audience didn’t get it." It’s either a success or a failure. Finding your audience is one thing, but it’s, like, they laughed or they didn’t. We try to avoid being hack or cheap —

JOHN REICHMUTH Or topical.

JAMES REICHMUTH In the end, it’s just all about laughs.

KLEIN If you can get the whole audience, then you get them crying and laughing so hard they’re spitting on the people in front of them.

JOHN REICHMUTH As a comedian, I think getting people to spit stuff out is number one. *

Careers and Ed: Hard on the job

0

› culture@sfbg.com

Just a short walk northeast from the Hall of Justice in SoMa lies an internationally renowned palace of forbidden pleasure.

The nondescript four-story stone building is the headquarters for Kink, an online enterprise specializing in the production of short, sexy, streaming BDSM videos, available for a monthly subscription fee. Started by British bondage aficionado Peter Ackworth about a decade ago, Kink is home to such fetish favorites as Hogtied, Fucking Machines, and Ultimate Surrender (in which the winner of a female wrestling competition in a Greco-Roman setting gets to fuck the loser). It’s also — perhaps surprisingly — a great place to work, according to the people who work there. And that’s not just those strapped down in front of the cameras talking.

Granted, when you were young and dreaming of a fabulous career in film, porn might not have been your chosen niche. But if you’re looking for a job in media and are unenthused by the paltry postings on Craigslist offering the opportunity to work in the lackluster world of industrial video production, you might want to broaden your options. There used to be a steadier stream of work shooting commercials and Hollywood films on location here, but the high costs have caused that flow to taper off. Still, the Bay Area harbors a vibrant industry creating DVD and Internet adult content.

Crack all the jokes you want about the sleaziness of the porn business, but there’s some real dedication behind it. I used to have a job where I regularly interviewed people about their jobs: dot-com jobs, to be specific. Most of the time, the Web guru, marketing guru, or whatever guru I was interrogating would stare at me with a Stepford wife’s eyes and tell me what a blast it was to work at blobbity-blah.com. All the while I could hear the voice in his or her head blaring, "If my stock options end up amounting to nothing more than toilet paper, I’m gonna be pissed!"

Many local erotica production studios, on the other hand, offer a positive and creative work environment, upward mobility, and good pay with full benefits for everyone from customer service representatives to IT workers and video editors.

ONE HECK OF A DAY JOB


As I’m guided through the maze of sets at Kink — a jail cell, a dirty bathroom, a dungeon with vaulted ceilings reminiscent of the Doom video game, even a sci-fi room — I pass workers who are going about the business of making naughty fantasies come to life. Production assistants in black jumpsuits prepare sets for shoots. Set builders in flannels construct a booth in the back lot for the imminent Adult Video News Awards in Las Vegas. A model naps in the green room before his close-up.

In the office space where the postproduction editors work with the directors to piece together videos on large, brilliant flat-panel monitors, everyone I see looks like someone who could be working at an indie rock record label. They’re hip, young, hard at work, and having a good time.

I get to interview some of them on the canopied roof deck, replete with a bar, heat lamps, and a hot tub. Kelly Schaefer, a young woman with jagged layers of blond locks jutting to her chin, tells me she’s worked at Kink for about a year. Now the lead production assistant, in charge of scheduling and training all the other PAs for shoots and making sure everything runs smoothly, she started out as a model, performing in Kink’s Ultimate Surrender. The former Good Vibrations sales associate still models, because she really enjoys the wrestling. But she’s also working toward becoming a full-fledged producer.

Schaefer has a rep around Kink for being motivated, which is partly why she was able to move into a different role with greater responsibility. Since she didn’t have a background in production, being a model helped her get a foot in the door. For those interested, Schaefer says, "It’s a great company if you’re just getting started in BDSM." Kink follows the BDSM credo of safe, consensual, and respectful play and trains its PAs to make sure that all models are treated well, taking care to stop the shoot when limbs fall asleep during difficult poses involving mouth gags and rope.

Her coworker Guillermo Garcia, a videographer and PA, got his start by taking a number of production and editing classes in Final Cut Pro at City College. In addition to gaining more experience in lighting a soundstage on the job, the dreadlocked musician from Medellín, Colombia, says he enjoyed scoring the theme to Ultimate Surrender. He also has to make sure all the gadgets for the Fucking Machines series are in proper working order and, truth be told, clean the sex toys.

PERKS AND PACKAGES


Over at Colt Studios, which is in a converted warehouse near Potrero Hill that also houses an accounting firm, a team of 19 people works hard to produce slick and beautiful photos, calendars, and videos of handsome, masculine guys.

President John Rutherford, who got his degree in broadcasting at San Francisco State, realized that making internal videos at Hewlett-Packard with straight guys wasn’t in his future. He started working at San Francisco’s famed hardcore gay porn company Falcon Studios just as he was coming out. Rutherford said he aims to run a team of creative and self-directed people who are serious about attaining company goals. He likens working with porn to a nurse working with blood. "I can’t even watch Nip/Tuck, but here I think, ‘Hey, that’s a great picture; that’s a big dick.’ " It’s all in a day’s work.

His business partner, Tom Settle, says, "Our customer service agents get the question at least once a day: ‘Well, what’s it like to work there?’ People have a fantasy that models walk around servicing our customer service agents all day…. We’ve had people come to work here looking for the forbidden fruit. When they find out it’s not what they expect, they think, ‘Well, I could never tell anyone I work here.’ "

Not that it’s dull working at Colt, a company with a 40-year history of male erotica production, mind you. The elegant offices are filled with fine art. Georgia, Rutherford’s beagle, roams freely. The staff is urbane and witty.

Kim Ionesco, a Colt customer service rep who is starting to work more in marketing, jokes that she never thought her career would flourish in male porn. "I didn’t hit the glass ceiling," she exclaims, sipping a Red Bull. When she started working at Colt, all her lesbian friends began clamoring for DVDs starring Chris Wide, a hot property in Colt’s exclusive stable. She had no idea her girlfriends would know who he was. Then again, she quips, "I appreciate nice, polite, good-looking gay men." So why wouldn’t other dykes feel the same way?

Even straight IT professionals such as Aaron Golub find working in male, mostly gay porn surprisingly refreshing too. Previously, he worked as an IT director at a multinational company but quit because, as he explains, "I did not feel like what I was doing was noble. I feel more guilty about generating junk mail. I’ve never sat there and said, ‘Oh, I need some advertising,’ but I’ve definitely felt like I needed porn. I feel like what we’re doing is for people who really, truly want it. Where I worked before, I didn’t feel like that was truly the case."

Aside from working toward the common goal of providing customers with images of Colt’s much-admired, wood-chopping manly men, the twentysomething IT whiz gets to work with technology on the cutting edge. "We’re doing things you don’t do when you’re developing a site for IBM." He wouldn’t tip his hand, but basically he means that by making downloads and streams seamless and infallible, online porn is on the forefront of content delivery.

When I ask him if working in porn might cause some stigmatization with future employers, he says, "I’m in a different boat than actors or directors, because my skills are very transportable. I’m not in a situation where I’m going to have to present a reel." He also echoes what every other worker I interviewed told me.

"I wouldn’t want to work for someone who has a problem with what I do." *

www.kink.com

www.coltstudiogroup.com

Sci-fi made me do it

0

› annalee@techsploitation.com

TECHSPLOITATION Human beings are always bragging how cool we are because we plan for the future. That’s probably why a team of neuroscientists recently did a study on the anatomy of future thinking. Turns out that pondering an upcoming event like, say, the release of Windows Vista, activates a very specific part of the brain.

At least, that’s what researchers at the University of Washington in St. Louis observed when they stuck people in an MRI machine and asked them to think about their next birthdays. The area of the brain for futuristic thought is apparently different from the parts we use to think about the past. Published recently in the Proceedings of the National Academy of Sciences, their study is the first to detail an anatomical region associated with future-related thoughts. But it’s certainly not the first to explore the idea that humans have a special gift for thinking about what’s next — despite evidence that other animals obviously have tomorrow in mind when they stock up on food for the winter or build dams.

I often imagine the beginning of a scientific study as if it were a Hollywood pitch meeting. Scientist A goes to Grant Source B and says, "Hey, I’ve got an idea for you — it’s sort of a mix of Nancy Kanwisher discovering the facial recognition centers in the brain and Helen Fisher asking subjects to think about people they love while in an MRI. Except it’s about the future! We’ll ask our subjects to imagine seeing the faces of loved ones next week! It will be the best of neurology and psychology with a time travel twist!" And Scientist A may or may not get the money for the project.

What makes me want to Hollywoodize this grant-begging scenario is the fact that nobody ever seems to have a clear definition of what makes a project too ridiculous to get funded. I’m not saying this University of Washington study is particularly ridiculous, but it skirts silliness. Researchers asked subjects to imagine a past event, a neutral event, and a future event while studying their brains in an MRI. This technique is used in a lot of reputable brain function studies, but this particular version is error-prone and imprecise. What if people are thinking two or three things at once? What if they think about something so far into the future that it verges on fantasy rather than merely planning for next year? Certainly, there are ways to normalize the results, especially with multiple test subjects, but nevertheless, the whole thing is a messy business to say the least.

And as I was saying earlier, there seems to be no good way to articulate what makes this study different from something most of us would agree is patently silly, such as trying to find the science fiction center of the brain by asking people in an MRI machine to imagine a future full of spaceships and aliens. I mean, if we have a future-thought area of our brains, it certainly seems to follow that we might have a science fiction center. Perhaps it even overlaps with the future-thought area? Does that mean sci-fi writer Cory Doctorow and futurist Ray Kurzweil have bigger or more active science fiction centers in their brains? Let’s image them and find out! It would be like the University of Washington study crossed with Philip K. Dick. Want to fund it?

This study could also answer the crucial question of whether a taste for science fiction can be inherited. If it’s a structure in the brain, after all, there’s some set of genes responsible. Does that mean the human brain underwent an evolutionary mutation sometime in the 16th century, when foundational futurist Thomas More wrote Utopia?

One possible outcome of this study would be a way for science fiction writers, futurists, and their fans to explain their predilections as a fact of biology rather than a cultural preference. We can’t help being science fiction lovers and acolytes of the future, you see. We were just born that way. So you can’t reeducate us into liking literature or historical tales. Our brains aren’t suited for it. Moreover, science fiction may compel us to do things we can’t be blamed for, like playing video games and going to conventions full of people in costumes. Perhaps unhappy futurists can be given drug therapies to reduce the activity in the science fiction region of their brains. That way they can get back to leading regular lives that include planning only for birthday parties in the future, not intergalactic societies. Yes, I like the direction this research is going. Let’s get some funding. *

Annalee Newitz is a surly media nerd who volunteers to think about artificial intelligence while getting an MRI during the next study of science fiction centers in the brain.

Off the record

0

› gwschulz@sfbg.com

Among the mansions and box stores popuutf8g Silicon Valley are several major tech firms at the heart of a stock option backdating scandal that has metastasized through corporate America over the last two years.

The hall of shame includes Juniper Networks, McAfee, Nvidia, Brocade Communications Systems, and most notably for this story, a Mountain View–based firm called Mercury Interactive, which came under scrutiny in late 2004, making it one of the earliest companies identified for allegedly tampering with the lucrative stock options given to employees.

While some of the half-billion-dollar backdating mess at Mercury has appeared in the business press already, additional details contained in a civil lawsuit filed by investors are under seal in Santa Clara County Superior Court, and three news outlets want them opened up by a judge.

"These companies fleeced investors, and the public has a right to know," Karl Olson, an attorney for the outlets, told Judge James Kleinberg during a hearing Jan 5. Olson is representing the San Francisco Chronicle, Bloomberg News, and the Recorder legal newspaper. He added the defendants have "not shown an overriding interest that supports sealing any of these records."

Attorneys for the company and its fallen former executives have not cited trade secrets or proprietary information — commonly used excuses in corporate litigation — as reasons for keeping the filings sealed. Instead, they seem to be worried the documents will paint an even more sordid picture of executive misdeeds than what’s already come out, and they want to block the press from telling the full story.

But there is an interesting irony to the Chronicle insisting it is entitled to access this information. The newspaper’s parent company, the Hearst Corp., asked a federal judge to withhold from the public some of its own company records unearthed amid a federal civil suit leveled against it and other media giants over the summer.

San Francisco real estate mogul Clint Reilly filed an antitrust claim against Hearst and its rival–cum–business partner, Denver-based MediaNews Group, owner of several Bay Area newspapers, arguing that a bid between the companies to share business expenses was illegal. The Guardian has joined an effort with the nonprofit Media Alliance to unseal records related to Reilly’s suit.

But in the Mercury case, attorneys for the company and its former executives complain individuals not listed as defendants "would have their identities revealed and be implicated in alleged misconduct."

Mercury certainly would like to forget its troublesome past. Computer giant Hewlett-Packard is closing out its purchase of the company for $4.5 billion, taking on Mercury’s liabilities and obviously hoping to put the backdating matter to bed.

Nationwide, somewhere between 150 and 200 companies (reports vary) are internally investigating options problems or have received inquiries from the Securities and Exchange Commission (SEC), the federal agency charged with ensuring publicly traded firms reveal essentially every major move they make.

Mercury was founded in 1989 and produces business software for companies worldwide. In another bit of irony, Mercury specializes in making a group of applications designed to help corporate clients fully comply with the new federal financial disclosure rules passed by Congress as part of the Sarbanes-Oxley Act following Enron’s implosion.

Amnon Landan, the former Mercury CEO who resigned in November 2005 under pressure following an internal probe, is said to have exercised $5.5 million worth of options and sold 1.04 million company shares for a total of $73.6 million "during the period of wrongdoing," according to another suit filed by investors in federal court last spring.

Two additional executives resigned at the same time as Landan. The list of plaintiffs in the federal suit, which charges that Mercury’s backdating imbroglio greatly damaged the company’s market value, includes the retirement system for New Orleans municipal employees.

The value of a stock option is determined by its closing price per share on the day the option is granted. Instead of listing that particular date when the options are later exercised, backdating an option generally involves picking a spot earlier on the calendar. That way, employees of companies that make it big can reap huge windfall profits far bigger than they were entitled to receive. As Duke law professor James Cox somewhat famously described backdating, it’s like betting on a race and knowing who the winner will be.

Silicon Valley’s start-ups during the tech boom relied on hopes and dreams more than directly available cash assets to flashpoint their growth. To attract the best executive talent around, they offered stock options in exchange for hefty salaries. If the top suits performed well from the beginning, when the stock price was low, they could sell the shares much later when their value had climbed sky-high.

But some of the still relatively young companies that dot the fringes of Highway 101 where it weaves toward downtown San Jose are today being charged with failing to inform investors and government regulators just how many zeros were involved in those enriching IOUs.

Defense attorney James Kramer made an important point about backdating, however, to Judge Kleinberg during last week’s hearing. "There is nothing about backdating that is illegal," he said. "The issue is whether you properly account for it."

Yet Mercury didn’t properly account for more than $567 million in compensation expenses over a 12-year period in its SEC filings. And that’s what is illegal. The IRS heavily taxes earnings from backdated stock options, which are akin to tax-free bonuses that aren’t reported to the SEC. Investors say the failure to disclose the backdating exposed the company to heavy tax penalties, money that came from shareholders.

"Throughout the development of the options scandal, Mercury Interactive has been one of the most significant companies for the public to watch, due to both the primacy and seriousness of its options problems," Recorder reporter Justin Scheck wrote in a declaration to the judge last week. The Recorder, which serves about 20,000 readers in the state’s legal community, asked Jan. 5 for Kleinberg to open the records.

Recorder attorney Olson, who regularly represents the Chronicle in such open-records cases, argued in a memo to the court that the desire to shield top Mercury execs from "adverse publicity" and "potentially embarrassing corporate documents" doesn’t justify withholding up to 17 exhibits that Mercury wants to keep away from the press and the public. Petitions submitted to the court regarding the sealed portions of the case are public and were obtained by the Guardian last week.

The defendants’ attorneys said the investors signed a confidentiality agreement early in the suit so that evidence could be more freely exchanged with Mercury during discovery, and they want that promise kept.

"The plaintiffs in the [Santa Clara] suit are not roving attorneys general who are tasked with pursing every defendant who they believe has done something wrong or caused harm to someone else," Brandon Wisoff, a defense attorney in the case, said in a phone interview. "The purpose of a derivative suit is for a shareholder to recover on behalf of a corporation in which he or she owns stock, because he or she is indirectly impacted by any harm that allegedly occurred to the corporation."

The Santa Clara suit’s status as a derivative claim could lead Judge Kleinberg to toss it out, since HP has purchased Mercury. For that reason, Wisoff says, documents produced before the sale aren’t going to be used in court and so shouldn’t be accessible to the public.

"Non-defendant third parties also would have their identities revealed and be implicated in the alleged misconduct" if the records were opened, attorney Thomas Martin wrote in a declaration to the court. In other words, the documents could suggest how much was known about the problems with backdating at Mercury. And that might be of concern to more than just the company’s investors.

Martin, who declined to comment over the phone for us, is representing Kenneth Klein, a former Mercury chief operating officer who left the company in 2003 and has not officially been linked by Mercury to backdating problems but is nonetheless listed as a defendant in the Santa Clara suit.

Thomas and the other defense attorneys argue the investors’ court filings openly cite sealed discovery material, which presumably includes references to Klein’s alleged involvement in or knowledge of backdating, given his status as a defendant, as well as the names of others possibly listed in the documents. They’re arguing Mercury and its executive defendants could not publicly rebut suggestions made by the media about their involvement.

While Kleinberg seemed sympathetic to the notion that the press doesn’t always do the best job reporting on civil allegations, he said it’s a fact of life that most civil complaints — even ones that say "very outrageous things about people and institutions" — fall into the public domain.

But Amber Eck, an attorney for the investors who are now advocating for the filings to be opened, says the complaints made in the suit are far from frivolous and the company’s own board investigation identified who had participated in the misconduct and who knew about it. She said the whole story hasn’t been told.

"There’s a lot saying there was backdating and the amount of the [SEC financial] restatements," Eck said in a phone interview. "But what I was explaining to the judge was that as far as the details on the manner and the process in which it happened … that isn’t really out there yet, and that’s contained in our complaint and the exhibits."

Janet Guyon, an editor at Bloomberg News in New York who has watched the options backdating scandal unfold, told the judge in a declaration that the public deserves a "window into this litigation" to ensure fairness for investors who are expected to trust promises of transparency made by public companies.

"More than 80 companies have announced earnings restatements totaling over $8.8 billion, including $84 million most recently by Apple Computer, which admitted it forged documents recording a directors’ meeting to award its CEO backdated options," Guyon stated. "At least 65 executives or directors have resigned and 300 lawsuits have been filed against 100 companies. Yet little light has been shed on how this practice got started and why it continued." *

Declaration by Bloomberg News editor Janet Guyon to judge Kleinberg on why the Mercury records should be unsealed.


Declaration by local reporter Justin Scheck on why the Mercury records should be unsealed.

Application by attorney Jared Kopel for defendant Kenneth Klein on why the records should continue to be sealed.


Declaration by attorney Thomas Martin for defendant Kenneth Klein on why the records should continue to be sealed.

Calling all media nerds

0

@@http://www.sfbg.com/blogs/politics/@@

Tantalizing question: How can the Chronicle/Hearst say one thing in superior court in Santa Clara County and the opposite in federal court in San Francisco?

0

By Bruce B. Brugmann

In Friday’s San Francisco Chronicle, below the fold in the business section, there was a tantalizing head with a tantalizing lead that raised a tantalizing question: how can Hearst say one thing in Santa Clara Superior Court and another in federal court in San Francisco in a similar public records case?

The head: “Media seeking backdating info, Mercury Interactive documents provide details on practice.” The lead:
“A Santa Clara County Court judge will hear arguments today from media companies, including the Chronicle, seeking to unseal documents related to stock options backdating at Mercury Interactive Corp.”

The story: Chronicle reporter Carolyn Said wrote that the Chronicle and the Recorder and Bloomberg News went into court “requesting access to court filings related to widespread manipulation of stock options at Mountain View’s Mercury, which makes business software.” At the end of the story, Said reported that “the three media outlets are seeking to unseal documents Mercury provided in the shareholder lawsuit under a confidentiality order. They say the documents might reveal the inside story on how backdating occurred.”

Good for Hearst, the Recorder, and Bloomberg News and Karl Olson, the Hearst media attorney who made a strong case to open the records. He even told the judge that as he was driving from San Francisco to Santa Clara for the hearing he realized what a beautiful sunny day it was. “Sunshine is the best bet,” he said. We hope they win. The judge said he would consider arguments in hte case.

Meanwhile, in federal court in San Francisco, Hearst is taking the opposite side of the issue in a similar records sealing case. Significantly, this case involves Hearst itself and Singleton (and their chain newspaper allies McClatchy, Gannett, Stephens) in the Reilly vs. Hearst antitrust case. The chain gang is stonewalling so hard and so high that the Guardian and the Media Alliance were forced to go into federal court to try to unseal the records and shed sunlight on this major national story: the deal that would destroy newspaper competition in the Bay Area and impose regional monopoly. The First Amendment Project in Oakland is handling the suit.

Ironically, Reilly and the Guardian are using the same argument Hearst used in Santa Clara to unseal the Hearst records in San Francisco: that they will “reveal the inside story” of how Hearst and Singleton secretly cooked up the monopolizing deal. As our Dec. 27 editorial put it, “The way the big chains have set things up, there’s no way for the public to find out much of anything–except what Hearst and MediaNews want us to know. Under the terms of a court order the chains wrote and got approved anything–evidence, briefs, depositions, even legal motions–the newspaper barons want to mark secret is automatically sealed…In other words, the newspapers–which, after all, are accused of trying to violate antitrust laws and create a media monopoly in the region–have complete control of what information does and doesn’t come out of the trial. That’s exactly how they want it–and that’s exactly how things will go if they get their way.”

And so the questions still tantalize: how can Hearst be for sunshine in Santa Clara Superior Court and for darkness in San Francisco federal court? How can Hearst report these stories with obvious contradictory positions without comment and without blushing? Don’t the contradictory positions hurt not just the Hearst case in Santa Clara but the journalistic and public interest arguments in all open records court cases? I am posing these questions by email to Hearst corporate in New York via Chronicle Publisher Frank Vega and Editor Phil Bronstein.” Check our Wednesday Guardian paper and website for a bigger story on the backdating scandal and Hearst ironies by reporter G.W. Schutz. He covered the hearing for the Guardian. B3

SF Chronicle: Media seeking backdating info – Mercury Interactive documents could provide details on practice

P&J jam

0

› kimberly@sfbg.com

SONIC REDUCER Icons come and go, with all the fanfare, dressers, and folderol that legends demand, you know — with a wiggle of a ruddy nose, the flash of a cape, a blast of TNT, the slam of the estate gates. Goodbye, James Brown (RIP Godfather of Soul, Dec. 25, 2006), may you work a little less in heaven than

you did on earth. Fare thee well, Village Music (music geeks’ vinyl treasure trove), readying to close Sept. 30, due to the high rent demanded in Mill Valley. Next?

I was ready to say hasta luego to that mammoth warhorse of all critics’ polls, the Village Voice‘s Pazz and Jop. The massive compendium of top 10 album and song lists and legitimizer of toiling, stinking music crit midgets the nation over, the creature seemed to be next on the list of endangered species when creator-caretaker Robert Christgau (dean of American rock critics) and Voice music editor Chuck Eddy were fired last year after the New Times’ purchase of Village Voice Media.

Still, the yearly e-mail appeared again early last month — "Hello. You are one of the 1,500-odd critics we’d like to include …" — this time signed by the Voice‘s new music editor, Rob Harvilla, who got the NT corporate relocation orders from the East Bay Express.

Is it the same poll without Christgau keeping tempo? Honestly, few envy Harvilla, who has had a tough shoe to polish in pleasing Voice readers and filling his well-established predecessors’ boots while boasting little of sheer record-reviewing chops and logging a fraction of the critical thought that has gone into the careers of Eddy and Christgau. The latter for good reason dubbed his graded music review column Consumer’s Guide. Ever the idealistic, outraged, yet overthinking lot, music writers were conflicted — torn between their loyalty to the old Voice editors and the scent of a continuing or future paycheck. The notion of alternate polls was batted around on the blogosphere.

Still, when Gawker Media actually began one, who suspected the brouhaha that would ensue? Gawker’s music blog, Idolator, announced its startlingly similar Jackin’ Pop Critics Poll with the cheeky, gauntlet-tossing headline "Time to Raze the Village," called out Christgau’s and Eddy’s cannings, and issued the salvo "For those who had long turned to the Voice to help guide them through the realm of pop, rock, and hip-hop, the 51-year-old alt-weekly now had about as much musical credibility as, say, a three-month-old blog." Shortly after that, Idolator poll editor and ex–Seattle Weekly music editor Michaelangelo Matos was informed, through a multiple-source grapevine at the NT-VV Media–owned Minneapolis–St. Paul City Pages (the alt-weekly at which he began his career) that he has been banned from that paper.

Gawker-Idolator later reported that word quickly went out to NT-VV music staffers that they’re not allowed to vote in the Idolator poll. "When we announced the poll, that day, I saw an e-mail from John Lomax, who is the Houston Press music editor — he’s head of New Times music editors — instructing all music editors and staff writers that hourly and salaried staffers of New Times were not allowed to vote in the Idolator poll," Matos told me from Seattle.

Matos added that despite NT-VV being "obviously hardball kind of guys," he took umbrage at the fact that "they didn’t tell me I was banned. I heard it from somebody else. I think the way they handled it was chickenshit, but from the way I can tell, that’s one way they operate, through fear and imprecation." At press time, Lomax and City Pages music editor Sarah Askari had not responded to inquiries.

Is this just a matter of new media versus New Times? Corporate print media fending off the pricks of a million busy blogging digits? To make matters even more complicated, Christgau himself, whose Consumer Guide was recently picked up by MSN, has voted in both polls. "I have told people who’ve asked to do what they wish," he e-mailed me, adding that Eddy, now at Billboard, is not voting in P&J.

Yet other aboveboard and down-low boycotts of P&J abound, Matos said. Ex–Voice staffer and current Pop Conference organizer Eric Weisbard is skipping the poll because, the former P&J pooh-bah e-mailed, "participating in Pazz & Jop validates the New Times neanderthals who now run Village Voice Media. They may want to keep alive a poll that generates more Web hits than anything else they do, but in all other ways, they hate and are trying to eradicate everything that the Village Voice music section stood for: intellectual discussion of popular music and popular culture."

"A number of people who aren’t voting in the Voice poll are older and better established," added Matos, describing an argument he recently had with a friend. "I heatedly called it a labor issue, and my friend said, ‘If I vote in the Voice poll, am I a scab?’ It’s probably not that cut-and-dried…. Everyone in New York knows how bad the Voice has gotten, but for a lot of people, the Voice still represents a decent paycheck. It’s a hard thing to argue with. People who don’t want to piss off the Village Voice, and frankly, till this poll came along, I was one of them."

Vote in both, don’t vote in P&J, or vote in P&J and pen protest too? I’ve always internally chafed against the voice of critical authority, inclusive yet contentious, implied with P&J. Perhaps that sense of center is a bastion of the past, along with traditional music industry models. Yet even the first P&J Matos ever read — from 1990, with De La Soul on the cover — included an essay by a writer who refused to participate in the group grope. The gathering was that quirky and open to dissent.

An alien concert in the new order of NT-VV? "Good going, champions of the free press!" Idolator crowed after announcing the NT-VV response, excerpting a supposed example e-mail from a NT-VV music editor to writer. "To get revenge, we plan to not patronize the porn ads in the back of your magazines for the next week. You have no idea how much that’s gonna cost you."

One long-tenured P&J pooh-bah continues to watch over the proceedings, if from afar. "I look forward with considerable curiosity to both polls," Christgau wrote to me. "I very much doubt either will be as good as the last PJ, but we shall see." Nonetheless, it seems unlikely the boycotted and participation-by-dictate P&J will, as Matos put it, "open things up for you," as good critics and past polls have. *

Cute and cuddly crime statistics

0

By G.W. Schulz

Sorry to piss on everybody’s parade, but a slight drop in the homicide rate isn’t exactly an excuse to break out the coke and booze. Then again, it doesn’t take much to get the frat brothers in the mayor’s office amped up for a party. Bro.

With murders down slightly in 2006 compared to the previous year, Gavin Newsom is preparing for a walk down Divisadero with Police Chief Heather Fong, an area where cops say crime has dropped. The event surely will include a healthy dose of media coverage, and going into an election year, Newsom needs all the flashbulbs he can get. In 2004, he melodramatically proclaimed that voters should recall him if the homicide rate isn’t brought down, so technically, he’s safe for now.

But a buried paragraph in the Chronicle’s front-page story from today reveals a key facet of crime statistics that should be taken into account when considering street-level violence and its effect on a city.

“Richmond Police Lt. Mark Gagan said homicide numbers tell only part of the story in Richmond, where a total of 280 people were shot last year. ‘I don’t think just the homicide rate alone is the way to determine whether violence is up or down,’ Gagan said.”

Nick Coleman of the Minneapolis Star Tribune is mad as hell and won’t take it any more. He writes, McClatchy’s profit-and-loss statement: They profit, we lose

0

By Bruce B. Brugmann

For months now, as the Knight-Ridder/McClatchy/Hearst/Singleton/Gannett/Stephens debacle has unfolded, I have been looking in vain to see if a staff member on any of the papers of the nation’s biggest chains (reporter, columnist, editorial writer, editor, union spokesperson, ad salesman, letter writer, blogger, anybody) would beallowed to blast away at this deal of ultimate toxicity in their papers, on their websites, or in their blogs. (Note my postscript to the newspaper unions to this effect in my previous blog.)

The closest I have seen is an excellent First Amendment column by Thomas Peele in the Contra Costa Times/Singleton, raising the right issues about why his owner/publisher had moved to seal the court records in the Reilly vs. Hearst antitrust case in federal court. (See my earlier blog.) James Naughton, former editor of the Philadelphia Inquirer and a K-R stockholder, and a gang of former Knight-Ridder staffers, mostly retired or off staff, also published online a sharp letter rebuke to K-R Chairman Tony Ridder and the K-R board for rolling over and refusing to fight it out with the dissident private equity stockholders.

Now, two days after McClatchy tossed the Star Tribune into the snow banks of Northern Minnesota, columnist Nick Coleman on Thursday wrote a classic column that ought to go into the journalist textbooks at the University of Minnesota and everywhere else. He lays out in a snapshot of what happens to the Twin Cities when McClatchy and Knight-Ridder conspire in a misbegotten deal that leaves St. Paul with Singleton and Minneapolis with, gulp, a one-year-old New York private equity group firm with no newspaper holdings nor experience. Ironically, perhaps the reason the Star Tribune ran his column was because McClatchy was beating it out of town, fast, at full gallop, and the paper was suddenly thrust under the new ownership of Avista Capital Partners, which hadn’t gotten the knack of monopoly press control and censorship. Chalk up one good mark for the new owner.

Coleman flashed his sword in his lead paragraphs: “When the McClatchy Co. got the keys to the Star Tribune in l998, McClatchy’s patriarch hailed the merger. James McClatchy called it a wedding of two newspaper traditions that shared “‘a deep-rooted commitment to building a just society.’

“You are now permitted to laugh derisively.

“Eight years later, hardly anyone in the newspaper business talks about anything other than building profit margins that would choke a robber baron.

“Mercifully, McClatchy passed away in May and did not live to see the Sacrmento-based company that bore his name disgrace his legacy by dumping its largest newspaper–the most important one between Chicago and the West Coast, the one that serves 5 million Minnesotans and that can be a conscience, a scold, a cheerleader and an interpreter of life on the tundra.”

Coleman ended with a scathing flourish: “McClatchy CEO Gary Pruitt did not bother to come to Minnesota on Tuesday to say he surreptitously had sold the paper and to kiss us goodbye.

“But McClatchy brass gave us some nice parting shots from afar, complaining that the Star Tribune had lost value (and proving it in a secret auction at fire-sale prices), calling the flagship a drag on profits and sayiong McClatchy would have shown a one-percent increase in ad sales if the Star Tribune weren’t included. One per cent Huzzah!
Sound the trumpets!

“There’s the market for you: the Star Tribune held down ad sales one percent. So One-Percent Pruitt axed his best newspaper. Brilliant.

“‘The Star Tribune is one fo the best newspapers in this country,'” Pruitt said in l998. “‘The Twin Cities is one of the most attractive newspaper markets in the country. And it was a near perfect fit in terms of values and traditions.’

“We didn’t change. But you, Mr. Pruitt? We don’t recognize you anymore. So long.

“Don’t bother to write.”

I like that, and I’ll bet a lot of Minnesotans will like that. I can speak with authority because, as a native of Rock Rapids, Iowa, situated five miles from the Minnesota state line just south of Luverne, Minnesota, I grew up with the Star Tribune and its sister paper, the Des Moines Register, both highly respected papers who looked upon the entire states of Minnesota and Iowa as their beats. They were owned at that time by the Cowles family, who lived in Minneapolis and Des Moines, and cared deeply about journalism and Minnesota and Iowa. I spent many a Sunday morning back in the late l940s riding about town proudly delivering the Sunday Register. Everybody, it seemed, in Minnesota and Iowa, read and lived by the Star Tribune and Register. They were our friendly hometown papers.

Coleman has set the standard: The least newspaper owners can do these days of monopoly mayhem is to allow their staff members and readers to write openly and honestly as appropriate in their papers and websites about the way they and their communities are being treated by their owners and publishers. In the meantime, I toast with a Potrero Hill martini Nick Coleman and his editors who passed his story into print. Bravo! keep it up!

Lingering question: Why didn’t Tony Ridder fight like hell to keep his family heritage chain of papers? And why didn’t the Knight-Ridder board, or his key executives, push him privately or publicly to put up a fight. Every Knight-Ridder executive I run into, I ask the question: how in the world did this happen and why didn’t Tony and Knight-Riddger put up a fight? I have yet to get a satisfactory answer. I kept reading Tony’s comments at the time to the effect that he had no choice and that a sale would keep the peace and minimize the tumult in his chain papers.

How could there be more tumult and more damage than there is now? Did Tony and his board really think that McClatchy could swallow their entire chain of papers and not peddle any of them off in fire sales? Why didn’t they get solid pledges from McClatchy that would at minimum save their best papers (Philadelphia Inquirer, San Jose Mercury-News, Contra Costa Times, St. Paul Pioneer Press, the Minneapolis Star Tribune et al)? I believed then, and i believe now, that Tony and the Knight-Ridder people made a bad mistake by not putting up a big public fight and talking publicly, not just about its respectable 20 per cent profit margins, but also about its reputation for quality journalism, community involvement, the prestigious Knight Foundation, and major First Amendment and public access advocacy.

Moreover, while much of the mainstream press was marching us into Iraq and practicing stenographic reporting of the Bush administration, Knight-Ridder and its Washington bureau regularly did some of the most critical news reporting and editorial writing on Bush and the war of any of the major media. I assure you, Dean Singleton and Avista Capital partners aren’t about to pick up the slack, hit hard on Bush and the war, or even try to develop much original Washington and foreign news coverage. Alas. I hope I’m wrong. I refer you to Brugmann’s Law: once you damage quality papers like these, it’s tough as hell to bring them back. Alas. I hope I’m wrong.

Stay alert–we will keep running the major stories that the Hearst/Singleton monopoly papers refuse to print. B3

Nick Coleman: McClatchy’s profit-and-loss statement: They profit, we lose

McClatchy sells the Minneapolis Star-Tribune to a New York venture capital firm with no newspaper experience. It’s sad for the staff, for the state of Minnesota, and for the newspaper business

0

Bu Bruce B. Brugmann

It’s yet another WLSB, another wimpy little story in the business section of the Hearst/Singleton papers, except this time it was not even in the business section of the San Francisco Chronicle/Hearst.
And it was just a couple of paragraphs boiled out of an Associated Press story in the business digest of the Oakland Tribune, Contra Costa Times, and the San Jose Mercury News (all Singleton papers).

Why? This was probably because the latest McClatchy sale was the most embarrassing media monopoly story of them all: it showed yet again how the nation’s big chains were tossing newspapers around like drunks toss cards in a monopoly game in a waterfront saloon. This time, in a most unexpected development, McClatchy announced that it was selling the Minneapolis Star-Tribune, one of the great newspapers of the country, for less than half of the original purchase price of $l.2 billion that McClatchy paid in l998 to buy the Star-Tribune and its local Cowles Media parent company.

And it sold its largest paper to a one year old NewYork venture capital firm named Avista Capital Partners with no newspaper holdings and no newspaper experience.

Word came as a shock to the newsroom in Minneapolis, reported the New York Times Thursday. Employees received an e-mail message aet 3:5l p.m. saying that there would be an important announcement at 4:00.

“You should have seen the look on our faces,” said Nick Coleman, a metropolitan editor for the paper. “It was like, who? Everyone knows the whole industry is in play and that just about anything could happen, but nobody thought we could get sold. There’s a real sense of betrayal.”

Coleman said the paper was sold in a “fire sale.” He continued, “At a fire sale, people get discounted so we’re very concerned, worried and anxious.” On the other hand, he said, “maybe it takes someone from outside the newspaper business to see the way forward.”

Dean Singleton, the new owner of the competing St. Paul Pioneer Press, was astounded and was quoted in his own paper as saying he would never have expected McClatchy to sell the paper at such a large loss. “How often does a newspaper company sell its largest paper,” he said. “It doesn’t happen.”

For those of us who grew up with the Minneapolis Star-Tribune and the Des Moines Register (both owned by the Cowles family), this is a terrible shock. It was bad enough when the Gannett Company took over the Register and turned a splendid statewide paper into a mediocre Des Moines metropolitan paper. I remember the precise moment when I knew that Gannett was ruining the Register. I was back visiting my parents in Rock Rapids, Iowa, and I stopped in to the Rexall store, as I always did when I was in town, to buy the Register from Jim Roeman, a high school classmate who ran the store. He didn’t have any and explained why: the Register had hiked the price so that the more papers he sold, the more money he lost and so he (and many other outlets outstate) stopped carrying the Register. And that was the Gannett strategy, to gradually cut back circulation and coverage to outer Des Moines and ruin a proud state paper.

It was worrying when McClatchy, a California paper, bought the Minneapolis Star but at least it was strong editorially and had solid management. But now, McClatchy sold to an unknown venture capital firm with no credentials and no track record and it did so even though McClatchy’s chainwide profit margin through September of this year was 25.2 per cent, according to Gary Pruitt, McClatchy CEO. Then Pruit coyly added without giving specifics, “Without Minneapolis, the profit margin would be higher.” Higher? That’s higher than most U.S. corporations are doing.

Even newspaper analyst John Morton, who rarely sees a newspaper sale or a merger he doesn’t like, told the Sacramento Bee that the sale was “a disappointment.” He said McClatchy is known as an operator of high quality newspapers and is giving up on a paper with a good reputation. “This is a shock,” he said.

Colby Atwood, an analyst at Borrell Associates, a media research firm, gave a chilling financial analysis to the New York Times. “The turbulence of equity holders trying to rebalance their portfolios and newspapers are properties to be bought and sold,” he said. “They’re buying cash flow and tax benefits. It’s not the sort of religious commitment that you hope to get from newspaper owners.”

The Star Tribune laid out this new form of “religious commitment” in its Wednesday story by Matt McKinney and Susan Feyder, who were assigned that uneviable job in journalism of covering the transgressions of their own paper. Here is their snapshot lead of how the nation’s second largest chain unloads its biggest newspaper:

“The Star Tribune’s new chairman is a Wall Street investor who says he’s driven by public service. Chis Harte is also a resident of Texas and Maine and a former newspaper executive who’ll be advising an investment group that has never owned a daily newspaper.

“A day after McClatchy announced the sale of the Star Tribune to a New York private equity group, there are more questions than answers about how the deal will reshape the newspaper and its community, and whether it will serve as a template for an industry in transition.

“Harte says he’s still trying to figure it all out himself.

“‘This whole transaction came together so fast, really in just the last week or so,'” Harte said. “‘At this point we just don’t know about things like my schedule.'”

The heads on the story synopsize the point about reshaping the newspaper and the community: “Twin Cities will lose Star Tribune Foundation” and “Sale could reset the bar for newspaper deals–lower.”

Well, we can get a little idea right here in the Bay Area about this kind of “reshaping” and “religious commitment.”
Only by reading the New York Times, the Wall Street Journal, the LA Times, and the many stories on Chain Links, the online network of the Newspaper Guild, (some links below), can you find out much of anything about this sorry deal. Not by reading the WLSBs in the local Hearst/Singleton press. And so once again we urge you to sign up for Chain Links and get the stories the local monopoly papers won’t print.

Full disclosure: we want to get the documents of collaboration of Hearst and Singleton and the other chains in the Bay Area monopoly deai (McClatchy, Gannertt, Stephens), and shed as much light as possible on the march of the Galloping Conglomerati. That’s why the Guardian and the Media Alliance, represented by the First Amendment Project, went into federal court last week to try to unseal the documents in Reilly vs. Hearst et al, the only real impediment remaining to unraveling the Hearst/Singleton deal and the fallout from the Knight-Ridder sale to McClatchy. Wish us luck. B3

P.S. I sent an email over to Ken Howe, editor of the Chronicle business section, asking him why the Chronicle did not run a story on the McClatchy sale. He had not responded by blogtime. I am sending a copy of this story (and the Nick Coleman column) to Hearst corporate in New York via Chronicle publisher Frank Vega and Editor Phil Bronstein. Will they comment? Will Hearst ever allow a Nick Coleman-type column in its paper or website SF Gate or its blogs? Will they allow David Lazarus to get to the bottom of it all in his excellent business column? Or Phil Matier aand Andy Ross…Or?…Or?…

P.S. 2: Note to the newspaper unions: the stories you are running on Chain Links are owner oriented stories, with almost no quotes from people from the community or journalism or law professors or union spokespeople. Do the unions have any comment or stories of its own that it can pass along? Any more Nick Coleman type columns?

ChainLINKS
The Star Tribune
The Minneapolis Star Tribune
The New York Times
Editor & Publisher

The P-U-litzer prizes

0

Competition has been fierce for the fifteenth annual P.U.-litzer Prizes. Many can plausibly lay claim to stinky media performances, but only a few can win a P.U.-litzer. As the judges for this un-coveted award, Jeff Cohen and I have deliberated with due care. (Jeff is the founder of the media watch group FAIR and author of the superb new book “Cable News Confidential: My Misadventures in Corporate Media.”)

And now, the winners of the P.U.-litzer Prizes for 2006:

“FACT-FREE TRADE” AWARD — New York Times columnist Thomas Friedman

In a press corps prone to cheer on corporate-drafted trade agreements as the key to peace and plenty in the world, no cheerleader is more fervent than Tom Friedman. During a CNBC interview with Tim Russert in July, Friedman confessed: “I was speaking out in Minnesota — my hometown, in fact — and a guy stood up in the audience, said, ‘Mr. Friedman, is there any free trade agreement you’d oppose?’ I said, ‘No, absolutely not.’ I said, ‘You know what, sir? I wrote a column supporting the CAFTA,
the Caribbean Free Trade initiative. I didn’t even know what was in it. I just knew two words: free trade.’”

(Friedman may not have read even the pact’s title; CAFTA actually stands for the Central America Free Trade Agreement.)

LOCK UP THE FIRST AMENDMENT PRIZE — CNN’s William Bennett

Soon after being hired as a CNN pundit, Bennett went on his radio talk show and offered his views on freedom of the press — and on reporters who broke stories about warrantless wiretapping and secret CIA detention sites “against the wishes of the president, against the request of the president and others.” Bennett fumed: “Are they embarrassed, are they arrested? No, they win Pulitzer Prizes. I don’t think what they did was worthy of an award — I think what they did was worthy of jail, and I think this investigation needs to go forward.”

BROKE-BRAIN MOUTHING AWARD — MSNBC’s Chris Matthews

As the movie “Brokeback Mountain” (about a relationship between two cowboys) was gaining attention and audience in January, Chris Matthews appeared on the Imus show to hail “the wonderful Michael Savage” and the talk-show host’s nickname for the movie: “Bareback Mounting.” Matthews and Savage had been MSNBC colleagues until “the wonderful” Savage was fired — after referring to an apparently gay caller as a “sodomite” and telling him to “get AIDS and die.” Now that’s hardball.

CASUAL ABOUT CASUALTIES AWARD — Fox mogul Rupert Murdoch

Echoing an Iraq war talking-point heard regularly on Fox News, owner Murdoch said on the eve of the November election: “The death toll, certainly of Americans there, by the terms of any previous war are quite minute.” As FAIR noted, U.S. deaths in Iraq exceed those in the War of 1812, the Mexican-American War and the Spanish-American War, not to mention the combined U.S. deaths of all this country’s other military actions since Vietnam — including Lebanon, Grenada, Panama, the first Gulf War, Somalia, Haiti, Kosovo and Afghanistan.

FRONT-PAGE PUNDIT AWARD — Reporter Michael Gordon and The New York Times

With many voters telling pollsters that they want U.S. troops to leave Iraq, the Times front-paged a post-election analysis by Michael Gordon — headlined “Get Out of Iraq Now? Not So Fast, Experts Say” — quoting three hand-picked “experts” who decried the possibility of troop withdrawal. Gordon didn’t tell readers that one of his “experts,” former CIA analyst Ken Pollack, had relentlessly promoted an Iraq invasion based on wildly false claims about an Iraqi threat. Gordon took off his reporter’s hat that night on CNN to become an unabashed advocate for his view that withdrawing U.S. troops from Iraq would lead to “civil war” (as though civil war weren’t already underway).

“PROVE YOU’RE NOT A TRAITOR” PRIZE — CNN’s Glenn Beck

In November, Beck — an Islamophobic host on CNN Headline News — launched into his interview with Congressman-elect Keith Ellison, a Muslim American, this way: “I have been nervous about this interview with you, because what I feel like saying is, ‘Sir, prove to me that you are not working with our enemies.’” Beck then added: “And I know you’re not. I’m not accusing you of being an enemy, but that’s the way I feel, and I think a lot of Americans will feel that way.” Is it possible that primetime bigots like CNN’s Beck have something to do with the prejudices “that a lot of Americans feel”?

GROUNDHOG DAY AWARD — Ted Koppel

One role of journalism should be to help the public learn from past government policy disasters in hopes of preventing future ones. But in a New York Times column on Oct. 2, former ABC News star Koppel wrote that Washington should tell Iran it is free to develop an atomic bomb — with a Mafia-like warning: “If a dirty bomb explodes in Milwaukee, or some other nuclear device detonates in Baltimore or Wichita, if Israel or Egypt or Saudi Arabia should fall victim to a nuclear ‘accident,’ Iran should understand that the United States government will not search around for the perpetrator. The return address will be predetermined, and it will be somewhere in Iran.” In other words, no matter what the evidence, Koppel urged our government to attack a predetermined foe, Iran. Didn’t that happen in 2003 with Iraq?

Hold your nose and prepare yourself for 2007.

Norman Solomon’s book “War Made Easy: How Presidents and Pundits Keep Spinning Us to Death” is out in paperback. For more information, go to: www.normansolomon.com

Heavenly battles and broken skies

0

› a&eletters@sfbg.com

In 2006 the global media blitz continued to focus on the three Mexican directors — Alfonso Cuarón, Guillermo del Toro, and Alejandro González Iñárritu — who’ve been lured by Hollywood. But a new generation of auteurs, whose approaches to filmmaking range from minimalistic to baroque, are redefining and reinvigorating film and generating debate about a genuinely new Mexican cinema.

Broken Sky (El Cielo Dividido, 2006) proves the Cooperativa Morelos filmmaking team, composed primarily of writer-director Julián Hernández and producer Roberto Fiesco (also a remarkable director of shorts), remains utterly faithful to its contemplative and pictorial film language. The filmmakers are equally dedicated to their die-hard romantic vision of the precipitous highs and lows of young mestizo men in love and lust amid the urban textures of Mexico City. Like their previous projects, Broken Sky — exquisitely shot in color by Alejandro Cantú — works against dominant representations of gay men in Mexican cinema, not to mention the banal, plastic boy-toy tales that dominate many US queer films.

If you can get past bad-boy provocateur Carlos Reygadas’s unsettling sexism and class politics, there is much to appreciate in his just-short-of-astounding urban epic, Battle in Heaven (Batalla en el Cielo, 2005). This audacious second film explores the calvary-like spiritual journey and ultimately futile quest for redemption of an ordinary plump mestizo chauffeur. A maverick, Reygadas again (as in his debut, 2002’s Japón) uses nonprofessional actors and a somewhat grotesque, naturalistic approach to eroticism. He is matched in the sheer irreverence of his perspective on Mexican national icons (from a pilgrimage to the Basilica of Guadalupe to the unfurling of a gigantic Mexican flag in the Zócalo of the National Palace) only by the likes of Arturo Ripstein and Alejandro Jodorowsky.

At the opposite end of the spectrum, in terms of both its bare-bones visual style — mostly static, head-on takes — and its simple narrative, is the deadpan black comedy Sangre (2005). The debut feature by Amat Escalante, assistant director to Reygadas on Battle in Heaven, Sangre is an absurdist tragicomedy about family ties.

Fernando Eimbcke’s multiaward-winning first film, Duck Season (Temporada de Patos, 2004), is also unexpectedly quirky. A self-conscious black-and-white homage to Jim Jarmusch’s Stranger Than Paradise, it is set in the historically charged (and massive) Tlatelolco housing complex, near downtown Mexico City. Favoring a minimalistic aesthetic, the film perfectly captures the rhythms of a Sunday afternoon in the lives of two 14-year-old boys, nicknamed Flama and Moko. Left alone by their divorced parents and armed with Nintendo, an extralarge pizza, and plenty of Coke, Flama and Moko are ready to play — until a power shortage and a sudden visitor derail their plans.

Both Duck Seasons‘s tight eight-hour narrative span and its confined space — all but three short sequences take place inside an apartment — remind me of Red Dawn (1989), the independently produced film that boldly inaugurated the current new Mexican cinema by taking on the notorious military massacre of student and civilian demonstrators on the eve of the 1968 summer Olympic Games. Duck Season is otherwise void of obvious political references, but Moko’s homo fantasy of his buddy Flama is endearing. Moko spells his nickname with a k, not a c, since the latter spelling means booger (bugger?). No matter how you spell it, the word still has the connotation of bodily secretions, sexual and otherwise — as does the pato of the original title.

Some other favorites:

Pink Punch (Puños Rosas, 2004). Beto Gómez’s campy Mexploitation flick packs plenty of fruity juice in a US-Mexico-border action-comedy involving gangsters, boxers, and prison. The delights include always fierce, don’t-fuck-with-me Isela Vega and a knockout performance by Roberto Espejo, again doing drag, as in Gómez’s Caiman’s Dream (El Sueño del Caimán, 2005).

A Wonderful World (Un Mundo Maravilloso, 2005). Luis Estrada’s excellent follow-up to his polemical Herod’s Law (La Ley de Herodes, 1999) arrived just in time to assess how well the National Action Party fared in bridging the abyss between rich and poor after 71 years of uninterrupted, ironfisted Institutional Revolutionary Party political rule.

The Citrillo’s Turns (Las Vueltas del Citrillo, 2005). Veteran Felipe Cazals returns to the abuse of power, this time with a tone of picaresque black comedy. Featuring stellar performances by the ever versatile Damián Alcázar, José María Yazpik, and Vanessa Bauche, it’s set circa 1903 and focuses on characters who indulge in alcoholic libations from a pulquería, which gives the film its title.

In the Pit (En el Hoyo, 2005). Director Juan Carlos Rulfo finally lets his famous father rest in peace while dynamically exploring his own voice. This documentary brings together on-site conversations with workers who constructed the second level of the highway where three million cars circulate daily through Mexico City.

Despite a significant increase in the annual number of feature-length works produced in Mexico since figures plummeted to unprecedented depths in the 1990s, it remains difficult to see Mexican films outside film festivals. Within Mexico, national film protection legislation mandating 10 percent of screen time be allocated to local work remains, to no one’s surprise, unenforced. In the United States, given the interest in Mexican movies since at least as far back as 1992’s Like Water for Chocolate (Como Agua para Chocolate, Alfonso Arau), it is perplexing why more films don’t get a commercial run — especially since French films get theatrical time even though they rarely earn much at the box office. Do I have an ax to grind about this? Hell yeah! *

A geek’s new year

0

TECHSPLOITATION I’m going to spend New Year’s Eve in Berlin with a large group of hackers gathered by the venerable Chaos Computer Club. Something about the idea of going to a foreign country to celebrate the new year has made me want to do the traditional thing and make a list of resolutions. Just to be sure I follow through on them, I’m presenting to you the unexpurgated list of my top eight geeky resolutions for 2007.


Relearn French. I took French classes from eighth grade all the way through graduate school, and at one (triumphant) point I was actually able to read André Gide’s L’Immoraliste entirely in French. It probably helped that the novel was full of gay sex, which has always been one of my favorite topics. But sadly, my French has withered away — much to the chagrin of my sweetie, who speaks with an enviable accent. Next year I will relearn and go to Paris. J’ai envie de manger le brie et les baguettes à côté de la Seine! Plus, every geek should be fluent in at least two natural languages.


Share more media. I’ve got a terabyte RAID array full of music. I’ve got DVDs full of TV shows I’ve downloaded from the Interwebs. I’ve got movies and games and a disgustingly huge book collection. Next year, I’m going to create more opportunities to share them with friends, acquaintances, colleagues, neighbors, whatever. Set the media free, I say.


Watch out for videomining. Now that Google owns YouTube and everybody is freaking out over video archives, I’m looking out for the ultimate videomining software. Ideally, I’d like a program that could find items in a video archive by genre (e.g., "look up all horror films") or search through them for sequences of images (e.g., "find scenes featuring dragons"). I’d also like a program that could search an individual movie for a scene or phrase (e.g., "find me a scene where Captain Kirk says, ‘Boo!’ ").


Protest the Schumer-McCain privacy-reaming bill. Senators Charles Schumer and John McCain have promised to introduce legislation next year aimed at stopping child porn and sex offenders from traipsing online. It would involve the creation of an "e-mail registry" for sex offenders and would force online service providers to police content on their sites, looking for the aliases of sex offenders and images of child porn. Not only is there a potential here for squelching free speech but also for invading privacy. Keep an eye on this one.

Laugh more frequently at the comments on my blogs. I get bizarrely bent out of shape when people make stupid comments about blog posts I’ve written. Despite the fact that blog comments as a genre are characterized by assholishness and snark, I continue to feel inexplicably wronged by them. This has got to stop. It’s time to view blog comments for what they are: comedies of the human condition.


Install Ubuntu on my desktop. I miss Linux. It just so happens that the two computers I use most are both running Windows XP, and neither is suitable for a Vista upgrade. My cute Vaio laptop has a laughable sticker that says "Vista capable," which roughly translated means "Screw you, hippie." When a friend of mine asked some of the Vista geeks at Microsoft if they’d tried the new OS on my laptop model, they apparently giggled uncontrollably. So it’s back to Linux for me, and I welcome the return of my open-source overlord.


Kill people in Halo. In my living room, nestled beneath my 50-inch plasma screen TV, are an Xbox and an Xbox 360. And yet I rarely use them to kill people. What the hell is wrong with me? Am I insane? The entire purpose of these devices is to turn myself into a cyberkiller and shoot the crap out of 13-year-olds in Singapore or Texas or some other exotic locale. Next year I will spend at least one weekend doing nothing but sitting in front of the TV and practicing my death moves. Watch out for me on Xbox Live — I’m going to hunt you down and blow your guts out. Then I’ll share some of my media collection with you to make up for it. But I will not buy a Wii. Do not try to make me buy one.


Hang out with mechanical engineers. Unlike electrical engineers and computer scientists, mechanical engineers know how to do useful postapocalyptic stuff like build bridges and generators and engines. They study extremely concrete things like, well, concrete. But they also study the way concrete shatters when hit by bombs. I want to know more about the mysterious ways of physical objects. Take me to your mechanical engineering lab. *

Annalee Newitz is a surly media nerd who wishes all the geeks and nerds and dorks and weirdos a happy new year.

Of Hearst, Singleton, the WLSBs, and the documents of collaboration

1

By Bruce B. Brugmann

To get the citizen’s point of view, I have long maintained that every reporter and every editor and every publisher ought sooner or later to be the center of a story and see how the media works.

I found the exercise most instructive when the Media Alliance and the Guardian, represented by the First Amendment Project (Attys. James Wheaton, David Greene, and Pondra Perkins), went into federal court on Thursday to intervene and seek to unseal key records in the Reilly vs. Hearst/Singleton antitrust trial. Our three P.S. organizations put out a press release with the spokespersons listed for contact (Jeff Perlstein from the Media Alliance, James Wheaton and David Greene from FAP, and myself from the Guardian.)

I got several calls from the Associated Press (Terence Chea, who did an excellent story that ran around the country), Kate Williamson of the Examiner, James Allen from the alternative paper Random Lengths in San Pedro (who was rightly agitated about the Hearst/ Singleton deal to buy the Daily Breeze in Torrance and further encroach on his turf), Mark Fitzgerald of Editor and Publisher was in touch, and others. Significantly, even though Hearst and Singleton have a lock on the Bay Area press, not one of their many reporters nor editors contacted me. (Subtle point: that is the wave of the future with these folks). Nobody from Hearst or Singleton even called or checked in to try to make the point that, even though they have five law firms and l2 or so attorneys in federal court heaving and sweating mightily to argue they really aren’t collaborating, they don’t even have to make a show of doing the journalistic minimum of doing an honest story. More: they didn’t even have to put on a show even though the lawsuit was aimed at their Achilles heel: their secret documents of collaboration. And of course they didn’t quote me or, when they did in the case of the Examiner, they mangled my point about why we were suing.

For the record, I said in the press release and in interviews with reporters: “Our intent here is to ensure that the naton’s biggest chains (Hearst, Singleton, McClatchy, Gannett, Stephens), as they move to destroy daily competition and impose regional monopoly in the Bay Area, cannot do so in the dark of night with sealed records that set a terrible precedent for the free press, the First Amendment, and open government.”

And so the two big papers, the San Francisco Chronicle and the San Jose Mercury News, gave us two more wimpy little stories buried deep in their business section. Those who are attentive readers of the Bruce blog would know how to find them. For example, the Chronicle put its wimpy little story in the Daily Digest column just above the fold on page two of the business section under the rousing head, “Media groups want documents unsealed.”

Its last paragraph is classic monopolyese: “(Judge) Illston issued a preliminary injunction Wednesday barring MediaNews and Hearst Corp. from collaborating until at least April 30, when Reilly’s case is expected to go to trial. (B3: Is this premature collaboration? Is it like premature ejaculation?) Attorneys for MediaNews and Hearst have argued that no collaboration plan is in the works but that should one emerge in the future, it would not be illegal.” Repeating for emphasis: “Attorneys for MediaNews and Hearst have argued that no collaboration plan is in the works but that should one emerge in the future, it would not be illegal.”
Marvelous. Simply marvelous. That is Hearst boilerplate corporate policy and it is a classic of self-immolation. Compare it with AP’s version: “On Tuesday, Illston barred Bay Area newspapers owned by MediaNews and Hearst from consolidating some of their business operations until the lawsuit is resolved. When she issued a temporary restraining order against the alliance in November, Illston said she had been under the impression that Hearst’s investment was solely an equity stake, but an April 26 memo had surfaced suggesting it actually was a bid to merge some of their business operations.” Alioto got this scarlet letter in discovery and used it in his brief to show that Hearst was in effect lying in court about its documents of collaboration. The judge quoted from this critical letter, but it is still under seal and so are other key documents that would likely show the Hearst/Singleton plans for regional monopoly. Significantly, the AP story ran in the Seattle Post-Intelligencer, a Hearst paper.

Meanwhile, on the other end of the bay, the Mercury News
was doing its own wimpy little story in the “Business Digest” in its business section, a two paragraph story with the rousing head “Plaintiffs seek records in antitrust media case.” The story was not even a Merc story, it was pinched without attribution from the AP story (another wave of the future). From now on, I shall refer to these stories as WLSBs.

Over in the near East Bay, Josh Richman did a much better story that appeared in both the Oakland Tribune and the Contra Costa Times (a one reporter-covers-it-all concept that is another wave of the future.) Richman got some good quotes, including a notable one from Joseph Alioto, Reilly’s attorney.
“‘Oh, good, it’s about time,'” Alioto said of the lawsuit filing, adding that it was crucial for all details of an antitrust case. ‘It’s the archetypal example of hypocrisy when major newspapers take the right of the people to know applies to everyone except themselves.'”(Note the copy editing issues, another wave of the future with the staff cutbacks).

Significantly, none of the Hearst/Singleton reporters could get a single Hearst nor Singleton executive to comment on the lawsuit in their own papers. The ducking was delicious. Richman wrote: “Alan Marx, MediaNews’ attorney, declined comment. A Hearst spokesman could not be reached.” The Merc/AP reported: “Hearst officials were reviewing the motion and could not comment Thursday, said spokesman Paul Luthringer. Representatives at MediaNews did not immediately respond to a request for comment.” In short, the nation’s biggest chains are seeking to impose an ever more conservative news, editorial and endorsement line on one of the most liberal and civilized areas of the world, just as they ought to be raising holy hell about Bush, the Patriot Act, and the unending war in Iraq. And they are stonewalling like hell, in federal court and in their own papers, to keep secret the documents of collaboration.

And so there you have it: the state of daily journalism in the Bay Area, Friday, Dec. 22, 2007. There is much more to come. Follow our stories and editorials in the Guardian, on our website, and in the Bruce blog. Things of great moment are in the making.

P.S. Repeating: where the hell are the antitrust attorneys in the U.S. Justice Department? And where the hell is outgoing Attorney General Bill Lockyer and incoming Attorney General Jerry Brown? B3

Get Crafty!

0

› culture@sfbg.com
Each holiday the populace drones out to the local malls in search of appropriate gifts. Not that there’s anything wrong with the holiday institutions of bad parking, blasphemy, and Black Friday — they are, after all, our modern manifestations of the holiday spirit — but in the event you like the idea of giving charming gifts handmade with affection and idiosyncrasy, you have an array of clever and affordable online options at your fingertips. Largely conceived and produced by local artisans, these handicrafts play well to most audiences, offering irony for the siblings, sincerity for the grandparents, and neutrality to the ne’er-do-wells.
Before we hit the gifts, it’s worth noting that the holiday season is a time to acknowledge all the people in our lives. As nice as that is, few of these folks will actually receive gifts. Happily, the right card can take the place of a casual gift and still produce warm fuzzies the way the best wrapped packages do.
Take, for example, Motormouth Press’s ornament cards (www.motormouthpress.com). These paper fetishes are fitting mementos for those in small living spaces as they store easily, weigh nothing, and are as cute to receive as they are to hang on your space-saving tree. Motormouth’s penguin flexagon card tells a little story and ends with a seasonal greeting. In a more mixed-media vein, Notesink (www.notesink.com) builds cards using remnants of fabric, buttons, and paper and also features screen-printed, kid-themed, and, of course, holiday cards. These cards are so cute you’ll rub your eyes in disbelief — they may even inspire you with their crafty prowess. If that happens, you should look into Sideshow Stamps (www.sideshowstamps.com). A purveyor of funky stampedelica, Sideshow features pithy images such as its Leg Lamp stamp, and if you’ve seen A Christmas Story, you know that’s Xmas imagery plain and true.
The Bay Area has much to offer in the way of bath and beauty product lines. Though using soap is a personal matter, bath products make peculiarly neutral gifts. To spice up the body politic, the following kitchen chemists have put some weight into product design. Take Lizzie Sweet (www.lizziesweet.com), for example. The tangy-looking packaging is intended to make you feel as sexy about buying the bath line as using it. Presentation also matters to Aqua Energy Design Studio (www.aquaenergydesignstudio.com), whose island-inspired products include supersexy bath salts that resemble uncut diamonds. The Aromatic Way Apothecary (www.aromaticway.com) uses potent olfactory triggers to make its pragmatic products. The cold salve clears your pathways better than Vicks and without the chemical blur, while the scented shea butter sticks, packaged in deodorant twist-up tubes, are practical for the pocketbook.
Though all bath products can be hedonistic experiences, not all are. Mandrake Apothecary puts the sense into sensual. Perfect for the solstice, Mandrake’s line of sexy scents (www.mandrakeapothecary.com) is rife with plant extracts and mystical purpose. It’s genuinely magic stuff. And not like Jesus magic — like magic magic. For a more arcane approach to the sacred ritual of bathing, look to Oakland’s Pomegranate Body (www.pomegranatebody.com). Skin-nourishing shea butter abounds, and the Citrus Sun line smells like sunshine.
The Curiosity Shoppe (www.curiosityshoppeonline.com) could be San Francisco’s one-stop craft shopping mecca. With themed products for the home and the office, it has layers of quippy objets d’art that can offer petite grandeur to all the people on your shopping list. The brass bird nest (with stone eggs) is precious, and rumor has it that using the owl paperweights will make you smarter. For the “kitschen” (get it?) it’s all about Lorena Barrezueta’s ceramic takeout containers. For more gender-specific items, think about getting Conphorm’s Um Felt wool tote and carry bags, which have a durable design for the modern maiden, and Deadly Squire’s shrewd neckties — ideal for the alternadad. For other whip-smart items, look to Poketo’s intoxicating array of clever wallets (www.poketo.com) or the jocular skull patches from Krooked Stitches (gaytha.net/krooked).
Fabric always warms up the coldest of transactions, and fabric checkbook covers from Blissen (www.blissen.com) make bill paying that much sweeter. If you know someone who could use more comfort while managing their finances, throw in Sprout Studios’ cozy tea-inspired ceramics kit (homepage.mac.com/bob.jen/sprout/index.htm): it’s ideal for making your hot beverage merry and bright.
When it comes to the eenie ones, let’s be honest: you’re buying more for the parents than the kids, so why not consider adorable attire? Tiddly Toggs (408-371-7919) offers hand-knit sweaters, dresses, and hats for babies and toddlers in colors and shapes that vary with the seasons. Crafted by a British ex-nanny and seamstress (imagine Mary Poppins with knitting needles), the work features patterns both unpredictable and sedate. The three-owl pullover with buttons for eyes is a real heart warmer. The baby attire available at One Hot Tomatoe (www.onehottomatoe.com) is pretty adorable too. Tomatoe’s cheeky lobster bib could help train your favorite one-and-a-half-year-old in the ancient art of snobbery — that is, if the training isn’t already over.
If said one-and-a-half-year-old is a smart-alecky lass, you might want to drop her right into a RicRac pirate party dress from Tartlette (www.tartlette.com). Festooned with a skull and crossbones (the skull is dotted with a tiny pink bow), this dress could get your toddler into the VIP room at a SoMa club. If your fav one-and-a-half-year-old is a lad, perhaps a Mary tee from Oh Baby Apparel (www.ohbabyapparel.com) is more fitting. With a Virgin of Guadalupe patch adorning the shirt’s pocket, believers could well consider it a layer of protection (from on high!) for their bouncing boy. Complete that ensemble with high-top- or Mary Jane–<\d>style felted boots from the Clever Kitty (thecleverkitty.com) and then round out the look with a grouchy stuffed doll. The Little Gorgeouses from Little and the Girl (www.littleandthegirl.com) are sweet felt stuffed toys with an air of mystery. Lucille the French poodle carries a comforting expression, while kitten Clive is a masked avenger complete with cape. For the more acidulous, consider Scared Girl’s cunning felt Pretend Friends (www.scaredgirl.net), who live squarely on the intersection of adorable and wonky. Rectangulo’s name may give you an idea of his shape, but it says little about his demeanor. Equally emotive is poor little Grubbly, who cries perpetually, perhaps because he’s got seven appendages. He just needs a little love! (FYI, these creatures are great gifts for everyone — even the grouches who say they don’t care about local businesses or craftspeople and would rather scarf down food court junk while being crushed half to death at a mall. Maybe they too just need a little love.)