News

It’s Getting Hot in Here

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It’s Getting Hot in Here
Sarah Phelan
Hours before all hell broke loose over at City hall over news that he’d been having an affair, Mayor Gavin Newsom showed up at the SFPUC’s Climate Change summit to endorse long overdue efforts to combat global warming.

“God’s delays are God’s denials,” began Newsom, blissfully unaware that his former appointments secretary Roby Rippey-Tourk was about to confess to her husband Alex Tourk about the affair, and that Tourk would immediately confront the mayor–and resign from his post as Newsom’s campaign manager. Ouch.

Looking chill in his trademark ice-blue tie, Newsom remarked that there had been no snow in the Alps during his recent trip to Davos, Switzerland, little suspecting that he’d be quite so red-faced by the end of the day.

In addressing climate change today, observed Newsom, “we’re burdened with mistakes from the past,” adding that this past, and not just the future, must be part of “the next narrative.”
Expressing enthusiasm for tidal wave and solar power, and efforts to measure where we’re at with our carbon emissions’ levels , the Gavsta wrapped up saying, “We’re willing to take great risks in San Francisco.”

And then Newsom was gone, little guessing that while water managers heard incontrovertible evidence that global temperatures and sea levels are rising, bringing a host of nasty side effects and consequences, he’d be finding himself up to his neck in political and emotional hot water as a result of his own past denials and risk takings. Double Ouch.

Wolf Still Caged — 163 Days!

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by Amanda Witherell

U.S. District Court Judge William H. Alsup has again denied release of Josh Wolf, the 24-year-old journalist in jail. Wolf’s attorneys had filed a Grumbles motion which argued that no matter how long Wolf is in jail, he will not change his position. Therefore, his incarceration is undue punishment and illegal. Judge Alsup ruled Tuesday, Jan. 30 that it’s still possible jail could have a coercive effect and Wolf is to stay put.

On February 7, if Wolf is still behind bars he’ll have outlegged Houston’s Vanessa Leggett as the longest journalist ever incarcerated. And journalism isn’t even a crime!

Wolf was subpoenaed by a Federal grand jury for exercising his First Amendment rights and withholding raw video footage and refusing to testify about what was on the tape. It was shot during a July 2005 G-8 rally in San Francisco that turned violent: a San Francisco Police officer was seriously wounded and a cruiser destroyed and the authorities have always claimed they want to see if those acts were captured by Wolf’s camera. Wolf has always maintained that they weren’t, and the intimation has been that this is an attempt to coerce Wolf into identifying other protesters at the rally.

In other freedom of the press news, the subpoena for journalist Sarah Olson has been dropped. Lieutenant Ehren Watada, who was court-martialed for refusing deployment to Iraq and speaking out against the illegal war, has stated that everything he told Olson was true, so now she doesn’t have to go to court and say it or go to jail for not saying it. Hooray!

No joy

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By Steven T. Jones
Contrary to the demented hopes of conservative ideologues like the Examiner’s Ken Garcia, there is no joy on the left over the sordid sex scandal that has now engulfed Mayor Gavin Newsom. Sure, it opens up this year’s mayor’s race and illustrates some of the character flaws of Newsom’s administration, which have manifested themselves in how he conducts himself professionally, not just personally. But nobody’s happy to see this, not the Guardian (which has also heard these rumors for the last six months but couldn’t confirm the story enough to print it) nor the politicians and activists on the left. Several of them happened to be gathered last night when the news hit, and I can tell you there was no glee in that room. Sup. Chris Daly’s public comments have been respectful and reserved and in private, he genuinely felt bad for Alex Tourk. Everybody did. Matt Gonzalez, who has been rumored to be considering a run for mayor, spent more time considering how this incident places City Hall in a bad light and in legal jeopardy than he did calculating his own prospects. And my sweetie Alix Rosenthal, who is president of the National Women’s Political Caucus, and the other women in the room are bracing for attempts to inappropriately delve into Ruby Tourk’s private life and are ready to fight back if Newsom’s people or their proxies go that route.
In the coming days or weeks, after the shock of this wears off and it becomes acceptable to make jokes or calculate its political implications, we’ll rejoin the battle for this city’s soul and actively try to help point the way forward from here. But today, we’re all just shaking our heads.

Wolf still caged – 163 Days!

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by Amanda Witherell

U.S. District Court Judge William H. Alsup has again denied release of Josh Wolf, the 24-year-old journalist in jail. Wolf’s attorneys had filed a Grumbles motion which argued that no matter how long Wolf is in jail, he will not change his position. Therefore, his incarceration is undue punishment and illegal. Judge Alsup ruled Tuesday, Jan. 30 that it’s still possible jail could have a coercive effect and Wolf is to stay put.

On February 7, if Wolf is still behind bars he’ll have outlegged Houston’s Vanessa Leggett as the longest journalist ever incarcerated. And journalism isn’t even a crime!

Wolf was subpoenaed by a Federal grand jury for exercising his First Amendment rights and withholding raw video footage and refusing to testify about what was on the tape. It was shot during a July 2005 G-8 rally in San Francisco that turned violent: a San Francisco Police officer was seriously wounded and a cruiser destroyed and the authorities have always claimed they want to see if those acts were captured by Wolf’s camera. Wolf has always maintained that they weren’t, and the intimation has been that this is an attempt to coerce Wolf into identifying other protesters at the rally.

In other freedom of the press news, the subpoena for journalist Sarah Olson has been dropped. Lieutenant Ehren Watada, who was court-martialed for refusing deployment to Iraq and speaking out against the illegal war, has stated that everything he told Olson was true, so now she doesn’t have to go to court and say it or go to jail for not saying it. Hooray!

Tiki wiki

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› kimberly@sfbg.com

SONIC REDUCER What exactly does exotica mean to a little brown girl from a tropical island? How does tiki translate to someone who once identified those fierce masks by name, as Lono, Kane, or Ku? To most, exotica tuneage boils down to Martin Denny and Esquivel; tikis, to that last retro revival that surfed in alongside early ’90s alternative culture. But for this wahine from cosmo Honolulu, exotica meant Quadrophenia mods and Italian scooters zipping around a freezing little island on the other side of the globe — and tikis were simply a fact of life, like those special guest appearances by Pele on street corners. Tiki was all around — it was more radically exotic to sport leather motorcycle jackets under the hot Hawaiian sun.

So Bay Area tiki culture’s latest return — in the form of Alameda’s Forbidden Island and Oakland’s Kona Club — is both surreal and heartwarmingly familiar, a roughed-out, kitschy-koo Hawaiian fusion. I always associated the tiki cult of the ’50s and ’60s with World War II vets nostalgic for humahumunookienookie high times, filtered through mediocre Chinese grub and juicy beverages that even a teetotalin’ mom could easily get toasted on. Here it’s all about vintage peeps, ex-locals, and hearty-drinking pirates in search of novel booty. And the Bay Area is the ideal spot for an ersatz islander experience, what with Oakland being the home of the first Trader Vic’s, Alameda’s Otto von Stroheim continuing to roll out the Tiki News zine, San Francisco’s ReSearch spurring an exotica rediscovery with its Incredibly Strange Music volumes, and the area providing ground zero for the San Francisco Bay Area Tiki Weekend.

The aforementioned gathering is thrown by Forbidden Island co-owner Martin Cate, and the loving care he and fellow big kahunas Michael and Emmanuel Thanos (who also own the Conga Lounge in Oakland) lavished on the nine-month-old lounge is obvious. On this frigid, drizzly Saturday night there’s something vaguely subversive about retreating to a tiki-strewn fantasy island when it’s colder than a sea lion’s tittie outside. Forbidden Island is a fruity-drink lover’s fever dream, boasting fresh-squeezed juices and stealth quantities of silver rum that sneak up and slam you in the puss. Cocktail umbrellas spear dollars to the cork ceiling over an early ’60s back bar, bamboo-sheltered booths, and a dramatically lit Polynesian god overseeing the grizzled locals, water cooler refugees, and fresh- and Fog Cutter–faced collegians, downing spicy grog and Scorpions by the bowl. As I suck down a delish Banana Mamacow of coconut, cream, and rum, my bud Dr. B points out the bodacious, bare-chested native maid in the black velvet masterwork by the bar: "If I had that in my room when I was a teenager, I’d never have left the house." My only disappointment: nary a note of bird whistles, a bongo beat, nor a wisp of exotica in earshot, though the jukebox is said to be crammed with the stuff. Where’s the mai tai moment for the mind’s ear?

Next up on the relative newbie list is the year-old Kona Club on a silent stretch of Piedmont Avenue in Oakland, just a stagger or so away from Trader Vic’s founder Victor Bergeron’s final resting spot at Mountain View Cemetery. Love the tapa cloth–covered walls decorated with ukuleles and old wooden surfboards; the smell of dried lauhala; and the unduutf8g hips of the life-size hula-girl robot. And I’m told the smoke-spewing volcano behind the bar is da bomb. As the Pixies blast over the sound system and Dr. B fetches more Macadamia Nut Chi Chis, I sprawl over a corner table — the sizable crowd appears to be simultaneously more hipster and fratty. Maybe it’s the quiet village of Piedmont that binds us together — the burbies outside are tucked in early while we belly up in our mini-wacky-wiki-Waikiki inside the onetime British brew pub King’s X. Who doesn’t want to recapture some mongrel carefree vacation sensation — in a silly-shack adult Disneyland of thatched straw?

I get rummy and restless, and a clutch of drinkers nearby watches raptly as I manage to make barfly magic and balance a saltshaker on its tip, bolstered only by a teeny mound of grains, for 20 minutes until a barmaid stomps by in a huff and it falls. "Now that’s amazing," the bouncer gathering glasses around me says. The tiki gods are smiling.

GOOD TIMES, OLD TIMEY You can’t toss the tikis out with the tepid bathwater, and you can’t count out bluegrass and old-time music with hoedowns like the San Francisco Bluegrass and Old-Time Festival around. Affiliated with the Northern California Bluegrass Society, the completely volunteer-run, nonprofit eighth annual shindig runs from Feb. 1 to 10; showcases up-and-coming locals such as the Earl Brothers, Circle R Boys, Squirrelly Stringband, the Deciders, Jimbo Trout and the Fishpeople, the Crooked Jades’ Jeff Kazor and Lisa Berman, and the Wronglers (with Hardly Strictly Bluegrass Festival founder Warren Hellman); and closes with a square dance at the Swedish American Hall. This year’s fest also shines a light on a slew of Portland, Ore., combos, summing up a West Coast scene that’s younger than those in other parts, publicity volunteer Elizabeth Smith tells me. "I think that there’s an interest in roots music that’s pervasive in the Bay Area," she explains. "If you go back and look at the hippie scene in San Francisco and the fact that folks in the Dead were involved in bluegrass, you can see an evolution over time." Old times don’t have to mean bad times. *

FORBIDDEN ISLAND

Tues.–Thurs., 5 p.m.–midnight; Fri.–Sat., 5 p.m.–2 a.m.; Sun., 3–10 p.m.

1305 Lincoln, Alameda

(510) 749-0332

www.forbiddenislandalameda.com

KONA CLUB

Daily, noon–2 a.m.

4401 Piedmont, Oakl.

(510) 654-7100

SAN FRANCISCO BLUEGRASS AND OLD-TIME FESTIVAL

Feb. 1–10

See Web site for info

www.sfbluegrass.org

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Grizzly spawn

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First off, an embarrassing disclaimer: I’m not a Werner Herzog groupie — I just want him to be my grandpa. I’d like him to take me on long rambles over misty mountaintops, through the ice, snow, and sand; teach me about his ecstatic yet jeopardy-strewn path; and push me to jump into cacti, dance with chickens, and come out with poetry on the other side. And yet, as all good UFO films go, I suspect I’m not alone. Even if my cinematic family wish were fulfilled, I’d probably still be clamoring for my visionary gramps’s attention alongside all the other wannabe spiritual offspring — considering the rapturous reception of his 2005 documentary, Grizzly Man, and the many reverent audience members hanging on Herzog’s every utterance last year at the San Francisco International Film Festival screening of his 52nd directorial effort, The Wild Blue Yonder. I spoke to the 64-year-old Bavarian filmmaker (né W.H. Stipetic), who has lived in the Bay Area but is now based in Los Angeles, the day after his April 26 onstage interview — he hasn’t agreed to my little adoption fantasy yet, but green ants can dream, can’t they? (Kimberly Chun)

SFBG The music in The Wild Blue Yonder is so amazing. What came first, the soundtrack or the beautiful underwater footage by Henry Kaiser?

WERNER HERZOG In this case the music was created first to establish a rhythm, to establish a climate, to establish a mood, and to establish, also strangely enough, a vision — because listening to this music in particular led to a very clear vision.

Of course, there was a complicated story on how I entered into the project. It started out with some sort of a documentary about the space probe Galileo and the scientists, and I followed up with the space probe the Mars Rover, and I got very curious, and I witnessed it at Mission Control at Pasadena, and that was very fascinating, but I always felt there was more in it. I started to dig deeper into it, and I discovered footage that astronauts shot in 1989 on 16mm celluloid, and these astronauts actually deployed Galileo, and all of a sudden the entire documentary about Galileo was discarded, and I went straight for the visions and for the science fiction movie, which emerged very clearly, very rapidly.

SFBG What was it about the footage that drew you?

WH Well, we’ve seen quite a bit of footage sometimes on evening news on television, sometimes in special programs by Discovery or National Geographic, and you see astronauts in space, but you never see anything like what they filmed back on that mission — with such vision and beauty and such a strange intensity. And of course, neither Discovery nor National Geographic has the patience in their films to look at a shot that goes uncut and uninterrupted for two minutes, 40 seconds, which is an endless time on air. They show snippets of 15 seconds maximum, and that’s about it. The beauty only evolves when the take rolls on and on and you’re moving from the cargo bay into the command module and drifting by the weirdest sort of things.

People ask me, "Is this a science fiction film?" And I say, "Yes, it is. But do not expect a science fiction film like Star Trek — this is a science fiction fantasy. It’s more like a poem. Expect a poem or expect a space oratorio."

SFBG Where did you first hear music for the film?

WH I had not heard it. I created it. My idea was to put Sardinian singers together with a cello player from Holland [Ernst Reijseger] and add a singer from Senegal [Mola Sylla] who sings in his native language, Wolof. So no one has ever heard this music, and no one would have believed the combination of these three elements would work.

SFBG You talk about long shots being unheard of on TV. But in a lot of ways you’ve created a music video, though MTV might be considered the polar opposite of what you do. Or do you have an affinity for MTV?

WH I think MTV would love the film. Truly, they would love it. [Pauses] Er, I may be wrong. But I could imagine that the people who watch MTV would love the film.

SFBG At the [2006 SFIFF event] you mentioned liking a film about people in Mexico on spring break. Is that the Real World feature, The Real Cancun?

WH Yes, and I liked the film because it was so focused. There was no pretentiousness at all. The only question was who would get laid first. You see so many pretentious films and phony films, and I don’t like that.

SFBG Do you like reality TV?

WH No, but I do watch it. The poet must not avert his eyes. You have to see what is moving the hearts of people around you. You have to understand what’s going on. You have to understand the real world around you — and also the imaginary world around you. The collective dreams. The collective paranoia.

SFBG All of which is involved in getting laid, I suppose.

WH Oh no, when I spoke of collective paranoia I had in mind the fact that three million Americans claim that they had encountered aliens and 400,000 women have allegedly claimed to have been abducted and gang-raped by aliens. My question is, why are 90 percent of them over 300 pounds? The real question is more interesting, though: Why have we never heard of any report of an alien abduction and gang rape in Ethiopia? Why is that? And so now I’m opening the doors wide to your answers. [Chuckles]

SFBG One might believe, watching The Wild Blue Yonder, that you’re willing to entertain the idea that aliens exist.

WH No, I’m fascinated by it because it points to some very strange paranoia that is only possible in our kind of civilization. This is why it never happens in Ethiopia and Bangladesh. To understand our civilization, we have to understand collective paranoia, collective dreams, a world out there that’s completely artificial in both reality and in our collective perception of reality.

SFBG At the event many people brought up a recent New Yorker story on the shoot for Rescue Dawn [which will be released this spring]. Did you agree with that piece’s perspective on the contentiousness of your own film crew and how they fought you?

WH No, no, it always happens that you sometimes have to deal with adversity here and there. In this case, strangely, much of the crew had never worked with me, and there were more the kind of film school types, and of course, there was some sort of opposition. But it doesn’t matter. At the end of the day, I’ve always done the kind of film that I really wanted to do and that I’m capable of doing.

What was really bad, for example, was the set of Stroszek, because that was a team that had worked with me for more than a decade. They all hated the film! And they thought it was ridiculous and that I should stop doing this. It happens.

SFBG Perhaps it’s that collective paranoia …

WH No, you just have to ignore it and do your work and deliver. And [Stroszek] is one of my finest films. They all, at the end, understood it was right what I did. And when Rescue Dawn is completed — it has such a physical life in it and such intensity — they will all understand. *

For more of Herzog’s interview, go to www.sfbg.com/blogs/pixel_vision.

www.wernerherzog.com

Missed connections

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› le_chicken_farmer@yahoo.com

CHEAP EATS My new favorite songwriter is my old friend NFC, which BTW stands for "new friend Catherine," not National Football Conference. Of course, I sometimes call her Ms. Conference or National or Nat just to confuse matters. And to confuse matters further, I’m rooting for her in the Super Bowl.

So while these people are going, "Go, Colts!" and those ones are going, "Yay, Bears!" I’ll be sandwiched between them on the sofa, with my fingers crossed and my knees all a-rattle, going, Catherine, Catherine, Catherine, come on, Catherine!

Probably under my breath — in case anyone still wants to invite me to their Super Bowl party.

Confession: I’ve been neglecting my old friends in order to meet new people. And the more new people I meet, the more I love my old friends. I can’t decide whether this makes me a people person or a misanthrope, so let’s just stick with chicken farmer for now.

NFC, my new favorite songwriter, only has three songs. For as long as I’ve known her, she has had the same three songs, and we sit in her heater room with coffee and guitars and a cat named Juicy Toots, rewriting and rewriting them. She rewrites. I close my eyes and concentrate on having an opinion. This one used to be a folk song. Now it’s the blues. That one has a slightly different melody. The other has a new, improved bridge, retrofitted to withstand earthquakes and open mic jitters.

By the time she dies, NFC will have either the three most exquisitely perfect musical compositions ever written or a very bad headache. My money, as usual, is on both. But that’s not what I wanted to tease her about.

I wanted to tease her about a certain evening we spent together recently. It was the coldest Thursday on record. Ever. Anywhere. Many of my dearest, warmest, longstandingest loved ones were gathering out at Gaspare’s to break pizza in honor of our prodigal pal One-Cents. I chose instead to accompany NFC to a house concert in Oakland. Where I wouldn’t know anyone.

Which is how I like it, my top priority in life these days being my unreasonable, hopeless, quixotic quest for romance, the kind with nudity in it. And that just ain’t going to happen between me and my friends, I’m afeard. (And they’re relieved.)

So: new people, I’m thinking. Girls! Boys! Boths! Couples with a sense of adventure! Single people with a sense of humor! Sensitive artists with a sense of worthlessness! House concert! Yay!!!

Come to find over preshow dinner at Manzanita that our hostess, NFC’s friend, is 80 and that everyone else at the party will be senior citizens, except us.

"Oh," I said. I love old people. "What about the bands?" I asked.

"Only one. My friend’s son," NFC said. "He’s visiting from Nashville."

Mind you, this news is broken to me at Manzanita, which is an organic vegan macrobiotic joint, two big cities and a cold, cold bay away from Gaspare’s, where all my other friends in the world are just then deciding what all to put on all their extralarge pizzas. Sausage, I’m thinking.

Cheese.

"Yum. Aren’t these whole grains and unseasoned greens delicious?" my new favorite songwriter asks, sprinkling a shaker of almost tasteless toasted brown things all over her plate, in lieu of salt and pepper.

I’m thinking: olives, pepperoni. Salad with salad dressing on it. "Yes! Delicious!" I say. And I really do clean my plate and enjoy it. And feel pretty good, kind of.

I love my friend NFC, and I love old folks and country music. But it turns out Ms. Conference had the wrong night. The house concert wasn’t until Saturday. I probably could have gotten across town, over the bridge, and across town again to the Richmond in time for a glass of wine and some crust, except that NFC’s friend invited us in anyway, bless her heart, and her son, bless his, played a whole set of his new country originals, by way of rehearsal.

We sat on the couch with cookies and water and watched and listened with big, big smiles on our faces, and I wouldn’t trade this cracked, cold Thursday for any Thursday in the world. *

MANZANITA

Lunch: daily, 11:30 a.m.–2:30 p.m. Dinner: daily, 5:30–9 p.m.

4001 Linden, Oakl.

(510) 985-8386.

Takeout and catering available

No alcohol

AE/MC/V

Quiet

Wheelchair accessible

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Between the sheets

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› gwschulz@sfbg.com

The changes are already well on their way. Dozens of layoffs have occurred. Offices are being consolidated. Fewer reporters are writing stories, which appear in several local newspapers under the single corporate byline "MediaNews Staff."

A few more details have since leaked out: the Hearst Corp., which owns the San Francisco Chronicle, has talked about joint advertising sales with its supposed competitor, Dean Singleton’s MediaNews Group, which owns almost all the other big dailies in the Bay Area.

Some sources predict Hearst may share printing facilities with Singleton. The two might ultimately divide the entire Bay Area into isolated markets and avoid one another’s turf. The Singleton papers could even scrap their Sunday editions, leaving that market entirely to Hearst.

Nobody outside the corporate suites of the nation’s top newspaper barons knows exactly what’s true and what’s speculation right now. But it’s clear there’s a move afoot to end all daily newspaper competition in the region — and the public hasn’t been privy to any of it.

That may be about to change.

An order by Federal Judge Susan Illston handed down Jan. 24 has opened up key company records that will likely further confirm how Hearst, Singleton, and some of the nation’s biggest media players are conspiring to turn the Bay Area into a homogenized news market.

The records — which will likely be released shortly after the Guardian‘s press deadline — are part of a lawsuit filed by local real estate investor Clint Reilly, who wants to block the deal that allowed Singleton to control the Contra Costa Times, the San Jose Mercury News, the Oakland Tribune, the Marin Independent Journal, and the San Mateo County Times, along with a bunch of other smaller papers.

There have been hints that some of the documents filed as part of that suit portray a plan by Hearst and Singleton to form some sort of alliance. But since almost everything in the case has been filed under court seal, it’s hard to tell exactly what the truth is.

The Guardian, along with the East Bay nonprofit Media Alliance, intervened in the case in December, asking Illston to open documents in the suit. The publishers, who had initially insisted nearly every scrap of paper was some sort of protected trade secret, quickly backed down, agreeing to release much of the information. And last week Illston ordered them to release some of the rest.

In the end, Jim Wheaton of the First Amendment Project, who represents the Guardian and Media Alliance, says 90 percent of the key material in the suit will be made public.

The documents that are set for public release still need to be refiled, a process that’s under way. They’ll be posted at www.sfbg.com the moment they’re available.

Already, the news coverage of this case has demonstrated how bad journalism would be if the Bay Area had no daily competition.

When Illston released her decision, two headlines appeared on the Chronicle‘s Web site, www.sfgate.com. One, from the Associated Press, announced, "MediaNews, Hearst Lawsuit Documents Remain Sealed." The Chronicle‘s own staff reported, "Some MediaNews Data Released — Judge Says Other Documents in Reilly Suit to Stay Sealed."

The conclusion of both stories was the same: the Guardian and Media Alliance had essentially lost. Very little material would be unsealed.

And despite the different perspectives in the headlines, neither story got it right.

"MediaNews Group and Hearst were asked by Media Alliance and the Guardian before they intervened to unseal everything. They declined to unseal anything," Wheaton said. "But as soon as Media Alliance and the Guardian moved to intervene and unseal, MediaNews and Hearst surrendered on almost all the sealed documents. They fought only to keep some parts of five exhibits and one brief sealed, which comprised 19 separate excerpts [of which six were duplicates, leaving only 13 distinct items]."

And all but a few pages of those documents will now be released to the public. They will almost certainly offer a broader picture of the relationship between the Bay Area’s top media bedfellows.

Wheaton has asked both the Chron and the AP for a correction. Mark Rochester, assistant bureau chief for the AP in San Francisco, told Wheaton by e-mail that a clarification would not be "useful to member news organizations." We’re waiting to hear from the Chron. Perhaps not entirely coincidentally, Dean Singleton is slated to take over as chair of the AP this spring.

Illston also agreed to allow the Guardian and Media Alliance to remain as interveners, or parties to the suit, giving the two organizations the right to challenge any future secrecy.

For example, the interveners might seek to unseal the depositions Reilly attorney Joe Alioto took of top executives at the companies last week.

Hearst and MediaNews have claimed they need to protect some records to avoid giving competitors access to proprietary financial information. But the chains are hardly normal competitors.

Singleton reached a secret agreement with Hearst in 1995 to shutter the Houston Post and sell its assets to Hearst for $120 million, for instance. The deal gave Hearst’s Houston Chronicle significant control over the southern Texas metropolis and its sizable suburbs before the two companies continued their westward expansion hand in hand.

In a downright hilarious side note, attorneys for the Chronicle managed to convince a Santa Clara County superior court judge in January to open confidential court documents in a shareholder suit filed against Silicon Valley–based Mercury Interactive, one of the first companies rocked by allegations that it had improperly backdated stock options for some of its top executives.

Chronicle attorney Karl Olson at the time righteously denounced attempts by attorneys for Mercury and its former executives, three of whom were fired during the height of the backdating firestorm, to seal court records detailing one of the more lurid executive-enrichment scandals to hit Wall Street in recent years (see "Off the Record," 1/10/2007).

Calls to seven people up and down MediaNews and Hearst, from attorneys to executives, weren’t returned. We’ve even tried to reach CoCo Times executive editor Kevin Keane on his cell phone, but he wouldn’t comment for us despite complaints he’d made about the East Bay Express not giving him a chance to respond to similar stories. *

Peter’s principles (or lack thereof)

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By Steven T. Jones

Before hitting the latest news of ethics problems in the mayor’s office, and the brilliant segment that KGO-TV’s dogged investigative reporter Dan Noyes has done to highlight them, it’s important to offer some context and perspective.
Mayor Gavin Newsom imported veteran Democrat Party flack Peter Ragone to be his press secretary upon taking office three years ago. Ragone didn’t really know San Francisco that well, but he seemed to understand the national political landscape and therefore became a trusted adviser to our ambitious mayor. The gay marriage move was brilliant, shoring up Newsom’s support in the city’s queer community and positioning him as a civil rights leader for future campaigns.

Yet along the way, Ragone seemed to forget that Newsom was the mayor of San Francisco at a time when progressives controlled the Board of Supervisors and couldn’t simply be dismissed. Over and over, Ragone spun stories to reporters about the incompetence and/or malevolence of progressives or other critics of the mayor — often attacking or belittling the journalists when they expressed skepticism — until he had very little credibility left with any of us (something I say as someone who regularly talks with journalists from all the other major news outlets in town).

So when the SFist discovered that some posters to their site were actually coming from Ragone’s computer, and Ragone avoided answering questions about it and opted to instead claim on the site that allegedly pseudonymous John Nelson was a real person, his best friend actually, who often stayed at Ragone’s house during the early morning and late night hours when he posted — most people simply assumed Ragone was lying.

I wanted to give Ragone the benefit of the doubt and asked whether I could meet John or otherwise get some verification for his existence. Ragone said no, and said, “I don’t think I’d like to see my friends and family put through the wringer of San Francisco politics.”

Why people get mad at the media (part 9). the Chronicle and Associated Press blow the big media story and refuse to make corrections

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By Bruce B. Brugmann

The Bay Guardian, the Media Alliance, and the First Amendment Project won a major victory in federal court last week and succeeded in unsealing about 90 per cent of the previously secret records in the Clint Reilly media consolidation case. It was a clear and decisive win.

Yet the monopoly papers in the case mangled the story, tried to make it appear that the Guardian lost, and the monopolizers won. And then, when we requested they make corrections, they refused and tried to blow us all off.

The Associated Press story was the worst. It was inaccurate, incomplete, and made it look as if the judge had given the Hearst/Singleton forces a major victory, as the two heads on the Examiner website made clear: “Judge: MediaNews, Hearst lawsuit documents remain sealed” and “Judge denies request to unseal MediaNews, Hearst lawsuit documents.” (B3: both inaccurate and incomplete statements, see our online coverage and our link to the judge’s order).

The lead makes the inaccuracy more pronounced: “A media advocacy group and alternative weekly newspaper on Wednesday failed to convince (B3: no) a judge to open key documents in a deal between the San Francisco and the owner of about a dozen Bay Area daily newspapers.” Then the second inaccurate paragraph: “U.S. District Judge Susan Illston denied requests (B3: no, no, no) from the Oakland-based Media Alliance and the San Francisco BayGuardian…” And then a selective quote from Illston that makes it look (wrongly) as if “the bulk of the records contained detailed financial information, including past and present revenue…” and that those were still under seal.
(B3: no again).

Our attorney James Wheaton from FAP emailed the AP and the Chronicle a full and detailed account of what we won: (a) about 90 per cent of the sealed documents; (b) a lot of key documents; (c) the right to stay in the case as an intervenor so that we are in a legal position to challenge any further sealing of documents for the duration of the case; (d) a major precedent that the big guys, especially the monopolizing publishers, cannot seal records in their moves to regional monopoly without public challenge, and (e) a major victory for sunshine, open government, and the free and open press.

More: the AP story was done without the normal calls for comment to our attorney or to the plaintiffs (Media Alliance or us). We had to initiate the calls and emails in an attempt to find out how AP so badly screwed up a simple straightforward ruling by a federal judge. And we are still mystified. The AP story ran in the San Jose Mercury News and Contra Costa Times, both owned by Singleton. Singleton, let us note, is also the incoming chairman of the AP board of directors.

When Wheaton asked for a correction by email, the assistant bureau chief Mark Rochester replied in an email:
“While I understand the subtleties (B3: subtleties?) involved, and have discussed this further with staffers here, I’ve decided not to do anything further. I just don’t believe we could issue a clarification or write-thru of the story that would be useful to member news organizations in terms of trying to explain what was and wasn’t covered in the judge’s order.” (B3: why not? Is AP above correcting demonstrable errors or giving the other independent side a chance to comment? What side is AP on? Darkness? Monopoly? Fair and balanced reporting? And most important:what about the interests of non-members or targets of your stories or people like us doing the public’s business in filing and winning a major sunshine in the courts suit? Do we not count?)

I put the above comments in an email letter to Rochester and AP bureau chief John Raess. I requested an explanation of why AP’s news consideration applies only to AP members (such as Hearst, Singleton, Gannett, McClatchy, Stephens, purported “competitors” who are now partners in the monopolizing
California partnership under attack by Reilly.) I also asked for a copy of the AP’s retraction and correction policy. No answer as yet.

This is the face of the emerging daily newspaper monopoly in 2007 in the Bay Area. And this is yet another reason why people get mad at the media.

P.S. Ah, yes, the Chronicle story by Bob Egelko. His story wasn’t much better and he missed the key point: when we filed the motion in court to unseal the records, the newspaper monopolists, obviously embarrassed, immediately agreed to make the bulk of the material public. There are boxes and boxes, and thousands and thousands of pages of legal material filed in the case so far, and the publishers didn’t even contest our contention that most of it should never have been sealed in the first place. Ah yes, neither the Guardian nor the Media Alliance for the First Amendment Coalition was mentioned by name in the rummy little page 3 story in the business section. We asked Egelko why. He emailed back: the cuts were made for space consideration. B3

***************

AP Letter

The Guardian Iraq War casualty report (1/29/07): 2 U.S. soldiers killed, 36 Iraqi civilians killed and 2 Iraqi policemen killed.

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Compiled by Paula Connelly

U.S. military:

2: U.S. soldiers were killed when their helicopter was shot down during a clash between Iraqi militants and U.S. backed Iraqi troops, according to BBC news.

Source: http://news.bbc.co.uk/2/hi/middle_east/6308821.stm

3,301: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.01.html

Casualties in Iraq

Iraqi civilians:

36: Iraqi civilians were killed today in multiple instances of civil war related violence, according to BBC news.

Source: http://news.bbc.co.uk/2/hi/middle_east/6308821.stm

98,000: Killed since 3/03

Source: www.thelancet.com

55,073 – 60,754: Killed since 1/03

For a week by week assessment of significant incidents and trends in Iraqi civilian casualties, go to A Week in Iraq by Lily Hamourtziadou. She is a member of the Iraq Body Count project, which maintains and updates the world’s only independent and comprehensive public database of media-reported civilian deaths in Iraq.

Source: http://www.iraqbodycount.net


A Week in Iraq: Week ending 28 January 2007: http://www.iraqbodycount.org/editorial/weekiniraq/28/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Iraq Military:

2: Iraqi policemen were killed during a clash between Iraqi militants and U.S. backed Iraqi troops, according to the New York Times.

Source: http://www.nytimes.com/2007/01/29/world/middleeast/29iraq.html?ref=todayspaper

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

151: Killed since 3/03

Source: http://www.infoshout.com/

Refugees:

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

Source: http://news.bbc.co.uk/2/hi/middle_east/6293807.stm

1.6 million: Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

Many refugees were displaced prior to 2003, but an increasing number are fleeing now, according to United Nations High Commissioner for Refugees’ estimates.

Source: http://www.unhcr.org/iraq.html

U.S. Military Wounded:

47,657: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

Jealous!

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by Amanda Witherell

I was in seventh grade when the Gulf War started and I remember watching news coverage of the bombs over Baghdad from the back row of my history class and having no clue what it meant. Welcome to the vast and sometimes disturbing plateau that is American public education.

Which is why I’m jealous of all the tenth, eleventh, and twelfth graders at San Francisco’s public schools who will have Addicted to War as a supplemental text in their history classes.

The Guardian Iraq War casualty report (1/26/07): 15 Iraqi civilians killed

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Compiled by Paula Connelly

Casualties in Iraq

Iraqi civilians:

15 Iraqi civilians were killed today when a bomb went off at a crowded animal market in Baghdad today, according to the Associated Press.

Source: http://www.thestar.com/News/article/175356

98,000: Killed since 3/03

Source: www.thelancet.com

54,432 – 60,098: Killed since 1/03

For a week by week assessment of significant incidents and trends in Iraqi civilian casualties, go to A Week in Iraq by Lily Hamourtziadou. She is a member of the Iraq Body Count project, which maintains and updates the world’s only independent and comprehensive public database of media-reported civilian deaths in Iraq.

Source: http://www.iraqbodycount.net

A Week in Iraq: Week ending 21 January 2007: http://www.iraqbodycount.org/editorial/weekiniraq/27/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:

www.ejectiraqikkk.blogspot.com
www.riverbendblog.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

U.S. military:

3,284: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

Here are the names of some of the soldiers that were killed this week in Iraq, according to the New York Times:

BROWN, Nicholas P., 24, Specialist, Army; Huber Heights, Ohio; First Cavalry Division.
HILL, Ryan J., 20, Pfc., Army; Keizer, Ore.; First Infantry Division.
JOHNSTON, Gary S., 21, Sgt., Marines; Windthorst, Tex.; Third Marine Expeditionary Force.
KASHKOUSH, Michael M., 24, Sgt., Marines; Chagrin Falls, Ohio; Third Marine Expeditionary Force.
KINGMAN, Jonathan P. C., 21, Sgt., Army; Nankin, Ohio; First Infantry Division.
MATUS, Andrew G., 19, Lance Cpl., Marines; Chetek, Wis.; First Marine Expeditionary Force.
STOUT, Brandon L., 23, Specialist, Army National Guard; Grand Rapids, Mich.; 46th Military Police Company.
WIGGINS, Michael J., 26, Staff Sgt., Army; Cleveland; 79th Explosive Ordnance Disposal Battalion.
WILSON, Jamie D., 34, Staff Sgt., Army; San Diego; 25th Infantry
Division.

Here are some additional names of soldiers killed this week, according to CNN.com:

Sgt. 1st Class Keith A. Callahan, 31, of McClure, Pennsylvania, 2nd Battalion, 325th Airborne Infantry Regiment, 82nd Airborne Division.
Staff Sgt. Hector Leija, 27, of Houston, Texas, 1st Battalion, 23rd Infantry Regiment, 3rd Brigade, 2nd Infantry Division (Stryker Brigade Combat Team)

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.01.html

Iraq Military:

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

151: Killed since 3/03

Source: http://www.infoshout.com/

Refugees:

1.6 million: Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

Many refugees were displaced prior to 2003, but an increasing number are fleeing now, according to United Nations High Commissioner for Refugees’ estimates.

Source: http://www.unhcr.org/iraq.html

U.S. Military Wounded:

47,657: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

THURSDAY

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Thursday

jan. 25

comedy

Mike Epps

It’s six days after last Friday, so what’s going on with Mike Epps? Those 21st-century cesspools known as message boards have been roiling and boiling with claims that he’s called out Dave Chappelle. Entertainment news outlets have brought soaplike installments of the turmoil-laden preproduction of a Richard Pryor biopic starring Epps. Epps might or might not have something to say about these things, but whatever he says will probably be funny. (Johnny Ray Huston)

8 p.m, $35-$40
Also Fri/26 and Sun/28, 8 and 10:15 p.m.; Sat/27, 7, 9 and 11 p.m.
Cobb’s Comedy Club
915 Columbus, SF
(415) 928-4320
www.cobbscomedy.com

music

Mezzanine Owls

Approaching the big-screen sound from an Anglophile perspective, this four-piece builds luxuriant canopies of shimmering guitars and propulsive rhythms reminiscent of British heart racers Doves and Elbow but bearing the intriguing twist of wounded vocals landing somewhere between Dean Wareham and Mercury Rev. Anthemic rock with dignity. (Todd Lavoie)

With Robbers on High Street
9 p.m., $8
Cafe du Nord
2170 Market, SF
(415) 861-5016
www.cafedunord.com

The media blows a media story

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By Tim Redmond

The Bay Guardian and Media Alliance have succeeded in getting about 90 percent of the previously secret records in the Clint Reilly media consolidation case opened to public review.
But you wouldn’t know that from reading the news stories in the monopoly dailies that the suit challenges.
In fact, the press coverage of Judge Illston’s ruling shows very neatly how media consolidation and a lack of competition throttle public access to the news.
None of the local dailies (all of them owned by big chains involved in this case) got the story remotely right. The Chronicle’s Bob Egelko, who is normally a decent legal reporter, reported only that Judge Illston had ordered the release of “some MediaNews Group records” but “allowed MediaNews and the Hearst Corp., owner of The Chronicle, to protect most of the documents they had sought to keep sealed.” The seven-paragraph story ignored the main point: When we filed the motion in court to unseal the records, the newspaper barons immediately agreed to make the bulk of the material public. There are thousands and thousands of pages of legal material filed in the case so far, and the publishers didn’t even contest our contention that most of it should never have been sealed in the first place.
“MediaNews Group and Hearst were asked by Media Alliance and the Guardian before they intervened to unseal everything. They declined to unseal anything,” said Jim Wheaton, attorney for the First Amendment Project, which represented us. “But as soon as Media Alliance and the Guardian moved to intervene and unseal, MediaNews and Hearst surrendered on almost all the sealed documents. They fought only to keep some parts of five exhibits and one brief sealed, which comprised 19 separate excerpts (of which six were duplicates, leaving only 13 distinct items).
There’s a lot of legal gobbledegook here, but for the record, here’s how Wheaton explains it:

The following documents were originally filed under seal, in their totality (with court docket numbers):

o Motion for Temporary Restraining Order (“TRO”) and Order to Show Cause (“OSC”) (#70)
o Declaration of Daniel Shulman (#70)
o Memorandum in Support of (“ISO”) Plaintiff’s Motion for TRO and OSC (#71)
o Declaration of Daniel R. Shulman ISO Plaintiff’s Motion for TRO and OSC, including all exhibits thereto. (#72)
o Reply Memorandum ISO Motion for TRO and OSC (#88)
o Supplemental Declaration of Daniel R. Shulman ISO Motion for TRO and OSC including all exhibits thereto (#89)
o Memorandum ISO Motion for Preliminary Injunction (“PI”) (#91)
o Second Supplemental Declaration of Daniel R. Shulman ISO Plaintiff’s Motion for PI, and all exhibits thereto (#91)
o Plaintiff’s Supplemental Memorandum ISO Motion for PI (#96)
o Second Supplemental Declaration of Daniel R. Shulman, including all exhibits thereto (#97)
o Third Supplemental Declaration of Daniel R. Shulman ISO plaintiff’s motion for PI, including all exhibits thereto (#108)
o All 34 exhibits attached to the various Shulman declarations (#s 70, 72, 89, 91, 97, 108)
o Declaration of James M. Asher in Response to OSC Regarding Application for PI and three Exhibits thereto (# 102) (These are all duplicates of other items already filed under seal.)

She has ordered ALL of that unsealed, except for:

o part of two pages from Reilly’s Reply Memorandum ISO of the TRO (#88)
o portions only of just six of the 34 exhibits attached to the Shulman declarations (and their duplicates in Asher’s declaration); the declarations themselves were completely unsealed

Everything else was unsealed. All parts of all the memoranda, all the declarations, and all the other exhibits were unsealed.

Also – and this is key – Illston gave the Guardian and Media Alliance the right to remain legal interveners for the duration of the case, giving us standing to immediately seek the release of any future documents filed under seal.

In one of the nastier little twists to this story, Egelko referred only to “a media group and a weekly newspaper” without ever mentioning Media Alliance or the Bay Guardian.

I send Egelko an email, and he said the reference to the Guardian was cut for space.

The Contra Costa Times ran an Associated Press story by David Kravets that was even worse. The headline: “Judge denies request to unseal MediaNews, Hearst suit papers.” The summary: Illston denied almost everything the Guardian and Media Alliance wanted.

The San Jose Mercury News ran four paragraphs of the same AP story.

That story was, as I’ve pointed out above, utterly inaccurate, embarrassingly so. I called Kravets and asked what had happened, and he acknowledged that he had left out the background – the fact that the media barons, in response to our case, had agreed to unseal most of the records. “I plead guilty to leaving out the background,” he said.

Wheaton is contacting AP and the Chron to seek corrections; we’ll let you know.

In the meantime, think about what happened here: The Times and the Merc, both owned by Dean Singleton’s MediaNews Group, run the exact same inaccurate AP story on a major media case involving their parent companies. The Chron, which is supposedly their competitor, runs its own inaccurate story. None of these people (representing the free press of Northern California) are acting like competitors, and none of them give any support or credit to a major effort at opening up the federal courts.

Welcome to the monopoly media world of the Bay Area, 2007.

Flowers unempowered

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It’s been quite a year for local florist Guy Clark. His dad passed away about a year ago, and Clark suffered a heart attack shortly afterward. Two weeks later, the building at 15th and Noe where he rents garage space to sell flowers caught on fire. The good news was that his space was not damaged. The bad news was that his landlord, Triterra Realty, didn’t immediately renovate the destroyed apartments and let most of the tenants move out, telling the two who remained, Clark and Irene Newmark, that they would have to move soon, too: once the renovations were completed, the building would be put on the market and possibly sold as Tenancy-in-Common (TIC) apartments.

Some more bad news came the other day, on the morning of Jan. 22 when Clark discovered his space had been vandalized in an apparent hate crime.

“KKK” was scrawled across the garage door in blue paint. “Fuck you” with an arrow pointing to the door was written in off-white paint on the sidewalk. Additional garnishes of white and blue were splashed and smeared throughout the area.

“They totally trashed the place,” Clark told the Guardian. “I imagine that it’s geared toward me because I’m an African American.”

Clark said he notified the San Francisco Police Department, and an officer came by to file a report and take some pictures. The case will be referred to the Hate Crimes unit.

“I can’t really think of anybody who would do something like this,” said Clark, adding that he recently had a minor altercation with a neighbor up the street but no other suspects immediately came to mind. “Ninety-nine percent of the people who come by are a blessing.”

Clark has been living and selling flowers in the neighborhood for 25 years, and renting this particular space for five. The Guardian awarded his shop a Best of the Bay in 2005.

“This is more than tragic. Guy is very loved by this neighborhood,” said Irene Newmark, who lives in the building where Guy’s Flowers is housed. Newmark thinks increased gentrification, while not directly related to the hate crime, is changing the place where she’s lived for many years. Newmark listed off several nearby properties that have been sold recently or are on the market, including one that sits vacant across the street.

“They offered to buy me out for $10,000, but that’s not a financial incentive to move,” she said, adding that by the time she paid taxes on the money and found a new place to live most of the money would be gone. She said the owners of the building told her their intent was to sell the building on TIC speculation and “the day it sells you’ll receive your Ellis Act notice.”

Riyad Salma, a spokesperson from Triterra Realty, based on nearby Sanchez Street, said the company has joint ownership of a few other properties in the neighborhood and would be putting a different TIC on the market shortly. He didn’t want to comment on the TIC prospects for the building where Guy’s Flowers is housed, saying it was too market dependent and difficult to say at this point what they will do. He did confirm that the building would be put up for sale soon, “marketed as a whole building or TICs. Whoever will take it,” he said.

Salma also expressed dismay about the crime. “The vandalism seemed to be hate-motivated and race-motivated and it’s not something we’ve ever seen in the neighborhood,” he said.

Sitting on a bench among pots of flowers that decorate the sidewalk in front of her building, Newmark said, “It’s so ironic that those that are beautifying the neighborhood are being forced out.”

Nearby a Department of Public Works employee wielded a hose like a magic wand, trying to make the hateful slurs disappear.

Clark said he plans to keep doing what he does for as long as he can, whether it’s in this building or the one where he lives, four doors down the street.

“I’m usually closed on Mondays and Tuesdays,” said Clark. “But I was thinking about just going and selling whatever I had left. The idea of selling flowers makes me feel better.”

The video guy

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› kimberly@sfbg.com

PREVIEW The public furor set off last November by the imminent publication of onetime football star and Avis flunky O.J. Simpson’s now-quashed book, If I Did It, on the murders of his ex-wife, Nicole Simpson, and Ron Goldman, demonstrates how pivotal the 1995 Simpson trial was to so many, just as Newsweek‘s recent publication of details from a key chapter shows how much it continues to compel — and how tender the wounds remain on this country’s notions of race, justice, media, and celebrity. To many TV viewers overseas, the trial might have merely summed up the insanity of stateside news priorities when the World Cup telecast was interrupted for the Simpson Bronco chase, but for Kota Ezawa, who had just transferred from the Kunstakademie Düsseldorf to the San Francisco Art Institute (SFAI) at the time of the trial, it was ripe, rich stuff.

The televised Simpson verdict announcement — documented in the snippet Ezawa reworked for his brilliant 2002 short animation The Simpson Verdict, now showing at the Museum of Modern Art in New York City — "was really a shock to everybody, but a very different kind of shock," Ezawa said. "It was a real kind of shock and a very strange shock because it wasn’t a bomb hitting the ground! It was just a court official saying two words, ‘Not guilty,’ and it was enough to send really huge seismic waves through the entire nation. That I find interesting — that it was so psychological, a psychological event."

Sitting at a work table scattered with paper collage scraps of fallen soldiers intended for his 2006 "The History of Photography Remix" project in a spare, white one-room studio at the corner of 16th and Mission streets, the soft-spoken, even-tempered Cologne, Germany, native in a brown hoodie seems like the last person who’d gravitate toward incendiary subject matter such as the Simpson trial. Or the assassinations of Presidents Abraham Lincoln and John F. Kennedy, which are paired in his 2005 animated short The Unbearable Lightness of Being. From the aforementioned pieces to 2003’s Who’s Afraid of Black, White and Grey, Ezawa’s work boils history-making spectacle down to ultraflat pop shapes and hues — adding another layer of commentary to the race cards dealt in The Simpson Verdict. Though Ezawa’s works mimic the primitive, jerky moves of South Park, they rarely make light of history’s dark corners — rather they are minimalist meditations on memorable images, sampling, quoting, recropping, and editing visual pop ephemera and masterworks culled from our collective memory’s moving-image files.

And Ezawa’s reenvisionings, or remixes, have found a growing audience, eliciting an enthusiastic review in the New York Times for his current exhibition at Wadsworth Atheneum Museum of Art in Hartford, Conn. SF Cameraworks recently feted the new Nazraeli Press volume compiling Ezawa’s "The History of Photography Remix" works, and this week the San Francisco Museum of Modern Art includes the artist in its biannual Society for the Encouragement of Contemporary Art (SECA) Art Award Exhibition.

"We were all enormously impressed by his practice — its clarity and range, the distinctness of his vision," SFMOMA painting and sculpture curator Janet Bishop wrote in an e-mail. "He was a top contender from the start of the award process." As a SECA award recipient, Ezawa will show parts of "The History of Photography Remix" as well as a two-screen animation, Stereo Stolen Honeymoon, which he described as a trailer for a longer adaptation of the purloined Pamela Anderson and Tommy Lee wedding and honeymoon video, which the Guggenheim Museum is in talks to show.

"The Anderson-Lee tape is really most striking for how mundane it is," Bishop continued. "It has only become iconic because of our cultural response to it. Ezawa’s piece holds a mirror to our collective obsession with every tedious detail of celebrities’ lives."

A yearlong project featuring Ezawa’s idiosyncratic, hand-drawn computer animation and aided by assistant Ryan Thayer, voice actors, and assorted interns, the Anderson-Lee piece is also one of the artist’s most overtly comic pieces: the tabloid twosome’s cartoonish lifestyle slips seamlessly into Ezawa’s format as they exchange aggro vows, stroke tats, and chat up their pooch.

"I feel that I’m in the business of making moving paintings more than I’m in the business of making videos with a beginning and an end and a kind of dramatic curve," the 37-year-old self-described "video guy" confessed across his work table. "It’s a different kind of attention that people bring to a gallery or to a museum, and in that way, it almost has to work like a painting, meaning some people will watch it for 10 seconds, some people will watch it for a minute, but it really depends on how they will get grasped or not grasped by the image."

PRIMAL SCENE


The half-Japanese, half-German artist traces his own initial attempts at image-making to ancestors. "If you ask any artist, if they’re really honest, there will be something way, way, way back — even sometimes before you were born," he said with a small grin. The drawings of his great-grandfather Hans Gelderblom, an architect, made an impact, as did his Japanese forbears’ silk paintings and bronze vases.

As a child in rural southern Germany, Ezawa etched his own path with cartoon flip books and hand-cranked panorama boxes resembling TVs. "I think there’s one thing about the countryside that informed or really influenced me and why I am how I am now," he explained. "In the city I think even as a teenager there’s already these peer groups — sometimes it’s ethnic, the Latino kids or the Asian kids, some listen to punk music or some are really good at school or math. In the countryside it doesn’t really work like that — you’re just stuck with your age group, so one of your friends is a fantastic athlete and a piano genius, and your other friend is a borderline alcoholic heavy metal fan, and you all just converge and hang out. And so I think even today … I sometimes think I don’t have any taste, you know?"

That ability to switch from high to low, between mediums and messages, fed his work at the Düsseldorf art academy, where he tried his hand at photography and performance art before scoring an opportunity to study with Fluxus video art innovator Nam June Paik. "He wasn’t there a lot, but to me, he was a really big inspiration," recalled Ezawa, who made his first video in order to be in Paik’s class.

At first he put together "still videos that didn’t move at all": one of his first, I Want to Buy the Empire State Building, was made when the structure was actually for sale. Working pre-Photoshop, Ezawa used a graphic machine to print the title sentence along with his phone number, reproducing the words on a C-print before hanging it on the wall and videotaping it. Paik had the piece, along with other student works, shown at the Anthology Film Archives in New York City. "What’s similar to the videos I make today was I didn’t think of video as this entertainment format," Ezawa said. "I thought of video more as a light box. It was really just like this illuminated image coming out of the TV."

TAKING OFF ON HISTORY


Ezawa’s light-box reworking of Yves Klein’s Leap into the Void — part of "The History of Photography Remix" — looked down from an otherwise pristine wall above us. After finishing his BFA at the SFAI and his MFA at Stanford, Ezawa began teaching at California College of the Arts. While poring through the school’s slide library for a presentation on the history of photography for an introductory media arts course, he found himself thrilled: "I thought it was almost like DJing. ‘Oh yeah, this one will be really good. Maybe I’ll play this one after this one.’ " He took the Klein image home, scanned it into his computer, made a graphic sketch over the original, and kicked off his own "History," a compendium of transparencies, slides, collages, and intaglio etchings drawing on images as disparate as Ansel Adams landscapes and the surveillance shot of Patty Hearst and the Symbionese Liberation Army at the Hibernia Bank in San Francisco. "That kind of became the idea for the work, to make this fake history slide show," he said.

Ezawa’s strategy stirs up the familiar cauldron of copyright issues in this age of digital reproduction. "You could call it visual hip-hop," he quipped. "But you can also call it somehow ripping off." He’s had only a few "sensitive reactions" from the creators of the original images. "I had long discussions, and it all got resolved," Ezawa said. "But with the book it was like, ‘OK, if you’re making this book and you’re ripping off tens and tens of photographs, you don’t want to have 30 angry photographers sending nasty e-mails." So in an effort to avoid a Simpson-like "legal nightmare," he contacted every shooter he sampled, and "the reaction was 95 percent very positive."

The SF artist has understandably mixed, and remixed, feelings about copyright, which he describes as being "really used to protect the interests of Walt Disney [Company] as opposed to actual artists. But then I feel like events like YouTube really help everybody and also the emergence of China as an economic player in the world, where they have Dior handbags that might say ‘Djor.’ I do think copyright might not exist much longer, though maybe long enough to ruin all of our lives."

He gave a compact chuckle. But then, the artist who once sang and played keyboards along with his wife, Karla Milosevich, in the Helen Lundy Trio seems to have his own quirky handle on the problem. "You know, like any hip-hop artist or DJ, I find my ways to manage this." *

SECA ART AWARD EXHIBITION

Jan. 27–April 22; call for additional programs; $7–$12.50 (free first Tues.; half price Thurs., 6–8:45 p.m.)

Mon.–Tues. and Fri.–Sun., 11 a.m.–5:45 p.m.; Thurs., 11 a.m.–8:45 p.m.

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

>

The war on trial

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› news@sfbg.com

It is a sad day in American jurisprudence when a soldier of conscience is court-martialed — not for lying, but for telling the truth; not for breaking a covenant with the military, but for upholding the rule of law in wartime.

The court-martial of First Lt. Ehren Watada is set for Feb. 5 in Fort Lewis, Wash. The 28-year-old soldier from Hawaii is the first commissioned officer to refuse deployment to Iraq. He is charged with "missing movement" and "conduct unbecoming an officer" including the "use of contemptuous words for the President."

The story has received a fair amount of media attention, in part because the Pentagon is trying to force three journalists to testify against Watada (see "A Reporter Stands Up to the Army," 1/10/07).

But the soldier’s story is significant on its own.

A year ago, when Watada was on leave and out of uniform, he delivered a moving address to a Veterans for Peace convention. Watada is not a conscientious objector. He even offered to serve in Afghanistan.

But he questioned the legality of the war in Iraq, and he denounced the known lies of the George W. Bush administration. He said nothing more than what the world already knows, and he did not encourage any other soldiers to follow his example.

All the major issues of the Iraq fiasco — the fraudulent basis for the war, the absence of a formal declaration from Congress (which has no constitutional authority to transfer its war-declaring power to another branch), the war crimes, the flagrant violations of international treaties such as the United Nations Charter — are coming to a head in this historic battle between a junior officer and an army whose Abu Ghraib torture scandals shocked the world.

Ordinarily, the truth of a claim is a strong defense against any charge of defamation. Not in the Army, however. Army prosecutors do not intend to allow Watada any opportunity to prove in court that everything he said about the president is true. Prosecutors told the presiding judge, Lt. Col. John Head, that the truthfulness of Watada’s speech is irrelevant to the case.

THE WAR OF CHOICE


On the charge of refusing deployment, Watada’s case may seem weak — he is, after all, an officer in the military, and he has failed to obey a direct order to go to Iraq. But his defense actually has legal merit: his actions are based on hard evidence about military conduct in Iraq and a clear understanding of the law.

Watada is raising matters of principle that concern the right of all soldiers to full protection of the law. Under the Constitution and the standard enlistment contract, every soldier has a right, even a duty, to disobey illegal orders. The legality of Watada’s orders pursuant to a "war of choice" is the central issue of the trial.

"The war in Iraq is in fact illegal," Watada told TruthOut.org. "It is my obligation and my duty to refuse any orders to participate in this war. An order to take part in an illegal war is unlawful in itself. So my obligation is not to follow the order to go to Iraq."

No American soldier has any obligation to participate in military aggression, "crimes against peace," or any operation that violates the Geneva Conventions. Under constitutional government, the authority of military command derives not from one person alone but from the rule of law itself.

There are only two conditions in which a war is legal under international law: when force is authorized by the United Nations Security Council or when the use of force is an act of national self-defense and survival. The UN Charter, based on the Nuremberg Principles, prohibits war "as an instrument of policy." And the war in Iraq is just that — a war of choice.

There is a common tendency among lawyers and military commanders to sneer at international law. But the Constitution is unambiguous: Article VI states, "All Treaties made, or which shall be made, under the authority of the United States, shall be the supreme Law of the Land and the judges in every State shall be bound thereby."

In a celebrated case in 1900 (United States v. Paquete Habana), the Supreme Court ruled, "International law is part of the law of the United States and must be ascertained and administered by the courts of justice of appropriate jurisdiction as often as questions of right depending upon it are duly presented for determination."

There is no exception for the military, no wall between domestic and international law.

In his speech to the veterans Watada noted that the US Army Field Manual states, "Treaties reutf8g to the law of war have a force equal to that of laws enacted by Congress. Their provisions must be observed by both military and civilian personnel with the same strict regard for both the letter and spirit of the law which is required with respect to the Constitution and statutes…."

THE POLITICAL QUESTION


In the end, though, none of that may matter.

The strength of Watada’s legal case will make little difference if Army prosecutors succeed in preventing him from presenting evidence in his own defense in court, especially if judges adhere to the Machiavellian view that "in war, the laws are silent."

The American judiciary has a long, sorry record of ignoring the right of American soldiers to due process and the treaty clause and war-power clause in the Constitution. Too often, judges and prosecutors, both military and civilian, claim war is a political question, a foreign policy matter, something beyond judicial review. Hence, commanders can do as they please, and those who disagree can be imprisoned.

The political question doctrine, as it is known among lawyers, is the primary way by which judges circumvent international law. It is a way by which prowar judges and commanders foreclose any substantive discussion of the legalities of a war.

Few Americans remember the dark days of wartime jurisprudence four decades ago, when US courts refused to hear GI challenges to the Vietnam War. The full implications of the Watada trial can be understood in that context.

In the mid-1960s and early 1970s, American soldiers and marines were imprisoned for refusing to commit war crimes. For example, Dr. Howard Levy, a Green Beret dermatologist, spent two years in prison after he refused to train special forces in dermatology. He argued that to do so would violate the Hippocratic Oath; the Green Berets, he insisted, used medicine as a political tactic in Vietnam, and for him to assist them would cause increased suffering.

In 1965, David Henry Mitchell II, who was eventually convicted of willful failure to report for induction, challenged the legality of Lyndon Johnson’s war. He raised basic constitutional issues: the absence of a formal declaration, broken treaties, a pattern of war crimes on the battlefield. No soldier, Mitchell argued, should be forced to participate in criminal policies, to choose between near-sedition and the commission of war crimes.

Federal Judge William Timbers refused to hear the evidence. When Mitchell’s attorneys argued that under the Nuremberg Principles soldiers have a duty to disassociate themselves from war crimes, the judge freaked out. It is, he said, "a sickening spectacle for a 22-year-old citizen to assert such tommyrot." The judge argued that treaties and conventions are "utterly irrelevant as a defense on the charge of willful refusal to report for induction." The message was clear, and a deadly precedent was set: even if war is manifestly illegal, soldiers are still expected to participate. United States v. Mitchell was the first in a series of infamous cases through which courts placed presidential war beyond the arm of the law.

In a 1966 ruling against Army Private Robert Luftig, Federal Judge Alexander Holtzoff ruled that the war "is obviously a political question that is outside the judicial function." With "no discussion or citation to authority," the Federal Appeals Court concurred. In the most celebrated trial of the period, that of the Fort Hood Three — soldiers who demanded the protection of the Constitution and international law — District Judge Edward Curran refused to hear any evidence of systematic war crimes. He called the war a political issue beyond judicial cognizance.

Taken together, the Vietnam War rulings contradict the landmark precedent Marbury v. Madison. In 1803, Chief Justice John Marshall captured the essence of judicial abdication: "It cannot be presumed that any clause in the Constitution is intended to be without effect…. To what purpose are powers limited, and to what purpose is that limitation committed to writing, if these limits may, at any time, be passed by those intended to be restrained?… It is emphatically the province and duty of the judicial department to say what the law is."

In this case the argument is particularly clear: Watada is not taking a political position as part of his defense. The United States may be overextended; the invasion may create blowback; unilateral actions may alienate allies; war debts may boomerang on the economy; anarchy in Iraq may be unavoidable. These are political questions, but they aren’t what the first lieutenant is talking about. Watada is challenging the legality, not the political wisdom, of the war.

The president, he argues, is the final arbiter of foreign policy — but only so long as policies are carried out in accordance with the rule of law.

SAME OLD STORY


History has long since vindicated the soldiers of conscience who spoke out against the Vietnam War — soldiers who tried, albeit unsuccessfully, to uphold the Constitution and international law; soldiers who warned their beloved nation long before the My Lai massacre of America’s impending descent into barbarism. How many Vietnamese lives could have been saved? How many American soldiers might be home today with their grandchildren had American judges as well as presiding military commanders confronted the legal monstrosities of the war against Vietnam?

The cost of judicial abdication in the Vietnam War years, when American judges averted their eyes from the emerging holocaust in Indochina, is incalculable. Without judicial immunity, many of the horrendous deeds of the Johnson-Nixon years might never have occurred.

There were more than a dozen opportunities for American judges to confront the constitutional issues evoked by that undeclared war. When Supreme Court Justice William O. Douglas, who publicly acknowledged the illegality of US invasions in Indochina, offered to hear a war-challenge appeal, his colleagues on the court overruled him.

So today we ask: How many more Iraqis and Americans will die before American judges fulfill their current obligation to uphold and enforce the rule of law? How long will it be before the infamous Vietnam War rulings are reversed, before the blood-drenched political question doctrine is buried for good?

Lt. Col. Head, presiding at Watada’s court-martial, is already preparing to repeat the follies of the past. At a pretrial hearing Jan. 17, he denied all defense motions to present hard evidence of systematic war crimes in Iraq. He rejected the Nuremberg defense. He also upheld a pivotal government motion "to prevent the defense from presenting any evidence on the illegality of the war." Like past accomplices, he claimed that Watada’s case is a "political issue" beyond the jurisdiction of the court.

Capt. Daniel Kuecker, the prosecutor in the pretrial hearings, could not be reached for comment, but Watada’s civilian attorney, Eric Seitz, expressed outrage at Head’s judicial abdication. These rulings, he told the press after the hearing, "are extraordinarily broad and subjective, which I find reprehensible. They are essentially saying there is no right to criticize, which we all know is not true." He added, "These rulings are about as horrible and inept as I could have imagined."

The question can no longer be avoided. Do American soldiers have any rights that their commanders and judges are bound to respect? As civilians, do we not have an obligation to provide our troops full protection of the laws for which they risk their lives? *

Paul Rockwell, who taught constitutional law at Midwestern University in Texas, is the author, with Cindy Sheehan, of Ten Excellent Reasons Not to Join the Military, published by New Press in 2006.

NOISE: Symphony for you little devils

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I know there are oodles of deeply closeted classical freeeaaaks out there, who are far too shy to venture toward the mink stole and helmet hair cabal at Davies Hall. Good news is that the San Francisco Symphony’s Friday 6.5 Series now offers an earlier program at 6:30 p.m. than the usual 8 p.m. performance and features an intro by the conductor for the evening, accompanied by music generated by the fine members of the pit.

MTT20sml.jpg
SFS music director Michael Tilson Thomas leads the pack.

I think we can all agree that it’ll be nice to eat earlier than later for a change. San Francisco Symphony’s Friday 6.5 Series continues on Friday nights at 6:30 p.m. at Davies Symphony Hall, 201 Van Ness, SF, with Lawrence Foster conductor, and Radu Lupu, piano, on Jan. 26. Coming up: Feb. 9: MTT and Susan Graham, mezzo-soprano; March 16: James Gaffigan, conductor, and Yundi Li, piano; May 4: Hans Graf, conductor, and Alexander Barantschik, violin.

The Guardian Iraq war casualty report: 1/31

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Casualties in Iraq

Iraqi civilians:
50 Iraqi civilains were killed Tuesday (1/30/07) in violent attacks across Iraq. Attacks were directed at yesterday’s Shiite religious celebrations and serve as another example of the deepened syzygetic divide between Sunnis and Shiites in Iraq, according to the New York Times.
Source: http://www.nytimes.com/2007/01/31/world/middleeast/31iraq.html?_r=1&oref=slogin

98,000: Killed since 3/03

Source: www.thelancet.com

55,305 – 60,991: Killed since 1/03

For a week by week assessment of significant incidents and trends in Iraqi civilian casualties, go to A Week in Iraq by Lily Hamourtziadou. She is a member of the Iraq Body Count project, which maintains and updates the world’s only independent and comprehensive public database of media-reported civilian deaths in Iraq.

Source: http://www.iraqbodycount.net

A Week in Iraq: Week ending 28 January 2007:
http://www.iraqbodycount.org/editorial/weekiniraq/28/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

U.S. military:

3,365: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.01.html

Iraq Military:

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

151: Killed since 3/03

Source: http://www.infoshout.com/

Refugees:

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

Source: http://news.bbc.co.uk/2/hi/middle_east/6293807.stm

1.6 million: Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

Many refugees were displaced prior to 2003, but an increasing number are fleeing now, according to United Nations High Commissioner for Refugees’ estimates.

Source: http://www.unhcr.org/iraq.html

U.S. Military Wounded:

47,657: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

Control of resources

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› a&eletters@sfbg.com

Among the usual tidings of war and occupation, the recent holiday season brought news that hundreds of people had been burned alive in a pipeline explosion in Lagos, the commercial capital of Nigeria and its largest city. They were gathered around a section reportedly ruptured by a criminal gang of "bunkerers" siphoning petrol from the state-owned oil company prior to selling it on the black market.

In a cutting irony wasted on few in Nigeria, Africa’s largest oil producer (the fifth largest importer to the United States — and rising) has struggled for years with a serious fuel shortage. Within the crowded Abule Egba district of Lagos, where December’s horrible scene took place, low-paid workers and their families often forgo caution in the event of a pipeline rupturing to fill pails and cans with the desperately needed liquid, either for use in their own vehicles and home generators or for resale on the black market, where a small amount can equal several weeks’ wages.

To read the news reports on these accidents (if that’s the right term for such acts of desperation) is usually to miss much of the complex picture lying behind the scenes in Africa’s most populous and oil-rich country. The politics of oil in Nigeria reaches deep into an increasingly fractured society and far beyond its national borders.

Needless to say, it’s a lot for a lone actor-playwright to take on, even one playing multiple characters over the course of two hours. But young solo performer Dan Hoyle seems to thrive on such challenges. Developed with and directed by veteran solo performer Charlie Varon, Tings Dey Happen brings the 25-year-old Hoyle’s American theater audience a powerfully etched human-scale impression of the scope of oil politics in Nigeria as he discovered it during a 10-month trip in 2005 as a Fulbright scholar.

Without benefit of costume or scenery and with merely an atmospheric sound design (courtesy of David Hines) and some key lighting shifts (by Patti Meyer), Hoyle soon establishes his setting with a series of quick-change characterizations amid a bustling city street in Lagos. Affecting the pidgin English that is the lingua franca of Nigeria and smoothly transitioning through various postures and demeanors, Hoyle re-creates his reception as a white American sore thumb. From there we travel with him widely, from stops at the US Embassy and local bars frequented by expat oil workers to the network of swamps and streams in the delta known simply as "the creeks," the territory of dozens of militia groups at war with the state and one another for the liberation of the delta and a share of the oil money.

In all, Hoyle plays more than 20 characters based on people he met and interviewed. There’s also a friendly Nigerian stage manager who does not hesitate in taking exception to the character Dan’s sometimes overly downbeat treatment of the subject matter or spurring the crowd to let go of its Bay Area mind-set and try to adopt a more Nigerian one.

Hoyle also gained access to some highly placed people in Lagos. In addition to a somewhat unctuous US ambassador, for instance, Dan memorably meets the antigovernment rebel leader and Ijaw warlord Asari (a.k.a. Alhaji Mujahid Dokubo-Asari, or Asari Dokubo), the Muslim militant whose forces have declared war on the Nigerian state and the oil companies who they (with justification) say have usurped and wreaked havoc on Ijaw land.

Throughout, Dan is glimpsed only in stories told by those he met. He’s the young white American who’s (remarkably) neither a Christian missionary nor a petrochemical engineer; who wants, crazily, to study oil politics (prompting one wag to advise him to practice ducking, as he’s sure to be shot at); who, to one local’s amazement and consternation, doesn’t know how to fix a computer.

Tings is a history lesson and a political lesson — even a geography lesson (the Niger Delta "is like your Mississippi Delta," the stage manager explains with knowing understatement, "but there are more guns"). But the show is also very much an entertainment and a display of performance prowess. Hoyle — whose first solo endeavor, Circumnavigator, was followed by Florida 2004: The Big Bummer, a report from a front line in the last presidential election — has made this multicharacter reportage-bricolage his forte, backing it with the limber facility of a physically disciplined actor and natural mimic.

There’s a certain admirable audacity in Hoyle’s Nigeria project, not just in his fearless reconnaissance of deeply troubled waters — especially among the battle-hardened rebels of the creeks — but in his willingness to boldly assume the voices and personae of ordinary Nigerians, to step inside their perspectives and encourage his American audiences to follow.

In what’s perhaps an overly eager attempt to please, however, his characters tend to be eccentrics. And in some cases the characterizations feel more put on, along the lines of caricature, than fully embodied. While invariably absorbing, the sum of these parts may also lend a skewed impression of the average Nigerian. There’s no mention, for example, of the nonviolent resistance led by women and student organizations against the exploitation of Nigerian people, land, and resources. (The only female character essayed in Tings is a sympathetically indignant prostitute.)

Moreover, the play’s two hours could stand trimming and focusing (a malaria-fueled fever dream in which Dan is visited by competing advice givers Graham Greene and Richard Pryor, for example, is only weakly funny and hence all the more tangential). These quibbles aside, Hoyle’s work brings a burgeoning talent to a still woefully neglected subject that, as presented here, is both absorbing in its dramatic complexity and urgent in its political import. *

TINGS DEY HAPPEN

Through Feb. 10

Thurs.–Fri., 8 p.m.; Sat., 5 p.m., $15–$22

Marsh

1062 Valencia, SF

(415) 826-5750

1-800-838-3006

www.themarsh.org

>

The ballad of Carmelo

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› a&eletters@sfbg.com

By the time you read this, a whole lot of filmmakers, publicists, journalists, and miscellaneous affiliates from Los Angeles will have once again descended on Utah for the annual feeding frenzy known as Sundance. Just what the aforementioned feed on isn’t always or exactly movies — the original raison d’être can get lost in the general scuffle. Classic old-school festival films — those quiet, starless character dramas and vérité documentaries sans hot-button topic and celebrity endorsement — tend to get elbowed to the back of the crowd by more pushy types.

Such was the case two years ago for Romántico, which finally gets a theatrical release this week. As good as if not better than anything else in Sundance’s 2005 American Documentary Competition, it nonetheless attracted no awards and scant interest. Admittedly, a film about undocumented immigrant Mexican musicians in San Francisco didn’t sound so compelling next to docs about mentally ill indie rock heroes, death row exonerations, Enron, kick-ass jock paraplegics, clergy sex abuse, and every comedian in the world telling one dirty joke. Plus, there had been a lot of documentaries about undocumented Latin Americans in the States of late — like Iraq (and clergy sex abuse), it’s an inevitable subject du jour for nonfiction cinema.

Most similarly themed docs before and since Romántico have had a ripped-from-the-headlines feel, tackling specific issues with activist zeal. Several (Wetback: The Undocumented Documentary and Un Franco, 14 Pesetas among them) have been very good. But despite the concern they share, they’re like well-crafted news bulletins, while at core Romántico seems like something else entirely — soulful and poetic, its tone and narrative oddly reminiscent of ’40s Italian neorealist classics.

Part of the reason is that it simply looks great. A frequent cinematographer on other directors’ projects, Mark Becker shot his own first feature himself. Not only does he have a definite eye, but he also made the deliberate decision to shoot on film (16mm and Super 16) — an approach practically unheard of for a documentary these days. Yeah, yeah, new formats have done a great service in making the so-called seventh art more affordable, immediate, flexible, democratic, and so forth. But anyone who tells you video can look just as rich as film stock is high. It (still) just ain’t so.

Though he’s since moved to New York City, Becker was living in the Mission District when he became intrigued by Mexican émigré musicians who play for tips in the area’s restaurants and on its streets. They form a subterranean "bachelor culture," making enough money to support the wives and children back home they might not see for years on end.

Becker had a short film in mind until he met a protagonist worthy of long-form scrutiny — Carmelo Muñiz Sanchez, who serenades diners with familiar tragic love ballads as half of a duo with Arturo Arias. When Sanchez abruptly returned to Mexico for the first time in four years in late 2000, after hearing that his diabetic mother’s health had worsened, Becker followed.

Romántico was shot sporadically over a three-and-a-half-year span, time enough to capture dramatic changes in the lives of both Sanchez and Arias. When we first meet them, they’re sharing a minuscule flat with two other Mexicans and four Guatemalans who all work at the same car wash. (The number of roommates seems limited only by the amount of floor space on which to sleep.) Our protagonists also log long hours as entertainers, making as much as $50 each on a good night. This might seem a threadbare existence, but it allows Sanchez to support his mom, wife, and two daughters (both preadolescent when he left in 1997) in relative comfort. In their town of Salvatierra, less fortunate families routinely compel female members into prostitution to survive. Sanchez will do anything to shield his loved ones from that and from privation, even if it means painful separation from them. The more footloose Arias has fewer responsibilities. In fact, his tendency to fly off on benders of unpredictable duration is one of Sanchez’s biggest headaches.

A dignified but unpretentious man nearing 60 at the film’s start, Sanchez makes an engrossing hero, and he’s very interested in telling his story. His whole life has been a struggle, its only goal that his children’s lives not be. The reverse immigration journey of sorts that he undertakes is joyous because it leads to a family reunion. But it also soon underlines why he left in the first place: his earning prospects in Mexico, where his job options are limited to playing in mariachi bands and selling flavored ice from a pushcart for far less income, are a fragment of what they were off the grid in the United States. With getting a legal worker’s visa near impossible, he must consider a second dangerous border crossing at an age when many Northern gringos mull retirement. This isn’t a matter of creature comforts — it’s about money to keep his daughters alive, in school, and off the streets.

At just 80 minutes in length, Romántico doesn’t dawdle. Yet it has a contemplative tenor seldom found in contemporary documentaries, and the frequent beauty of its images is amplified by Raz Mesinai’s ethereal instrumental score as well as the mini–passion plays Sanchez and Arias sing. Like those theatrically despairing, sometimes suicidal, and frequently sexist songs of love gone wrong, Romántico is seductive in its melancholy — and so easily overwhelms emotional defenses that you’ll probably find yourself desperate to know what’s happened to Sanchez and Arias since the end of filming. *

ROMANTICO

Opens Fri/19

Lumiere

Shattuck Cinemas

See Movie Clock at www.sfbg.com

www.meteorfilms.org

>

Editor’s Notes

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› tredmond@sfbg.com

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

The guy looks like a goddamn ghost.

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

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

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

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

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

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

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

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

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