Media

More Impertinent Questions on Hearst shenanigans on the drug pricing scandal (part 5) Why did Hearst censor an AP story on McKesson profits?

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By Bruce B. Brugmann

Let me cite yet another example of the dangers of the Hearst/Singleton move to destroy daily competition and impose regional monopoly in the Bay Area.

As attentive Bruce blog readers know, I always turn to the second page of the Chroncie/Hearst business section called “Daily Digest” to pick up the news that Hearst is censoring. Yesterday, I spotted yet another nugget
that demonstrated how Hearst was censoring a major scandal story involving its own subsidiary in San Bruno and McKesson Corp., one of the nation’s largest drug wholesalers.

The story looked harmless enough, a six paragraph Associated Press story headlined “McKesson soars above expectations,” with a lead that said that the company’s “quarterly profit climbed 37 per cent to soar past analyst expectations, prompting the nation’s largest prescription-drug distributor to brighten its financial outlook.” Another five paragraphs provided the details of this seemingly rosy McKesson story.

So, knowing there was much more to this story and getting my blogging genes at the ready, I checked the online version of the story. Imagine my surprise when I found that the guts of the Chronicle story had been cut out of the paper and the juicy stuff was tucked away in the online version. A full seven paragraphs had been chopped from the print version of a l6 paragraph story by Michael Liedtke from the San Francisco AP bureau.

Let me quote the key chopped out paragraphs to make my point: “McKesson released its results and bullish outlook after the stock market closed Tuesday. The company’s shares fell 60 cents to finish at $50.09 on the New York Stock Exchange. After an early rebound in after-hours trading, the shares shed 5 cents.

“The downturn extended a recent slump triggered nearly four weeks ago by news of a tentative legal settlement that could depress prescription drug prices. (b3: a dreadful thing.)

“The settlement covers a class-action complaint alleging that drug price publisher First DataBank Inc. (B3: a Hearst subsidiary in San Bruno) had conspired with McKesson between 2002 and 2005 to boost the wholesale cost of most prescription medicines by 5 per cent. (B3: a tidy newsworthy sum).

“Although McKesson has denied any wrongdoing and isn’t joining the settlement, investors are worried the agreement will force the company to lower its prices (b3: another dreadful thing). Consumer advocates have estimated the settlement will save health insurance plans about $4 billion (b3: a nice newsworthy figure). The settlement still needs approval by a Massachusets federal court, something unlikely to happen before April…”

Note my previous blogs to get the scope of the Hearst shenanigans at work here. AP doesn’t put Hearst into the story where it belongs and doesn’t even identify FirstDateBank as a local subsidiary owned by Hearst, the biggest daily in Northern California and a big bankroller and participant in the Singleton move to monopolize the Bay Area. Hearst doesn’t properly edit the AP story and put Hearst high up where it belongs. And Hearst actually cut the print version of the story and put the guts of it up online at SF Gate so it will be hard to spot. And of course Hearst never ran the original story of the scandal (reported first in a lead story in the Oct. 6 Wall Street Journal, with versions by the AP, the Guardian, and even the Hearst-owned Houston Chronicle, see my previous blogs.)

The hinge point: Hearst went to these embarrassing lengths to censor a major scandal story involving Hearst, and three local companies, to protect its corporate interests and refuses to explain this professionally glaring omission in the stories, or to its readers. It also refuses to answer my questions directed to Hearst corporate in New York City via Hearst San Francisco and publisher Frank Vega, Executive Editor Phil Bronstein, Managing Editor Robert Rosenthal, and Business Editor Ken Howe. And the “competitive” Singleton papers haven’t done the story either to my knowledge and won’t explain why.

Impertinent Questions: If Hearst and Singleton won’t compete on a major scandal story like this, where will they compete and when do they start? How can they censor and cover up a major story like this in the midst of investigations by Justice and the AG?

This sorry episode illustrates a key issue for the current Justice and AG investigations into whether the Hearst/Singleton deal violates U.S.and state antitrust laws. It also illustrates a key issue for the highly important Clint Reilly/Joe Alioto antitrust suit seeking to blast apart the Hearst/Singleton financial relationship. I refer again to Brugmann’s Law: Where there is no economic competition, there is no news and editorial competition. So the thrust of any real antitrust investigation ought to be to stop monopoly moves like this and insure real newspaper and media competition.

We hear that Justice is at least doing lots of interviewing. God knows what Lockyer and his antitrust crew are doing as he heads into the sunset to be state treasurer. His probable successor, Oakland Mayor Jerry Brown, operating under the thumb of the Oakland Tribune/Singleton, has refused to comment or answer questions as to whether he will continue Lockyer’s purported investigation. Reilly and Alioto are hard into discovery, working with the media documents they obtained from Justice and the AG as a result of their suit. The documents were filed by the principals in the original merger (McClatchy, Hearst, Singleton, Gannett, Stephens) to get preliminary Justice and AG approval. They are certain to be illuminating. Impertinent Question: Why is it that, once again, Relly and Alioto must do the heavy lifting in a private suit because Justice and the AG have so far knuckled under to the chains and refused to do their job.

Repeating the Impertinent Questions to Hearst and Singleton editors and publishers: Why haven’t you done this major scandal story? When will you do it? If you won’t do the stories, please explain. Until then, let’s have no more macho talk about competition between Hearst and Singleton papers. B3

P.S. Let me quote the third paragraph from the WSJ to dramatize the heft of this story: “A 2002 email by a manager of (McKesson) describes how pharmacies would be able to more than doiuble their profit for dispensing the cholestrol drug Lipitor and adds, ‘that is awesome.'” The article quoted an economist hired by the plaintiffs who estimated that savings in 2007 alone at $4 billion. There is much, much more. The Hearst and Singleton papers would cover this national scandal in a flash if it involved any other big company in their territory. Hopefully.

A tough pill to swallow by G.W. Schulz

McKesson’s fiscal 2Q profit rises 37 percent to top analyst views by MICHAEL LIEDTKE, AP Business Writer

Links (NOT TO PUBLISH)

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San Francisco Bay Guardian : Home Page
… BY AMANDA WITHERELL Rob Strange Project Censored

Bruce B3: The Santa Rosa Press Democrat/New York Times “censors” the annual Project Censored story.

Bruce B3: The Santa Rosa Press Democrat/New York Times: still no answers on why…

Bruce B3: The new media offensive for the Iraq War. Why the Santa Rosa Press Democrat/New York Times…

U.S. MEDIA CENSORSHIP / CONTROL

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‘SF Chronicle’ to Outsource All of Its Printing By E&P Staff
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ChainLINKS. Scroll to the bottom of the website to join the e-mail list

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PRESS RELEASE: The Hearst Corporation
TRANSCONTINENTAL SIGNS 15-YEAR DEAL TO PRINT HEARST CORPORATION’S SAN FRANCISCO CHRONICLE

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The New Media Offensive for the Iraq War by Norman Solomon

B3,
You`ll be pleased to hear we run our endorsements in a sidebar on the cover monday in addition to longer editorials in the weeks leading up to the election.
Bruce Mitchell
Publisher
The Athens NEWS
(740) 594-8219

The Wall Street Journal
Justice Department Press Release
A tough pill to swallow by G.W. Schulz

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Nov. 7
Culture war at LA Weekly: A former sales staffer speaks out…

Dan Savage comes through in the clutch. The gay sex columnist endorses in his pre-election column in the Voice and other New Times papers, but the Voice and New Times papers do not endorse. Hurray for Dan Savage!!!

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By Bruce B. Brugmann

Hurray for Dan Savage, the gay sex columnist for the l7 Village Voice/New Times papers in major markets with major battleground races for the election.

Savage performed heroically under fire and managed to get some key election endorsements into the second to last paragraph of his syndicated sex column in the crucial issue before one of the most important elections in modern history, a plebescite on Bush, the war, and the occupation. (New Times papers historically don’t do endorsments and don’t allow their writers to endorse.) He ran a letter in his column from a Wisconsin male who wrote, “Wisconsin needs your help!. On Tuesday, Nov. 7 we’re voting on an amendment banning gay marriage. As a married heterosexual male I’m supposed to feel threatened by gays getting married, but I’m smart enough to realize it doesn’t affect me at all. I also realize that I got to marry whomever I wanted, and everyone should have that right. Urge your readers in Wisconsin to vote NO on the marriage amendment. Thanks!”

Savage gave the writer the ultimate Savage compliment: “You put it better than I could, JIW. I would add: The amendment in Wisconsin bans gay marriage and civil unions. Vote no.”

Then Savage continued his endorsement: “And to my readers in Colorado, Idaho,
South Carolina, Tennessee, Virignia, Arizona, and South Dakota: Please vote against the gay marriage bans in your states, too. And in South Dakota, please vote to overturn your state’s idiotic abortion ban. And to my readers in Canada: Be glad you don’t have to put up with any of this shit.”

In the presidential race two years ago, Savage snuck his Kerry for President endorsement in the last line of his pre-election column. This time, he slipped his endorsements into the second to last paragraphs, with a neatly disguised ending to his column with a diverting letter from a woman who claimed she couldn’t have an orgasm until age l8. She then took some pot with a “cooperative boy friend and–bam! –six orgasms in five minutes.” And he signed off, “Thanks for sharing.” And sent his readers off to a Savage website to learn more about pot and sex. Well done, Dan. A masterful job.

Meanwhile, Savage’s endorsements were the only real endorsements to be run in the pre-election issue of the Voice, probably one of the first times in Voice history, if not the first, that this bastion of New York liberalism has been Voiceless and neutered and has not endorsed candidates or run serious political coverage in an election. (Why? I put the questions by email to Voice/New Times CEO and chief executive officer Jim Larkin, Executive Editor Michael Lacey, and David Blum, the new Voice editor in chief, but got no reply by blogtime.)

Instead, the Voice this week ran a gripping “report from the trenches of ‘Saturday Night Live’–dress rehearsals, wrap parties, last-minute sketch changes, a l a.m. phone call from Lorne Michaels (and yes, Andy Samberg!”) with a front page illustration of a smiling comedian doing the Bronx shrug. I kid you not. Check the link below and the Voice website and see what has happened to the mighty Voice in the short nine months since Larkin, Lacey,and the Arizona Gang got ahold of it. Meanwhile a quick check showed that none of the other l6 Voice/New Times papers ran any endorsements in their pre-election issues, with the possible exception of the OC Weekly in Orange County. An editor sent me an email saying they were doing endorsements but I could not find them at blogtime.

Well, Nathan Blumberg, my first journalism professor at the University of Nebraska in Lincoln in l953, used to say that a paper that didn’t run endorsements didn’t have any balls. He used the word testicles, because this was Nebraska in l953, but the class all got the point. So: does this mean that Dan Savage has balls, and Jim Larkin and Mike Lacey don’t have balls? Let us let the readers decide.

P.S.1 It’s hard for the staff members of a Village Voice/New Times paper to say much inhouse or publicly about the management style and editorial policies of Larkin and Lacey. For example, note what happened to poor David Schneiderman, the former Village Voice top guy since l978, who they sacked unceremoniously last week. VOICE BOSS GAGGED,” chided the New York Post head. The Post noted Larkin’s subtle style when it quoted an insider as saying about Schneiderman: “The new guys held him in complete disregard. It got so bad that one source said that while Schneiderman was in New Orleans recently delivering a presentation on the company’s web progress, Larkin made a point of taking out a newspaper and reading it while Schneiderman spoke.” Schneiderman will go down in journalism history as the guy who sold the Voice to New Times, and pocketed $500,000 for his work on the deal, but even he probably didn’t deserve the Larkin/Lacey treatment.

P.S 2: Meanwhile, back in San Francisco, the SF Weekly/
Village Voice/New Times ran a front page page illustration of two gay comic figures I can’t quite characterize, but sported the head, “DRAWN TOGETHER, Graphic Homosexual comics and the young women who love them.”
Smith came the closest to a political endorsement when he meandered around with the two major candidates in District 6, Sup. Chris Daly and challenger Rob Black, and wrote a self-immolating piece titled, “Vulgar posing, How our columnist was seduced into watching the World’s Largest Female Bodybuilder beat up on Rob Black.” After missing, mangling, mushing, and making fun of the issues, Smith came up with two summary questions but no clear endorsement: “Isn’t Daly the vulgar jerk who threatened the democratic process? What about the gentility-in-public-life rap Black’s been giving SOMA condo dwellers? Black is gone. I don’t feel like chasing after him with my facile questions.” Well, Smith concludes, “Alone, in SF Weekly’s offices, beer on my breath, an awful sort-porn video on the VCR, I realize I’ve beens seduced by the poses of two political hacks.”

News flash to Smith: There are real major issues in this district. For example, Calvin Welsh lays out a big one in a Guardian op ed this week, “Don’t for a minute believe that he (Daly) is in the fight of his political life because he’s rude, because he doesn’t care about lw and order, or because he prefers dirty streets upon which to raise his son. These petty and silly charges mask a far more serious objection: the way his opponents see it, Daly has been too slow in adopting the massive wave of market rate housing slated for this district and is far too protective of lower income residents in District 6.” He concludes: “There’s a working majority of the Board of Supervisors willing to fight for current neighborhoods and residents and a future that includes them. The battle in District 6 shows that the fight is not without risk. Do the rest of us realize it? Smith, Larkin, Lacey, Voice/New Times folks, do you realize it?

P.S.3: At blogtime, Jonny Diamond, the editor in chief of L magazine in New York, replied to my query about Voice endorsements with this quote: “Yes, the Savage stuff is in, but it’s the only thing remotely related to the election in the entire issue. This is the cover story (and he gave me the link). Remarkable stuff from the country’s formerly foremost alt-weekly on the eve of the most important midterm elections in a long, long time. I’d say this is the final, no-doubt-about-it end of the Voice. As for our own coverage, we’re working on something for Friday.”

So, to get election endorsements and coverage in New York, forget the Voice and
go to the website of the L magazine, a zippy New York arts and entertainment biweekly under the direction of the Steadman brothers.

And with that, ladies and gentlemen, we may have heard the final word on the eve of the election from the Larkin/Lacey/VillageVoice/NewTimes/SF Weekly crew in San Francisco and New York. Maybe Larkin will stop reading the paper long enough to send me comments or explain to the readers of his l7 papers why they don’;t endorse or do serious election coverage. I’ll let you know. If anybody spots a political endorsement in a Voice/New Times paper, flash me the word. B3, hoping good news is on the way on the way Nov. 7th

VOICE BOSS GAGGED: SCHNEIDERMAN IS OUSTED BY NEW OUT-OF-TOWN OWNERS:
By KEITH J. KELLY

October 27, 2006 — DAVID Schneiderman is out as president of Village Voice Media nine months after Phoenix-based New Times took over the alternative weekly newspaper chain.

Following the takeover of the Voice by New Times CEO James Larkin and Editorial Director Michael Lacey, Schneiderman stayed on as president of the combined company, which took on the Village Voice Media name. He split his time between the company’s headquarters and Seattle, where his wife Dana Faust, a New York Times ad executive handling the Pacific northwest, is based.

However, few expected him to stay for long as he was clearly a man without a power base. He was given the job of exploring Web opportunities for the company, an area in which he had scant expertise. Even after he immersed himself in the new role, it didn’t impress the new cowboys from Phoenix.

“The new guys held him in complete disregard,” said one insider. It got so bad that one source said that while Schneiderman was in New Orleans recently delivering a presentation on the company’s Web progress, Larkin made a point of taking out a newspaper and reading it while Schneiderman spoke.

Reached yesterday, Larkin said of Schneiderman, “He resigned.”

Asked if there would be a replacement, Larkin said, “We are going to restructure.” He declined further comment, saying, “We don’t comment on personnel matters,” he said.

When reached by Media Ink, Schneiderman, said, “I’ve been approached by people in the venture capital and private equity world. I just felt the time to move on was now.”

He insisted that his deal as Voice president was “open ended” and that he could have stayed longer.

But making frequent trips between New York, Phoenix and Seattle “was wearing on me.”

“Waking up in my own bed for awhile is important to me,” he said.

The Boston Phoenix was reporting yesterday that its editor Bill Jensen had resigned to accept a job running Web operations for Village Voice Media, its parent company.

vvcover.jpg

sfweeklycover.jpg

A shameful Halloween

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

Oh, Alejandro

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› a&eletters@sfbg.com
These days finesse in the art of montage is too often used to compensate for ineptitude (or just laziness) in the art of storytelling. Of course, rhythmic, Eisensteinian montage can be beautiful in itself and can even bear the weight of actual substance. Right now there is no more impressive practitioner of this particular skill than Alejandro González Iñárritu, who since his first feature, Amores Perros, has worked on the kinds of expansive, crisis-driven, crisscrossing stories that practically require cathartic crescendos of pure editorial bravado.
González Iñárritu doesn’t write his own screenplays (Guillermo Arriaga does), and the two features since Perros have credited others as editors. But Perros, 21 Grams, and the new Babel are so much of a piece — conceptually, thematically, stylistically — and the work his collaborators have done elsewhere is so dissimilar that there’s no doubting González Iñárritu’s all-controlling hand.
Anyone who works on so ambitious a scale risks missteps and unevenness. Babel is a teetering monument, and its plot is hole pocked as if made of Swiss cheese. Yet it’s also better shaped as a whole than Amores Perros and carries its burden of existential hand-wringing less pretentiously than 21 Grams. Mercifully, it abjures the latter’s jaundiced palette for Rodrigo Prieto’s full-bodied, naturalistic wide-screen compositions. There are individual passages that are as dazzling as anything onscreen this year. Perros told three consecutive Mexico City stories; Grams interwove three chronology-scrambled threads set mostly in New Mexico (though originally conceived for Mexico City). Babel sprawls across the globe, tenuously linking tales of culture shock in Mexico, Japan, and Morocco.
The last is where San Diegan professionals Brad Pitt and Cate Blanchett have gone for reparative alone time. They’re about to reconcile, maybe, when a stray bullet from a young goatherd’s gun strikes their tour bus. The panic among fellow passengers and impact on innocent locals are ramped up by international media attention on this “terrorist act.”
The same couple’s two preschool children are back in San Diego with Mexican housekeeper-cum-nanny Amelia (Adriana Barraza). She’s willing to go the extra mile when the globe-trotting parents get in trouble — but not, when those troubles drag on, to miss her own son’s wedding. Amelia finally decides to take her towheaded charges across the border, with reckless nephew Santiago (Gael García Bernal) as their most untrustworthy chauffeur.
Ultimately connected to these dramas by the thinnest of threads, a third strand centers on deaf-mute Tokyo teen Chieko (Rinko Kikuchi). Her mother is dead, her CEO father distant. Further alienated from the speaking world, Chieko plunges into raver postures of wannabe nymphomania that are by far Babel’s least convincing or pointed ploy. Still, they engender the movie’s most exhilarating montage — an ecstasy-propelled joyride that arcs from desire to bliss to aftermath, only slightly overdoing the audio on-off effects meant to capture the nonhearing experience.
What is González Iñárritu saying here? Why are the near-death experiences of American yuppies straying outside their home safety zone — in nations painted as menacingly chaotic, even the director’s native Mexico — more vivid than the travails of residents? Surely that’s not González Iñárritu’s intention, but the star power of Pitt and Blanchett and the pixie perils endured by their fictive kids tend to tip the scales in that direction. In interviews the director says what he thought would be a movie about cultural differences ended up being about subjects — family, parenting, compassion — that unite all people. Babel does gesture thataway, yet its primary emphasis is on crisis creation and ambulance chasing. Hot-button issues like terrorism, illegal immigration, and US imperialism are diversionary flags González Iñárritu waves without actually signaling anything.
Among filmmakers working in this fashionable crazy-quilt-of-humanity genre, many less talented ones are even more convinced they’re making an important statement about life. Babel is so accomplished and urgent as spectacle that maybe it’s folly to expect more than the rewards of an engrossing, sweeping surface. Babel might not be a great movie, but you can’t watch it without knowing González Iñárritu will someday make one. SFBG
BABEL
Opens Fri/3 at Bay Area theaters
See Movie Clock at www.sfbg.com for theaters and showtimes
www.paramountvantage.com/babel
For Cheryl Eddy’s interview with director Alejandro González Iñárritu, go to www.sfbg.com/blogs/pixel_vision.

TV is history

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

Governor Hummer

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› steve@sfbg.com
If there is a single symbol of American wastefulness, military fetishism, and willful ignorance about what it means to be heating up the planet at the end of the age of oil, it is the Hummer. And if there is one American who is most closely associated with the Hummer, it is Gov. Arnold Schwarzenegger.
So why, in a state whose voters consistently rank environmentalism as one of their most important concerns, is Governor Hummer considered such a lock for reelection? And why haven’t the mainstream media made more of Schwarzenegger’s stubborn refusal to give up the four Hummers he still owns?
For that matter, why is the press overlooking his opposition to Proposition 87 (which would tax oil companies to support research of alternative fuels) and tacit support of Proposition 90 (which would make environmental protection far more costly for governments), both positions on close races that are at odds with environmental groups? Is he really that good an actor?
The visceral response that Hummers elicit from true environmentalists is perhaps best captured on the Web site www.fuh2.com, which has posted thousands of pictures of people flipping off Hummers, what it refers to as “the official Hummer H2 salute.”
The H2 is the slightly less offensive version of the original Hummer, a 10,000-pound monster adapted from the Humvee military vehicle that gets about 10 miles per gallon. The high cost and negative stigma attached to the original Hummer eventually caused sales to lag, and General Motors stopped making them earlier this year.
Schwarzenegger was the first private citizen to own a Hummer, back in 1992, reportedly encouraged American Motors (which GM later bought) to produce them for civilian use, and at one time owned at least seven of them.
Environmentalists have been chiding Schwarzenegger for years to set a good example and get rid of his Hummers, but he has only thrown them a couple of bones: he had GM develop one hydrogen-powered Hummer (at a cost of millions of dollars) and has publicly mused about converting one of his four Hummers to biodiesel, a project he hasn’t yet begun.
At one point Schwarzenegger was rumored to have given up his Hummers. But Schwarzenegger spokesperson Darrell Ng told the Guardian the governor still owns four Hummers, which are now in storage while he drives state vehicles, and that he has no plans to get rid of them. Environmentalists say it is a missed opportunity at a critical juncture in the world’s relationship with oil.
“He could say, ‘I was part of the commercialization of these vehicles, and it was a mistake,’” Bill Allayaud, state legislative director for the Sierra Club, told us. “He could have a press conference and have one of his Hummers crushed or blown up, say these were the products of another era, and it would be a very important symbolic gesture.”
We talked to Allayaud just after Schwarzenegger was elected three years ago, and he was “cautiously optimistic” that the governor would protect the environment. Initially, Allayaud was disappointed: “He vetoed a lot of good bills in those first few years.”
Now, after the governor signed landmark legislation to cut back on greenhouse gas emissions and a few other bills that the Sierra Club supported and made a couple of good appointments to regulatory agencies, Allayaud said, “I feel like we’re right back where we were in 2003, like he might be OK … but what do we get in the second term? It’s anybody’s guess.”
After all, every environmental bill Schwarzenegger signed was someone else’s idea, Allayaud said, and many had to be significantly weakened to gain his support. Schwarzenegger also enraged environmentalists and some lawmakers two weeks after signing the global warming measure by issuing an executive order that seemed to weaken its enforcement provisions.
Schwarzenegger starts to sound like an environmentalist only around election time, his critics say, indicating where he really stands. And so does his choice of vehicles.
“It’s a window into the real Schwarzenegger,” Dan Newman, the spokesperson for challenger Phil Angelides, told us. “It exposes the governor as a complete and utter fraud. Someone with seven Hummers pretending to be an environmentalist is akin to Attila the Hun claiming to be a pacifist.”
Others say “the real Schwarzenegger” is reflected in his positions on Props. 87 and 90.
“It’s a neck and neck race, and the oil companies are pouring unprecedented sums against us, $80 million so far [a figure that had risen to more than $90 million by press time],” said Yusef Robb, communications director for the Yes on 87 campaign. As for Governor Hummer, Robb was critical but diplomatic (noting that Schwarzenegger wasn’t actively campaigning against 87), telling us, “Personally, we think it’s an unfortunate choice of vehicles.”
The Schwarzenegger campaign says he would like to see oil companies pay for alternative energy development, but the measure violates his “no new taxes” pledge.
“The governor is opposed to tax increases. Personally, he opposes the initiative, but he strongly supports its goals,” Schwarzenegger campaign spokesperson Julie Soderlund said.
Apparently, such vague statements of support for good environmental policies are enough for the many daily newspapers that have endorsed him, including the San Francisco Chronicle and San Francisco Examiner. But Chronicle staffers did ask about the Hummers at his endorsement interview, and the paper was apparently satisfied with his answer: “As far as my Hummers are concerned, they are very safely stored in some warehouse garage. I have not had an opportunity to drive them, but I don’t think they are polluting the air or ocean sitting in the garage.”
Allayaud said he prefers to focus on indicators with more direct impact, such as the fact that Schwarzenegger’s best annual rating by the California League of Conservation Voters (the 58 percent he received last year; this year he got a 50 percent) was worse than former Gov. Gray Davis’s worst annual rating (72 percent) — and on Schwarzenegger’s stance on Prop. 90.
“If this is close and we lose it,” Allayaud said of the measure, “it’ll be another thing that he didn’t do.” SFBG

Late breaking news: Just as this story was going to press, Schwarzenegger finally came out with a statement opposing Prop. 90, something he resisted doing until a week before election day when many absentee ballots have already been turned in.

Let us lift a Potrero Hill martini for Thomas Peele of the Contra Costa Times/Singleton papers. He criticized Singleton by name for sealing court records in the Hearst/Singleton antitrust case.

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I’m drinking a Potrero Hill martini in honor of Thomas Peele, the investigative reporter on the Contra Costa Times/Dean Singleton papers.

He did what few editorial staffers do in these dread days of mega media mergers and resulting layoffs: he sharply criticized his new boss in a “guest commentary” column in his own paper, the CCTimes.

He was commenting on the federal court ruling that sealed the records in the Clint Reilly/Joe Alioto antitrust case aimed at breaking up the Hearst/Singleton deal that would destroy daily competiton and impose regional monopoly on the Bay Area.

His lead: “Many believe newspapers are too much of a public trust to act like any other business. Their corporate owners are not among them.” His conclusion: “With his recent acquisitions, Singleton has moved up another notch in his publishing ascent. His friendship with Bush, his considerable wealth, his abundant Texas charm, combine to allow him lead on free-press and freedom-of-information issues through the principles he avows. His position would be stronger if he begins applying those principles to his own company.”

To his credit, Singleton answered Peele’s tough questions and Peele quoted him in the article. And Singleton and the CCTimes and Singleton managers allowed Peele’s piece to run in Sunday’s paper and posted it on the CCTimes website this morning.

Could this ever happen at the Chronicle/Hearst? Well, it won’t happen until the moment Hearst starts allowing its staff to cover such censored stories as the PG@E/RakerAct scandal (a censored story since the late l920s after Hearst got some timely fresh capital from a PG@E-controlled bank in return for flipping on their support of public power (to be laid out in coming blogs). The latest censored Hearst story: the Chronicle still hasn’t published the big Hearst prescription drug price scandal story, which was run as a lead story in the Wall Street Journal, with versions by the Associated Press, the Guardian, and even the Hearst-owned Houston Chronicle. (see previous blogs).

And nobody from Hearst corporate or Hearst San Francisco will answer my email questions as to why the story wasn’t published in the Chronicle and when it would be or provided an explanation for the embarrassing corporate blackout. B3, who can see the fumes from the Potrero Hill power plant from my desk, courtesy of PG@E and Hearst.

P.S. And the Potrero HIll martini? That is a story for another blog.

Freedom of information must be an unwavering principle by Thomas Peele

WEDNESDAY

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Oct. 25

Theater

Hamlet and Hamlet:
Blood in the Brain

’Tis the season for dueling Hamlets – dueling unconventional Hamlets, in fact. Stuart Bousel and his No Nude Men Productions stick with the title of Shakespeare’s original but interpret the play as myth rather than canon fodder, casting the movie-length result so that male parts are played by women and female parts are played by men. Developed in partnership with California Shakespeare Theater and Campo Santo, Naomi Iizuka’s Hamlet: Blood in the Brain places the drama amid the drug-related violence of ’80s-era Oakland. Opening night forces you to overcome Hamlet-like indecision to choose one of these two versions, but at least you have a month or so to see both. (Johnny Ray Huston)

Hamlet
8 p.m. (continues Thurs.-Sat., 8 p.m.; through Nov. 18)
Climate Theater
285 Ninth St., SF
(415) 621-1503
www.horrorunspeakable.com

Hamlet: Blood in the Brain
8 p.m. (Thurs.-Sun., 8 p.m.; through Nov. 20; special benefit performance Sat/28, 7 p.m.)
Intersection for the Arts
446 Valencia, SF
$9-$20 ($25-$40 for Sat/28 benefit)
(415) 626-3311
www.theintersection.org

Film

United Nations Association Film Festival

Tonje Hessen Schei’s documentary Independent Intervention is the single most staggering doc yet made about the unholy matrimony of the military-industrial complex and the media. Using corporate newsreels, interviews with journalists, and footage from unembedded correspondents, the film relentlessly stabs its audience with egregious facts about the war in Iraq that have been avoided by mainstream reports. Both painful and empowering, this is a film everyone needs to see. Another highlight among the 31 docs playing at the United Nations Association Film Festival is Ben Lewis’s Blowing Up Paradise, which plots the history of France’s nuclear bomb testing on the French Polynesian island of Moruroa. (Sara Schieron)

Through Thurs/26
Stanford University
See Web site for program information
www.unaff.org

Welcome to the CSA

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› annalee@techsploitation.com
TECHSPLOITATION I love a good alternate history yarn for the same reason I love science fiction. Both genres analyze present-day trends by projecting them into another reality. That other reality might be the future or simply a transformed version of the present.
In the United States, there are two incredibly popular alternate history scenarios: 1. What if the South had won the Civil War? and 2. What if Germany had won World War II? C.S.A: The Confederate States of America, a fake British documentary made by Kansas filmmaker Kevin Willmott, answers both questions.
After its limited release in the theaters two years ago, the movie achieved cult status in DVD form, which is really its natural medium. It’s fascinating to watch CSA on a television set because the movie is meant to resemble a snippet from a TV station, complete with freaky commercials and news breaks, that is airing a “controversial” British documentary about the history of the CSA.
Blending dark humor with painstakingly researched historical revisionism, Willmott begins the movie with a fake commercial for insurance. The clip looks exactly like something you might see on ABC, including the fact that everyone in it is white. Then the announcer says, “Our insurance protects you and your property,” and the camera pans over to a smiling black boy who is clipping a hedge. This is a present day in which slavery still exists.
The British documentary reveals how this came to pass. After the South wins the Civil War with the help of France and England, the president heals the rift between North and South by offering Northerners slaves to help reconstruct the bombed-out cities of New York and Boston. Deposed president Lincoln flees to Canada, followed by 20,000 abolitionists including Fredrick Douglass and Henry David Thoreau.
Shortly thereafter, Chinese laborers in California are also declared slaves. The CSA annexes South America and becomes entrenched in a Cold War with what politicians call Red Canada. Several African nations collude with the CSA to maintain the slave trade, and we see historical footage of an African leader reassuring his people that only the “inferior tribes” are sold as slaves.
Hitler retains control over Germany when the CSA refuses to intervene in World War II, although the president does say it’s too bad the Germans are killing Jews instead of enslaving them.
What’s sheer genius about this alternate history is how much of it is drawn from actual US history. We hear about Native Americans being rounded up and put into orphanages, which actually happened; and the fake commercials advertising things like “Darkie Toothpaste,” “Niggerhair Cigarettes,” and “Coon Chicken” are all based on real products sold long after the abolition of slavery.
More chilling are ads for anti-depressants aimed at controlling slaves, and for a TV show based on Cops called Runaway. The message may be heavy-handed, but it nevertheless rings true enough to be thought-provoking: US popular culture is only one degree removed from being that of a slave-owning nation.
The same goes for US political culture. Historical figures and events in CSA also remain virtually unchanged. Kennedy is elected president and calls for abolition right before being assassinated, and the Watts Riots are portrayed as a “slave uprising.” Reagan’s presidency heralds a new spike in the slave trade. Experts explain how the Internet has helped rejuvenate interest in the science of slave control, and we see clips from the Slave Shopping Network, where bidders can choose to break up a family or “buy the complete set.”
Willmott has said in several interviews that CSA is not about what could be, but what is. He points out that African Americans and other people of color may not view the film as an alternate history so much as a reflection of a true history that many whites still can’t quite see. Maybe that accounts for why the film, which received an enthusiastic reception at Sundance in 2004 and critical raves, didn’t make it onto DVD until quite recently. Freed from the confines of traditional movie theater distribution, I think this flick will at last find the audience it deserves in online communities, where people can simultaneously watch, discuss, and recommend it.
In fact, I can’t think of a better movie to share in small pieces on
YouTube or MySpace, enticing people to rent or buy it and get the whole story. Its message should be out there, spreading like the world’s most virulent antiracist media virus, infecting the nation one computer screen at a time. SFBG
Annalee Newitz is a surly media nerd whose other favorite alternate history is about what would have happened if Martin Scorsese had directed ET.

Editor’s Notes

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› tredmond@sfbg.com
The San Francisco Examiner reported last week that enrollment in the local public schools is down by another 1,000 students this year, which means, some school board members say, that more sites will have to be closed.
I understand the economic issues — the state pays for education based on average daily attendance, and if fewer kids show up, the school district gets fewer dollars. And I’ll admit I have a dog in this fight: my son goes to McKinley Elementary, a wonderful school that represents everything that’s right about public education in San Francisco — and McKinley was on the hit list last year. It’s a small school; that makes it vulnerable.
I also understand that there are some things the school board can’t control. Families are leaving San Francisco in droves. That’s largely because of the high cost of housing, which is an issue for the mayor and the supervisors (and one that’s going to take a lot more work and resolve to address). So we’re going to lose some students that way.
But we’re also losing a lot of kids to private schools; I know that because I have good friends who’ve chosen that route, mostly because they don’t think the public schools can offer what they want for their kids. This is a perception problem, and it’s something the school board doesn’t have to sit back and accept.
That, I guess, is what really frustrates me — so many people simply saying that as a matter of strategic planning, we need to assume 1,000 fewer students a year will go to the public schools. The district spent around a quarter of a million dollars last year on a public relations office, and almost all the office seemed to do was hide information from the press and promote the career of then-superintendent Arlene Ackerman. Now Ackerman’s gone, and so is her officious flak, Lorna Ho. It’s time to take district PR seriously.
How hard would it be to have one PR staffer dedicated to creating a major citywide ad campaign promoting the public schools? I suspect it would be relatively easy to find a top-flight local ad firm that would work pro bono and not at all impossible to raise money for media (billboards, bus sides, direct mail, print ads, TV, whatever). Lots of prominent people would do testimonials. Set a goal: no enrollment drop-off next year. Before we close any more schools, it’s worth a try.
Now this: Clear Channel, which owns 10 radio stations in San Francisco and does almost no local public affairs programming at all, recently dropped its only decent San Francisco show, Keepin’ It Real with Will and Willie on KQKE, and replaced it with a syndicated feed out of Los Angeles. To listen to most of Clear Channel radio, you’d never actually know that you’re in San Francisco; the giant Texas chain doesn’t care anything about this community.
If you’re sick of this kind of behavior by an increasingly consolidated monopoly broadcast industry (using, by the way, the public airwaves), you’re not alone: Media Alliance, the Youth Media Council, and the National Association for the Advancement of Colored People will host a hearing on media consolidation in Oakland on Oct. 27, and two Federal Communications Commission members, Jonathan Adelstein and Michael Copps, will be there to take public comments.
The hearing’s at the Oakland Marriott Civic Center, 1001 Broadway. For more information, go to www.media-alliance.org. SFBG

Dear Jerry Brown: more impertinent questions on the Hearst shenanigans (part 4)

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Followups on Hearst: No word back from the Chronicle on my questions on why they are blacking out the big local story involving three big local players (Hearst, McKesson Corporation, and First DataBank). Let me give you the lead front headline on the Oct. 6 Wall Street Journal story to make the point about what a big big story they are stonewalling on:

“How Quiet Moves by a Publisher Sway Billions in Drug Spending, Lawsuit Forces Hearst Unit To Lower Prices on List Widely Used as Benchmark, A ‘Survey’ of One Company”

Anybody out there annoyed at the ever escalating price of prescription drugs? That is the point. Below are my questions emailed Thursday to the campaign headquarters of Oakland Mayor Jerry Brown, who is the candidate most likely to be the next attorney general (no word back at blogtime).

Fair warning: next week I will start asking similar impertinent questions to the Oakland Tribune, Contra Costa Times, San Jose Mercury News, San Mateo Times, and other Media News Group/Dean Singleton papers that claim, along with Hearst, that they are really aggressively competing away out there even though they have formed what amounts to a regional news monopoply. Have they done the story and if not, when will they? And will they pursue the story as real competitive newspapers once did and as they ought to do again if they want to retain credility and financial viability? Repeating: Where are Justice and Atty. Gen. Bill Lockyer and their antitrust departments.
Take note, Clint Reilly and Joe Alioto, a key part of your antitrust case is being made right here and now. B3

Dear Jerry Brown,

I am requesting some information and answers to questions from you, as a candidate for attorney general, for stories we are doing at the Bay Guardian and for my Bruce blog at sfbg.com.

The Wall Street Journal on Oct. 6, and the Bay Guardian in its current edition, have done stories on a major settlement in which a Hearst subsidiary (First Data Bank in San Bruno) has ” agreed to stop publishing its list of wholesale medicine prices, which numerous critics have blamed for driving up drug costs,” as an AP story in the Houston Chronicle/Hearst puts it. (See story on the link below). Would you as attorney general investigate this issue and determine if it would save health plans $4 billion and if there should be any further action in this case?

Hearst and Singleton interests have, as charged in the Clint Reilly/Joe Alioto antitrust suit, effectively destroyed newspaper competition in the Bay Area and imposed regional monopoly. Would you continue the Lockyer investigation into this case? And/or would you join the suit as a co-plaintiff or an amicus? Thanks very much.

Sincerely, Bruce B. Brugmann (B3)

Online Exclusive: Method Man at the crossroads

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SFBG: Are you not getting enough label support?

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

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

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

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

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

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

MM: Fuck Hollywood, B.

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

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

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

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

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

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

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

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

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

SFBG: But he seems to permeate the new album.

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

Impertinent questions on the new Hearst shenanigans (part 2, see previous blog)

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Whenever a big media conglomerate like Hearst tries to cover up its corporate transgressions, the questions start flying like machine gun bullets. These are a few of mine following up my previous blog on the Guardian’s G. W. Schulz story:

Questions to Hearst Corporate (via Hearst/Chronicle editor Phil Bronstein and Business Editor Ken Howe):
Your sister paper, the Houston Chronicle/Hearst, ran a story on Oct. 6 by Theresa Agovino, an Associated Press business writer, with a New York dateline. This story was headlined “Lawsuit May Save Health Plans $4 billion” and the lead read: “A publisher of prescription drug prices has agreed to eventually stop publishing its controversial list of wholesale medicine prices, which numerous critics have blamed for driving p drug costs, as part of a settlement that alleged it had conspired to increase markups.”

Second paragraph: “The plaintiffs said the settlement, which was filed in U.S. District Court in Massachusetts late Thursday and still needs a judge’s approval, will save health plans $4 billion.” Impertinent questions: why didn’t your local Chronicle/Hearst run the story or do its own since it involved three local companies (Hearst, the Hearst-owned subsidiary in San Bruno, and McKesson Corp., the big drug wholesaler)? Did you order the blackout of the story or was this decided at the Chronicle? When will you do the story? If not, why not?

Questions to Singleton corporate and Singleton papers (who claim to be competitive with Hearst): will you do the story and its ramifications on prescription costs? If not, why not?

Questions to Atty. Gen. Bill Lockyer and rough and tumble antitrust crew: The Hearst/Singleton blackout on this story suggests that the Clint Reilly/Joe Alioto suit has a major point: that the financial deal between Hearst and Singleton papers will destroy daily competition and impose regional monopoly. Will you have any comment or take any action on your investigation of the deal before you leave office?

Questions to Atty. Gen. heir apparent Jerry Brown: Are you familiar with the Wall Street Journal/AP/Guardian stories on the Hearst prescription pricing scam? Will you as attorney general do your own investigation? Regarding the Hearst/Singleton media merger deal, will you as attorney general continue the investigation that Lockyer has started? Will you consider joining or appearing as an amicus in the upcoming Reilly/Alioto antitrust trial aimed at stopping the Hearst/Singleton monopoly move?

Impertinent Journalism l0l question to AP and the Houston Chronicle: AP, which prides itself on getting the lead and the story upfront, put the lead involving a major client in the last line of its story. The line read: “First DataBank is a unit of Hearst Corp.” Why didn’t it say in the lead or upfront in this 20 paragraph story that this was a Hearst owned subsidiary that was being charged in a billion dollar prescription price gouging scheme? Why didn’t the Chronicle edit the story and put Hearst in the lead where it belonged?

Stay tuned. If there is anything the media and its investigators hate to do, it is to answer questions about their own transgressions and cover-ups? B3

The Wall Street Journal
Justice Department Press Release

Joy sticks

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

GooTube is dead

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

A tough pill to swallow

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The furor over escautf8g prescription drug prices has inspired dozens of state investigations and civil lawsuits in recent years across the United States, most of them targeting manufacturers.
But another factor in the increases quietly surfaced Oct. 6 in a Boston federal courthouse. Two major Bay Area companies were accused in court documents of infutf8g the cost of prescription drugs to the tune of an estimated $7 billion between 2001 and 2005.
The Wall Street Journal first reported in early October that a drug data publishing company based in San Bruno called First DataBank had reached a settlement with a group of unions in Massachusetts and Pennsylvania over how the company gathered and presented prices in the pharmaceutical catalog that it’s maintained for years.
First DataBank is a subsidiary of the New York–based media empire Hearst Corp., owner of the San Francisco Chronicle, Esquire, and dozens of other publications across the country. Another company still being targeted by the plaintiffs is the San Francisco–based drug wholesaler McKesson Corp., which earned $88 billion in revenue last year and is ranked 16th among Fortune 500 companies.
First DataBank’s price listings play an enormous role in determining what Americans pay for medications. When you receive a bottle of antibiotics to treat an infection, for instance, your private health insurer or state Medicaid program (known as Medi-Cal here) will refer to First DataBank’s listed drug prices as a benchmark to determine what it’ll pay the pharmacy as a reimbursement. That means if the benchmark goes up, so too can your insurance premiums and the cost to state governments.
The settlement, according to federal records, forces First DataBank to adjust the formula it uses to determine those prices. An economist hired by the plaintiffs testified that the savings in 2007 alone for consumers could amount to a staggering $4 billion. First DataBank has also agreed to cease publishing the prices in their drug guides within two years.
Physicians, hospitals, pharmacists, and all manner of other health care professionals pay First DataBank a subscription rate for access to a digital clearinghouse of information on drug dosages and allergies, among other things.
More importantly, First DataBank publishes what’s known as an “average wholesale price” for more than 290,000 pharmaceuticals. There are three major drug wholesalers in the United States, including McKesson, that buy drugs directly from manufacturers and then mark up the price before selling the drugs to pharmacies. The average wholesale price — widely used around the country to determine what pharmacies will get as a reimbursement — is supposed to be a reasonable reflection of what the pharmacies pay the wholesalers for drugs.
First DataBank claimed to survey these wholesalers to come up with an average price that includes the markup, which it then lists in its drug-pricing database. But in recent years, the Journal reported, such surveys have been few and far between, and sometime around 2002, First DataBank inexplicably froze the markup at 25 percent, even though the prices pharmacies were actually paying fluctuated dramatically due to competition.
Citing testimony from one employee, the Journal notes that First DataBank began surveying only one company to come up with its average: McKesson. The cost to pharmacies still varied, but McKesson had reportedly standardized its markups on paper at 25 percent. That meant insurers and state health care administrators relying on First DataBank were making reimbursements that translated to higher profits for the pharmacies.
The employee’s testimony and documents in the case indicated that McKesson knew exactly what was happening. What remained unclear at press time was why First DataBank would choose to survey only McKesson or how it might have benefited from the decision.
The Journal notes the pharmacies were the only ones that stood to profit from the standardized markups, not McKesson directly. But internal McKesson e-mails show the company not only was aware of its impact on First DataBank’s published figures but hoped pharmacies would see McKesson working in their best interests — a marketing scheme, if you will.
An e-mail from one McKesson product manager gleefully exclaims that the profit for pharmacies dispensing a bottle of the cholesterol drug Lipitor leaped from $6.86 to $17.18.
First DataBank admitted no wrongdoing and is not paying money to the plaintiffs of the Boston settlement. The company was founded in 1977, and Hearst purchased it in 1980. Federal records show that in 1998, Hearst bought a $38 million company that owned one of First DataBank’s only real competitors, Medi-Span.
A later investigation by the Federal Trade Commission revealed that Hearst had failed to turn over key documents to the Justice Department’s antitrust division during the sale. As a result the feds slapped Hearst with a $4 million fine in 2001, at that time the largest premerger antitrust penalty in US history. The FTC also belatedly concluded that Hearst’s ownership of Medi-Span gave it a monopoly over the drug database market and not only required that Hearst give up Medi-Span but forced the company to disgorge $19 million in profits generated from the acquisition.
Hearst spokesperson Paul Luthringer directed us to a bare-bones statement when the Guardian called with questions about the Boston suit. “The allegations made in these actions have raised concerns with respect to the integrity of the pricing information that is provided to First DataBank for purposes of publishing [the average wholesale price],” the release states. “In light of these concerns, First DataBank has determined to make certain changes in its drug pricing reporting practices.”
Climbing drug costs can’t be attributed mainly to First DataBank or McKesson, of course. In fact, recent investigations and civil suits spearheaded to find out why prices have skyrocketed have focused on the manufacturers. During those inquiries First DataBank has been hit with dozens of subpoenas nationwide requesting company records and testimony, according to San Mateo Superior Court records. Many of those cases are still ongoing.
Attorneys for the plaintiffs in Boston who made McKesson and First DataBank defendants in the summer of 2005 declined to comment. McKesson also has remained tight-lipped since the Journal story was published. Spokesperson James Larkin said the company would not answer questions beyond a prepared statement.
“If First DataBank decided to survey McKesson only, it did so without telling McKesson,” the statement reads. “In fact, First DataBank has affirmed in an earlier lawsuit involving other parties that it never told McKesson that at times McKesson was the only wholesaler being surveyed.” SFBG
Here are links to key documents, including federal court records of the Oct. 6 Boston settlement with the Hearst-owned First DataBank (www.hagens-berman.com/first_data_bank_settlement.htm), the Justice Department’s antitrust fine of Hearst in 200l (www.usdoj.gov/atr/cases/indx330.htm), and the Federal Trade Commission decision requiring Hearst to give up its monopolistic subsidiary, Medi-Span (www.ftc.gov/bc/healthcare/antitrust/commissionactions.htm).

The first 40

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

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

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


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

The Guardian turns 40: some things never change

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

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

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

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

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

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

Geowanking

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› annalee@techsploitation.com
TECHSPLOITATION About 18 people were gathered in the San Francisco offices of Urban Mapping, a company whose mild-mannered founder, Ian White, described their business model to me as “selling polygons.” Instantly, I felt at home. I was among the geowankers, a group of high-tech map enthusiasts whose areas of expertise range from making customizable Web maps (often built out of polygons) and geolocation software to map-based online storytelling and handheld devices that provide information about your environment as you walk through it. Imagine getting a tour of the Mission neighborhood via your smart phone, which pops up information about who painted the cool murals you’re looking at in Clarion Alley, as well as which cafés are in the immediate area. Now imagine using that same phone to upload pictures you’ve taken of the cappuccino at Ritual to your blog, complete with a map showing the exact GPS coordinates of this excellent cafe. If anyone is going to invent that device, it’s going to be a geowanker.
All of us had heard about this meeting via the geowanking e-mail list, founded by überdork Joshua Schachter, where map geeks of all stripes have been engaging in banter and mad science for more than three years. Tonight was the inaugural San Francisco geowankers meeting, and it was the first time many of us had had a chance to meet each other in person. The evening was to be an informal eat-and-chat, with presentations from Rich Gibson, coauthor of the astonishing Mapping Hacks, and Mike Liebhold, a brainiac from the Institute for the Future who said (only half-jokingly) that he wants to invent a “tricorder for planet earth.”
Gibson told us that he’s currently thinking about how to use technology to deal with the “probability characteristics of space.” In other words, how do you create an accurate high-tech map that reflects the fact that a given geographical location has a high probability of being referred to as “the Mission,” but at least 10 percent of the time might be referred to as “Noe Valley”?
This kind of question might sound silly if you look at neighborhoods purely as the creation of real estate companies that have rigid ideas about where the Mission ends and Noe Valley begins. But geowanking is all about making maps democratic and creating representations of space that reflect ordinary people’s lived experiences. The idea of letting a real estate agency call the shots on where your neighborhood’s boundaries are is absurd to a geowanker. Why not just build a digital map in layers so that you can see the real-estate-defined neighborhoods, then click into another layer that shows what ordinary people on the street think are the boundaries, then move to another layer to see where all the rivers run underneath the city?
Liebhold pointed out that as more and more people start creating their own maps and putting them online, we’re going to need to invent a system where we know which maps are “trusted” and which are just somebody rambling about how there are many paths to Blue Bottle Coffee from the Haight. Everybody began specuutf8g about a not-so-distant future when you’ll subscribe to somebody’s map data the way you might subscribe to an RSS feed (and in fact, thanks to smarty-pants Mikel Maron and pals, there is a geoRSS format). Some feeds would be trusted and some wouldn’t.
Then we got sidetracked by potential problems. What happens when the map democratization process goes nuts and so many people are tagging places on digital map services that the spatial data is a mess? And what about map spam, where people buy ads on (for example) Google Maps and suddenly your nice map of the Mission is covered with flags advertising Wells Fargo ATMs and places to buy Bud?
When the conversation wound down, we broke for wine and cookies. I got a chance to chat with Anselm Hook, the hacker who prototyped build-your-own-map service Platial.com. Platial is a mashup of Google Maps and allows you build and store customized maps that you share with friends (try it — it’s insanely addictive). Hook said his newest obsession is trying to create maps with “near-instantaneous information,” kind of like instant messaging and Google Maps rolled into one. “Imagine saying to somebody online, ‘I’m here, what should I do?’ and getting an instant reply with a map,” he enthused. “That’s what I want.”
At last it was time to go, and I headed out into the South of Market area, wishing I had Anselm’s device so I could find a local restaurant and wondering what the probability might be that somebody else would call this neighborhood Mission Bay. SFBG
Annalee Newitz is a surly media nerd who became a geowanker because she’s always getting lost.

Pop lives

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› johnny@sfbg.com
REVIEW There are different doors through which one can enter dunya dinlemiyor (the world won’t listen), a 2005 video installation by British artist Phil Collins. One can chart the many passages that lead from Collins’s work to the music of the Smiths, whose vocalist Morrissey chose an image from Andy Warhol’s Trash to adorn the cover of the group’s second attempt at creating a proper first album. In turn, those doors lead to Warhol’s earlier screen tests, which Collins deliberately invokes through dunya dinlemiyor’s song-length portraits of Smiths fans in Istanbul. These connections form more than one circuit — in fact, they do more than a figure eight. Even when out of fashion, pop art has a three-degrees-of-Warhol relationship to contemporary art. Is it really so extraordinary?
In this case the answer is yes. Whereas Warhol’s screen tests are powered by the egos of his superstars and other art movers and makers, Collins’s portraits shock through their anonymity and most of all, their unexpected emotional profundity. “15 minutes of shame,” reads the T-shirt of one of the two girls who sing “Panic” at the beginning of dunya dinlemiyor’s karaoke box versions of the songs that make up The World Won’t Listen, a 1987 Rough Trade compilation from the Smiths’ last year of creative life. The time-based phrase plays off both an oft-repeated — and garbled — Warhol quote and an early Morrissey lyric. But most of dunya dinlemiyor bypasses such referentiality to lay bare the perhaps singular universality of Smiths songs.
There are some other knowing nudges early on, as when a young man performs “Ask” in the manner of 1983–84 Morrissey, shirt unbuttoned and flowers sprouting from his ass pocket. Even in this pantomime or imitation, the gender liberation of Smiths songs — the way in which Morrissey-worship has allowed straight and gay men to enact or express unconventional forms of masculinity — is apparent. But this liberation takes an even more revelatory form with some of Collins’s female subjects. Their performances engage with and bloom from the lyrics in a manner quite different from the traditional courtship roles when female fans respond to words written by a man.
The most joyous, spine-tingling example has to be a pair of girls who hold hands while duetting on “There Is a Light That Never Goes Out.” Here, the substitution of someone else in the Morrissey role works wonders. Absent the frontperson’s overbearing persona, the music takes flight in unexpected directions. Using generic vacation-spot photos as a backdrop, Collins separates these Smiths fans from any stereotypes viewers might attach to Turkey. The closest thing to a culturally specific Old World reference is the twist of a woman’s muezzin prayer-wail approach to the finale of “Rubber Ring,” with its “Don’t forget the songs” litany.
The best door through which to enter dunya dinlemiyor is that provided by Collins, a simple passage surrounded by the flypapered advertisements that attracted his collaborators. This show is the absolute opposite of American Idol. Its most haunting and sublime interpretation has to be “Asleep,” sung by a young man with fresh scars on his forehead. His face is framed in extreme close-up in a manner that admires his beauty and aches to reach out to him, as if Carl Theodor Dreyer were lusting for Maria Falconetti. The Smiths have inspired no shortage of books, movies, and music, but this might be the best response to their songbook I’ve encountered.
In “Neopopular Demand,” Atlanta artist Fahamu Pecou takes a rather more acidic view of popular music and Warhol’s pop legacy, specifically the decadent Interview years. His large paintings depicting himself as a magazine cover star were partly inspired by the almost action-figure aspect of 50 Cent’s rise to rap fame. Which is to say, Pecou’s work is both a response to 50’s exaggeration of a hip-hop hypermasculine bravado (a front that toys with and embraces caricature) and a commentary on the enthusiasm with which American culture consumes thug routines. Don’t get it twisted: Pecou loves hip-hop. He just doesn’t worship it.
The presence of imitation Jean-Michel Basquiat chalk scribbles at the edges and sometimes centers of Pecou’s paintings brings recent art history into the equation — in a manner that taunts potentially clueless buyers. Pecou possesses a post-Basquiat dandified flair (as with another compelling artist, Kehinde Wiley, it manifests in self-portraiture) and a skepticism that can only come from viewing the fatal footsteps of such a talent. He is in the process of making a film about his own self-creation as an art and media star, an endeavor that isn’t as revealing about his bright future as the edges of his canvases. That is where handsome paint renderings of magazine photos and fonts give way to shades of white that more than hint there are many other areas that he wants to explore. After painting himself into commercial boxes, Pecou leaves a space open so that he might perform a Harry Houdini–like escape. SFBG
“NEW WORK: PHIL COLLINS: DUNYA DINLEMIYOR (THE WORLD WON’T LISTEN)”
Through Jan. 21, 2007
San Francisco Museum of Modern Art
151 Third St., SF
$7–$12 (free first Tuesdays; half price Thursdays after 6 p.m.)
(415) 357-4000
www.sfmoma.org
“NEOPOPULAR DEMAND: NEW WORKS BY FAHAMU PECOU”
Through Nov. 20
Michael Martin Galleries
101 Townsend, suite 207, SF
Free
(415) 543-1550
www.mmgalerries.com
To read an interview with Fahamu Pecou, go to Pixel Vision at www.sfbg.com/blogs/pixel_vision.

Small pieces unjoined

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› annalee@techsploitation.com
TECHSPLOITATION I think ubiquitous digital surveillance and searchability have given me a weird new sense of entitlement. I feel like I should be able to find anybody on the Web, and if I can’t — well, why not hire somebody to search the databases I can’t access? I caught myself having this exact bizarro train of thought the other day, when I was trying to locate an old friend of mine from high school.
I did all the usual things that generally yield results and have helped me find out all kinds of useless things about lost childhood friends. (That hardcore rocker boy is now a real estate agent! No way!) First I searched on his name in Google, but all I discovered was that somebody with his exact (and fairly common name) died in the Twin Towers. There was a catch though — my old friend went by his Korean name in high school but adopted an American name in college. So I started searching on his Korean name, feeling very clever. Unfortunately his Korean name is actually more common than his American one. Then I narrowed my searches, looking for his names in connection with our hometown, his college, and the city where he lived the last time I saw him. I searched news groups, MySpace, LiveJournal, and Technorati.
At last I couldn’t think of anywhere else to search. That’s when I had the aberrant thought: why not just hire a private detective? Everybody’s doing it — even HP! And I’d get one that wasn’t too expensive. Admittedly my subconscious was spiked with reruns of Veronica Mars and memories of This Film Is Not Yet Rated, a documentary in which a guy hires private detectives to figure out who the members of the Motion Picture Association of America ratings board are.
But I think I hit upon this rather extreme idea — hiring a detective to find my old friend — because I’ve become conditioned to think that all information should be accessible. Despite my belief in online privacy and anonymity, my unexamined, knee-jerk response to the situation was that somebody should be able to get this guy’s contact information for me. I mean, all I wanted was an e-mail. I wasn’t trying to get his home address or voting records.
Needless to say, I did not get a private detective, nor have I found my old friend yet. I’ve avoided becoming creepy but I’m left unsatisfied. The old promises of the Web, which David Weinberger famously characterized as “small pieces loosely joined,” have turned out to be quite different from what we all imagined. Many of us are connected, sometimes to a degree bordering on incestuousness, but many of us are not. The threads do not attach to each other. Names are lost in a sea of names. People fill blogs with entry after entry that never get read, never get linked, never receive comments. Certainly there are spirited local debates that bring us together online and amateur writing that’s as findable as a New York Times headline, but these things are rare and getting rarer. The Web is beginning to feel just like a city street: you can see all the houses, but you have no idea what’s in them. Unless you’re a thief.
I feel cheated by the walls that have gone up on the Web — not the walls that protect my personal information, but the ones that prevent me from finding friends (real friends — not friendsters). They aren’t the same walls, by the way. Walls that protect personal information should prevent people from getting access to whatever crap ChoicePoint and Visa have on you. The walls that stand between me and my old friend are the cacophony of filtered data that the Web has become. I’m sure his e-mail is out there somewhere floating around, but because he hasn’t been writing a popular blog or posting obsessively on the Linux kernel list, it’s got no juice on the search engines. Because he’s not socially findable, he’s not technically findable either. And no, it’s not because he has no e-mail. The guy is an engineer. So much for the Web breaking down barriers.
I’m going to try one last time to find him — but this time, I’ll go at it from the other direction. I’ll call his name and see if he hears me. Let’s see if there are any holes in those walls. If you know a guy who goes by Lawrence Kim or Chong Kim and who once lived in Orange County, let me know. Especially if you are him.
Let’s see if my experiment works. SFBG
Annalee Newitz is a surly media nerd who can find rare, out-of-print books online but can’t find Chong.

Why does the OES fear KGO-TV?

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KGO-TV news reporter Dan Noyes and producer Beth Rimbey have been trying for the last 15 months to acquire copies of San Francisco’s disaster plans from the Office of Emergency Services. Despite firm deadlines set by the city’s Sunshine Ordinance and public promises made by Mayor Gavin Newsom and OES chief Annemarie Conroy, not all of the requested documents have been released.
In fact, OES officials won’t even talk to KGO anymore.
“We’re only allowed to speak to the Mayor’s Office,” Rimbey said at a Sept. 26 Sunshine Ordinance Task Force hearing on the issue. “We’re not allowed to speak to OES. They won’t take our phone calls. They won’t do interviews.”
KGO’s complaints were heard by the task force members but not by OES officials: they failed to send a representative to the meeting because they say they feel threatened by Noyes, according to Jennifer Petrucione of the Mayor’s Office of Communications, who was in attendance.
“Frankly, I think that’s a very specious argument for not coming to address the complaint,” said task force member Rick Knee, citing the open forum of the meeting, public setting, and security of City Hall. “I don’t see that as a valid excuse for not attending.”
“With all due respect, I disagree,” Petrucione responded. According to her, staffers from the OES — the agency charged with responding to terrorist attacks and natural disasters — feel threatened and have filed complaints with the Department of Human Resources, citing a work environment made hostile by Noyes.
“The only thing that could be viewed as hostile was asking them questions they weren’t comfortable answering,” Kevin Keeshan, vice president of KGO, told the Guardian. He said all the incidents of concern were documented on videotape, which he reviewed and invited the complaining parties to watch. He saw no violations and has heard nothing further from the city on the issue.
He, Noyes, and Rimbey haven’t heard anything about the city’s plan in the event of an earthquake or a terrorist attack either. Rimbey said she thinks there is no plan and the city has been stalling until there is one. “It’s frightening. There are people who are deeply disturbed about emergencies in the city,” she said.
Officials have said plans are under internal review and being updated and will be turned over to the media as soon as possible. Over the past few months, KGO has received some copies of disaster plans, but they either appear to be 10 to 15 years old and adorned with new covers or are so heavily redacted that they’re just black pages, according to Noyes.
A prior task force hearing ruled that information had been unnecessarily redacted from several plans. The task force asked the Mayor’s Office to review the documents with a mind toward more openness. Petrucione said it followed new guidelines recommended by the City Attorney’s Office during a long and laborious process spanning several weeks. Those six documents were released Sept. 22 with many redactions still in place.
“I have a lot of problems with the redactions that were made,” said task force member Erica Craven.
Another member, David Pilpel, cited his personal favorite: the name of former governor Pete Wilson, which Pilpel was able to deduce from a subsequent page where it hadn’t been redacted.
“Why redact at all?” asked Noyes at the meeting. “Look at San Jose’s plan. It’s online for everyone to see,” he said. The city of San Jose makes the case that the first responders to an emergency are the citizens, who must be informed. Therefore, its entire emergency plan is posted on the Web.
The task force ruled that the OES was in violation and member Marjorie Ann Williams took a moment to say her concern went beyond the office’s withholding of documents. “This is a very, very serious issue,” she said about the city not having a plan. “We need to get on this and take it to heart.”
The Mayor’s Office and the OES were given five days to release all the documents, although the SOTR has little ability to enforce its rulings. As of Oct. 2, KGO had received nothing. In June, the Guardian made a similar request for documents and has also received nothing. The OES did not return repeated phone calls for comment on this story. (Amanda Witherell)

Google’s dog and pony show

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By Steven T. Jones
First, Mayor Gavin Newsom tapped his buddies at Google (in partnership with Earthlink) to build a citywide wireless system that would be free to city residents. It was a move that was done without full sunshine and it pissed off some information activists like Media Alliance, but the Department of Telecommunication and Information Services has since conducted a more open and diligent negotiations process with the companies. That caused Google to grouse to the Chron that the city was dragging its feet. So Sup. Jake McGoldrick decided maybe the city should be looking at doing a municipal wifi system instead, which he’s having the budget analyst study (if the board approves study this week) and report back on by the end of the year. That’s also when DTIS expects to have a final deal with Google/Earthlink — and when a consultant’s study on municipal broadband (that’s fiber rather than wifi) is due back. Well, with all this possibility swirling, Google and Earthlink have now announed a series of town hall meeting from now until the end of the year. Game on! Their press release follows: